Upon descent into the Stylus the energy was jovial and the room filled with talk among the 20 and 30 somethings that had shown out for Origami Angel and Saturdays at Your Place Last Saturday. The room was padded to around 80% of its capacity when the ambient music rolled a nice minute before the start of Michigan trio Saturday’s at Your Place, opening the night with Hospital Bed and igniting the energy of Stylus. Frontman Esden Stafne ran the crowd work over the course of their 30 minute set, shakily promising a fan a UK headline tour for the trio next year between musings of enjoying being on this side of the Atlantic and a cheeky “F*ck Trump”. Saturdays at Your Place breezed through beautiful melodies, producing a sea of gentle headbangs and giving the pit enough fuel to simmer while Stafne and drummer Gabe Wood traded vocals between each other. The gut-wrenching lyrics of tracks such as Coffee Cups had their blows softened by the genuine graciousness that Saturdays at Your Place emanated and the comfort that grew on-stage, with Mitchell Gulish in particular relaxing into his guitar and starting to mess with his side of the room a little by the latter half of their half an hour. By the time closer Tarot Cards was ringing out the party had officially started. Half an hour later, the screen on the Stylus stage lit up once again, this time with a speedrun of the seminal Pokemon Emerald then opening shop with album track Lost Signal. The speedrun accidentally became the focus of the set for many; the gaze of the crowd and the duo alike became fixated on an impressive two and a half hour run before snapping back into the live show. The set itself was an hour in total, balanced between older tracks such as Escape Rope and Noah Fence and those from the newest projects including Dirty Mirror Selfie and Fruit Wine. Heagy brought his energy when he was playing, be it his two-steps in circles around the stage or the faces he pulled to groups around the room between vocals. Heagy also brought the humour, slipping in the Weezer noise at the end of single Thank You, New Jersey, certifying Origami Angel as silly jokesters; only misstep in the humour would be opting for Ruby over Emerald out of their Pokemon-themed EP, but it can slide. Between tracks, however, Heagy did seem to struggle a little with working the room, hitting the frontman trifecta of ‘how we all doing tonight/can we play some old and new songs for you guys/this has been the best show of the tour’ within 40 minutes of the 60 minute set - the latter of which feeling particularly strained with the knowledge that this was only night two. The pinnacle of awkwardness was possibly the question “what did they say before Lets go?” met with a silence then giggles; they can’t all be winners, Ryland. Nevertheless, the Stylus crowd supported him the best way they knew how, with a couple rounds of “Yorkshire!” to give Heagy something to laugh about before resolving to get back to the tunes. The vibes in the room stayed immaculate, be it those who wanted to mosh and move with the music or those happy to let the set become an epic backing track to the four badges earned in the first hour of the speedrun in the background, while the supporting track throughout the set offered the Sonic humour that made us about to lose our marbles! Now a theme with the Stylus shows, it was not complete without an adorable pair of kids to deliver faith in the future of emo. Donned in noise cancelling headphones, the littleuns headbanged away and took it in turns to run down to the main standing area for their own jumps around with their parents, gaining a deserved wave from Heagy by the end and a healthy amount of coos from those around them. Overall, Origami Angel and Saturdays at Your Place put on a lovely show to watch and successfully matched the grown-up party vibes of the Stylus Crowd on Saturday night - the space felt safe, the room alive, and the crowd sweaty and smiling as they ascended back into the real world at the end of the night. Words: Julia Brunton Photos: Sarah Henry

Coming into the pub on Wednesday an hour before the first opener started playing, there was only few people at that time, mainly the bands and their friends. Going out on a weekday is something many people would not usually do, but if they decide to give it a go, especially for the Midweek Moshpit at the Signature Brew in Haggerston, they are going to be surprised in an extremely exciting way. The first openers, Not Like This, definitely put on an unforgettable performance, as this was their first time playing live. The punk band’s presence, catchy melodies and well-written lyrics were spectacular and it was sad many people just stood around during their set, getting warmed up. Next up was Compounds, a melodic hardcore punk band. The energy in the room was definitely getting more pumped up, as the Reading band’s singer sang in the pit most of the time and the crowd was getting bigger and more hyped. Backed up by brilliant melodies and very emotional lyrics, the band flew through their set swiftly and aggressively. Third and main support was London-based Chaos Reigns, a band that had the most cheers out of all acts that night. The set started off strong with the vocalist Jason Heightman jumping right into the crowd, where he spent majority of their performance. With the spectacular riffs the band is well known for, and the fans moshing to all songs, it is safe to say the band really stole the spotlight. Jason was also very creative in utilising the small venue, from crawling on boxes and tables to letting some fans take him to the stage, which was very entertaining to watch and absolutely made the performance stand out. When you see a band putting up their flag behind the stage, you know the concert is going to be wild. And Nymphic’s set was definitely that. The femme-fronted band brought us their energetic set full of mysteries about the Nymphic Flower spirit and made the pub move around. Sadly, the crowd got smaller after Chaos Reigns, but that definitely did not stop vocalist Stix Warner, bassist Antonio Giannattasio, guitarist George Pitt and drummer Omar Perez to unleash the best of them, as they reclaimed their spot as the headliners. It isn’t hard to spot the influence from acclaimed power machines like Linking Park and Rage Against the Machine, but the band still has their own and, needless to say, unique aura, that makes the listener want more. Although in the middle of the week, the concert definitely had some great names and kickstarted a promising path for Not Like This, who I am sure we will hear about more in the upcoming years. Lightning and staging were very simple for all sets, as the venue was small, but were set up just right and definitely didn’t stop either band in giving the best of them to their audience. Punk concerts like this one definitely show us that the live music isn’t gone and is more relatable than ever, and it is heartwarming to see the mutual support of the bands, as they grow together. Words and photos: Katerina Stepanikova

An air of excitement was in the air at the 02 Academy in Birmingham for Dropkick Murphys' arrival in the UK. As we made our way through the crowd, plenty of eager concertgoers could be heard exclaiming how they had waited years for this lineup. Not only is the Boston punk rock group approaching thirty years as a group, but they also brought American/Ukrainian rockers Gogol Bordello to join them on their European tour. Unfortunately, for most of the United Kingdom, they would miss out on The Scratch. That almost felt like a footnote left out as the Ukrainian group took to the stage, immediately blasting out high-energy tracks. The group started blasting “I Would Never Wanna Be Young Again”, and an air of youthful exuberance overtook the room as their interaction with the crowd saw circle pits open and not a single person stood still. While the high-energy set continued, they would welcome fellow New York band Puzzled Panther, who, while joining in on the set, sang their parts on the collaboration between the two “From Boyarka to Boyaca”. While the set may have been short, it seemed the perfect way to start a show for an intense band like Dropkick Murphys. As the traditional colours lit up the room for the Irish punk rock group, the energy began to pick up even more as "Captain Kelly’s Kitchen" saw chaos break out amongst the crowd. That set the pace for what seemed to be an exhilarating night with the group. Immediately, the high intensity continued as the group broke out into their hit track “The Boys Are Back”. They were certainly looking for trouble, but not in the literal sense. At one stage in the show, a lone crowdgoer beckoned to frontman Ken Casey’s nephew in the balcony area. The lead singer addressed this to the crowd as the fan signalled for the youngster to join the chaos, stating all in attendance were one family. The show did not show any signs of slowing down as more tracks like “Mick Jones Nicked My Pudding” made the setlist. It was not a case of slowing things down towards the end until the final song after their cover of AC/DC’s It’s A Long Way To The Top. Before their encore of “I’m Shipping Up To Boston”, fans were treated to The State Of Massachusetts and Rose Tattoo. Unfortunately, it was time to bid farewell to the group, who delivered their rendition of Until Next Time with the crowd joining them before exiting the stage and ending a thoroughly enjoyable night. Words: Christopher Obrien Photos: Conrad Newton

Another year, another beer, as some fans may say while this Texas-born band make the journey across the waters once again to bring drunken joy and belly laughs galore to the British public. Pop-punkers Bowling For Soup are taking their celebrations international as they ring in the 20th anniversary of their beloved record, 'A Hangover You Don't Deserve'. A record that has brought some of the band's biggest hits of all time into existence, it's time to get down and party the only way they know how: good music, funky dance moves, lifelong friends, and of course, some damn good beer. Opening the night is Florida rock outfit Magnolia Park. Preparing the upcoming release of their new album 'VAMP', the group were ready to kick off the night and the tour in impure style. Known for their unapologetic punk and nu-metal sound, and the outstanding vocals of frontman Joshua Roberts, the crowd were mixed on how to take this heavy start to what was expected to be a calmer and more steadily paced evening. Some were ready to jump and mosh and thrash around, and others were content with just swaying and head-nodding; both styles are acceptable and even with the differences of audience reactions being visible to every eye, it was not a disrespectful reaction. It was very much warm and welcoming on both ends of the spectrum. Playing hits such as the viral hit '10 For 10', the newly released 'SHALLOW', and even their fan-favourite cover of Disney original track 'I2I', there has been at least one track someone in that crowd liked. Whether it's the more bouncy pop-punk style, the down and dirty nu-metal sound, or maybe sitting somewhere in-between, Magnolia Park went down like a treat with the kids and the parents. The second support for the night was the highly anticipated Wheatus. The band who helped soundtrack every alternative kid's adolescence of multiple generations, Wheatus were playing a fun and welcoming set for all fans of all ages with varying knowledge and understanding of the New York group. With a band like Wheatus, one that may have been smacked with the "one-hit wonder" label, is that it takes being in a live environment to make people realise they had a good handful of recognisable tracks that they were likely unaware of. Seeing this bucket-list band live will open eyes and ears to early hits such as 'Wannabe Gangster', 'Leroy', and the second-best charting hit in their history in the UK charts, their modernised upbeat cover of Erasure's classic tune 'A Little Respect'. This is a band that don't demand respect; as per the cover track, they request just a little bit and if given, the payoff will be entertaining. The moment of the night was the close of the set - a moment that to some may have even rivaled Bowling For Soup's upcoming performance. Seeing 'Teenage Dirtbag' performed live should be an experience granted to every misfit kid turned misfit adult, and on this night in Blackpool, that goal was one step closer to being achieved. Now for the night of a lifetime. 20 years in the making and worth the wait of every day, week, month leading to it. Bowling For Soup arrived to the stage in style; over-the-top, visually captivating, and heartwarmingly hilarious style, and went straight into hit single 'Almost'. To celebrate 'A Hangover You Don't Deserve' properly and respectfully, the group announced they will be performing the album in full, start to finish. No skips, no switches. It's rare for a band to do this in recent times, even when celebrating a massive milestone in their discography; the same band didn't even make this a tradition on their last anniversary tour back in 2018. With such great hits, it meant both the favourites and the lesser played songs get stage time - however, this meant their trademark single '1985' was placed third in their setlist and with the confetti set off and the crowd giving a long, loud cheer. It felt out of place but with ideal comedic timing over awkward placement, and if this band knew someone besides music, it was good comedic timing. With singles such as 'Ohio', 'Punk Rock 101' and the inclusion of 'Girl All The Bad Guys Want' and Phineas & Ferb theme 'Today Is Gonna Be A Great Day', the night still catered to a casual fan or an occasional listener. However, with some luck, these casual fans became not-so-casual after hearing this phenomenally fun record in full and with more luck, they gave the record another full spin after the show. Bowling For Soup are a band who accept that things will never remain the same as when they were younger men in the scene. People get older, skin gets looser, and stomachs get bigger, but that doesn't mean the talent goes away. They still play as well as they ever did in their 30-year-long career, and they could keep going for another 30 years, fingers crossed. This was 'A Hangover You Don't Deserve', but a night everyone does. Words: Jo Cosgrove Photos: Nik Bryant

After a four year long wait, Ukraine's biggest metal export Jinjer, featuring a lineup consisting of vocalist Tatiana Shmayluk, guitarist Roman Ibramkhalilov, bassist Eugene Abdiukhanov and drummer Vladislav Ulasevich, are finally about to release their fifth and newest album ‘Duél’. Starting off with ‘Tantrum’, the song throws us into the mix and forms an absolutely perfect introduction to Jinjer's new era of sound. Heavy on both the guitars and the screams, it throws us right into the action without a moment's hesitation. The mockery of aristocracy is a sadly poignant and purposeful use of the bands, clearly well-spent, time, a statement that also rings true for the rest of the album. The first single from the LP, ‘Someone’s Daughter’, is a track all about the hardship of becoming and being an independent woman in this world. The way the song is written is deliberate and thought-provoking, able to go from calm to aggressive at the drop of a hat, matching the lyrics of the song flawlessly. Perfectly placed screams in the song highlight the emotions and feelings of being scared and alone, as well as then mirroring the growth of independence and learning how to stand for yourself over the time. ‘Tumbleweed’, a firm favourite already off of the album, is not as heavy as the rest of the album and definitely takes the tempo down a notch, but this change of pace is most assuredly welcomed. Both the guitar riffs and the drums in this song allow the beginning of the track to feel like a march of some sort, and the lyrics are a clear metaphor for war and a longing for home, which is made all the more powerful by the sad fact that the band's home country of Ukraine is still embroiled in its defence against Russia's invasion. Jinjer have outdone themselves with this album, working to maximise both their uniqueness and ingenuity. Brilliantly placed riffs and vocals make this, and all of the rest of their records, stand out in the genre. If there is a weakness to be found, it would be the lack of slower tracks as listening to the whole album all at once can be little overwhelming. Nonetheless, the musical excellence shown on this release is sky-high, and we should be expecting a serious run up the charts for this formidable project. ‘Duél’ will be released on February 7th 2025 via Napalm Records. Words: Katerina Stepanikova Photos: Jinjer

Heading upstairs with a decent craft ale to the attic-like stage area, the room was already filled with eager rockers awaiting the first support of the night. Tonight’s show had two extra supporting bands sharing the stage alongside our headliners Defences to give us a jam-packed night filled with heavy, alternative rock. First up was 5-piece metal fusion band Alchemize who kicked off their set with such high energy in their performance. They had the crowd jumping from the get-go. Their music was a solid mix of genres, with a lead vocalist who was well-practised in controlling a room. A short, but room-shaking set later, they finished up to huge applause and a full crowd in agreement that we will be seeing Alchemize on a lot more line-ups in the future. The next Manchester-only support came from hardcore Leeds lads The Mechanist and they certainly brought the heavy for the night. With small comedic insights into each song from their lead vocalist, The Mechanist burst into their set with electronic backings, heavy guitar riffs and gutturals that had the crowd enthralled and headbanging with every breakdown. Up next was the main support of the tour ; hometown heroes Crushed by Waves. Having opened Download Festival on the “Boardie Takeover” in 2023, like Defences who did this in 2022, these gritty alternative rockers crashed onto the stage with a cathartic blend of melodic verses and power-house breakdowns. At one point I thought we were all going through the floorboards into the bar downstairs as they had the crowd bouncing for the entire set. Diving into the crowd for the final song, Arran (vocals) finished up by dancing and singing along with everyone whether they knew the words or not. Finishing off with a selfie with the crowd, Tom (drums) trying to find a spot decided to simply fall from the stage into the arms of their fans new and old. Everybody was officially warmed up, energised and ready for their headliners. Setting up the stage with their own mood lighting, an arrangement of candles and stunning white roses to match the gothic-horror aesthetic of singer Cherry Duesbury’s gorgeous look. We were straight into the dark-pop atmospheric sound with beautiful, room-filling vocals from Cherry, heavy instrumental slabs from guitarist Calum, crazy drum beats from Kyle, all mixed together with the screams of vocalist and keyboard player William. Celebrating their signing with Long Branch Records and the November release of their album “Shadowlight” we were given a mix of new and old songs that had the crowd singing, headbanging and pulling out their phone flashlights, whenever a song gave us a slow minute to catch our breaths. Cherry thanked the crowd for their participation and spoke vaguely on the issues of the world right now. She then gave us some understanding behind the new album, looking into ourselves, accepting our inner darkness, but most importantly, coming together as similar entities to share in this melancholy (and enjoy some damn good music while we’re at it). Defences finished up their set with a bang, immediately turning into a small rave as the “Nintendo Wii dance remix” came over the speakers and Cherry jumped into the crowd to join in the fun, ending the night on the chaotic and energetic high it started with. We can guarantee with stage presence and musical talent as good as this, we’re going to see Defences do incredible this year. Words: Laura Hughes Photos: James Smith

The German technical death metal band Obscura have finally returned with 'A Sonication', set to release via Nuclear Blast Records. With 22 years of experience under their belts, founding member Steffen Kummerer and his bandmates – Kevin Olasz (guitars), Robin Zielhorst (bass), and James Stewart (drums) – aim to push their sound further. While the album showcases impressive musicianship and ideas, it ultimately falls short of its full potential creatively. From the outset, A Sonication attacks the listener with an onslaught of technical riffing, blast beats and Kummerer's guttural growls. Zielhorst's prominent and beautiful bass work is a consistent highlight, adding unique texture to the experience. Stewart's drumming is equally impressive, a whirlwind of precision and power creating a poignant relationship with the steady guitar work. 'Silver Linings' kicks things off with an energetic blast, showcasing the band's instrumental prowess, particularly the duelling guitar work and the powerful drumming. The most interesting components of this track is the panning of the tom rolls from the drums in the mix and the atmospheric acoustic guitar outro, hinting at a broader dynamic range. 'Evenfall' and 'In Solitude' continue the relentless assault, with the former introducing orchestral harmonies, and the latter featuring some cool echoed screams and a groovy bridge riff. 'The Prolonging' becomes a showcase for Stewart's drumming, with intricate cymbal work (particularly the use of the cymbal bell) and adds relentless rhythmic drive. However, Kummerer’s growls, while powerful, remain largely static and without much exploration. The instrumental track 'Beyond The Seventh Sun' offers a welcome respite. Acoustic guitars and soaring riffs create a captivating soundscape, showcasing the band's compositional skills beyond sheer aggression. Zielhorst's bass shines here, taking centre stage with a beautiful solo. Ultimately, this track highlights the potential for more dynamic exploration within the ensemble, a potential that's only partially realized elsewhere on the album. 'Stardust' and 'The Sun Eater' present a mixed bag. While 'The Sun Eater' injects more aggression and dynamic vocals, creating a sense of urgency and featuring some impressive guitar squeals, 'Stardust' feels somewhat lacking, with a mix that buries the vocals and any sense of musical inertia. The latter track does offer a compelling outro with distorted guitars and a poignant melody but it's not enough to fully redeem the song. Comparatively, the mix on 'The Suneater' does make a more positive impression in terms of production compared to other tracks on the album. The closing track, the titular 'A Sonication', is perhaps the most cohesive and well- structured on the album. The intro builds effectively, and the interplay between the instruments is tighter. The use of choir vocal backing adds an interesting layer, although the electronic voice effects in the bridge feel somewhat out of place. The song ends with a strong guitar solo and a fading outro, although a slightly different mix emphasizing the guitar would have made a more powerful closing statement. Overall, 'A Sonication' is an album of impressive technicality and musicianship. Obscura’s instrumental prowess is undeniable, and Zielhorst's bass work is a standout along with Stewart’s powerful drumming. However, the album suffers from a lack of dynamic range and creative exploration, particularly in the vocals and guitar work. While there are moments of brilliance in this album, something feels like it's missing, and the production falls slightly short, stopping this otherwise excellent album reaching the highest echelons of brilliance. 'A Sonication' will be released on February 7th 2025 via Nuclear Blast Records. Words: Katherine Russell Photos: Obscura

The brand new self-titled EP from Call Me Amour is on the verge of release, and it's a bold and exciting new EP that merges dark electronica with soaring, distorted guitar riffs, each delivering that truly infectious feeling of being right in the middle of a live show. Regardless of where or when you're listening, each track seems to pulse with a raw intensity that'll have you ready to bounce, signalling a fresh yet uncompromising injection of energy. From the opening moments of the EP's first track 'Happy Hell', it’s clear that Call Me Amour isn’t here to play it safe. The track’s haunting synthscapes and industrial undertones set the pace of what's to come, before crashing into a wall of atmospheric guitars and aggressive, impassioned, hard-hitting vocals. It’s an immediate, visceral introduction to the band’s sonic world that's laced with a dark and brooding energy, and breakdowns that just make you want to move. Moving swiftly onto the third track, 'Bloom' showcases a more anthemic side, with pulsating beats, glitchy electronics, and a soaring chorus that demands to be screamed back from the pit. The fusion of electronica, rock, and modern metal feels seamless, striking a perfect balance between emotional vulnerability and sheer sonic force. The EP’s standout moment, however, is 'Good Day', a track that really leans into the moody, immersive tones, building toward an explosive breakdown of crunching guitars and pulsing synths, before finally 'Where's The Chemistry?' and 'Dreams' take a more introspective turn, blending melancholic lyricism with a creeping, tension-filled instrumental that finally erupts into a cathartic and satisfying ending point to leave you wanting more. Lyrically, the band explores a range of themes and emotions, drawing particularly on feelings of resilience, inspiration, and being inspired by moments in life, with frontman HR delivering lines drenched in both angst and conviction. For those longing for a new addition to their playlists, Call Me Amour has you covered. With this EP, they're further carving out a distinct identity and proving that their fusion of industrial textures, dark electronic grit, and hard-hitting riffs is a force to be reckoned with - we look forward to seeing what else they have in store in the future. 'Call Me Amour' will release on February 7th 2025 via Circular Wave. Words: Arcadia Craven Photos: Call Me Amour

Much like the sinister government conspiracies that fuel their lyrics, F. Emasculata started as a shadowy, one-off experiment—only to mutate into something far more significant. Formed in Cornwall in 2011 by members of Rash Decision and Swansong, the project quickly grew in scope, incorporating numerous EPs, singles, and tours, including a two-week tour of the west coast of the USA in 2023. Labeling this X-Files-themed hardcore punk band as a novelty side project would be a gross oversimplification that distracts from the true artistry at play here. 'Bright Lights, Drilled Teeth' is a blistering, high-velocity assault that blends hardcore, punk, grind, and powerviolence - fueled, as always, by F. Emasculata’s deep-cut X-Files references. Kicking off with the ferocious single 'Ice', the album pulls no punches, delivering mind-altering riffs and relentless sludge that has us screaming "I want to believe." The influence of War on Women, Punch, and G.L.O.S.S. is unmistakable, but F. Emasculata carve their own path - weaponizing extraterrestrial paranoia into pure sonic fury. The album’s title is lifted directly from the lyrics of its third track, 'Duane Barry'. A blistering interpretation of the X-Files season two episode of the same name, the track ratchets tension much like the hostage situation at its core—building with an unsettling, almost claustrophobic intensity before erupting into a full-throttle assault, driven by Nat Gyll Murray’s feral vocal performance. For those who may not be familiar with their style, F. Emasculata excels at transforming specific episodes of The X-Files into intense, fully realized punk narratives. They use the show's subject matter as a foundation rather than relying on it as a crutch. Their lyrics not only reference the series; they immerse listeners in its themes, distilling the show's paranoia, dread, and chaos into something as raw and immediate as the music itself. It’s this dedication to craft that elevates them beyond mere homage. 'Bright Lights, Drilled Teeth' could have easily been a throwaway gimmick—another novelty punk record leaning too hard on its theme - but F. Emasculata prove they are much more than just an X-Files reference machine. Beneath the eerie samples and cryptic lyricism lies a hardcore band with genuine fire in their veins, delivering a raw, unrelenting assault that stands tall among the best of the genre. Their genuine talent is evident in their ability to weave paranoia and government conspiracies into ferocious, pit-ready anthems, showing a deep understanding of their subject matter and the sonic aggression needed to do it justice. If there’s a weakness here, it’s that some moments blur together in the album’s sheer intensity - there’s little room to breathe. But that’s a minor gripe in an album that thrives on its relentless energy. Whether or not you care about The X-Files, this record demands attention from fans of hardcore, punk, and powerviolence. F. Emasculata aren’t just riding on 90's sci-fi nostalgia - they’re carving out a space of their own in the underground, and 'Bright Lights, Drilled Teeth' is proof they’re a force to be reckoned with. The truth isn’t just out there - it’s tearing through your speakers at breakneck speed. F. Emasculata will be supporting the February 8th release with a launch show at Penryn's The Fish Factory art space, featuring support from Bobby Funk, Swansong, and Old Foes. The band will then embark on a four-date European tour with ThoughtSieze. 'Bright Lights, Drilled Teeth' will be released on February 8th 2025. Words: Andrew Nile Photos: F. Emasculata

American rock band New Year's Day finished off their UK tour over the weekend with a jam-packed show in Manchester. The band, accompanied by Fearless Vampire Killers and Conquer Divide, hadn’t been to the UK for five years and were keen to get back to performing for their international fans, especially to showcase music from their most recent album, "Half Black Heart," released in 2024. Fearless Vampire Killers kicked things off with a burst of energy. Coming out of Beccles, the band took the stage in striking blue shirts and bulletproof vests, ready to perform. Their set showcased their signature blend of early 2000s pop-rock, reminiscent of soundtracks from horror comedy films like "Jennifer's Body." They grabbed the crowd's attention with a heavy bass drum, followed by guitar breakdowns and the sound of their two lead vocalists. This unique dual-vocalist approach allowed for a refreshing and diverse sound, with each singer taking the lead depending on the song. A definite highlight was their electrifying performance of "Neon in the Dance Halls," a danceable rock anthem with deeply meaningful lyrics that unfolded like an immersive story. The entire band engaged the audience, getting everyone on their feet and jumping. Fearless Vampire Killers closed their set by warmly expressing their gratitude to New Year's Day and their excitement about the tour. Conquer Divide, an international band filled with girl power, took the stage next. Already a favorite with some in the audience, expectations were high, and they delivered. Their powerful presence was immediately felt, inciting mosh pits and sparking conversations with their social commentary. The band's vocal performance was captivating, incorporating echo effects that enhanced, rather than overshadowed, the impressive live vocals. Their screams were strong and controlled, while their clean singing was almost like rock and mystical meeting. Many of their songs address personal injustices, a theme conveyed through both their lyrics and their performance, leaving a lasting impression. Conquer Divide also demonstrated their professionalism when faced with technical difficulties. They used the brief intermission to connect with the crowd, sharing stories of their travels and maintaining their high energy throughout the set. New Year's Day brought the night to a close. The energized crowd, eager to see the headliners,broke out iiton cheers as the house lights went and the stage was bathed in a striking red glow. A pulsing bass built anticipation before the band members finally took the stage, and the roar of the crowd reached a high as lead singer Ash Costello made her entrance. Formed back in 2005, the band released their new album “Half Black Heart” in early 2024, featuring tracks ranging from tech metal to high-energy singalongs. This UK tour marked the first time the band had showcased this new music live, a fact they acknowledged, noting the effort and expense of the tour. Their opening track, “Vampyre,” highlighted Costello's powerful and expressive vocals, setting the stage for a promising night. In some songs, emotional delivery took precedence over perfect pitch, a deviation from the studio versions that, while noticeable, added some depth to the performance. This was further exemplified during “Shut Up.” Introduced as a song for the women in the audience, the male band members froze during the impactful verses, allowing Costello to command the stage as a powerful female rock singer. This element, a rarity in rock performances beyond the occasional headbanging, was a pleasant surprise. New Year's Day undoubtedly gained fans with their cover of Kelhani's “Gangsta.” The stage lighting, a mix of purples and greens, created a Joker-esque atmosphere, and although they only had a small space to work with, it certainly became immersive. Costello's stage presence and physicality are captivating, often mirrored but never overshadowed by her bandmates. The band also prioritized audience engagement, consistently finding ways to make the crowd feel like a part of the show, not just spectators. They expressed sincere appreciation for Manchester and everyone in attendance, even requesting the house lights be raised so they could truly see and acknowledge those who had traveled to be there. New Year's Day also experienced some technical difficulties due to the heat in the venue affecting their equipment. However, they maintained their professionalism and didn't let it diminish their energy, keeping the crowd engaged. From the high-energy pop-rock of Fearless Vampire Killers to the powerful, socially conscious Conquer Divide, the evening was a testament to the vibrant energy of the rock scene. New Year's Day capped off the night with an engaging performance, showcasing their new music and proving their connection with their fans, even overcoming technical challenges. The Manchester show served as a powerful reminder of the appeal of live music and the dedication of bands like these to their craft and their audiences. It is clear the band have grown as the years have gone by, honing in on all they have learned from the industry. Words: Kira Lashmar Photos: Izzy Scott

Approaching the venue the queue seems to never end, most of the fans seem to have arrived early to make sure they have a prime spot for an entire evening of Leprous. Entering the venue the atmosphere is electric, many people talking about how they have seen Leprous many times previous. Tonight was marketed as something different, two sets of Leprous. Prog bands often make the decision between playing less of the long songs or more of the short songs. Tonight’s format allowed the band complete freedom in their choice and fans of every era would be deeply satisfied. The band hit the stage for the first set masked in shadow created by the lighting. Opening with Silently Walking Alone the band are anything silent, they are running all over the stage and the fans feel far from alone. The band curate the energy of the room expertly with their first five songs of the night. Each played with such precision and power. Opening with a track from the most recent album followed by The Price from The Congregation shows that tonight will be a great mixture of songs. The band certainly know how to open a set. Lead singer and keyboardist Einar Solberg jokes with the crowd about how he was once voted the third best keyboardist in the world but is not the third best in the band, I think most Leprous fans would disagree with him here. His joking attitude continues when he introduces the next song as having no structure, as with all Leprous songs it is in fact deeply crafted. They start to play Forced Entry from Bilateral. The band as always plays it expertly but unfortunately after they finish, they have to take a short break. This short break is not the one intended for tonight it is in fact due to technical issues. The band return to the stage with a round of hearty round of applause from the crowd. The crowd is understanding and the band then burst into the next half of the first set. Ending on Nighttime Surprise this is when most bands would be running out of songs. Yet Leprous have only lightly scratched the surface of their catalogue. Set two starts after a short break allowing people a brief moment to digest the beauty of the first set. Set two opens with a track from the most recent album, Unfree My Soul. As with all songs played tonight it goes down well with the crowd. The highlight of this second set is when the band play Faceless. Opening with the bassist playing a tiny bass ukulele, it should be more humours but the beauty of the music almost mutes it. Towards the end of the song the band bring out a choir made of fans so they can recreate the track which featured fans from all over the world on the studio version. The biggest shock of the choir is that lead singer of Haken, Ross Jennings, is on stage without introduction and without being singled out. The fans obviously spot him as Haken and Leprous feature vast amounts of crossover appeal, both being on the proggier end of prog metal. The whole fan choir should get special praise as they absolutely smashed it out of the park. The second set ends on Slave which obviously leads the crowd not only wanting but needing more. The encore is needed to bring tonight to a close but it may have worked better being played as part of the second set proper. Atonement works well to open the encore and leads well into the final track. It isn’t a full track but is the second half The Sky is Red. The second half of the track strong enough to be played alone. This shows why Leprous is special, they sound like no one else and give a sense of relief that very few bands can. Its heavy but nothing gets lost, its prog without being nonsense, its simply Leprous. Words: Will Freeman Cover Photo: Simon Arinze

Frantic britpunk duo The Meffs have honed their craft when it comes to riling up a crowd, having supported hard rock and punk icons such as Alice Cooper and Frank Turner last year. When they announced that it was time for their first headline tour with support from post-punk four piece CARSICK, we knew we would be there. Hailing from Colchester, Essex, The Meffs formed in 2019 and since then have become a core component of their genre. Comprised only of Lily (vocalist and guitarist) and Lewis (drummer and backing vocalist), the dynamic pair are known for their political lyrics and raw, unapologetic vocals. The snug G2 in Glasgow was buzzing with anticipation as we awaited the set. When Salisbury-based CARSICK came on stage, vocalist Joe instructed the crowd to come closer and joked that they “don’t bite”. Pint in hand, much of the crowd gladly obliged after the genre-defying group launched straight into their upbeat 2021 single ‘Is What It Is’, attracting more curious onlookers as the song progressed. To get everyone even more involved and warmed up, bassist Jack H jumps down and sprints through the crowd, creating a very up-close-and-personal live music experience. At times, Joe's vocals were slightly drowned out by the band's lively instrumentation, possibly due to the venue's acoustics, but their engagement with the crowd kept the energy high. Towards the end of their vibrant set, guitarist Jack R takes a brief moment to thank everyone for ignoring the red weather warnings to be there and jokes that “whoever starts a mosh pit gets to take Tom's drum kit home”. A handful of ecstatic members of the crowd took this as a challenge and as the band played the catchy riffs of ‘Anaconda Frank’, they certainly got the mosh pit they asked for. They rounded out their set with ‘Pubwatch’, ending on a high and ensuring the crowd were ready and excited for the headlining act. Shortly after having humbly set up the stage themselves, The Meffs bounced out to the song ‘Spitfire’ by fellow Essex-band The Prodigy, which they even nodded to later in the set with a cover of their song ‘Breathe’. They immediately jumped into ‘Stamp it Out’, the leading track from their recent album; an energetic start that set the tone for the rest of the evening. Much of the setlist consisted of songs from ‘What a Life’, with one of our favourites being 'Only Human'. The reverberating guitar riffs paired with Lewis's punchy drumming created a wall of sound that could be felt throughout the entire venue. The duo also played a few tracks from their previous EP’s, such as ‘No’ and ‘Stand Up, Speak Out’. They work well in a venue of this size, with their intense stage presence easily filling the room and plenty of opportunities to engage with the audience in a more direct manner than what they may have been used to having played arenas previously. The duo also performed an unreleased track titled, ‘So Modern’. The track resembles the loud and confident sound of ‘What a Life’, with lyrics vulnerably referring to the fast-paced nature of modern-day trends in society and the difficulty of keeping up. Their continuous connection with the audience elevated the evening's sense of excitement. Before starting to play ‘Everything’s Gone’, Lily addresses the crowd. She states that she intends to walk into the centre of everyone and asks for a circle pit to be formed around her. Jumping down from the stage, she began playing the song and an excited whirlpool of people surrounded her, which gladly continued even once she’d rejoined Lewis. Rather than leaving the stage before the encore, the duo took a more theatrical approach. Lily stood, guitar hanging down with one foot atop an amp while drummer Lewis proclaimed that she had “gone into a trance” and that only the sound of screaming fans could snap her out of it. The crowd obliged, erupting into deafening cheers. This prompted the pair to launch into their encore songs of ‘Clowns’ before finishing with explosive fan-favourite, ‘Broken Britain, Broken Brains’. The Meffs and CARSICK delivered a night of unrelenting energy and memorable crowd interactions, which left the audience buzzing long after the final chord faded. Words: Chloe Sodeau Photos: Ben Blisset