Off the back of a string of supporting tours for the likes of The Hives and Green Day accompanied by the festival run of a lifetime; Bad Nerves take on a headline tour filled with sweaty venues perfect for the atmosphere they create, we headed down to their London date to see how they did. With the gig being held in the absolutely beautiful O2 Empire Shepards Bush, Split Dogs opened the stage bringing a punk presence that is genuinely refreshing to see, they were absolutely unapologetic, from the singer's energy to the guitarist's pure aggression within his riffs, this band fit perfectly into the bill certainly covering the punk sector with a lot of spoken word and fun melodies that made for a great opening act. Next up was quite the vibe change, with the eccentric Balancing Act who immediately brought tone down to deliver a more atmospheric set; with the singer moving like Jagger and the rest of the band giving off a cool vibe, that was reminiscent of bands from the 70s era of Psychedelic Rock. Though pits were absent here unlike the last set, Balancing Act delivered a powerful set that only highlighted their pure talent, music that filled the hall with glide guitar, reverb vocals and a blend of indie and swim drumming that was only ever completed by complex and interesting bass-lines that make them seem like the calm before the storm. And a storm Bad Nerves definitely brought to the venue. Opening with Television, Bad Nerves did not waste a second luring their fans into a frenzy that turned the venue upside down as it descended into one of the most chaotic sets the band have ever pulled off. Energy levels were high throughout the entire set and its honestly a commendable feat that the band had no pause and just gave it their all throughout the entire set not letting up for their whole hour on stage. They swiftly moved playing 3 more hits from the first self-titled album, that began the crowd surfing and oh boy it did not stop, you honestly had to feel bad for the security at the front as not one single song was without at least three crowd surfers. One thing that stood out at this show was genuinely how diverse the crowd was, people from all ages and backgrounds attended this show – even one of the bands grandfathers was in the stands – the show was an absolute brilliant unity of punk, pop and rock fans to blow off some steam for an hour. It’s undeniable the gravity that Bad Nerves have, with lots of new fans entering their orbit and we are all but sure that, this band is going to go into the stratosphere with their wild energy and unapologetic nature. Words and photos: Ben Blisset

This November was a perfect time to frequent London’s Alexandra Palace: Turnstile and Electric Callboy, having both crushed it earlier this month, now finally pass the microphone to the legendary BAD OMENS. With ten thousand pairs of eyes up upon him, NOAH SEBASTIAN is reminiscing about their last time taking over the city — almost three years ago at the 500-cap Dome — the two tours feel like polar opposites, each with their own charm. After their rapid ascension in the charts and people’s hearts, the Virginian four-piece had no choice but to upscale their production accordingly, making every penny truly worth it and putting on a stunning show of a lifetime. Opening up for the night are what could be classified as veterans of metalcore in comparison, THE GHOST INSIDE. Although only the first on the bill, the band play a whopping 10-song setlist; it is quite refreshing to see both supports being honoured equally with a proper chance to shine. The crowd seems to be in approval, as many here are already long-time fans of the band. Starting off the set strong with Avalanche, they move onto more recent material such as Washing It Away and Aftermath. In between breakdowns, JONATHAN VIGIL takes time to express gratitude to everyone throughout their journey — having played half of London’s iconic rooms and theatres by now, conquering Ally Pally at last feels extra special. Overall, TGI’s set couldn’t run more smoothly — even the unfamiliar folk are swinging their heads in rhythm and silently appreciating the beautiful lighting. After a must-have Engine 45 “for the old-school fans”, the band begin to wrap it up, ending on a high with the captivating Death Grip. BILMURI is always an interesting choice for a heavy metal lineup, but it keeps proving itself to be the right one. Although technically a one-man project of JOHNNY FRANCK, it has evolved into an inseparable orchestra with its own agenda that involves somehow being both obscene and wholesome at the same time. After recently opening for SLEEP TOKEN and their own solo run, the band have also gathered a large loyal fan-base who do not hesitate to bring it all to the dancefloor. Although their music falls more into the alt-rock and indie genre, songs like EMPTY HANDED still let us get the heat out with the occasional heavy riff or metal screams. GABI ROSE is quite a star in her own right, with a sax solo in BLINDSIDED, and even a whole singing verse in ABSOLUTELYCRANKINMYMF’INHOG. The whole set is filled with a lot of clapping, hands swaying, people standing up on their friends’ shoulders, and of course some moshing and crowdsurfing. The tough energy that BILMURI presents online fades away instantly in the strobe lighting and gets drowned in the smoke — it is simply a fun, happy time and an exciting place to be. After another short intermission, it is finally time for BAD OMENS to make an absolutely gorgeous, cinematic first appearance. Specter marks the beginning of an era, starting off slow and quiet to allow space for NOAH to fill the room with his raw, piercing screams, clinging onto the floor as if he cannot bear the weight of it himself. The minute the show begins, the crowd is holding their breath simply in shock of how beautifully it is all orchestrated. The massive screens surrounding the stage, multiple cubic structures hanging over their heads, pyro and smoke machines for every main chorus — the scale of it is clearly stadium-fit, and it is a rare but needed blessing for Alexandra Palace. Thousands of voices unite in singalong to Glass Houses and THE DEATH OF PEACE OF MIND, after which arrives a short break. Our eyesight is redirected onto the screens side-stage to let us watch short film clips with little to no explanation. The aesthetic resembles the music videos from recent releases, and it elevates the suspense even further. BAD OMENS have previously stated that an album is coming, with possibly quite extensive runtime — and as we can assume, more of the storyline unveiling. Building their own world and lore and lacing it with tension and vagueness is starting to be a popular trick amongst the scene; nonetheless, it is clear from the live reaction that the fans love it, as long as the original ideas keep flowing. Furthermore, it adds another element to the show: the lucky feeling of watching history unfold before your very eyes while the band is still in a limbo state. Not to forget, BAD OMENS are here first and foremost to crush the night with their performance, continuing the set with the fresh out of the oven Dying To Love and Left For Good. The songs off their past album The Death… are not left behind either, receiving some of the biggest feedback from the crowd. A sea of phones rises up during CONCRETE JUNGLE and Nowhere To Go, which at this rate might present as quite a problem of the TikTok music generation. While other attendees express resentment over the constant filming blocking their view and not letting them enjoy the moment — without choosing sides, at the end of the day, this phenomenon is another clear sign of how much love the fans pour into the band, doing anything to capture the feeling and let the music stay with them for longer. What It Cost / Like A Villain mark the beginning of the end, and everyone mentally prepares to soak in the last few songs. The vocalist runs a quick survey, looking how many people have seen BAD OMENS before, and for whom it is only the first time. The split is pretty even, but leaning towards the latter, highlighting the importance of this tour once again. Even though the album is not finished, the band could not hold it off any longer, and any fans who joined more recently deserved a chance to ingest the last breaths of the past eras too. After Impose comes a long and silent encore, following the band coming out to close off with the loud, eardrum-shattering Dethrone. And just like that, the lights are back on, and we hear Everybody Wants to Rule the World by TEARS FOR FEARS on our way out — everybody surely does, but only few can make it happen. BAD OMENS will continue to evolve and surprise us all, but just tonight, they undoubtedly already ruled the world of those 10,000 Londoners with no exception. Words: Mariia Bulkina Photos: Bryan Kirks

Tucked away in the basement of the Leeds Student Union is the Stylus, a respectably sized 1,000 capacity venue spread across multiple floors that each pack a punch. A sea of old-school metalheads and corpse-paint-draped goths were shuffling in, having braced the November bite to experience a night of nothing short of pure nostalgia. Tonight belonged to the Italian gothic metal legends LACUNA COIL. Celebrating 30 long years in the scene, the ‘Sleepless Empire’ tour acts as both a showcase of their tenth album and a retrospective of their most iconic work. Joined by long-time friends, Puerto Rican nu-metal unit NONPOINT, the lineup felt like an early-2000s time capsule. Amid thick fog and eerie blue lighting, the stage was scattered with the uncanny crow skulls from the headliner's newest album’s artwork. When the room finally went black, the crowd roared with anticipation. With nearly three decades in the game, veterans of their genre NONPOINT bounced out with a bang and a level of certainty in themselves that can only be forged with time. Lead vocalist, Elias Soriano, initially strolled onto stage with a can of Carlsberg in hand, but that casual stance quickly evaporated when he shouted, “Are you fucking ready to party, Leeds?!” As a psychedelic, early 2000s-esque graphic of the band's name shone onto the screen behind them, the opening notes of their 2014 hit ‘Breaking Skin’ rang out, and the entire band leapt in unison as the beat dropped. Unfortunately, their impressive raw energy was quickly undercut by a flawed sound mix. Soriano’s powerful and aggressive live vocal style, relying more on intense growls instead of the clean lines of the studio tracks, consistently drowned out other instrumentation. Their attempts to hype up the crowd also quickly lost steam, being hampered by too much repetition. Before launching into ‘Dodge Your Destiny’ from their 2018 album ‘X’, Soriano took a brief moment to introduce the band. This led to a running joke claiming they were nu-metal giants KORN, a joke that landed the first time, but repetition quickly dulled its effect. The decline in crowd engagement was most clear during their mid-set cover of Phil Collins’ ‘In The Air Tonight’, with noticeably fewer arms seen waving in the air and voices heard singing along. Despite these hiccups, the set came to an explosive close with their time-defying smash hit, ‘Bullet With A Name’, before they bounded off-stage to a warm applause. After a swift changeover, the atmosphere shifted. It was time for the main event, and the crowd knew it. Enveloped in corpse paint, each band member slowly crept out onto the stage as the tune of ‘Layers of Time’ filled every crevice of the room; an ominous introduction to their set. The setlist leaned heavily on older favourites such as ‘Reckless’ and ‘Kill The Light’, punctuated with notable moments from their newest album, including ‘Hosting the Shadow’ and ‘In the Meantime’. Before ‘In Nomine Patris’, Cristina Scabbia, lead vocalist, took a moment to attempt to create a ritualistic sense of calm, with the lights dimming and whispers into the mic of, “I repent… for my sins…” This atmosphere was swiftly interrupted by an impassioned fan shouting, “Cristina! Bellissima!” Whilst both Scabbia and co-vocalist Andrea Ferro fully embodied their dark alter-egos, bringing an impressive level of theatricality, the other band members' regular trips to the sound desk throughout the evening in between songs disrupted the immersion. Scabbia paused to acknowledge the difficulties of creating music outside of the mainstream in the 90s, particularly as a female-fronted band from Italy. “People would tell us we couldn’t do it… and we’re so glad we ignored them and did it anyway,” she said, before leading the crowd through a chant of “we fear nothing”. It acted as a powerful bridge into ‘Nothing Stands in Our Way’, serving as a fitting and emotional pre-encore closer. While waiting for the band to reemerge, chants of “vogliamo di più”, translating to “we want more”, echoed across the venue, to which the band surprisingly cheerfully obliged. They returned with a fierce run of tracks, consisting of ‘The Siege’, ‘I Wish You Were Dead’ and ‘Swamped XX’, before closing the night with the haunting melodies of ‘Never Dawn’. It was an enchanting and impassioned ending, proving that they have endured so long for a reason. With NONPOINT delivering a raw and kinetic energy, and LACUNA COIL bringing the darkness and drama they’re known for, the night left a memorable impression. Words: Chloe Sodeau Photos: Neve Saltmarsh

“Let’s keep this love here, let's keep this connection between us, none of this AI bullshit.” urges Masato Hayakawa of coldrain as the crowd is wrapped around his finger, hanging off every word. Back for their first headline shows in six years, the five piece Coldrain from Nagoya made their great return with a short UK and EU tour to accompany their latest EP which was released lastmonth. Tonight, in Manchester’s Rebellion we have a sold-out show, the band’s biggest headline show in the UK so far. First up on the bill was NOISEMAKER from Sapporo, longtime friends of coldrain. Despite forming in 2009 this surprisingly was their first time playing shows in the UK, making it a lifelong dream trip for them to be on this tour. Being an opener can be hard at any capacity, but NOISEMAKER had no issue with this. Despite it being only 6:30pm the whole crowd was jumping along, the band’s energy so infectious that everyone was up for joining in on the fun. It could have easily been mistaken for a headliner performance. A mix of the known J-rock genre combined with some rap elements makes up their identity, with ‘Name’, their most popular song, lighting up the room effortlessly. There was a slight shift in the atmosphere as all black donned four piece REVNOIR confidently took to the stage. Lead vocalist Maxime Rodriguez-Medallo graced the stage looking a lot like the late George Michael, kitted out in strong framed tinted glasses and a floaty frilled blouse. Their sound was very melodic with ghostly effects echoing from their Deftones-esque choruses, with tracks such as ‘Revenge’ and ‘Bang Bang’. Whilst there were a handful of dedicated fans in the middle of the pit, it felt a little forced to have two calls for a wall of death in such a small set. Another anomaly was when the band left the stage in an attempt to do an encore situation where the entire band left the stage to return a while later with a Stanley cup in hand, ready for their final song. By the time it was Coldrain’s turn, you could feel the excitement brewing. This is a band that newer fans have been wanting to see for a long time, confirmed when asked “who is seeing us for the first time?” and the majority of the room raised their hands. They have had more global opportunities after signing with Century Media Records earlier this year, and so far have played a few European festivals, but this is only the beginning. Opening with FREE FALL from the new EP Optimize, the quintet gently eased the crowd into what would be a seventeen-track long setlist that covered the new, old and everything in between. Sweaty, unprompted chaos filled the evening as every anthem was blared from both the crowd and the stage. Singing along was fully encouraged, and the masses happily obliged. Each member had their spotlight moment with cheers for the various solo parts they had over the course of the set. A highlight for fans of their older work, The Revelation was played from the 2013 album of the same name; the heavier breakdowns caused scenes as the venue head banged in unison. Many of the band’s openings from popular anime shows were played; the track MAYDAY went down a treat with Hayakawa fondly commenting that a lot of people might have found the band through the song. In a brief moment of quietness, we heard the cover of Alanis Morisette’s ‘Uninvited’ which soon crescendoed and charged into the next energetic track. Anime tattoos aloft, their final song of the night, ‘Vengeance’ had wall-to-wall interaction as you’d never seen. A true euphoric moment that made a great night for all involved. Overall, the new EP Optimize was scattered throughout the night. It complemented their other discography, earning the name of the tour suitably. The mutual love and respect between the performer and the audience were evident throughout, and their magnetism on stage was unparalleled. It is clear that they love what they do, even after 18 years, and the crowd responded well to that. It’s safe to say that the scene in the UK has a hunger for Japanese music, especially if the huge crowds for the likes of bands like SiM and Survive Said The Prophet at Download this year are anything to go by. Let’s hope they keep their promise to keep coming back for us to welcome them with the reception they deserve. Words: Danielle Henderson Photos: Cate Neves

With the ever-colder winter nights drawing in a biting chill, we caught a performance that blasts off with Halestorm taking over the BP Pulse Live in Birmingham. Known for electric live performances and continuous tours, the Pennsylvanian Grammy Award winning band is commanding stages all over the world in their Everest tour. Kicking off the night is our first support from Kelsy Karter & The Heroines. The band’s front is Kelsy Kater, who grew up in Australia, whereas the rest of the members of the band: drummer Sebastian Boyse, guitarist Matt Peach and bassist Tommy Gent all grew up together in Derby, England. It’s certainly an interesting mix but blended together perfectly and with all the confidence and stage presence to captivate any level of crowd. Bloodywood are next, with an infectious sound and attitude that has the crowd moshing from the very start to the end of their set. With traditional Indian dhol drums and sound mashed together with metalcore, a fusion you don’t expect- but find it fits perfectly. A niche that speaks to many of being different and outcast because of following your dreams and passions, a true icon of modern metal and barrier-breaking. A white cloth hangs blocking the stage from view, a steadily building rhythm of ‘Black Sabbath’ as a nod to Black Sabbath who are from Birmingham. Suddenly, the silhouettes of each band member are projected amongst flashing backlights, stretching to the very top of the ceiling with an arm up and the sign of the horns, Lzzy Hale front and centre. Flanked on either side by guitarist Joe Hottinger, bassist Josh Smith and on drums Arejay Hale. Blasting straight into ‘Fallen Star’ as the cloth is ripped away and members are revealed behind it. The staging nods to the newest album cover for Everest, mountainous and with a winding path that leads up to a demonic figure engulfed in shadow that resides at the summit of these mountains. ‘Love Bites (So Do I)’, the Grammy Award winner for Best Hard Rock/Metal Performance in 2013, is still just as infectious. Accompanied by green confetti that rains down across the stage and crowd, from the opening notes to soaring lead vocal moments, only showing why they deserved that win. Taking every moment to connect with each other and the crowd, pointing, strutting and commanding the stage, each a powerhouse of modern rock. Jets of fire bursting from the stage, an unexpected but welcome aspect for the second half of the track, and used throughout the rest of the show. Taking a more slowed and spotlighted moment for Lzzy Hale, ‘Like a Woman Can’ is a drawn back and vulnerable performance. A red keyboard is brought out front and centre, Lzzy stands under a bright spotlight that focuses our attention on the more raw and unfiltered lyrics. A seductive and intimate song that focuses as a tribute to bisexuality and an awakening of understanding one's sexuality. Understandably, for a Birmingham gig and for Lzzy’s connection to Ozzy Osbourne, the night is filled with many tributes and dedications. During the introduction of ‘How Will You Remember Me?’ is noticeably a highlight of this, with the singer encouraging a chant of “Ozzy” which echoes loudly around the arena. “This is for the late, great, Mr Ozzy Osbourne. This is called How Will You Remember Me?” Mixed with an entire audience quickly turning phone torch lights on to sway along with the slow song and touching lyrics, “What will be my legacy?” and “Life goes on in memories”. A poison chalice, a twisting serpent cape and deep heavy chanting, ‘Rain Your Blood on Me’ is a darker twist in the performance. A war cry and primal scream against the constraints of female empowerment and societal expectations. Halestorm aren’t afraid to speak up about the topics and politics that matter to them. Taking a moment for Arejay Hale, a drum solo alone on stage, where we are encouraged to make history with the “first ever Birmingham drum mosh pit”. And while the mosh may be small, the dedicated few are shouted out and cheered on by all and with an accompaniment of thunderous drumming no less. Closing their set with ‘I Gave Your Everything’, pics flying into the audience, wide smiles and still the high energy they have rocked the stage with all night. Matt Peach on guitar effortlessly soaring through an intense, melt-your-face-off solo that has everyone in awe. It’s a surprisingly emotionally intense song, and they play to the beats of it perfectly while keeping the crowd in the palm of their hand. Taking back the stage for our encore with Lzzy opening with “This one’s for Ozzy”, before playing a cover of Ozzy Osbourne’s ‘Perry Mason’. Starting respectfully and true to the original before taking it to an infectious, loud Halestorm twist that has everyone singing along at the top of their lungs. “Here’s to Ozzy Osbourne, Here’s to Birmingham. Here to rock and roll. Here’s to us. Here’s to all of us tonight!” An entire crowd of outstretched arms to the ceiling, a slow sway that carries across the scale of the arena. Passionate fans join in word for word for a perfect slower encore number that connects everyone in the crowd, no matter what their background. Ending on ‘Everest, from the new album, with insane belts from Lzzy that soar and last an infinite amount of time with the power of a true rock star behind them. Halestorm are a true icon of what modern rock should be. Still paying tribute to those before them who have inspired, yet having firmly carved their own sound and inspiring others in their journey. Mixed with indisputable stage presence and charisma, we can’t wait to catch them at the next gig! Words and photos: Tyler Whiting

Cold Saturday night or not, the O2 Institute is already buzzing early as fans pour in for STRAY FROM THE PATH’S last UK tour. For twenty years, they’ve been causing chaos in the punk and hardcore scene. Now they’re ready to call it a day, but they’re dropping one last album and leaving with a punch you won’t forget. CALVA LOUISE didn’t ease into the night; they hit straight into their first track ‘‘Tunnel Vision’’ like a warning shot. The room was still filling when the energy on stage snapped everything into focus. JESS ALLANIC took control instantly, sharp and precise yet wild and unpredictable. One moment pacing with intent, the next erupting forward, pulling the crowd in as if gravity had suddenly shifted towards the stage. The band behind that force hit just as hard. CALVA LOUISE don’t blend genres; they crash punk, electronic noise, and alt-rock together until the mix feels volatile. Riffs hit like blows to the chest, basslines crawled up through the floorboards. The initial crowd included a few sceptics near the back, watching with cautious interest. But as the set intensified, their stance shifted. By halfway, they had moved forward, drawn by the band’s rising energy. GRAPHIC NATURE signalled their arrival before they even fully stepped into the lights, and an air-raid siren blared through the room, followed by a tense, spoken monologue that silenced all conversations. By the time they stepped onto the stage, the atmosphere was already tense. They launched straight into “Headstone,” a blast of distortion and controlled fury that hit like a warning shot, and the response was instant bodies colliding, the floor shifting beneath the weight of the surge. “Locked In” followed with even more edge, its jagged rhythms and suffocating heaviness pushing the room into full-blown chaos. Any calm that had existed earlier was gone; GRAPHIC NATURE had turned the space into a pressure chamber, with the crowd moving as if they knew what was coming next. The set never slowed; each track hit harder than the last. By the finale, the room was buzzing with pure adrenaline. “Fractured” wrapped it up with a grinding, relentless finish that sent one last surge through a crowd that refused to stay still. As the main support act, Australia’s ALPHA WOLF, stepped up next, bringing a sudden spike in intensity. They went straight into “Ultra-Violet Violence,” blowing the room wide open within seconds. The impact was immediate, thick, punishing, and impossible to ignore. Before anyone fully recovered, they crashed into “Creep,” sending bodies surging across the floor nonstop. Mid-chaos, frontman LOCHIE KEOGH took a moment to address the crowd, grinning as he shouted, “We’re all weird, but we’re all a family. We’ve come to warm you up, let’s fucking move”. ALPHA WOLF kept pushing harder instead of easing off. Each breakdown hit with more force, the pit widening as they leaned into their heaviest material. The playing stayed tight but never lost that rough, unpredictable edge that fuels their live shows. When they kicked into “Akudama,” the reaction was instant. The floor erupted, the crowd shouting every line back, and the room hit its peak energy of the night. It was a sharp, decisive closer that left everyone more than ready for STRAY FROM THE PATH to take to the stage. Finally, the moment everyone had been waiting for, New York hardcore heavyweights STRAY FROM THE PATH. The crowd was already fired up as they walked out to “Kubrick Stare,” letting the intro build just long enough to tighten the atmosphere. The moment the track dropped, chaos broke loose. People pushing forward, shouting every line, the room erupting, the band had the place from the first hit. One thing that never changes with STRAY FROM THE PATH is the heart they pour into their set. It’s easy to get swept up in it. DREW YORK has a real talent for reading the room and pumping the energy every time he steps forward, pushing the crowd to a new level. TOM WILLIAMS was the backbone of the onslaught, ripping through the set with guitar work that barely gave anyone a moment to breathe. He powered through “First World Problem Child” and “Shot Caller,” as if trying to shake the walls down. He didn’t stay still for long, darting across the stage, throwing himself into the noise, and launching the whole room into an even messier, louder frenzy. From there, things only got wilder. DREW pushed the moment further, telling people to get up and crowd surf as the band launched into “Fuck Them All to Hell.” That was all it took. More bodies started going over the top, transforming the room into one big celebration. “Goodnight Alt-Right” and “Chest Candy” hit particularly hard, with the crowd shouting every line back at the band, knowing this was the final run. DREW kept addressing the crowd with genuine emotion, reminding everyone, “We wanted to give you new music and then peace out,” and later, “We are a community, and I’m proud we were part of this community.” It carried a weight that everyone could feel, as if saying goodbye to something that mattered. They wrapped it all up with “Fortune Teller,” leaving the crowd sweaty, exhausted, and grinning at the chaos they’d just experienced. No encore, no grand farewell, just one last hit before the lights dropped. Birmingham saw a band leave entirely on their own terms, full force to the very end. If this really is goodbye, it’s one nobody in that room will forget anytime soon. Words and photos: Kieran Atkinson

On a cold November night in Camden, a hardcore lineup as good as any seen in the city for many a year rolled through to give the good folks of London a damn kicking, and warm them up for the cold winter months ahead. GORILLA BISCUITS are, of course, progenitors of the genre, and with their dancey, energetic hardcore being supported by that of TERROR’s no-nonsense, pulverising riffage and up-and-comers DYNAMITE’s pumped up modern sound, the night was poised to be a riot - and a riot it was. Young upstarts from London DYNAMITE acted as a how-to of what’s good about modern hardcore, with a tour-de-force performance that warmed up the venue in all of about twenty five minutes. Bringing together sounds that range from that of GALLOWS and HAYWIRE to TRAPPED UNDER ICE and even AGNOSTIC FRONT, the hardcore crew ripped through their set at breakneck speed and doubtlessly earned themselves a plethora of new fans. One particular highlight was their track Hardcore Pride, but truly, each riff and breakdown were more than worth the time we spent watching them and gleefully headbanging along. Subheadliners TERROR need no introduction. As one of NYHC’s preeminent bands, and to this day one of the most cited influences for other hardcore bands, they’re amongst an incredibly small group of acts who have not only influenced a huge number of bands, but also have lasted longer than ten years - a real rarity in hardcore it feels. Classic tracks like Always The Hard Way were brought out early in the set, much to the excitement of the many crowdsurfers and moshers in the room, and naturally Overcome was as popular as ever. It’s nigh unnecessary to say how good Keepers Of The Faith and Return To Strength were, but as is entirely expected both were brutally powerful, and had half the crowd yelling along with veins popping from necks and foreheads right to the back of the room. Whilst GORILLA BISCUITS may have not quite had as much of an influence on real modern hardcore culture as they deserve, the influence they hold musically is unprecedented. Bands like DYNAMITE can trace their sound right back to the New Yorkers’ two excellent albums, and to this day most of hardcore would not have the same energetic spin and dancey feel that it does without the likes of GORILLA BISCUITS. A straight edge band with just two releases before then breaking up feels like a stereotype within hardcore, but these guys did that long before most bands you might see as falling into that were even conceived of, and also wrote some of hardcore’s catchiest tunes whilst doing so. New Direction got the room back to sweating and jumping after a half hour rest, whilst Forgotten summoned oldheads and their vocal chords like moths to a flame. High Hopes (no, not the annoying song by that annoying band) was one of the quickest at greasing up knees and elbows alike, and the plethora of covers performed - Minor Threat by the same band, alongside a CIV track or two and even some BUZZCOCKS were all received with cheers and whoops, and Start Today was a triumphant way to cap off an excellent return. Whilst the band weren’t even close to the heaviest on their own lineup, nor anywhere near the youngest, their experience and undisputed status as hardcore icons shone through to cement the show into the hearts and minds of all in attendance. Words: Jasmine Longhurst Photos: Claire Cabanac

In an era where Frutiger Metro is back in a big way, it’s a bold act for a band to dub themselves “Y2K-core” - and it’d be all too easy to rely on aesthetics alone to sell tickets. Nostalgia is a hell of a drug, and Gen Z is reaching that age they’re beginning to crave that high. For Oxford rockers South Arcade, though, this just isn’t enough. They’ve crafted a sound that meets the hype, fitting snugly into the playlist that auto-played on your 2007 MySpace profile, yet adding their own signature spice. They’ve perfectly captured the throwback-zeitgeist whilst feeling ever-relevant and original. South Arcade have been ones to watch for a while now, and in Manchester they truly showed the New Century Hall why. The night began with Liverpudlian indie-rockers STONE, who have been causing quite the buzz here in the North West. They consumed the stage with a ravenousness, maintaining a high energy from one song to the next. There’s a grit in lead singer Fin Power’s voice that really justifies his 90s sleazy rock and roller stage presence, particularly suiting the songs “Leave It Out” and the brand new “SWEET HEROINE”. He spun a story about his long lost loves (a succession of three broken iPhones) before meeting The One (a Motorola phone), then launched into the post-punk sheen of “Moto”. The band were rewarded for their charismatic efforts with a warm reception from the crowd - heckles of “I think Moto Moto likes you!” solidified a friendship between the stage and pit. STONE were certainly well-suited as openers, ending on “Money (Hope Ain’t Gone)” - a fiery and brash but poignant song that left a buzz in the air. Electricity ran through the room by the time South Arcade took to the stage, weaving in and out of larger-than-life (and larger than them) spray paint cans to bring us the bright riffs of “Fear of Heights”. The set had all the markers of a real banger - we chanted along with the anthem “DANGER”, ran a circle pit around guitarist Harry, and jumped so hard you could actually feel the floor of the New Century Hall moving with us during “Supermodels”. Each song gleams with a melodic charm, something that’s become familiar in their discography. Despite being early on in their tenure as a band, South Arcade definitely have a familiar and recognisable house style to their tunes - catchy hooks, catchy riffs, and that slick-sharp production that really shines on tracks like “HOW 2 GET AWAY WITH MURDER” where skiddering car sound effects punctuate the drop. This really brings an element of fun into their performances - the band themselves share cheeky grins onstage whilst watching the crowd go nuts at all the right parts. What’s more is that it feels like South Arcade are genuinely humbled and grateful to have the room in their pocket - lead singer Harmony was flattered by fans bringing art along, and knowing every word to every song. She sang the last chorus of “Riptide” with a fan who had brought a banner, begging to share the mic with her. These guys just feel like a band who love giving back and don’t take a moment for granted - something you could really feel was reciprocated by the adoring crowd, which has grown in swarms since they were here last. Each song felt like a fan favourite, an instant classic. Fans responded well to the new songs from their upcoming EP “PLAY!”, especially the slow mushy ballad of “Blood Run Warm”, the audience a sea of waving arms and phone torches. Harmony noted onstage that they felt their discography was missing a “slow tearjerker” - this is a band thinking three steps ahead, from the recording studio to what plays well in the room, and it shows. They’re known for their bombastic energy, so it was nice to see them play with something new. The viral hit “stone cold summer” had all phones out to the stage to catch a glimpse of bassist Ollie singing adlibs, only for them to go swiftly away lest they be lost in the moshpits of “2005” closing out the night. This is a deserved closer - a song that’s already proven its place among a “2020s Best Of” compilation CD for the scene (or perhaps a cassette is more their style?) with its rambunctious yet almost siren-like instrumental hook. Admittedly, although the set was tight and each song was calculatedly chosen to swing to the next, the night felt a little short - they have so many great tracks perhaps now seen as “deep cuts” that could’ve kept us thrashing around in that pit for way longer. It’s clear South Arcade know their stuff and are intent on constantly evolving, but perhaps this was a missed opportunity to show off how they’ve always had that spark. South Arcade are a band steadily on the up, and this gig really seemed like a triumph for them. This was one of their biggest shows to date, and fans old and new showed up for them en masse. It’s always a sign of a great night when people are leaving sweaty, fringes plastered to foreheads, glasses steamed, and South Arcade left the people of Manchester a glad reason that they were in dire need of a shower. Words: Erin Strom Photos: Anna Goley

Out of feral feminine rage, we have all gathered to scream and cry alongside DELILAH BON for her final stop of the tour in London. "This is what this show is for, a safe space for anyone to let it out, this is therapy in a way”. Indeed, during one of the coldest seasons in the UK’s (political) climate, being surrounded by a crowd of warm, accepting people might ever so slightly heal something within you. Championing and advocating for all marginalised folks, whether part of her team or her audience, DELILAH never fails to teach a lesson on allyship and how to keep taking a stance without sacrificing your artistic integrity. But first, CRAE WOLF takes the stage to truly amplify the energy in the room, ready as ever to “shake, shake, shake, shake”. For those of us unlucky enough to miss the SPIRITBOX x MEGAN THEE STALLION legendary Coachella performance, the East London star is here to scratch that itch in no less perfect execution. Self-described ‘baddie metalcore’, the singer even has her own little gimmick, and carries it through the whole set: as soon as she chants “CRAE”, the audience must follow, in the most beastly manner, “WOLF”. Infectious personality and amazing crowd work cannot sell it on its own; thankfully, CRAE also brought in some earworm material. Do U Think I Care and On My Body served as the ideal dance and warm-up tunes, letting the audience know straight away they will also have to “do some workout” tonight. By the middle of the set, CRAE has already turned leader of the pack, so it was no difficulty getting everyone to scream along with the lyrics of her latest single Mouth. Even though the band had some technical difficulties towards the end, they were ready to throw out the microphone and finish it off barehanded. A perfect fit for DELILAH’s support, it is almost her other side, both sets complementing each other beautifully. Patiently awaiting the grand entrance, the crowd is taking in every second to rest before screaming their hearts out again. Finally, DELILAH appears on a dimly lit stage, making the atmosphere even more tense, but also more intimate. PRINCELESS PRINCESS seems to be the perfect pick to set the tone, with the dress taken right out of a fairytale; it is clear tonight she takes the London crown. Speaking of dressing how you want, no song intermission is lost without a good story or a political comment being made. In a world where most artists shy away from expressing their opinions and beliefs, DELILAH BON embeds it in all of her art with almost no exception, and this is what the fans keep coming for. Although some fast rapped lyrics may be hard to sing along to, the biggest lines of songs like I Don’t Listen to You and Witch are still heard clearly even at the very back. One of the most beautiful moments of the night has to be her performance of Not The President — within the signature rainbow lighting, the team even managed to include a beam in the colours of the trans flag, in solidarity with the struggles the community faces both in the UK and across the pond. DELILAH always goes an extra mile to connect to the audience, coming down from the stage to hold hands with everyone she can reach, making it impossible not to shed a tear. Although it does not feel like a minute has passed, we are slowly nearing the end of the show. War On Women is dedicated to all women of South Africa, Sudan, Congo and Sudan, while the following I Wish A Bitch Would is sung in commemoration of everyone we lost to violence. Throughout the whole evening, DELILAH BON is determined to “Set the tone for the next year, because we’re gonna get louder, more obnoxious, and more in your face” — and this energy is truly amplified with every track she plays. To close off on a high, Dead Men Don’t Rape is a cathartic run-through, with middle fingers in the air designated for all those who dared to ever wrong us. Finally, with the most unapologetic BUSH ending the set and consequently the whole tour, the singer throws a bouquet of roses into the crowd, as if to determine who the next bride will be. Or perhaps, it determines who will someday continue the legacy that DELILAH BON has already begun setting in stone. Words: Mariia Bulkina Photos: Artemi Falzon

The nine-song release To Carry On is MORKE’s most ambitious release to date, as WING’s style continues to shift from atmospheric black metal to more melodic, medieval-inspired sound, or as the artist himself likes to call it, “Castle Metal”. Featuring intricate soundscapes that are primarily composed of distorted guitars, fast-speed snare and raw screams, the songs do not necessarily blend into each other, yet the flow of the melody makes it feel like they do. Being centred around historical context, the first few songs - Sublymed Respair, Falling Leaves and Ashes of Feudalism do sound urgent and aggressive with the use of instruments. The intricate riffs, as well as solos and bridges do add more depth into the melody, that is simple, yet with the right use of each instrument creates a soundscape, that takes over ears instantly. Myne Owne Hertis Rote, Coup D’oeil and Viola Odorata continue with the same narrative as the previous songs, which does add a feeling of repetition, especially when the melody sounds almost identical in each of the songs. While the riffs are changing around and the pace slightly differs as well, it does not help the songs in many ways to stand out from the rest. The last three songs, Crystalline Firmament, Wysterian Arbor and To Carry On are the same situation, with the first mentioned having a little change in terms of different beginning. CJ YACOUB does help WING tremendously to give a little more pizzazz to the doomy melody, but overall the melody does not bring anything innovative. To Carry On, the title track, that is also the closing song of the album, does sound victorious, and can be seen as a song of a hero, who won a life-changing battle, but that is up to everyone’s interpretation. MORKE’s latest album To Carry On diversed from his typical sound a little more than his previous works, and explores the sounds of guitar in bigger detail, but does not bring anything new to the scene. All the tracks sound very similarly, with the opening and closing tracks even having similar riffs, and after a while, the listen-through might become less exciting. Score: 4/10 To Carry On was released on 10th October via Words: Katerina Stepanikova Photos: Morke

With their reigning position in the 'Big eight of thrash metal' and over forty years on the scene, it is no surprise that TESTAMENT only gains more and more popularity amongst the metal fans. With the current line-up of ERIC PETERSON (guitars, backing vocals), ALEX SKOLNICK (guitars, backing vocals), CHUCK BILLY (lead vocals), STEVE DI GIORGIO (bass, backing vocals) and CHRIS DOVAS (drums), the band not only did multiple worldwide tours, with the recent one taking place this October, but also released a completely new album. Bringing ten new songs on the table with Para Bellum, the thrash metal icons made sure their comeback is as pompous and aggressive as it can be. The opening track For The Love Of Pain already features some meaty riffs right from the beginning, and it absolutely does not stop there. Accompanied by the electrifying sound of snare, that does calm down only a handful of times, as well as BILLY’s raspy vocals and screams, the five-minutes long song is not only a great opening act, but is also a statement of TESTAMENT’s undying inspiration and dedication to their craft. While being all about the fast tempo, the band catered to their fans, who are enjoying big guitar solos as well, with songs like Shadow People, High Noon and Havana Syndrome. The precision and years of experience of PETERSON, who is the only founding member left in the band, and SKOLNICK, who joined two years after, are easy to find in each of the songs, and it is no surprise the segments are an important part of their music, with intriguing riffs, that always bring something special to each of the tracks. Starting with acoustics, Meant To Be brings a change of pace early into the album. The ever-so-appealing combination of the sound of acoustic guitar with the complimentary drums is a classic one, and always appreciated as well. Being a rock ballad in the midst of songs that can be proud of their moshpits, Meant To Be is with no doubt a candidate for one of the best features of the whole release, as its emotional lyrics, big guitar solo and overall build up are a beautiful and touching surprise. It is no secret that TESTAMENT has left one of the most prominent songs of Para Bellum for the end, and it is no other than the title track itself. With DI GIORGIO’s bass adding depth to the already complex song and DOVAS’ drums leading the way, the song is a prime example of what thrash is about - big screams and even bigger and faster melodies. Although the song does not boast any surprising features in the first five and a half minutes, the rest of the song closes with a melancholic acoustic guitar, really making it a one-of-a-kind closure. Para Bellum is not an innovative, never seen before project, but rather one that expands on elements well known to every fan of TESTAMENT. Many songs sound similar and do not offer anything new, yet the band still manage to make the album nostalgic and exciting to listen to, from monstrous guitar solos to emotionally charged melodies. Even after more than forty years on the metal scene and with the title of the most popular and influential band on the thrash metal scene, they still show their fans that they did not lose their spark and dedication. Score: 6/10 Para Bellum was released on 10th October 2025 via Nuclear Blast Records. Words: Katerina Stepanikova Photos: Fred Kowalo

The term 'experimental' when applied to music can mean a whole host of different things, from being a little too outside of the box to fit in a more mainstream or better-known genre, or something completely nonsensical that could loosely be defined as music if you listened really hard. The newest album from KARITI sits in between those two definitions as an experimental, ambient, folksy record with some compositional choices that seem a little too out of left field to be enjoyable. Still Life kicks off with the introduction track Spine, which is a short but sweet ambient drone track with some soft, noisy textures sprinkled throughout. You would hope it’d be an example of what to expect from the album, which, in some respects, it is, but what you might not expect is some of the interesting “noise” additions to the follow-up track, Nothing. With eerie piano comes this often off-putting sound not unlike the noise you’d hear from an instrument cable that's about to give out. Nothing has the potential to be an incredibly dark and haunting track, immersing the listener in an atmospheric, soul-stirring bath of music, but you’re ripped almost immediately by the crunching noises sporadically thrown around during the first act of the song. It’s a shame that this acts as the first real introduction to Still Life, as it may cause many to switch off before really discovering the rest of the album. If you’re able to move past the jarring distortion in Nothing, you’ll be treated to seven tracks of otherworldly creations of piano, droning synths, and supernatural vocals that tell a tale of “the aftermath of being galvanised into a disillusioned reflection on human life and the way it is lived by most of us in the world in its current state" according to EKATERINA the Russian-born composer behind KARITI. The album is somewhat existential in its existence in that it’s both full of substance lyrically, but musically it’s fairly barebones with piano being the main focus of the record accompanied in different tracks by droning synths, crunching bass, and drums. It’s an interesting choice which allows for listeners to take a journey along side KARITI throughout the record. The album does feel like it has a slight identity crisis as it playfully dances among different genres, from ambient drone (Stems), to experimental synth (Fragile), to folk (Still Life), to sludge doom/post metal (Baptism). Still Life feels like it wants to find a place among them, but doesn’t quite find a home. Overall, Still Life presents itself as an interesting take on the experimental ambient genre. While the album has elements that some may enjoy, there are others that fans of the genres this album tends to bridge, won’t. That’s not to say KARITI isn’t without talent; the album is dark, haunting, and spectral. It has a handful of enjoyable tracks for fans of post-metal, some may also enjoy the folksy, ambient, and noise elements, too, but looking at the album as a complete body of work, you may find there to be a handful of tracks you’d happily skip. Score: 4/10 Still Life was released on 7th November via Lay Bare Recordings. Words: Aaron Richardson Photos: