For over three decades, AFI have been known as one of the bands who got big off of the early and mid 2000's emo boom. Hits like Miss Murder cemented their scene status, but the band's twelfth studio album Silver Bleeds the Black Sun... is a real evolution for the act. Produced by guitarist JADE PUGET, Silver Bleeds the Black Sun... showcases the band's eclectic blend of death rock and post-punk, with heavy inspiration from bands like ECHO & THE BUNNYMEN, BAUHAUS and THE SISTERS OF MERCY. With lead vocalist DAVEY HAVOK’s emotionally charged, theatrical vocals, accompanied by aggressive and atmospheric guitar riffs and drum beats, the album is clearly AFI, but unlike anything they’ve done before. The Bird of Prey starts the album off with a heady rush of dreamy, ethereal lyrics, with the instrumental backdrop fit for the opening of a cult 80’s film, setting the stage for the rest of the album to come, throwing us head first into a dystopian landscape. Lead single Behind the Clock throws multiple references to classic David Lynch characters Freddy Madison, Betty Elms, Nikki Grace, and Susan Blue; DAVEY HAVOK’s brooding and crooning vocals telling stories with the poetic darkness often expected and always delivered by the band. Holy Visions is a song fit for The Lost Boys soundtrack, with its religious connotations and talk of “Holy visions while in my left hand, holding cheap beads, I’m going up and down the rosary” and “Underground there is a girl, a glowing girl, burning brightly, calling me home”. Holy Visions delivers a more up-tempo synth and drum based backing than the preceding songs, but with HAVOK’s almost chant-like vocals, it is by no means misplaced on the album. With a gentler start, of softer drums and guitar riffs, Blasphemy and Excess continues the holy theme with dystopian undertones, with vocals like “Play on the floor. Sleep on big screens. Isn’t it nice?” dancing into the midway point of the album. “This world is sick and I’m unwell” are words too many of us can probably relate to in the current climate, and DAVEY HAVOK’s delivery of the lyrics to Spear of Truth feel like a cathartic purge, whilst living and breathing in a dystopian hellscape. Starting with synth guitars reminiscent of 80’s new wave classics, in Ash Speck in a Green Eye presents HAVOK spending his time brooding over a toxic relationship with his own Jeanne Duval, the key muse and longtime, tumultuous partner of poet and art critic Charles Baudelaire. Voidward, I Bend Back is another perfect example of the bands heavy 80’s goth and post punk influences, with HAVOK serenading the listener with tales of dreamy nightmares and poetic landscapes. Telling more tales of love, Marguerite has the chanting vocalist HAVOK once again lamenting about a woman tormenting his every waking hour with vampiric undertones “Rewrite a life. And I never meant to make you my Marguerite, Marguerite of mine”. A World Unmade presents more dystopic imagery through crooning words, with strong drum beats and guitars creating an almost lullaby-like song; with HAVOK stating he is “the heliocentric flaw”. Finally, Nooneunderground smashes through the speakers and ends the album with a crash; though one of the shorter tracks on the album, the lyrics are a trip into a story reminding us we are actually all alone, bookending Silver Bleeds the Black Sun... as another perfect example of the multifaceted and constantly in-flux band that AFI are. Described by DAVEY HAVOK as “a struggle to reconcile existence in a godless dystopia that lacks sanctuary, mystique, reason, and a chance of survival”, Silver Bleeds the Black Sun... is a deeply atmospheric album which die hard, fair-weather and new fans alike will rejoice in blessing their ears with. Score: 9/10 Silver Bleeds The Black Sun... will be released on October 3rd 2025. Words: Lou Viner-Flood Photos: AFI

“Something that our drummer always says is: ‘If something sounds weird, and we’re not sure about it, make it weirder,’” joked Max, guitarist of KITE THIEF. There has been a resurgence of pop-metal in the alternative space and beyond over the past few years, and they’re Bristol's hottest answer to that. We recently caught up with vocalist and frontwoman Elin, alongside Max, to chat about the creative process of their newest releases, their recent adrenaline-fuelled live shows, and what’s next for the band as they continue their ascent in the scene. KITE THIEF haven’t always been the pop-metal badasses that they are now. Having formed as part of a group university project back in 2018, they originally went by the name ‘Lapis’ before deciding on their current name over sushi in Bristol. “Elin was ahead of the curve and scoped us all out,” says Max. Following a competitive showcase for this project, which the band won, everything escalated. “Everyone was coming up to us, going ‘So are you guys a band now?’ and we all just went ‘Well… I guess?’ and then we just started writing music together.” What began as a group assignment quickly turned into a tight-knit unit, fast-tracked into being a band almost overnight. Their sound in the early days was a far cry from what we hear now, and they definitely didn’t set out with catchy pop hooks in mind. “It was quite proggy, really. It didn’t have the pop element,” explained Max. “It was very guitar-heavy, and the instruments had to be doing the most complicated stuff we could.” He laughs, before following up with, “You can’t remember a song if it’s got eight different parts, and a bass solo in 5/4 or something.” Expanding on where the pop element came in, Elin mentioned that she was no stranger to fusing pop into other genres, having been in a pop-punk band for years prior, and explained an initial hesitancy to introducing the hooks she wanted to incorporate, saying that, “At first, I was too scared to bring it into this because I was like, ‘No, we’re doing heavier stuff, I need to make it sound like Chino from Deftones.’” Their 2022 track, Sweepstake, marked a turning point for them. They started working with a new producer, Joe Marsh, who reinvigorated a demo they had shared after asking for a fresher sound. “He came back and put synths on top of it, subdrops, transitions, those sorts of things. And that was the first inkling of like, ‘Oh, we can do that?’” explained Max. On the back of the release of their newest singles, CHOKE and BITE, they have been pushing the boundaries of their music further than ever, with two heavier tracks exploring the darker side of sensuality and love. Max reminisces that “They’re like a lovechild for me, because they were both born out of the same time, so I kind of see them as two halves of the same song.” Delving into the creation of their newest singles, Max explained that “We went to an Airbnb in North Wales, right next to a beach.” This picturesque setting became the backdrop for the bulk of their recording. They admitted it was hard to get everyone together in one room nowadays because life was pulling them in different directions, which made the getaway so special. “It was really important for us to all be there and be really present, and kind of interacting with each other and being together in real life.” This mini nature retreat also doubled as band bonding time, complete with nightly screenings of the Transformers series, which was influenced by the mechanical segment in BITE. The experimentation of their sound is something they’re gladly embracing, but they feel their newest sound is a risk. “I feel like this is where we’re least comfortable, in a really good way.” Max reflects. Having played a hometown show with long-time friends of the band RXPTRS the same day as CHOKE was released, it was clear to see the online excitement translating to real life. “[People] were singing along to it, and it had been out for a matter of hours,” Max recalls. “It definitely felt like we were starting something new.” Last summer included a dynamic performance at 2000trees festival, which was a key moment for the band and an opportunity to connect with the wider alternative scene. At the festival, they also excitedly reminisced about getting cocktails with ROB DAMIANI of DON BROCO, and how normal he seemed. “It was so surreal… They’re so normal,” laughs Max. When asked about the future of the band and where it was heading, one thing was clear - taking their music to as many stages as possible, with ambitions of making it to Europe and America. “Growing, touring, writing, and just trying to have fun, really,” remarked Elin. Having honed their stage presence over the past few years and prioritising fun, we’re excited to see where they’re headed. Make sure to catch them on their co-headline UK tour with GLASS BRIDGES this autumn to witness why KITE THIEF are one of the UK’s most exciting upcoming heavy acts. Words: Chloe Sodeau Photos: Kite Thief

The pop-punk and alternative scenes have always thrived on energy, emotion, and connection, and few bands capture all three as effectively as AS IT IS. Formed in Brighton in 2012, the band quickly became one of the UK’s standout exports of the genre, combining polished musicianship with raw, confessional lyricism. Over the years, they have experimented with darker tones and heavier sounds, but their early work remains central to their identity. To celebrate the tenth anniversary of their breakthrough album, Never Happy, Ever After, As It Is returned to London’s Electric Ballroom for a show performing the record in full, along with some newer releases. Supporting them were Leeds-based band ARTIO, a younger act steadily making waves with their blend of alt-pop energy and bold social commentary. Their inclusion on the bill not only provided contrast to the headliner’s nostalgic focus, but also hinted at the future direction of the scene, having formed in 2018. Opening the evening, Artio wasted no time in making their presence felt. Their set was defined by fast-paced, upbeat tracks that carried a strong sense of urgency. Each song drove forward with pulsing rhythms and polished layers, setting an energetic tone that immediately engaged the crowd. The band also took the opportunity to showcase a brand-new song, a choice that revealed their growing confidence. Although unfamiliar to the audience, it was met with an enthusiastic response, suggesting that Artio’s developing catalogue will be well received as they continue to expand their reach. What distinguished Artio’s performance from many opening acts was their decision to address social and political issues from the stage. They openly criticised the government, making it clear that they believed enough isn’t being done. This moment underscored the longstanding relationship between alternative music and political expression, adding weight and substance to their set without detracting from its entertainment value. By blending high-energy songs with candid commentary, Artio successfully set the tone for the evening. Their performance was both vibrant and thought-provoking, and by the time they left the stage the atmosphere in the venue was charged, ready for the headline act. As the lights dimmed for As It Is, anticipation quickly turned into euphoria. The band launched straight into the opening track of the album they had promised to perform in full with, Speak Soft, and the crowd responded with immediate enthusiasm. Playing the record in sequence gave the set a clear structure, allowing it to unfold like a narrative and highlighting the progression of the songs as originally intended. The mixture of high-energy anthems and slower, more emotive tracks created a dynamic flow. Faster songs opened up mosh pits and had the crowd shouting along to every word, while the more reflective numbers prompted moments of stillness and collective reflection. This balance showcased the emotional breadth of the album and explained why it continues to resonate a decade after its release. Frontman Patty Walters played a central role in maintaining the connection with the audience. Between songs he frequently acknowledged familiar faces, noting fans who had supported the band since their earliest days, and tearing up at how far the band had come with the audience they grew up with. These moments reinforced the sense of community and longevity surrounding As It Is, transforming the concert into something closer to a shared reunion. Even while guitarist Ben Biss momentarily had technical issues, the band dealt with it promptly and professionally. Even thanking their stage technicians for their role on tour, and the work they do. Showing how much they appreciate everyone who puts work in to making touring happen. One of the highlights of the evening came when Walters invited Artio’s lead singer back on stage for a collaborative performance. The interplay between the two voices injected fresh energy into the set and symbolised the passing of a torch between generations of artists. It also reflected the camaraderie and inclusivity that continues to define this corner of the music scene. The evening concluded with one of As It Is’s most recognised tracks, The Stigma (Boys Don’t Cry). Though not part of the anniversary album, its themes of masculinity and vulnerability made it a fitting closer, leaving a lasting impression on the audience. The crowd’s collective singing carried the song’s message across the venue, ending the night on both a powerful and emotional note. The Electric Ballroom show was more than just an album anniversary — it was a celebration of connection, longevity, and the continued relevance of alternative music. Artio proved themselves a support act with substance as well as style, bringing energy and political conviction to their set, while As It Is reminded fans why their music has endured for over a decade. The result was an evening that balanced nostalgia with immediacy, offering both a look back and a glimpse forward. Words: Con Macadam Photos: Artemi Falzon

To be able to put on a free gig in this economy really shows dedication to the craft and to the fans - and James and the Cold Gun did just that. On an otherwise dreary September evening, James and the Cold Gun drew together a sizable crowd in the sweaty basement venue of The Lower Third in London to really give back to their fans in an intimate capacity. With free entry and a curfew by 9pm, this concert was perfect for fans that may not be able to go to a concert because of work or because of funds and was a great mix of young and old in the audience that came together for the love of music. JATCG were supported by Whitelocust, a London-based formed in 2022, that aim to fuse 90s alt rock with psychedelic, funk, and shoe-gaze - one that they succeed in thoroughly. They had that very classic alt-rock styling with the odd bluesy-jazz influence to boot. If the slower alt shoe-gaze genre is one that you’re into, they’ll be right up your street. They gave a more slow melodic build up into JATCG, which worked as the crowd grew in numbers as they slowly got a little heavier towards the end of their set. The show that James and the Cold Gun managed to put on in such a small sweaty venue was nothing short of biblical. From the insane energy of the crowd to the sheer charisma oozing from the stage - it was clear everyone was loving every moment. The liveliness in the audience just goes to show the magic you can create when removing touts and bots from a ticket process and have just physical people in a room. Hailing from Cardiff, South Wales, JATCG have been active since 2019 and it’s clear they’re earning their stripes, with a great blend of the crowd participation and connection, yet still having that looming rockstar presence. There was a lot of the more classic rock influence but they stand solidly planted in the alt rock genre with their incredible riffs and hearty drum solos. Their set included a mix of slower and upbeat tracks, giving the audience chance to headbang and start a pit, but then also use their phone torches to light the room and scream their lungs out. They’re definitely a band to watch out for. Words and Photos: Ely King

Taking Band on the Wall from concert to ceremony, German folk collective Faun turned the venue into a place of ritual and reverie on Wednesday night. The group formed in 1998, and after playing over 950 concerts, reaching platinum status with Von den Elben and being nominated for multiple German awards, it’s now their first time touring in the UK, it’s no wonder the Hex tour date promptly sold out. Faun Upon entering the venue, the room was filled with buzz, curiosity and fantastical excitement. It’s an intimate space, with a dark interior which folds us in while waiting for support group Ye Banished Privateers. Swedish swash-buckling Ye Banished Privateers graced the stage with a short yet energetic set, turning the audience into raging buccaneers for a good 45 minutes. With the energy of a raucous tavern, shanties and theatrics spilled over, opening with shanty-jig styled First Night Back in Port. Carrying on to songs like Raise Your Glass and Chained Away, the room felt transported back to a time where such things as technology and sobriety did not exist. Recently released Annabel had everyone swaying in unison, before swinging back into animation for the last two songs, Gangplank and Libertalia. The lights dim and Faun enters the stage, after two decades of playing around Europe, bringing a multitude of unique instruments - hurdy-gurdy, lutes, flutes, and miscellaneous percussion. Opening with Belladonna, opening track of their recent album HEX, strings and voices melt together in polyphonic melodies, against the pulsing electronic beats. Founding member and vocalist Oliver S. Tyr called out to the crowd “This one is for all the witches with us today” (which a collective of cries was given in response) before starting Walpurgisnacht. The voices of the audience harmonised with the band, creating a powerful echo that moved from one person to another in perfect unison. Lament and Lady Isobel brought the room to a still, with Oliver’s deep alluring vocals and Laura’s siren like calls blending into each other and resonating amongst the venue. As the set continues on, it’s clear to see why Faun have been tucked in with similar artists such as Wardruna and Heilung. Hypnotic and nostalgic, this style of music is often seen as niche, but with its emerging popularity, we can see the preservation of older styles of instruments, language and musical techniques, balancing authenticity and theatricality. Most of the band momentarily leave the stage, allowing Stephan his time to shine with a hurdy-gurdy solo. As the solo filled the room with eerie drones, the crowd was filled with avidity, receiving a reaction which seemed to be more than what Faun had expected, as they peeked through the side of stage with awe. Faun Rhiannon played, and Faun said their goodbyes to the crowd, leaving the stage in darkness. Not for long though, as the chants of “One More Song!” reverberated in the floor and walls of the room, and they gracefully returned, ready for a couple more songs to finish the already eclectic evening. Closing the night with Diese kalte Nacht and Hare Spell, with drums and flutes, bagpipes and lyres, the room swelled with palpable emotions. As the final notes rang on and the band truly left the stage, there was a sense of tension, an unwillingness to break away from the experience they had just witnessed. Faun’s Manchester performance confirmed their reputation as one of Europe’s most distinctive folk acts. Where many bands in the genre lean on nostalgia, Faun continues to push boundaries, fusing medieval traditions with modern sensibilities. The result is not just a concert, but an immersive experience — one that leaves the audience feeling transported through time. Words and Photos: Neve Saltmarsh

Birmingham’s Utilita Arena held more than just a show, it held a communal release. With Pierce the Veil's 'I can't hear you' tour bringing a bill stacked from floor to rafters, the night moved like a narrative: three supports shaping the emotional weather before Pierce The Veil stormed through as the final act. Having just completed some local shows last week, Crawlers opened with grit and heart. They’re one of those rare bands that can drag you into their world within seconds. Holly Minto commanded the stage with a balance of defiance and vulnerability, shifting from spoken confession to full-throttle scream in the space of a line. Songs like “Come Over (Again)” felt almost too raw for an arena but landed even harder because of it. Crawlers turned a cavernous room into something intimate, forcing a unamomous crying-sing along. This set proved what everyone knew, Crawlers are back and are truly unstoppable. Hot Mulligan brought chaos wrapped in precision. Their midwest emo brand of emo punk is messy by design, a blur of jagged guitars and vocal cracks that bleed honesty, but live it snapped into focus. “Shhhh! Golf Is On” threw the pit into motion and didn’t let up. “Equip Sunglasses” saw the entire floor yelling back every word, the kind of communal moment where strangers hold each other up because the music demands it. With the audience chanting and showing their printed photos of Princess Peach, it was clear they were here to make an impact on fans new and old. They didn’t just hype the room, they scorched it. Then came Cavetown, naruto running onto the stage which was adorned with set pieces. Robin Skinner’s set was quiet compared to what came before, but it held the arena in a kind of hushed awe. “Boys Will Be Bugs” rolled out like a shared secret, and when “This Is Home” began, the sound of thousands of voices singing along turned soft indie into something enormous. For his song "a kind thing to do", Robin brought out Vic Fuentes, the lead singer of the headliner Pierce The Veil, this beautiful duo made sure the crowd was both hyped and ready for what was to come. Cavetown gave the night its still point, a breath before the next storm. The audience was invested but as soon as Devil town played, everyone transported in and screamed the words with such passion that it truly felt like everyone had been waiting to scream along. Finally came the headliner, unsurprisingly Pierce The Veil tore it wide open. They kicked off with “Death of an Executioner,” instantly collapsing the distance between stage and crowd. The setlist was ruthless, swinging from the old to the new with no wasted motion. “Bulls in the Bronx,” “Pass the Nirvana,” “Floral & Fading,” “Wonderless,” “Emergency Contact,” “Circles”, every track felt like it could have been the finale, yet they just kept stacking them higher. The response was deafening. The pits went feral, Jesus in the middle comanding the pit, arms and voices raised in unison, and by the time “Hold On Till May” dropped, it felt like the entire arena had become a choir. Many crying, many showing signs showing how much the band means to them or has saved them, it's truly a song that united everyone and means a lot to many. The bands energy were unmatched, with everyone on barrier having a favourite and delivering thunderous cheers in between each song. They closed with “King for a Day,” and the volume of the singalong was enough to shake the rafters. The mosh became relentless as many ended the night with a raspy throat from screaming along with Vic. Crawlers bared their teeth, Hot Mulligan set the floor ablaze, Cavetown stitched the night together with softness, and Pierce The Veil proved they can still turn an arena into something that feels alive and dangerous. It wasn’t a lineup. It was a full spectrum of release. Words and Photos: Lizzie Jones

Embarking on a sixth-month global tour, Eivør brought a slice of Faroese magic to Electric Brixton’s stage in South London this September. Not defined by one specific genre, Eivør’s combination of synths and guttural singing in her pieces continues to captivate audiences around the world. This tour could not have come at a better time; Eivør’s hauntingly celestial vocals and deep synth beats almost personified the changing of the seasons - vibrant and shapeshifting. The evening was not only a celebration of the Nordic artists’ latest album, ‘Enn’, but a way of honouring her impressive 25-year dedication to the music industry. First to cast their spell on the crowd was Elinborg, electronic-folk artist and Eivør’s younger sister. Arriving on stage in a sweeping black dress, Elinborg instantly grabbed the audience’s attention with her soothing vocals. Introducing ‘Kærleiki’, a love song from her upcoming album ‘Í Ævir’, fittingly set to be released on the 31st October, a day synonymous with mysticism and charm. Next to take to the stage was singer-songwriter Ásgeir. Performing in both Icelandic and English, he shared a perfect blend of pop-synth beats, transfixing the audience into gentle sways. This effortlessly led him into his new song ‘Ferris Wheel’, the first released single from his new album. Titled ‘Julia’, fans can expect to enjoy this on 13th February 2026. The soft, electric guitar riffs set apart from the earlier intensities of the piano and synthesiser. Ásgeir’s set distinguished itself as a master of styles. With the crowd vocally entranced, Eivør’s monastic-like chanting filled the room with her opening song, ‘Jarðartrá’. Hanging off of her every word, Eivør addressed the crowd: “It’s the most beautiful thing to see us come together like this. And it’s such a gift for me to share that with you, and boy do we need this in these mad times we’re living in”. A valuable reminder of how powerful music is for uniting people from around the world. The world is calling out for unity, and through Eivør’s authentic and refreshing sound, community is not only created but sustained. Around the room, fans with painted faces, braided hair, and band t-shirts were odes to the folk roots, traditions, and heavy metal influences behind Eivør’s work. Dedicating her next song, ‘Gullspunnin’, to friendships and people who lift others up combined sonically beautiful piano tunes with haunting synth sounds to create what can only be described as an electro-pop lullaby. Traversing the musical plane, Eivør’s seraphic sound settled into a medley of songs chosen as a commemoration of her work on the original television soundtrack for the historical drama ‘The Last Kingdom’. Her voice was the leader, amassing a following of headbanging and swaying that rippled through the crowd and unlocked a sense of freedom. Breaking away from her original material to a song she revealed she wished she had written, Ásgeir returned to the stage to join Eivør in a duet of Pink Floyd’s ‘Us and Them’. Swiftly following on with ‘Upp Úr Øskuni’, the guttural mantra demanded the presence of Elinborg, who took to the stage alongside her sister. Earning supportive cheers from the crowd, the pair commanded the room under the red glow of the lights. Closing out the set with her sámi drum, ‘Trøllabundin’ not only found new life in the room, but morphed into a new version of itself. The song itself has been known to be performed differently each time. The deep, rich cello accompaniment to the echoing, isolated vocals and steady drum beat were enough to evoke the spirits of viking warriors, reminiscent of an ancient battle cry to command its followers. Eivør’s performance moved through genres like wild water; streams of delicate, gentle folk melodies flowing into rivers of untamed, raw, powerful guttural sounds. Her work not only honours the unique and intricate sound of Faroese culture but also provides a stage for a musical style that was once suppressed throughout history. Blending throat sounds with growls not dissimilar to those used in heavy metal music, captured a refreshingly fierce sound that has - and will continue to - shapeshift through time. Words: Mary Horner Photos: Lauren Wenham

It’s been a beautiful summer for Brighton’s REALLY BIG, REALLY CLEVER. Inbetween opening for the likes of HOBO JOHNSON and REGAL CHEER, and a smattering of festival slots, they managed to find time to release their sophomore album ...huh – a grungy set of tracks designed to be played loud, and preferably to an audience of people willing to dance along. So when they announced their 10-date headline tour to accompany it, fans up and down the country presumably breathed a sigh of relief. Their final stop brings them to rainy Birmingham, on a busy Saturday night along the canal. It may be the birth place of heavy metal, but tonight the spotlight is on the British underground emo and pop-punk scene. Alongside REALLY BIG REALLY CLEVER on the bill are THE LOSING SCORE, playing a charismatic set full of catchy emo-pop that really works for bringing the energy up amongst the audience members. Their tracks are fun and bouncy, and it’s impossible not to mirror the lead vocalist’s permanent grin every time he’s within eyesight. Yorkshire-based pop-punkers SAFEGUARD are up next. Returning this year after a 6-year hiatus, they come out swinging with a slightly more melancholy set, peppered with statements of gratitude for a warm welcome back after so long out of the game. It’s music designed to be shouted along to, and although the crowd aren’t quite there yet, it feels like it won’t be too long until they have crowds who are. Melodic emo rockers SUDS take to the stage next, all twinkling guitars and soft, mellow vocals. It’s a refreshing palette cleanser between some of the more frantic sets of the night, with some of the tightest playing to be seen all night between the four members. The energy in the venue is brought back up by JETSKI, who bring their own brand of emo music down from Sheffield. The drummer is impossible not to watch, his frantic playing full of energy and passion, which the rest of the band try their best to match with decent success. Their songs are catchy and the crowd buzzes the whole time they’re up there. When REALLY BIG REALLY CLEVER make it to the stage, the venue is nicely packed out – not even the rain can keep Brummies away from a live show. They launch straight into the opening tracks of their shiny new album, which has been out for just under a month, and as Back Door reaches its peak, the crowd starts to nod along. When they finish the track and ask everyone to come closer, they blindly obey – which for an up-and-coming band is basically the best confirmation that they’re doing something right. This adds a shot of confidence to their performance, and they shred through the next few songs with giant grins. The Middle is a track that feels so much bigger in a live setting than it does on the record, and even the people stood at the back of the venue can be found nodding along, whilst the die-hards at the front jab their hands in the air for every word of the chorus. Karma gets a similar response, and it’s a true testament to the songwriting on the new record. The band may be slightly nervous in their performance of the new material, likely due to its newness, but the joy in their playing makes up for any little mistakes. Their older tracks come out sounding a lot more polished, the grungier tone of tracks like It’s Changed matching the raspiness of the lead vocalist’s tour-worn voice. They play fast and hard, and it’s clear that they’re having as much fun on stage as everyone in the crowd is. They offer a couple of options for the final song to the audience, before deciding on the album closer from their self-titled debut, Forget You. They thrash about the stage wildly, with both vocalists moshing so hard their long hair keeps getting stuck to the ceiling with sweat. At one point a mic stand is knocked over, and in true rock-and-roll fashion it’s ignored, leading to the bassist’s mic being shared in one final, triumphant chorus. They leave the stage with bigger grins than they came on with, and end their tour with a flourish. One thing is for sure: REALLY BIG REALLY CLEVER know how to have a good time, whether that’s in their studio recordings or on a stage. Words: Ellen Lovell Photos: Ewan McDonald

The stage is set, the fans wait with anticipation in the air, and there’s a preshow playlist featuring the YMCA- it can only mean one thing: Busted vs McFly. The two boy bands that took the world by storm in the noughties are back with a tour bigger than ever, 25 years later, at the BP Pulse Live, Birmingham. In a competition for the history books, sweeping across the UK, there can be only one winner. So who will be named champion and take home the winning title? That’s up for you to decide. Kickstarting the competition is McFly, launched onto the stage from underneath and packing a punch with the opening song ‘Where Did All The Guitars Go?’ paired with flying sparks and egging the already screaming audience to cheer as loud as they could. Blasting straight into fan favourite ‘Star Girl’, the Indie/Alt classic is met with an entire arena of singing voices and excitable energy. Song ritual ‘Star Girl Kicks’, which resembles can-can interchanging leg kicks, is expertly executed by Danny Jones, Tom Fletcher and Dougie Poynter. Not only are these kicks completed, but also span the width of the stage, and all three of our guitarists run around and connect with fans on every level. There are plenty of call and responses from the band to the crowd. McFly know when to drop back and allow the fans to take over, and it only plays to their strengths. A prime example of this is during ‘One For The Radio’, “We Don't Care!” is shouted back and forth, gradually getting louder and louder, and you can’t help but join in. The high energy every member of the band brings is not lost, interacting with fans and connecting one on one multiple times throughout the set. The huge overhead lighting rig provides visuals on LED screens but also tilts, lowers and is able to somehow make some numbers feel intimate- ‘All About You’ features simple orange-toned backlights, widescreen views of the crowd projected on the back wall and a lowered rig that adds to the intimacy of the moment. A mix of ‘Transylvania’ and ‘Lies’, Harry Judd on drums is in his element, with the guitars playing a back and forth between themselves and the drum fills. It’s important to note that all of our guitar players routinely interact with Harry and make sure to highlight him just as much, even if he is more stuck in one place. McFly close off their set with ‘Red’, Danny asking everyone in the arena to get down as low as they can before exploding back up in jumps. No corner of the venue is still and only highlights how well McFly engage with their fans- even if you prefer their rivals, you can’t deny that they put on a spectacular performance. The screens glitch, the large lighting rig coming down to block the view of the audience, leaving everyone in suspense. A red outline of Busted in slowly etched in by a laser pointer mixed with thunderous drums and fire, flashing lights and glitched tv screen imagery. Screens lifted to reveal our second contender of the evening, Busted. Opening their set with ‘Crashed The Wedding’ is entirely apt for their entrance, as they take to the stage with a storm and confidence. Purple and orange lights cast over the crowd, arms flying up in time with fan favourite lyrics and a rush of excitement that has everyone on their feet. Addressing the crowd for Busted, Matt Willis addresses the obviously missing member, James Bourne. Speaking about how obviously disappointed that James cannot join them this evening, that health is so important and that even though he’s not physically there, he's probably “watching a stream right now”. After speaking as a band, Matt and Charlie Simpson let us know that while James is missing, his replacement in the meantime is someone very close to him: his younger brother Chris Bourne. Matt remarks remembering teaching Chris guitar when he was younger, and it's clear to see how excited he is to get to be on the stage joining the band. “Are there any loser kids?” is met with loud cheers as we fly through Busted’s tracks. A track that centres around the feeling of being overlooked, bullied when you are younger, but in later years transformed into having acceptance and feeling empowered. With the absence of James, it’s up to the crowd to sing his verse, which is the first in ‘Sleeping With The Light On’. Phone lights out for James, the entire arena all lit up with the slow swaying lights and filled with the sound of 15,000+ voices. The slower song takes a moment for the crowd to enjoy a more stripped-back number, before we carry on into the faster-paced pop-punk tracks we know and love from Busted. “Can we try something?” and when the crowd's response is not loud enough, Matt prompts again, “Can we f*cking try something?!”. Crowd participation is a must have for Busted, with plenty of times for shouting lyrics and call and response well placed throughout- 'Thunderbirds Are Go’ uses the ‘da da da da’ for this expertly. Timed with lights that brighten for when the crowd is to sing, fire pyros that don’t let up for the entire set and some of the best tracks from the 2000s, no wonder Busted are still such a firm favourite. Closing their set with ‘What I Go To School For’ leaves the crowd on a high and still with much anticipation for how the show will end. Headbanging in time, jumping up and down and commanding the crowd with ease, allowing the audience to sing the final lyrics as the lighting rises once again lowers to cover the stage. Opening the final battle, Busted vs McFly, our two drummers, Eddy and Harry, play in tandem on centre stage. Cymbals clashing, lights flashing, and fire leaps from the stage repeatedly. While our main attention has been cleverly drawn to the main stage, Matt from Busted and Dougie from McFly have snuck round to opposite sides of the arena, halfway down and in between fans in the seats. Screams of excitement from all fans, no matter what band they are here for or both! When both are back on the main stage, each band takes turns playing 1-2 songs of their top hits, notably ‘Air Hostess’ for Busted and ‘5 Colours in Her Hair’ for McFly. It’s a fierce battle, and you can’t help but get wrapped up in all the excitement; not singing along is impossible for these most recognisable tracks. Joining forces together as McBusted, for our encore, we are treated to ‘What Happened to Your Band’, which is the first time this track has been played since 2019! Closing out with ‘Shine a Light’ and ‘Year 3000’, everyone singing at the top of their lungs, each member of the bands moving together easily- saviouring every second that they can. As confetti rains down, it’s not clear who might have actually won the battle- but that's of no matter. The evening has been a prime example of how the 2000s produced some of the best pop-punk British bands, and a masterclass in leaning into rivalry to produce a night that the fans are not going to forget in a while. Maybe the real winner of Busted vs McFly was the friends we made along the way. Words: Tyler Whiting Photos: Mcfly Vs Busted from Halestorm PR

It’s a hot June night, a dreamy play of brass, keys and electrified strings emanate from the midst of a wood workshop called, We Make Our Way. The acoustics amongst the timbers are excellent, and the smell of fresh cut wood is in the air. The dancing audience spills on to the street where a few doors down is, The Grove. Pounding out from the old retail space, is an explosion of trashy noise rock, played to an audience of gen z goths, punks and subversives, a roomful of the neighbourhood's alternative queer scene. The band, Idiocy, is thrashing out screeching, distorted guitar riffs and vocals, atmospheric synths, with a sickeningly hard hitting bass line and drums. The lead singer wears a tshirt with the words ‘Cunt Baby’ scrawled across, and the crowd jump around with plenty of satisfyingly unrestrained head nodding. Just a typical night, in the eclectic and vibrant, DIY music scene of Nottingham. Gaining a reputation for many things, Notts isn’t often praised for its creativity and culture. Positioned under the prominent seam of Northern cities running, halo like, above it and connected to London, with its plethora of everything, via a short trip down the M1. To its West, is its midland brethren, and the mecca of metal, Brum. I believe that is what you call a ‘strategic location’. Sort of like Singapore, but grimier, and in the East Midlands. Underestimated by its humbleness and lacking in bombast, could this be the cultural underdog of the UK? Full of left of centre rebelliousness, Nottingham’s creatives seem to invite strangeness and freedoms, unthinkable in larger, self aware cities. The city council is bankrupt and distrust of the establishment is felt everywhere, so ofc, people are making their own fun. Traditional folk nights can be seen across the city, blurring with young musicians experimenting with sounds, both acoustic and electrified, with an especially regarded session held down at the King Billy pub on the edge of town. And what is folk if not creativity from the bare essentials, art for arts sake? Folk, real folk, is not an aesthetic or a rigid musical genre, but a necessary form of working-class self expression, its punk, its metal and its anything but mainstream. This grassroots creativity effortlessly bleeds through to the adjacent Sneinton Market area. We Make Our Way and The Grove are based here, but also the equally innovative and radical venues, JT Soar, The Carousel, Stuck On A Name Studios and Movers - the home of Swing Dash Radio, and The Nottingham Female + NB DJ Directory. Idiocy are one of the most exciting bands coalescing at this artistic nucleus, made up of Ella, Rachel, Jacob and Solstice. Spilling over with anti-capitalist spirit, the group live and breathe their ethos, refreshingly without an ounce of pretension or self-importance. Having just finished recording their album with Galen Sounds, and releasing some much anticipated singles later this year, they are part of an experimental and politicised scene of musicians and artists including Retina, Finbar Ansbe and Cheap Dirty Horse. Forming a sort of post-folk sound, which criss-crosses with other heavier ‘post’ and noise genres; a Venn diagram that includes bands like Pict, Odio and Earth is Doomed as well as crews of organisers, like the queer anarchist group, The Art and Crime Collective and the weird and wonderful, Rights For Flies, keeping rosters busy, platforming diversity where their very existence becomes an act of defiance. Creating safe and inclusive spaces for people from all walks of life isn’t all just serendipity, organisations like the Pastel Project are working hard to make Nottingham genuinely open to gender diverse and trans lives. Aiming to be the first ‘sanctuary city’, they are holding companies and venues accountable, in real time, for their commitment to inclusivity. Look out for their sticker on the door of any public venue! Mainlined into the city's approach to culture, is the legacy of the infamous DiY Free Party Crew, an integral part of the 90s UK dance music culture who fused their anarchic values with traveller knowledge. Today, renegade festivals like Notts Punkx Free AF and Punk 4 the Homeless carry on this anti-establishment approach, with local punks, Smear, harnessing that raw, rebellious energy, at every gig. Over in the historic inner-city neighbourhood of St Anns, sits CRS, Community Recording Studio, a remarkable grassroots youth centre set up by the legendary community leader, Big Trev. Dedicated to supporting its local young people into music and film, they also produced UK underground hip-hop giants, Out Da Ville, and more recently ALT BLK ERA. Made up of sisters, Nyrobi and Chaya, ALT BLK ERA are proudly independent and fiercely innovative, blending genres of metal, electronica, hip hop and alt pop, whilst advocating hard for disability inclusivity and accessibility within the industry. They released their album, ‘Rave Immortal’, on Notts own Earache Records; a pioneer of extreme and experimental music since the 80s, releasing records like Napalm’s game changing ‘Scum’. The extreme music scene here, still fosters a milieu of genre-bending music; bands like Lindow Moss, notable for their brutal death metal and sporting a very fetching Tom of Finland style album cover for ‘Run Free, Run Amok: .....Among Dark Satanic Markets’ and FILTHxCOLLINS, masters of the <1min grind song, are just a few that keep the blastbeats drumming through this heartland. Hardcore band Skitz, along with promoters Wake The Dead, are giving some of the best HC nights in the Midlands. Even the established venues like the Tap & Tumbler, The Angel, The Bodega, Rescue Rooms and the new Mist Rolling Inn, provide a reliable constant full of metal, hardcore, punk, and rock, and host many of the underground-focused festivals like Mangata, 99 fest, Tonehenge and Tuckstock. Providing an anti-fascist, anarcho voice to the ‘Is__sketch?’ question, Nottingham’s Underdark, is in the vanguard of the new wave of black metal, bringing intense, atmospheric darkness and an unapologetic leftist clamour. With her hauntingly ferocious vocals and performances, the band seemed to really crystallise when singer Abi Vasquez came on board in 2019. The uprising of RABM bands has breathed fresh life into the scene, making space for those who are not specifically politicised, but nonetheless emerge from this political shift away from gatekeeping and towards progress. Shadowvale emerged post-covid with their brilliant dark drudgery, which crosses multiple metal cache’s, a sort of Rorschach of sound, delivering a wretched orchestration you want to throw yourself into the pyre for. Band members, Richard, Ryan and Lee, drive this melodic sludge, where vocalist Lara, delivers a potent mix of pained visceral growls with lyrics drawing on some of her darkest depths. It's a poetry that ventures far beyond your standard gothic narrative. Their next big release for 2026 promises to deliver some exceptional sludgy blackened death. In a constant, palpable flutter, the creative ley lines crossing the city pulsate, and it is impossible to follow all its vital paths. It really needs to be experienced. Vampireish, you can crawl the streets yourself, end to end in an evening and find the depravity, the headiness, the experimental and most importantly, the fresh blood. Words: Alana Madden Photos: Kayleigh Fryer, Robbin Dobbin, Sam Hull

The sea is calm, and the winds breathe gently in an all-encompassing tranquility. There is nary a ship in sight, and you're stranded on a desolate shoreline, watching as the wreckage of your own vessel is slowly claimed by the depths. You resign yourself to your fate, and realise nobody is coming to save you. That's when you hear it – raucous cheering, and the echo of sea shanties in the distance. On the horizon sails your salvation: TERRA ATLANTICA. The four-piece crew, hailing from the home of power metal, Germany, are a band that knows what works, and stay in that well-charted territory with each new release. After all, if this stretch of the sea has more treasure to give, why sail away? This is their fourth release adhering to their recipe of success – classic power metal with a coat of pirate-themed paint – and it promises more gold than you could ever unearth from a buried chest. This is Oceans. We start off with a gentle piano melody in Ocean Fever, before our captain and vocalist, TRISTAN HARDERS, recites a short oath to the tides that lay in wait for him and his crew. The transition from grand inspiring overture to dramatic and imposing instrumental passage is as fluid as the waves, and gives a perfect segue into Back To The Sea. Already we're being dragged along in the wake of their ship by intense speed passages and dynamic vocals that inject us with real seafaring energy. It's a perfect introduction to our musical journey, though it does admittedly lack that memorable quality until the eponymous chorus kicks in. Hoist The Sail makes immediate amends for that, a jaunty tune immediately grabbing our attention with DAWID WIECZOREK's catchy guitar riffs and JULIAN PRÜFER's backbone of a bassline already intense before NICO HAUSCHILDT brings his rolling drum rhythm into the mix. There's a subtle instrumental element of this track that adds much to their themes – as we pass the halfway mark, we're treated to what sounds like a pan flute melody, and it begins to feel truly as if it was captured from the golden age of piracy. This is intensified when the backing vocals from WIECZOREK and HAUSCHILDT kick in and almost bring the song into sea shanty territory, though they don't quite breach the line. Caribbean Shores is a definite standout on this release, a track that intertwines electric axe riffs with exotic Caribbean drumbeats, an eclectic mix that has the crew fully embracing their cultural influences. There's a bright atmosphere that breathes through this track, emphasised with the calls of seabirds lurking in the sea-themed backing soundscape, and it has us picturing ourselves relaxing on the sun-soaked islands HARDERS sings about. Turn Of The Tide, however, has us returning to the intensity from earlier, and channelling that into the idea of a nautical battlefield. Our crew is out for blood, and nobody will stand in their path. Through The Water And The Waves carries those themes into our a further glimpse of something heavier lurking beneath the waves, grimy riffs backed by resounding chants that warn us the crew are a force to be feared. For a moment, an opponent joins the fight: enter PETE SIELCK from the band IRON SAVIOR. In keeping with the darkness-infused rhythms, he growls his way through the lyrics and offers a striking contrast to the more traditional vocals of our captain. This, in ways other than just the track name, feels like a play on DRAGONFORCE's iconic Through the Fire and Flames, but to their credit, it works perfectly independently. Tranquil, stripped-back guitar strums soon lead us gently into oceanic hymn territory with Where My Brothers Await. It's a track laced with vulnerability that reaches for the heart strings and pulls on them gently, a memorial for fallen brothers and crewmates lost in the endless search for the sunken city of Atlantis. Said kingdom makes an appearance when our next track enters the fray: Land Of Submarines, a track with an insanely catchy chorus referring to the eponymous lost kingdom, and a groovy bassline to back it. A talent TERRA ATLANTICA have is that they're able to not just perfectly execute the frenetic passages inherent in the genre, but pull off beautiful power ballads too. This is especially evident in Raven In The Dark, with its sliding-scale vocals and steady, deliberate rhythm sections. To The Realms Of Gods promises glory in eternity, a treasure greater than any mortal possession. The instrumentation gains an eerie edge, and has us pondering in deep suspense – have the crew gained more than they bargained for? This dangerous journey is reaching its peak, and it's only now we realise fully the magnificent scope of their odyssey. Grand finale Oceans Of Eternity has the crew landing on a much more classic-sounding power metal sound, reminiscent of early AVANTASIA. This ten-minute epic is the culmination of their perilous search for the kingdom lost to the waves, and it feels fittingly massive. Doom-laden chants fill the space between lyrics and instrumental passages – of which there are many. For many long stretches in this song, HARDERS takes a step back and the instruments take a much-deserved place at the forefront. As the track begins to wrap up, we're stripped back to vocals and a soft orchestral swell, soon joined by acoustic guitar. The drums kick in, and emotions rise from the depths in us as the frenzied tones of guitar return for a final send-off. It's a bittersweet ending – the journey is over, but it inspires adventure in us. A pounding drumbeat brings us to the very end, and we fade out on crashing waves. While Oceans does little to step away from the formula that the crew have cultivated, they have proven that sometimes territory already charted can still yield new treasures. They tread the shallow waters of serenity with their stripped-back serenades, and dive deep into turbulent tidal waves with their emotional power ballads and orchestral metal epics. One of the more unique emerging bands in the power metal sphere, TERRA ATLANTICA are definitely one to watch – point your telescope at the horizon, and keep an eye out for where they might go next. Score: 8/10 Oceans will be released on September 26th 2025 via Scarlet Records. Words: Naomi Colliar Duff Photos: Terra Atlantica

Have you ever wondered what it must feel like to experience the inception of the biggest names in rock? Well, settle in, because DIE SPITZ’s album Something To Consume is an exclusive invite to witness exactly this. An album that feels like discovering the next big thing, reigniting your love for finding new artists, whilst treating you to echoes of the artists that your love for music was built upon. They’ve only been around for a few years but it’s clear that DIE SPITZ – consisting of AVA SCHROBILGEN, CHLOE DE ST. AUBIN, ELLIE LIVINGSTON, and KATE HALTE – have built a haven of creativity amongst themselves. Not only exploring every corner of each member's musical talents, but doing so whilst smashing the sometimes stagnant expectations the industry can have for new artists on the scene. Pulling from an expanse of musical influences that flow through them, they’ve created a tracklist that keeps the listener hooked, truly serving something for rock fans hiding in the depths of the many subgenres we know and love. Something To Consume starts off with the punchy energetic guitar riffs and angsty undertones of Pop Punk Anthem (Sorry for the delay). Moving into Voir Dore, the vibe is almost flipped on its head, with a swinging beat overlaid with sweet raspy vocals. Sound to No-one is a shoegazey siren’s song, with a dreamy choral aura, flowing into Go Get Dressed that lulls us in with dark, folky tones. Despite some of these momentary soft spots, tracks such as Throw Yourself To The Sword and Down On It are thrashy, guitar laden reminders that DIE SPITZ were inspired by many iconic genre-defining artists, from NIRVANA to BLACK SABBATH. As we move through the tracklist, we are not taken on an obvious journey. Something To Consume refuses to follow the status-quo of predictability, allowing a levelled playground for all 4 members to find their voice, whilst seemingly having a great time doing so. LIVINGSTON stated “As a person, I don’t have a strong ego or voice, but within this band each one of us is capable of so much more.” and this album is concrete proof of this notion. With the members passing the mic or swapping instruments throughout, DIE SPITZ are an energetic example of ego-less creative cohesion. Don’t just take our word for it – in the three years DIE SPITZ have been unapologetically honing their sound and ferociously playing out live, they’ve garnered the backing of some exciting names from the scene. Something To Consume is due to be released on JACK WHITE’s esteemed label Third Man Records on September 12th, with the band having worked with producer WILL YIP on the record, whose roster includes the likes of TURNSTILE and MANNEQUIN PUSSY. With reports of their refreshingly riotous shows, unsurprisingly they’ve supported the likes of AMYL AND THE SNIFFERS, and are currently on a run of dates supporting VIAGRA BOYS. From here they’ll head straight into some headline shows of their own, which are already selling out. In their timeless track Riding With The Girls, LIVINGSTON shouts “Bigger things, bigger dreams, bigger fish”, and DIE SPITZ are destined for exactly that. Something To Consume is a dynamic display of feminine rage through a genre bending landscape. It’s an invigorating and supportive safe space for making music amongst friends. But not least, it’s an exhilarating time to be a fan in the audience. Score: 7/10 Something To Consume was released on September 19th 2025. Words: Georgia Grant Photos: Die Spitz