2025 has been a massive year for Out of Rage; we've had larger shows, broader coverage, and most importantly, a whole host of new contributors joining us, many of whom had their first experience shooting gigs or writing album reviews. As the end of the year draws close, we asked our new writers and photographers: what's been their favourite part about joining Out of Rage? Joining Out of Rage has given me so much experience as a writer and photographer. It's opened my eyes to a whole new world without throwing me in at the deep end. I've been able to make friends and connections, learnt how to use equipment and various computer programs while being given opportunities I didn't think was possible for someone as fresh to the scene as me. It's truly changed my life! Words: Amy Smyth Being able to celebrate the music scene with such an inclusive bunch of people. Words: Laura Davies I’ve loved joining such a supportive community that encourages you to showcase your talents. It’s been incredible being able to step foot into the industry and interact with incredible bands. Words: Alix England Since joining Rage in March this year, I can’t believe how much has happened for me personally. I can see I’ve become a better writer, from my first live review of Shreddler Fest, a full day fest, with multiple bands, to my most recent review of Deafheaven, I can’t believe that people have the trust and belief in me. Getting to hear the new AFI, Dayseeker and Taylor Acorn albums before release are key memories of my first year with Rage - with all three fast becoming some of my favourites written this year. Being lucky enough to sit down and interview artists like Delilah Bon, Lastelle, Seven Blood and Slow Crush has been an incredible privilege and I feel proud that Rage has given me these chances. Finally, interviewing and being asked to join the management team, helping out Jasmine on the Albums team has been one of the key highlights of my year. I can’t wait for what 2026 will bring for Rage and for myself as part of such an inclusive and talented group of people. Words: Lou Viner-Flood I think my favourite part of joining out of rage is meeting new photographers and learning so much from them, they have helped more than I could ever have wished for. It's been amazing too see how each person approaches the shoot and the types of styles there is out there Words: Jack Norris The people part of out of rage! Everyone is so friendly not just with the publishing side of things but also in general. Your excitement is everyone else's excitement, everyone is happy to help if you have questions. I hadn't written any articles for gigs before and was really confused when I started what im supposed to say but I got a lot of help with it. I also got to see bands I hadn't heard to before who are really cool and part of my regular listening now too. Words: Con Macadam The opportunity to build my portfolio and to meet other like-minded creatives to know that what I’m doing isn’t far fetched as a career. Words: James Smith The opportunities I was given since I joined the pub and the community, that is very friendly and welcoming! Words: Kat Stepanikova I now have a writing portfolio full of interesting stuff,that sounds like me, not just copy for some corporate website! Words: Alana Madden Having access to bigger shows than i could've ever dreamed of. Being able to improve my photography through seeing what styles and techniques others are using. Being part of a community Words: Lauren Wenham Meeting like minded individuals as well as getting to review the new Solence album for example, as they're a band I've followed for years, so I am really glad I got to help them out!! Words: Itay Gilad My favourite part has been being involved in a community, I find it very rewarding and encouraging when we’re all working together to write and take photos. I enjoy the responsibility to produce and contribute to the cause and the community and seeing other people’s work too. I joined OOR mainly to maybe get some photography experience, at the moment I know I don’t have the right equipment necessarily to do that but by joining I discovered that I can help in other ways. I think I’ve mentioned before but prior to this I only really wrote essays for uni, so having the opportunity to write for OOR has been really important to me, and I know I still have a way to go and writing doesn’t always come naturally to me, I really enjoy the process and I’m determined to improve each time. It’s also really nice to see the artists response to the work too, I think I’ve received some kind of acknowledgment from about 90% of the reviews I’ve done which is really cool and encouraging in itself. So through Rage this year I’ve done album reviews for the first time ever, and also my first ever live review which have all been invaluable experiences for me and I’m really grateful for them! Thank you guys! <3 Words: Danielle Henderson Being trusted with opportunities I’ve really been grateful for. I recently took photos of Loathe and I was so excited to get the chance to do this. Thank you for the opportunities you have given me so far, it really does mean a lot! Words: Izzy Sheldon All the really cool opportunities for album and gig reviews I've had! I really love the approach the team has for picking people, since it's not first come first serve it gives every single person a chance to be considered for even the biggest/coolest shows the publication has covered. I mainly focused on album reviews this year, and through that discovered some really cool bands and made some cool connections with bands, PRs, photographers, other reviewers, etc. I also got to review my first 'big' show (in my eyes at least), Wheatus; if you'd told me a year ago that I'd be getting put on a guest list for this band in exchange for my review/opinion of their show, I'd never believe you :D Words: Zuzanna Pazola Editor: Naomi Colliar Duff Photos: Lizzie Jones and Ben Blissett

With the addition of so many incredible new members this year, as well as our long term contributors, we asked what was your favourite memory from 2025 from Out of Rage? The responses tell you all you need to know about why OOR grows each week so take a read and if they inspire you, come and join us. Getting to review the new SOLENCE album!! They're a band I've been following for years so that was a full circle moment for me. igjournalism Writing an EP review for ARCHERS which resulted in adding them to my library, then reviewing their set at DOWNLOAD and having a chat with the lead, then getting to shoot for them with OOR at their headline London show all within in the space of a few weeks. Chatting with the whole band showed me how down to earth and genuine they are! changedray Getting to write a single review for some of the artists especially LØ SPIRIT that really are part of the reason why I'm still around. Vaxezradjarin 2000 trees! KNEECAP headliner, great chats with bands, and an OOR team to die for. Papoose <3 dykeulous My favourite memory of 2025 with OOR was my first album review. I had the pleasure of reviewing the debut album of hardcore band END IT. After seeing them live and watching their growth for the last couple of years, it felt like a real full circle moment. The album was incredible and is still in my rotation! I have so much gratitude for the management team for being able to sort us all out with such wicked opportunities. indiakylie Doing the annual pilgrimage to OUTBREAK Festival this year for Out Of Rage was brilliant. TURNSTILE smashed it, KNOCKED LOOSE and HAVE A NICE LIFE were exquisite, DEAFHEAVEN were glorious - the entire weekend was thoroughly excellent and I can’t wait for another festival with Rage! jasminelonghurst666 Interviewing TALLAH! It was so surreal to speak to my favourite band so early into being a part of the Out of Rage team. It was incredible to meet Justin and get an insight into the band as well as receive so much love from readers of the article. Alix._x Reviewing EVERGREEN - Soccer Mommy. I've been listening to her music for years and it was my very first album reviewing with Out of Rage so it was super exciting. It led to me buying a ticket to watch her intimate set and getting to speak to her after the performance too. She read the review which is crazy knowing that what I've written has actually been read by an artist I really look up to. Con_Macadam My favourite memory this year would have to be getting the chance to review CREEPER's Sanguivore II - they're a band that have very much defined my music taste for the past few years and being involved with them in any sort of professional capacity was an unreal opportunity. It's by far my favourite album review I've written. cherryflavouredlemonade Getting to shoot promo shots and the show with FALSE REALITY at Leeds boom with Amber for the front cover of the magazine. Made me feel like I've actually made it in the music world aha. Also GHOST FEST was incredible. Everyone was lovely bands were great and photos came out awesome. Kieranjaymz96 Getting to review NOWHERE2RUN's surprise EP drop in November! It was really cool to be trusted to do a review like that, and it introduced me to an EP that's been on repeat literally every day since I first heard it. zuzx___ LIVE FROM THE PIT: Back to the Beginning, the big Black Sabbath review Alana1481 Words: Lou Viner-Flood and named Out of Rage Contributors Photos: Lizzie Jones and Ben Blissett

There's something uniquely electric about grassroots live music venues, the kind of intimate bars where you can feel the sweat drip from the ceiling and the bass reverberate through your chest. This is where the future of music is forged, where bands are not separated from their audience by barriers and distance from the stage, but rather share the same cramped space, the same charged atmosphere. PROFILER, INRETROSPECT and BLACK COAST’s performances on Wednesday night at The Black Heart exemplified exactly why these smaller venues matter, delivering a night of unrelenting nu-metal energy that left no room for indifference. Opening the night, Leeds-based INRETROSPECT wasted no time in establishing the evening's tone. From the first moment they took the stage, their energy was infectious, with constant crowd interaction that made it clear they were not there to simply fill time before the main act. "We're here to get you warmed up for PROFILER," they announced, though their performance suggested they were there to make their own mark. The band's sound blended metalcore elements with electronic production touches, in a quintessential nu-metal fashion, whilst guitarist JAMES BAYLIFFE delivered insane screams that cut through the mix. BAYLIFFE and lead vocalist NATHAN BIDDLES traded clean singing duties, creating a contrasting dynamic that kept the set engaging. When they commanded the audience to squat en masse, it became clear there was no room to merely be a bystander in the crowd. The intimacy of the venue made such interaction possible, with one-hundred people around you feeling the music just as much as the band are. "We haven't had anyone this hyped for us," they confessed, their genuine surprise and gratitude warming the hearts of everyone around them. A small mosh pit and circle pit formed during their set, a preview of the chaos to come. BLACK COAST, the nu-metal outfit from Stoke-on-Trent, took the stage next with a heavier approach. Formed from the ashes of BET IT ALL and DEAD CITY SOULS in 2016, the band has carved out a space in the nu-metal revival scene, though their sound leaned less on the rap elements typical of the genre. Their mix of clean and dirty vocals showcased impressive scream technique, whilst jungle drums collided with metal strings in that quintessentially nu-metal way. There were hints of the heavier elements of metalcore in their sound, particularly on their sixth song, demonstrating the band's ability to incorporate aspects of modern metalcore into the nu-metal framework. The audience response grew as their set progressed, with pre-existing fans singing along and another mosh pit erupting. The final song featured a call-and-response between audience claps and drum fills, and by this point, you could tell that the audience were fully prepared for PROFILER’s arrival. PROFILER, the Bristolian headliners, took to the stage ready to validate the evening's hype. Established in 2017 as frontman MIKE EVANS’ solo project before evolving into a full band with JOE JOHNSON on bass, JACOB ANDREWS on drums, and JAY EVANS on guitar, PROFILER represents the heart of the nu-metal revival. Fresh off releasing their debut album A Digital Nowhere and their latest EP Masquerading Self, they delivered quintessential 2000s-era nu-metal with punchy vocals, commanding screams, and signature rap-inflected verses. EVANS' voice carried that early 2000s quality that defined the genre, whilst JOHNSON and JAY EVANS wielded seven-string guitars and six-string bass to create that deep, heavy sound. Consumed showcased their range, building from mellow beginnings into djent-influenced heaviness and textures. Identified from their newest EP leaned more towards metalcore, with clean vocals that had the crowd singing along. The bassist appeared nearly trance-like in his performance, lost in the music. "You guys are beautiful, thank you so fucking much," EVANS told the crowd before launching into their heavy, energetic closer. The inevitable encore brought Feeler, a crushing finale complete with side-to-side hand waves, growls, and a massive breakdown that played beautifully into nu-metal's established tropes. Perhaps the most telling aspect of the night was seeing all the bands hanging out at the bar after their sets, mingling with fans without pretense. The venue was crowded but not completely full, with space at the back for those who preferred observation to participation. This is where music remains personal, where bands and audiences share the same space and the same passion. PROFILER's show was a reminder that grassroots venues are the beating heart of the music industry, giving room for musicians and fans alike to flourish. Words and photos: Atoosa Salamat

Three days ago, Rebellion Manchester felt heavier than usual. A venue more often associated with sweat-soaked pits and frantic movement instead hosted a night defined by stillness, patience, and emotional weight. With SWALLOW THE SUN headlining, supported by OPIA and SATURNUS, this did not feel like a typical gig. It unfolded slowly, almost deliberately, like a descent rather than a build-up. OPIA opened the night and approached the early slot with confidence and restraint. From the moment they took the stage, it was clear they were not interested in rushing the room or forcing a reaction. Their gothic doom sound crept outward instead, thick riffs and sombre melodies gradually pulling attention away from the bar and onto the stage. Their strength lay in knowing when not to push. Space and repetition did most of the work, allowing the atmosphere to settle properly. Vocals sat low and distant in the mix, more a part of the overall sound than something demanding focus. The room was not full yet, but those who were in early stood still and watched. By the time OPIA finished, the background chatter had noticeably dropped, and Rebellion felt quieter, more attentive, and ready for what came next. That shift was fully realised when SATURNUS took over. The Danish death doom veterans brought a deeper emotional pull, filling the venue with vast, melancholic compositions that felt both crushing and reflective. Their presence was calm but commanding, proving that movement and spectacle are not necessary when the music itself carries this much weight. SATURNUS struck a balance that many bands struggle to maintain live. The riffs hit with real physical heaviness, yet melody and feeling were never lost. Growled vocals resonated through the room, sitting deep in the mix, while softer passages offered brief moments to breathe before dragging the crowd back under. Rebellion’s sound system handled the dynamics well, letting each layer land without blurring into noise. The crowd response said a lot. Phones stayed mostly down. Heads nodded slowly, almost in unison. There was a sense that people were not just watching but listening properly. SATURNUS did not simply warm the room up, they anchored the night emotionally, leaving the audience in exactly the right headspace for the headliners. When SWALLOW THE SUN finally appeared, the atmosphere shifted again, this time into something unmistakably immersive. From the opening notes, they had complete control of the space. Their sound was enormous, filling Rebellion wall to wall, yet still sharp enough that every transition and melodic detail cut through. The contrast between deep, guttural growls and haunting clean vocals gave the set real emotional range. The band moved effortlessly between crushing heaviness and moments of fragile beauty, never lingering too long in one place. Nothing felt rushed. Every song seemed carefully chosen and placed, allowing the set to flow naturally rather than peak too early. One of the most striking things about the performance was how little needed to be said. There was minimal stage banter, but it never came across as distant or cold. The connection was built entirely through the music. Rebellion, a venue usually defined by movement and chaos, felt strangely intimate. People stood shoulder to shoulder, quiet and focused, taking it all in. As the set went on, the emotional weight only grew. Tracks bled into one another, creating a slow, almost inevitable sense of descent. Even at their heaviest, SWALLOW THE SUN remained controlled and precise, clearly comfortable with both their sound and their audience. By the final songs, the room felt drained, but in a way that felt shared, like everyone had been pulled through the same experience together. Taken as a whole, this was a perfectly paced night of doom. OPIA laid the groundwork with atmosphere and restraint, SATURNUS deepened the emotional core, and SWALLOW THE SUN delivered a headline set that was immersive, heavy, and genuinely affecting. This was not a night for casual listening or half attention. It demanded patience and emotional investment, and for those willing to give it, the payoff was huge. On a cold December night in Manchester, doom was not just played at Rebellion, it was felt. It was a heavy, immersive showcase of death doom done right, and a reminder of why SWALLOW THE SUN remains one of the genre’s most compelling live bands. Words and photos: Jack Norris

Sundays in December are usually reserved for staying cozy… or heading to gigs, if you are a metalcore fan in Glasgow. OF MICE & MEN have been on the road across the UK and Europe throughout most of autumn, in support of their latest album, Another Miracle, which was released midway through the run. Tonight’s show at The Garage, supported by American newcomers GORE. and Germany’s GHØSTKID, marks their final stop. With much of the room stillt trickling in, GORE. crept onstage, before diving headfirst into latest single, Wrath. Bassist Devin Birchfield immediately introduced a playful energy, sporting a Scottish-weather-appropriate rabbit hat whose ears bounced in time with the beat. The light-heartedness helped buoy the band, particularly as frontwoman HAYLEY ROUGHTON radiated a palpable nervous energy. This was in stark contrast to her powerful voice that could tear the roof off. Relatively new to the scene, with releases only beginning in 2023, GORE. delivered an impactful set that resonated with the early arrivals. The punchy pacing allowed for brief introductions between songs, offering insights into tracks such as Sepsis and Pray. Before launching into Orbting, ROUGHTON declared, “If you’ve ever experienced existential dread… This song’s for you.” They closed with Babylon, its bassline reverberating through every corner of the room. After a well-earned round of applause, the band humbling began disassembling their gear, ROUGHTON accidentally dropping the pink topper of her mic stand into the crowd, which created a wholesome moment of connection. Draped in their iconic corpse paint, the ominous, hooded members of GHØSTKID slid onto the stage to a room buzzing with anticipation. Having got a headstart in developing a reputation due to being the solo project of former ELECTRIC CALLBOY co-frontman SEBASTIAN “SUSHI” BISELER, and with a few more years of experience, much of the crowd clearly knew what to expect. Launching straight into SUPERNØVA, they wasted no time in trying to whip the crowd into a controlled frenzy. Bassist STANISLAW CZYWIL quickly dashed into the crowd, with BISELER demanding a circle pit form around him. Despite many attendees only just filtering in, the audience immediately obliged, creating a satisfying whirlpool of bodies encasing the booming bassline. As CZYWIL retreated back to the stage, the pit dissolved just as quickly, and the crowd shuffled forward for a better view. The set leaned on the hard-hitters from their self-titled debut, such as CRØWN, YØU & I, and DRTY, with BISELER repeatedly reminding the room that it was their final night on tour. “We’re going to miss them so fucking bad, because they are the nicest people on Earth,” he reflected. Before tearing into FSU, from HOLLYWOOD SUICIDE, he declared, “This next track is called ‘Fuck Shit Up’... and that’s what you guys need to do”. Despite the bands relentless energy and repeated calls for carnage, it perhaps came too early in the night, with much of the movement radiating from one overzealous crowd member. By the time they closed with HEAVY RAIN though, the room was sweaty enough for the title to feel fitting, and a dramatic wall of death gladly formed at BISELER’s request. After a raucous thank you, GHØSTKID disappeared backstage, leaving the crowd primed for the headliners. The audience clutched their pints and roared as OF MICE & MEN came closer to coming onstage. Break Stuff by LIMP BIZKIT blared across the speakers, prompting drunken sing-alongs, before the lights dropped and a sweeping string arrangement took its place. At the back of the stage, a screen flickered to life with graphics of roaring flames; an amusing contrast to the dramatic build-up. The band emerged one by one before tearing into Another Miracle, with the crowd seemingly startled by the choice of opener. A few songs in, during Would You Still Be There, the atmosphere noticeably shifted. A moshpit erupted and barely relented for the remainder of the night, while frontman AARON PAULEY threw his long locks in time with the pounding rhythm. Though there were long pauses between songs, audibly filled with atmospheric synths as the band caught their breath, they only briefly disrupted the momentum. The setlist spanned their catalogue, from the crushing Obselete to emotionally charged Troubled Water, before closing the set with O.G Loko. Returning to the stage, drummer VALENTINO ARTEAGA delivered an impressive solo, hair blowing majesticly in the fan as he grinned through the crowds inevitable “Here we fucking go,” chant. Before launching into their final tracks, PAULEY turned to praise the screen behind them which now displayed a flaming Thomas the Tank Engine alongside the phrase “I ♥ Scotland”. This small moment of playfulness was met with a round of laughter, reaffirming the bands connection with their fans. This energy carried straight into the punishing Bones Exposed, before the night closed with the song that defined them, Second & Sebring, that was complete with a wall of death that much of the room eagerly joined. As the final show on this tour came to a close, OF MICE & MEN calmly soaked up the intensity they had fostered, visibly proud. Following the intense sets of GORE. and GHØSTKID early on, the night, and the tour, ended on a powerful high, marking the close of another chapter for the metalcore veterans. Words: Chloe Sodeau Photos: Libby Percival

Just over a week ahead of dropping their first self-released EP, ‘Masquerading Self,’ we sat down with Mike Evans and Joe Johnson of rising nu-metal band, Profiler. The duo shared their thoughts on the new, exciting era they are stepping into, and they reflect on the differences during the writing and releasing process this time around. Evans states, “It’s fairly different, it’s gone really well, obviously the numbers aren’t as big and we don’t have the same reach, but we’ve been really happy with the result.” Johnson adds, “It just means that it’s all our music, we put it up ourselves, and it’s something we can put our names on and be happy and proud of.” You can sense the pride they are feeling with the evolution of their work as they reflect on how far they’ve come. When asked about how they think ‘Masquerading Self’ differs from their previous work, they both agree that this is the most confident they’ve ever felt in their music. Evans explains, “It’s definitely a continued evolution of the stuff we’ve previously put out, everything’s the highest level it’s ever been.” Looking back on the recording process, Johnson reflects on the benefits of having some extra time to create. “The first EP that we recorded was done in our producer’s bedroom, and then the second one was the debut album that was in a studio, and then this time it’s been a bit of both. But it’s nice to have no time pressure, I mean, it has taken probably a bit longer than we would have liked to record and get everything nailed, but I think it’s nice to not have that time pressure to be like, you’ve got 14 songs to sing within the space of 10 days. If your voice is bad for one day, that’s just even more pressure the next day.” Evans adds, “It was a lot nicer of a process, something we’ll do next time and going forward. I don’t think it’s a bad way of operating, but if you’ve got time limits in a studio and your voice does go, it’s like tough luck. It’s kind of not great. As a vocalist, it’s nice to be able to take your time. I think it's worth spending a bit more time, I think it’s paid off as well, so that’s good.’ Johnson adds, “Each track was a collaborative effort between the whole band.” Making it feel like an authentic Profiler project. “We’ve had live drums on this record for the first time, in the track we just released, Illusion, there was a bit that Mike wanted to add in and then Jay came up with something and then Jacob came up with some even crazier drums over the top.” One thing that sets Profiler apart is their attention to detail when it comes to visuals. Each track has a different colour attached to it, for example, the track ‘Dope’ has a baby blue cover art, making you instantly tie this colour to the song. Johnson explains, “we focus on aesthetics quite a bit in terms of the colour coding that we’ve used for each of the singles, me and Mike thought we should probably have an obvious colour scheme. Visually, we’ve tried to step up rather than having everything jumbled, it’s quite satisfying to scroll through the last few months of what we have put out; it all makes sense to us.” Scrolling from the bottom of their Instagram timeline to the top to see the posts change colour as the new single is getting released is something so simple yet so unique that gives each track its own moment. ‘Masquerading Self’ is perfect if you’re looking for some nostalgic, nu-metal vibes. One to check out if you’re a fan of anyone from Limp Bizkit to Ocean Grove. Johnson continues, “musically, we all take inspiration from a lot of different places, for some of the tracks I’ve written, Limp Bizkit are always an influence musically in terms of the tones and how it’s structured.” Going back to the beginning of the era, Evans tells us why ‘Waste’ was the track chosen to introduce people into the new era. “It was the first one that was together; it was written and put together pretty quickly, and it had been ready for a while. We didn’t want to start off crazy heavy; it's probably the lightest one on the EP, it's a nice entry-level track for people and one that encapsulates the EP.” As this EP wraps up 2025 for Profiler, we discussed what fans can expect from the band in 2026. If you thought they’d be slowing down, think again. “Following our headline show in December this year, we’re hoping to maybe do a couple more headline shows next year and see how it’s received.” Johnson shares, "I think we’re planning to record some more music early next year as well, just keep the ball rolling, really. We’ve got to keep up the momentum that we’ve built up off of this release.” ‘Masquerading Self,’ is available now on all streaming platforms, a band to definitely keep an eye on in 2026 with the direction they are heading. Words: Isabella Jacklin Photo: Profiler

Frozen streets gave way to burning riffs as Wolverhampton fell under the grip of Bloodstock’s Winter Gathering. Outside, the cold bit hard. Inside KK Steel Mill, it was chaos from the first note. A sold-out venue, a stacked line-up and a fanbase primed for violence created the perfect conditions for an uncompromising night of heavy metal. By the time doors opened, the smoking area was heaving with battle jackets, queues stretched down the street, and anticipation crackled through the air. This wasn’t just another winter show. This was Bloodstock reaffirming its dominance. King Kraken Opening the day, King Kraken wasted no time in unleashing their titanic groove metal assault. Monstrous low-end riffs and crushing rhythms rolled through the early crowd, transforming the Steel Mill into a slow-moving sea of heads and shoulders. “March of the Gods” landed with the force of a collapsing ship hull, slow, punishing and irresistible. But it wasn’t just the weight of the riffs that hit hardest; it was the movement in their music. Each groove twisted like something alive, dragging the room into its undertow. Drums thundered like distant storms, basslines churned with tidal pressure, and guitars carved out massive, ocean-deep hooks that lingered long after the final note. There’s a primal quality to King Kraken’s sound thick, rolling, ancient. They don’t just play riffs. Tortured Demon Tortured Demon ignited the venue with full-throttle NWOBHM energy. Ripping solos, relentless tempos, and unapologetic heavy metal bravado poured from the stage as the pit finally snapped into full wakefulness. Raw, fast and unfiltered, this was classic metal delivered with total conviction. Tortured Demon sounds like your old battle jacket brought violently to life. Davastator Called in at 9AM on the morning of the festival, Devastator arrived with almost no notice and then proceeded to deliver one of the strongest performances of the entire day. There was no hint of compromise or hesitation as they detonated an old-school thrash explosion across the Steel Mill floor. From the opening riff, the pit erupted into instant violence. Blistering speed, razor-wire riffs and unrelenting aggression defined a set that felt both desperate and dangerous in the best possible way. Any band might struggle with such a last-minute call-up. Devastator thrived on it. This wasn’t just a solid showing under pressure. This was one of the best performances they’ve ever put on, and proof that true thrash needs no preparation to cause devastation. Raised By Owls Raised By Owls followed with a set that felt like a controlled demolition. Metalcore bedlam collided with brutal humour as unpredictability ruled the Steel Mill. Circle pits collapsed into pile-ons, breakdowns detonated without warning, and the crowd never quite knew what was coming next, exactly as intended. The band’s whiplash-fast riffing and whirling blast beats only amplified the madness, each song landing like a punchline delivered with a sledgehammer. And with Bloodstock’s indoor snow machines erupting overhead, the whole venue transformed into a surreal winter warzone, icy confetti swirling through strobe lights and carnage as if the apocalypse had arrived wearing a Santa hat. Expect chaos. Expect confusion. Expect the pit to disintegrate. Venom Inc History hit the stage with hostile intent as Venom Inc unleashed pure black metal warfare. Raw, snarling and filthy aggression ruled the room. Tracks like “Forged in Hell” and “War” felt less like songs and more like weapons as the crowd descended into a hostile storm of fists, horns and sweat. Venom Inc doesn't warm crowds up. They burn them alive. Candlemass By the time Candlemass took the stage, KK Steel Mill was at bursting point. True giants of epic doom, their presence transformed the venue into a cathedral of riffs and despair. Slow-motion heaviness crushed the room as monumental choruses echoed through the crowd. “Solitude” and “Mirror Mirror” landed like emotional sledgehammers. Sorrowful, massive and untouchable. When Candlemass played, time itself slowed to kneel before the riff. Doom royalty don’t just headline. They loom. Words and Photos: Jack Norris

Kicking off the UK leg of their world tour with a bang, Wolf Alice took to Manchester’s AO Arena last week for their biggest headline show yet. For years the band have been a staple of any British festival lineup or summer playlist, immortalising experiences of love, friendship and rage with their diverse catalogue of indie-rock anthems. And with latest album ‘The Clearing’ revealing some of the band’s most compelling and critically-acclaimed songwriting to date, it seemed not only inevitable but imperative that these rising stars bring their magic to some of the UK’s largest stages for a monumental headline tour. Bria Salmena set the tone for the night with a dark, simmering performance. Wrapped in a shadowy haze of delicate instrumentals, the Canadian’s voice reached out through the dusk with haunting resonance, casting an entrancing gloom over the arena. Her performance glistened with a kind of delicate intensity that bubbles quietly under the surface, tension building but never quite resolved, magnetism that holds tight with no sign of release. Another opener from across the pond, Brooklyn’s Sunflower Bean were next to take to the stage, who offered their signature soundscape of sharp indie-rock with cutting basslines, intricate drum patterns and striking vocals. No stranger to a Wolf Alice crowd having supported them on tour back in 2018, Sunflower Bean marked their welcome return with a wild, infectious energy that quickly brought the audience onto their feet. From the heavier tones of ‘Nothing Romantic’ to the light nostalgia of ‘Moment In The Sun’, their set was dynamic and compelling, leaving behind a vibrant buzz as their final notes trailed off and their performance drew to a close. Both supporting artists alluded to different facets of Wolf Alice’s sonic arsenal - Bria Salmena reflecting the band’s quieter, more introspective and sultry moments while Sunflower Bean encompassed their bold, energetic side as well as their rich, timeless instrumentation. In that sense, no two acts would have been a better complement to this tour, each giving the crowd an enticing taste of what was to come from the main act. Lights dimmed. Suspense rose to suffocating heights. Conversations instantly fizzled out. It was the moment we had all been waiting for. Against a striking backdrop of shimmering silver streamers, Wolf Alice took to the stage with an instant ownership and magnetism. After cascading piano keys led us into the ballad-like ‘Thorns’, the band released everything they had with the album’s lead single ‘Bloom, Baby Bloom’, its dynamic showcase between light, playful verses, guttural cacophony of a prechorus and transcendent chorus making it an instant highlight of their setlist. Frontwoman Ellie Rowsell commanded the attention of every single person as her vocals danced effortlessly between wild, gritty growls, delicate, breathy moments and angelic richness. ‘White Horses’ saw Rowsell share the spotlight with drummer Joel Amey, whose warm, deep vocals led the way through the song’s captivating and intricate soundscape, before winding the clock back slightly for ‘Formidable Cool’, which oozed grunge-y swagger as the first demonstration of Wolf Alice’s more rough side. Without a chance to settle down into this genre switch, ‘Just Two Girls’ offered a playful, airy release. The next hour and a half rushed past in a whirlwind as the band led us through their discography, showcasing their mastery of seemingly countless genres, eras and moods. Slower, more stripped back songs like ‘The Sofa’ and ‘Play It Out’ provided poignant moments of introspection, during which a constellation of phone torches illuminated the gently swaying crowd while Rowsell sang gently under the spotlight. Police sirens and red and blue strobes evoked chaos in the crowd for the punk-fueled ‘Yuk Foo’, unstifled rage channelled through a megaphone and bounced off of every wall. Without time to catch your breath, ‘Play The Greatest Hits’ came in fast and unapologetic with its raucous power and energy, ensuring not a single vocal chord left intact by the end of the show. If the whole night could be captured by a single moment though, it would be ‘Bros’ - youthful, timeless, universal. Wrapped in the warm embrace of the song’s joyful, cozy guitar arrangement, the crowd was transformed into a tapestry of pure human connection, revealing thousands of special moments between loved ones as they held hands, bounced and sang to each other with euphoric sincerity. ‘Don’t Delete The Kisses’ marked the end of their set with nostalgia, romance and youth straight out of a coming-of-age film, as the band and their fans sang together one last time to the song that arguably started it all. As the lights came back on and ‘Bohemian Rhapsody’ began to play out across the speakers, the sea of Wolf Alice fans could be heard long before they were seen as they carried the tune with them as they left the venue, while a collection of stragglers filled the emptying arena floor with infectious joy and dancing, immortalising the energy of the show long after the band left the stage. A career-defining night for the band, and an unforgettable journey for each person in that room. Words: Heather Swift Photos: Jack Walsh

Exchange Bristol didn’t feel like a venue so much as a sealed chamber, pressurised and waiting to rupture. From the moment the room began to fill, a low hum of anticipation settled into the walls — bodies packed close, lights dimmed, conversations swallowed by bass bleed from the stage. This wasn’t a night built for distance or detachment. It was a night designed to pull inward, to collapse the space between artist and audience until everything existed on the same plane. Three bands would take that tension and shape it, escalating the atmosphere piece by piece until release became inevitable. ROYALS were first to step into the fray, and they did so without hesitation. Their pop-punk energy cut sharply through the early-evening fog, injecting movement into the room before anyone had time to settle. There was a restless edge to their performance — not frantic, but alive — guitars snapping and drums driving forward with intent. Rather than easing the crowd in, ROYALS jolted them awake. Frontman Luke Smithson carried a casual confidence, speaking just enough between songs to anchor the set without breaking momentum. Mentions of their upcoming debut album High Stakes & Heartaches and planned release shows landed naturally, woven into the flow rather than dropped as interruptions. The music did most of the talking anyway — hook-heavy, punchy, and delivered with the kind of looseness that thrives in close quarters. The set’s defining moment arrived during “Spinning Out”. Bassist Tom Guildford handed his instrument over mid-song and plunged into the crowd, harsh vocals tearing through the room as the first mosh pit ignited beneath the low ceiling. It was chaotic, imperfect, and exactly right — the moment where the night’s energy tipped from anticipation into motion. If ROYALS sparked the fuse, FORT HOPE widened the space. Their entrance shifted the emotional temperature of the room, replacing urgency with something broader and more enveloping. Visually understated, they let texture and melody do the work, building an atmosphere that felt far larger than Exchange’s modest capacity. Their sound unfurled patiently, each song expanding outward like a held breath finally released. Shimmering guitars and steady rhythms formed a foundation that carried Jon Gaskin’s vocals high above the crowd, his delivery equal parts reassurance and resolve. “Cardinale (Runway Monday)” landed with particular weight, its familiar refrain echoing back from a crowd fully locked in. Newer material, especially “Powers” from Palaces Palaces, reinforced FORT HOPE’s ability to balance uplift with emotional depth. Rather than overwhelming the room, their set drew people inward, bodies stilled and eyes fixed forward. It was a reminder that intensity doesn’t always arrive at full volume — sometimes it manifests as collective stillness. By the time CALL ME AMOUR emerged, the room was primed — not just ready, but receptive. Neon light flooded the stage, casting the band in sharp silhouettes against an industrial glow that felt torn from some near-future dystopia. The visual language matched the music perfectly: dark, synthetic, and charged with emotion. They opened with “Where’s the Chemistry?”, its pulsing electronics immediately tightening the grip on the crowd. Tracks from the Revolution EP followed, each one layering tension atop momentum, the sound thickening until it felt almost physical. CALL ME AMOUR didn’t simply perform to the room — they folded themselves into it. Harry Radford commanded attention without posturing, his presence magnetic in a way that felt honest rather than rehearsed. Between songs, he spoke about music as a way to quiet the noise in his head, an invitation rather than a statement. When the band launched into “IMFKD”, the crowd responded instinctively, movement spreading through the floor like a shared reflex. “Tourniquet” detonated that energy fully. The boundary between stage and audience dissolved as Radford climbed down into the crowd, soon joined by guitarist Geoff Murphy and bassist Arran Lomax. What followed felt less like a performance and more like a collective release — voices raised, bodies colliding, sweat dripping from the ceiling. The set surged forward relentlessly. “Happy Hell” and “Good Day” hit with sharp emotional contrast, before the band slipped briefly from the stage, tension left hanging in the air. When they returned, “Bloom” was met with a roar, its chorus swallowed and amplified by the crowd. Before “Girl on the Wall”, Radford shared a candid story of mental fog and self-destruction, grounding the moment in vulnerability. The song landed heavy, its weight shared across the room. Though framed as the end, the night closed with “Dreams”. Once again, the band stepped into the crowd, arms linked, a circle formed — a fleeting moment of unity suspended in sound. When the lights finally rose, Exchange exhaled. ROYALS had ignited movement, FORT HOPE had widened the emotional field, and CALL ME AMOUR had pulled everyone into the centre and held them there. It wasn’t just a gig — it was immersion, release, and connection rendered tangible. And everyone who stood inside that room felt it. Words: Mia Gailey Photos: Ely King

There is not much better than live music in a small DIY venue, especially on a cold Friday night in December. Bristol’s heavy-pop trio MASCA brought magic to JT Soar in Nottingham during their recent mini tour. The night was a showcase of raw energy and diverse sounds, with local outfit COUGH DROPS unleashing fiery, post-grunge anthems and Birmingham’s NOT SOUP brought their own eclectic edge, delivering riff-heavy bursts of noise and melody. Together, the lineup created a night that felt both grassroots and electric, proof that the DIY scene still thrives on passion, grit, and the thrill of discovery. The room was filled with a complete mix of all different types of people, showcasing the charm and ethos of JT Soar, with BYOB fully taken advantage of. COUGH DROPS started the evening off strong, with a short but sweet set of pop punk-esque but still very girly grunge, with vocals delivered by the energetic vocalist. Serving up a blend of dream‑drenched psychedelia and obscurity through subversive hooks and jagged, mind‑splitting rhythms, NOT SOUP delivered a set with a heavy bass line, and lyrics that hit hard, like “Eugenics, my biology leave me to die” - from a track introduced as the KKK song. It feels lazy to compare the incredibly unique vocalist to SKIN from SKUNK ANANSIE, but her accent shone through each line she sang, with a power that is reminiscent of SKIN, so the comparison is accurate. Hailing from Bristol, known for their compelling live presence and fearless songwriting, MASCA headlined the evening. Vocalist CHRISTINA MAYNARD brought along her soulful vocals, fully embracing the energy of the crowd and talking us through each track the band played, with the band following behind with heavy bass and drums. Described once as “DOLLY PARTON meets BATTLES or NIRVANA meets TAYLOR SWIFT”, MASCA are a small band, with big songs, delivering heavy pop that makes you dance. With songs like I Got Away, Up To You and Doing What I Want (about pulling a sicky at shitty work establishments), it is easy to see how MASCA fans have grown in numbers. New song and crowd favourite Oxytocin (an ode to performing and MAYNARD’s love for her son and mum, both who were on tour with them!), and Elevate, the first single from the new album, Love Letters, currently only available on vinyl, until the full release later on in April 2026 (as a rebellion against the streaming overlords) brought the heaviest moments of the set. Sweetooth, a track about imperfections, My Company, about death and existential dread and closer Stage Fright showcased the sheer eclectic talent that MASCA have. Although MASCA do not have any live shows announced for 2026, the band are far from quiet. With a brand new album waiting to be unveiled to the masses, they are positioning themselves as one of the most intriguing acts to watch in the coming year. Their sound is rooted in hazy shoegaze, but does not drift too far into obscure territories, instead the band weave in sharper pop sensibilities, creating a balance that appeals to all music listeners. It is music that feels dreamy and immersive, but for all ears. What sets MASCA apart from others in the scene is the energy they bring to the stage. Even in intimate DIY venues like JT Soar, their performances carry a poetic intensity that captivates audiences. They manage to transform small spaces into something larger than life, proving that their artistry is not hindered by size. This ability to command attention in grassroots settings makes us feel that once the festival season arrives, MASCA will be more than ready to step onto bigger stages. Words: Lou Viner-Flood Photos: Mariia Bulkina

About ten years ago, a legendary spit and sawdust pub and music venue, Nottingham’s Old Angel Inn, was bought up and reborn as its moniker, The Angel. Initially unconvinced and slightly disgruntled, the city's scene was nevertheless delivered a polished up version of the old, with the addition of a micro-brewery…Hmmm. Eye rolls aside, The Angel today definitely still holds its weight amid the league of sticky floored venues and the IPA is actually pretty good. Branded, ‘The Chapel’, it’s the same gig space as a decade before, and, thankfully, a stop on BELIEVE IN NOTHING’s current tour schedule, via the excellent up and coming ‘promoter of all things loud’, FOXTON PRESENTS. The line up for the night was a perfectly balanced repertoire of devastatingly raw and dark sounds, including; two local bands, LINDOW MOSS and ROGUE LIMB, as well as the Rotherham based BODACH, and finally, the demonic, sensory-overload, that was BELIEVE IN NOTHING. LINDOW MOSS, local grime laden faves, were on first, blasting out their blackened hardcore. The lead guitarist, as ever, looked as cool as a cucumber whilst smashing through the head banging riffs, bouncing over the thick bassy grooves and death growls. ROGUE LIMB balanced big hardcore sounds with plenty of old school licks. The drummer completely gave us his all, even when he looked like he might have a heart attack, he never let up for a second. Masterly riffing on the guitars, their energy on the stage was catching and one of the warmest. Not only do they play great music, they are really fun to watch and have in the room afterwards! The penultimate band was BODACH, a two piece with the presence of double that, providing fast hard and riff heavy sounds. Whacking the distortion up to eleventy, they delivered an explosive set that sizzled through the speakers. A tonal change for the night vocally, giving more shouts than growls, with decipherable words and a powerfully poetic resonance. They mentioned a new record on its way, inspired by the classic doomsday sci-fi, War of the Worlds. Part audio book, part album, decried by the singer as “a bit bloody pretentious”. Sounds great! Bring on the pretension, we can not wait to hear it! BELIEVE IN NOTHING rounded out the night with an experience not to be forgotten. Their show was centred around the alchemy of vocalist and front man, CAINE HEMMINGWAY. Immediately catching us between repulsion and morbid delight, the fans watched as he deep throated a hammer, drooling and heaving in front of everyone, a fitting welcome on this journey of nihilism and despair. Looming over an array of sample boards attached to a short folded step ladder, he conjured a potent chemistry, conducting the sounds and energies of the room, a necromancer transporting us to Fantasia in a hellscape. Between the shrieking rasps, and with a light attached to his throat obscuring the face behind, the fans were sermonised, words heaving in and out of audiability, catching on, “It's ok to give up!”. Moving throughout the space, interacting in, and amongst the crowd, he licked and spat at walls, forcing the room to withstand his presence and strain against the discomfort, battling with that overwhelming need for compliance and the pretense of politeness. CAINE’s brilliantly coarse vocals scratched over the adept intensity of the band; LAWRENCE RODRIGUEZ, guitar, STEVE COLLIER, guitar and JASPER LYONS, drums, each communing with their instrument, plunging ever deeper into their dense and gloomy sound. At one point during the gig, it became clear some members of the audience could not handle their craft beer, but it did not throw the band's focus off a stitch. The intense process of preparation to channel each performance is detailed in the band diary, on Substack, and in very lush self produced zine, both well worth a read. This experimental four piece is part of the creative expansion happening within metal and other heavy music genres. With their manager forming one half of the electrifying queercore group DEATH GOALS, and this latest album, Rot, getting released on Church Road Records, they are amongst likeminded, well established, peers. There is an instinctual move toward obliterating the impasse that kept these scenes in the heteronormative, macho realm, and dragging them out into the boundary dissolving identity mashups of the 2020s. Luckily, metalers on the whole, are an excellent bunch, and the old school boys in The Angel really lapped up this depraved artistry as much as the younger folks, excitedly turning to one another exclaiming “That was, like, fucking art!”. BELIEVE IN NOTHING’s performance, evokes the spirit of Industrial trailblazers, THROBBING GRISTLE, who tore through any and all expectations of what music and art should be. Performance art comes in all shapes and sizes, which is why it is so appealing, but at its best, it is generally executed far outside of the well lit gallery spaces platforming rich-kids-turned-artists, whose most subversive act tends to always involve bad choreography and taking off their clothes… BELIEVE IN NOTHING are definitely a band to listen to, the new album is a festering swamp of sound sludge to wallow in and they are without a doubt a band, any fan of heavy music, must go and see. And maybe give their writing a read too. Slip deep and get entrenched in the ideas and emotions brimming over here. After all, swamps are the living seething burial sites, essential for our survival Words: Alana Madden Photos: Adam North

It may have been a blistering cold and rain-soaked December night in Glasgow, but when has that ever stopped music devotees? A snaking queue, full of everyone from younger fans newly converted to the joy of heavier music, and veterans who have been there since the beginning, wrapped around the O2 Academy. Despite their differences, everyone was united by one thing: the chance to see alternative rock legends, THREE DAYS GRACE. Hailing from Canada and more than three decades into their career, the band are on the road to celebrate their newest release, ALIENATION. This landmark album marked the return of original vocalist, ADAM GONTIER, who left in 2013 due to ongoing health and personal issues. With support from Los-Angeles rockers BADFLOWER, the venue's balconies and floor were already packed long before the opener had even considered stepping onstage. As the members of alternative-rock quartet BADFLOWER drifted onstage, a curtain bearing the top half of a giant monochrome daisy loomed behind them. Frontman JOSH KATZ stepped quietly to the centre, bathed in dramatic green lighting as an aggressive synth swelled, escorting in the first notes of Drop Dead from their 2018 EP, Temper. As they paraded into their second song, ironically titled Number 1, intense, strobing lights created an almost club-like atmosphere that sharply contrasted the music's underlying melancholy. KATZ paused to introduce the band, laughing as he confessed, “I swear to god, I almost said Manchester… I know where we are”. Clearly having a taste for irony, KATZ abandoned the stage mid-way through Stalker, repearring atop the venues bar and playfully ‘stalking’ the enamored crowd from above. The bands energy never dipped, with bursts of stage-diving, constant movement and frequent hype-ups, they were clearly taking their job to warm up the crowd seriously. However, their vigorous performance sat at odds with the underlying sadness threaded throughout their songs. A solo from drummer ANTHONY SONETTI followed, showcasing the talent in the band. Unfortunately, it was a touch overextended, as evidenced by the crowd slowly drifting their interest elsewhere. To close out their set, BADFLOWER delivered an electrifying rendition of their hit Ghost, followed by 2020 single 30, before thanking Glasgow and dashing offstage. Screens at the back of the stage suddenly flashed ‘here we fucking go’, and, true to Glaswegian tradition, the crowd erupted into the chant without hesitation. The band proudly bounded on-stage with the kind of confidence that only decades of touring can produce. The first notes of Dominate detonated across the room, the crowd immediately swinging into action. After the final chord rang, MATT WALST declared it was “Scotland's song”, gleefully explaining, “It was all because of the last time we were here, we heard that fucking chant from you guys and thought, ‘we’ve gotta put that in a fucking song!’” He demanded the chant continue, as the iconic bassline of Animal I Have Become rolled across the venue. WALST now sported a facemask emblazoned with the Scottish flag, sending the already electric crowd into a frenzy. Throughout the night, WALST rallied the crowd to shout the band's name, and despite the frequent repetition, they happily obliged with an unmatched enthusiasm everytime. Before regaling us with their seminal hit I Hate Everything About You, GONTIER took the opportunity to acknowledge the long journey of the band. He spoke candidly of his departure in 2013 before rejoining over a decade later, thanking the other members of the band for continuing on. Mid-set, they attempted to give the crowd a break from the relentless pit. The theatrics fell away and GONTIER stood alone armed with just an acoustic guitar. Politely asking the crowd to sing along, he surprised everyone and eased into the first notes of Creep by RADIOHEAD. Despite the intended calm, the pit kept up its chaos. At one point, they hoisted the obligatory banana costume-wearer up, sending them surfing to coincide with the word “run”. It clashed hilariously with the atmosphere the band was trying to craft, but was undeniably one of the night's standout moments. Flowing into I Don’t Wanna Go Home Tonight, the band brought out a cousin of recently rejoined vocalist CALE GONTIER, a nod to the song's themes. As the end of the set approached, they tore into Painkiller from their 2015 album Human, which was a thrilling pre-encore closer that ignited the entire floor. The encore began with the slower, emotionally charged Never Too Late, offering a final moment of catharsis before the room exploded again for their smash-hit Riot. The pit never slowed, and across the final notes, chants of “three days grace” scattered the room one final time. The band gathered at the front of the stage to take a well-earned bow and soaked in the triumphant atmosphere. The night felt like a celebration of a band that helped to define a generation and a heartfelt welcome home to GONTIER. As BADFLOWER set a precedent for intensity and the headliners gave us a thunderous tour across their discography, it was clear that despite the long journey, THREE DAYS GRACE have made a serious mark, and if tonight was anything to go by, they are here to stay. Words: Chloe Sodeau Photos: Neve Saltmarsh