This years RADAR Festival proved once again why it’s one of the most vital fixtures in the UK’s heavy music calendar. Across three stacked days at Manchester’s Victoria Warehouse, the lineup delivered everything from riff-laden chaos to emotional release, polished precision to unpredictable brilliance. With crowd surfers flying, new songs debuting, and energy peaking in every room, the festival captured the full spectrum of modern heavy music. No two sets felt the same and that’s exactly the point. RADAR didn’t just showcase a scene; it celebrated its evolution, in full force, under one very sweaty roof. VMBRA Fresh from their Metal to the Masses win, VMBRA took to the Kerrang! stage with something to prove and delivered with full conviction. From the first note, the atmosphere was electric. The room filled quickly, and so did the energy as the band launched into a set that showcased both technical precision and emotional weight. Led by a commanding female vocalist with range and presence, VMBRA blended prog flourishes with a traditional heavy metal backbone. Their dynamic shifts kept the crowd guessing, moving from ethereal build-ups into tight, aggressive riffs with seamless ease. Every member felt locked in, creating a sound that was both expansive and tightly controlled. What stood out most was the confidence. VMBRA performed with the sort of command you expect from a seasoned act, not a fresh name.Their set wasn’t just a result of winning Metal to the Masses, it was a warning shot for anyone not already paying attention. This was a RADAR debut to remember. Pintglass Pintglass took to the Kerrang! stage on Saturday like a pack of high-vis-clad demolition workers ready to wreck the place. With cans of Stella in hand and menacing grins to match, they brought organised chaos to Manchester’s Victoria Warehouse, turning the tent into a hardcore rave. Their set was loud, loose, and loaded with bounce. Pintglass lean into the loutishness, but the precision behind the riffs proves they’re more than just a gimmick. Chugging guitar lines met pulverising drums, while shout-along vocals made it feel like a pub brawl put to music. The crowd lapped it up. Mosh pits opened early and stayed open. Between songs, banter flew just as quickly as the beatdowns. There’s a strong sense that Pintglass aren’t trying to be anything they’re not, this is unapologetically British hardcore with tongue firmly in cheek and fists flying. RADAR thrives on variety, and Pintglass offered a much-needed dose of chaos and charisma. They’re not here to reinvent the wheel, they’re here to kick it down the stairs, pint in hand. Oceans Ate Alaska If there was one band on Saturday’s Kerrang! stage that knew how to weaponise technicality, it was Oceans Ate Alaska. The Birmingham metalcore veterans came armed with surgical precision, explosive breakdowns, and a pit-commanding energy that had the entire floor of Victoria Warehouse caving in. Frontman Joel Heywood, stalked the stage with feral intent, throwing out guttural lows and piercing highs with effortless control. The band’s rhythmic complexity, syncopated riffs, scattergun drums, and mathy switches, created a kind of chaos you could only mosh to if you trusted your instincts. And plenty did. Tracks like ‘Hikari’ and ‘Metamorph’ whipped the crowd into a frenzy, but it was newer material that hit hardest. Leaner, meaner and honed for the live space. Oceans Ate Alaska haven’t lost their grip on the genre, they’ve tightened it. There’s a relentless momentum to their live performance, no frills, no filler. For a band that’s been quietly carving their place in modern metalcore for over a decade, this felt like a statement: they’re not fading out, they’re doubling down. Novelists France’s Novelists brought a sharp-edged elegance to Saturday’s Kerrang! stage, delivering a set that was equal parts intense and cinematic. Seamlessly blending soaring choruses with punishing riffs, the progressive metalcore outfit showed exactly why they’ve earned such a loyal following across Europe. Opening with the jagged anthem ‘Lost Cause’, they wasted no time pulling the crowd into their world. Tracks like ‘Do You Really Wanna Know?’ and ‘Colas’ showed off the band’s dynamic range which is equal measures vulnerability and venom, while the standout ‘Mourning the Dawn’ hit like an emotional punch in the face, layered in atmosphere and distortion. Vocalist Camille Contreras proved magnetic, moving with urgency and conviction, her voice cutting through the noise with clarity and power. The band’s chemistry is tight, and even with their complex arrangements, everything landed clean. There’s a sense that Novelists are standing on the cusp of something much bigger. They’ve refined their sound into something immediate yet expansive. At RADAR, they turned technical finesse into a weapon, and they left the stage with more than a few new fans in their corner. Normandie Normandie might have been closing their run for the year, but they played Saturday’s Kerrang! stage like it was the start of something huge. Announcing it as their final show of 2025, the Swedish alt-rock trio poured absolutely everything into their set. It was tight, emotional, and full-throttle from the first note. Vocalist Philip Strand, drew every eye in the room with a natural confidence launching straight into melodic highs delivered with sheer precision. Tracks like ‘Babylon’ and ‘Flowers for the Grave’ were met with arm-raised singalongs. For a band that walks the line between anthemic rock and polished metalcore, this was them in their element. No ploys, just sheer connection. Every moment felt deliberately dialled up: guitar melodies shimmered under heavy percussion, choruses hit with full weight, and the crowd responded with a wave of energy that never dipped. There was something emotional about it too. As the set closed, the band lingered a little longer, soaking in the applause. It didn’t feel like goodbye, it felt like a bookmark. Normandie might be stepping offstage for 2025, but judging by the response in Victoria Warehouse, they’re returning to something much bigger. Shields London’s Shields brought both atmosphere and aggression to Sunday’s Kerrang! stage, opening with a spoken-word monologue that set a dark, cinematic tone before launching into full-scale heaviness. It was a sharp contrast that had the crowd drawing in close before shoving them headfirst into chaos. Their sound sits in the pocket of modern metalcore, but it’s the way they build tension that sets them apart. Every pause, drop and scream felt deliberate, tightly controlled yet emotionally raw. And when the breakdowns hit, they hit hard. Mid-set, Shields introduced a brand new, unreleased track. An unexpected move, but one that landed well with the crowd. The new material felt darker and more refined, suggesting a band evolving with purpose. It was a moment that made people stop filming and start listening. Vocal delivery ranged from clean and contemplative to full-throated, heavy screams that cut straight through the mix. With each track, they layered technical precision over emotional weight. Shields didn’t just deliver a strong set, they left behind a sense of anticipation. Whatever’s coming next, based on that new song, it’s going to be worth shouting about. Yonaka Yonaka brought something rare and radiant to the Kerrang! stage on Sunday. Ethereal pop-rock with teeth, wrapped in affirmations, anthems, and absolute vocal power. Frontwoman Theresa Jarvis is a magnetic force. Her vocals sharp, soulful, and defiant, powered the entire set. Effortlessly flipping between vulnerability and full-blown power. “Hug each other, love each other,” she beamed before launching into ‘Call Me A Saint’, her voice flying above bouncing beats and shimmering synths. It felt less like a gig, more like collective therapy in glitter and distortion. Later, ‘Ordinary’ came with a challenge: “Why settle for anything other than the best?”, and the crowd responded in kind. Arms in the air. Crowd surfers flying. Every word yelled back like it was gospel. While heavier acts dominated elsewhere, Yonaka carved out a world of their own, one that pulsed with positivity but never lost its edge. The set was upbeat, polished and brimming with intent, proving that emotion and energy doesn’t always need to come in the form of breakdowns and blast beats. With a sound this confident and a message that sticks, Yonaka didn’t just win over the RADAR crowd, they nestled themselves in everyone’s post-festival playlist. Words: Katie Edwards Photos: James Smith

London’s New Cross Inn has become significant venue in hosting some of the UK’s most wild underground shows – and tonight was no exception. With a stacked line up featuring Headstone, Still in Love, Spaced and the amazing Terminal Sleep, the night delivered pit fuelled chaos and emotion. Each band brought something unique to this gig – it really demonstrated hardcore in all its forms; sweaty, furious and fun. Having only just released their debut EP ‘Demo 2025’ in April, Headstone proved to be a fitting and impactful choice to open the night. They brought a good crowd of locals from the London hardcore scene and delivered a set brimming with energy and confidence. From the first sound of guitars blasting out, the room ignited. The pit opened up and most of the audience were windmilling and spin kicking - pure unfiltered chaos that perfectly matched the drive coming from the band on stage – so much so that one of the members of the band jumped right into the pit, windmilling and spink kicking with the audience. Their set was a lot of fun despite being so short as they mentioned that they only had 12 mins worth of songs to play. The band played some songs off their EP such as ‘Any Last Words’ and ‘All Bark, No Bite’ which went down very well with the crowd. Still in Love are a rising force in the London hardcore scene. They just released their latest single ‘Inherit’ a few weeks ago and it hit hard live – energy and excitement from both the band and the crowd. One of the most powerful moments during their set was when they dedicated their song ‘Sober’ to friends that had passed away. It was a beautiful tribute; you could hear the emotion in the singers voice each word carried so much meaning. Still in love continue to prove that they’re not just heavy, they are a band with lots of meaning behind their songs, a band with depth and emotion. Spaced, a five piece from Buffalo New York absolutely tore through their set with relentless energy, proving that they are one of the most exciting new names in hardcore. Their unique sound, fusing hardcore punk and psychedelic experimental sounds had the crowd moving from stepping onto that stage. The frontperson Lexi’s presence and sharp delivery cut through the distorted guitar tones with clarity and rage. The band played each note to perfection especially when they played ‘Bad Energy’ and ‘Tear It Apart’. Spaced are one of those bands that deliver an attention-grabbing set and the audience loved it. Terminal Sleep are one of the most exciting new bands emerging from Australia’s hardcore scene and last night at the New Cross Inn they proved to us exactly why. From the first song to the last they commanded the room with intensity and fury – they’re a force to be reckoned with. From the first note of ‘Tired and True’ chaos reigned. The guitars screeched like steel beams while the bass pulsed through the floor like a heartbeat. Every drum hit was sharp and punchy. The pit was a warzone – windmilling, spin-kicking and total carnage and the band fed off this madness perfectly, particularly during ‘Spineless’. Front woman Bec Thorwesten was an unstoppable force, her screams piercing through the venue walls creating this atmosphere so charged it felt like the entire room was about to explode. Playing their new song ‘ They Circle Below’ caused chaos, Bec’s powerful screams hit hard as the venue got hotter and the crowd sweatier from the spin kicking and moshing in the pit. Hearing the new song a day before release went down a treat – it is so good! During ‘A Liars End’ the low distorted guitars, rumbling heavy bass and tight explosive drums dragged the crowd deeper into Terminal Sleep’s dark and beautiful chaos. Terminal Sleep’s set flew by as they finished on ‘Death Therapy’ and really left the crowd wanting more. Words: Sita Gee Photos: Katerina Stepanikova

Trivium reshaped the 2000s metal scene by fusing the aggression of metalcore with the precision and flair of classic thrash. Their breakout album, Ascendancy, brought melodic hooks, dual-guitar harmonies, and both screamed and clean vocals into the spotlight, appealing to fans across subgenres. At a time when metal was branching out, Trivium helped bridge the gap between old-school and modern styles, inspiring a generation of bands to prioritise technicality, versatility, and evolution in their sound. They are also headlining Bloodstock on the Friday, which is 10 years since they last appeared. With that being said, lets get into the top 10 Trivium songs. 10) Down from the Sky This is ranked as one of their top songs, it is a powerful track from their 2008 album Shogun. The song blends melodic and heavy elements, featuring clean verses, aggressive choruses, and intricate guitar work. Lyrically, it critiques war, greed, and destruction, focusing on how these forces rain devastation. It’s a great mid-filler during their sets. 9) Dying in your arms This song is very often ranked among their standout early tracks, it comes from their 2005 album Ascendancy. It’s one of the band’s more melodic and accessible songs, blending metalcore intensity with catchy hooks and clean vocals. The lyrics deal with emotional betrayal and heartbreak, using death as a metaphor for the pain of a toxic or broken relationship. 8) Silence in the snow This is the title track of their 2015 album. Marking a shift in style, it features clean vocals throughout—no screams—highlighting frontman Matt Heafy’s evolved singing technique. Musically, it draws from classic heavy metal influences like Dio and Iron Maiden, with soaring melodies, powerful riffs, and a dramatic, anthemic feel. Making it one of their very few they have which features no screaming vocals. 7) Strife From their 2013 album Vengeance Falls. The song combines tight, groove-driven riffs with melodic vocals and a strong sense of structure, showcasing the band’s continued refinement of their sound. Lyrically, this song explores themes of inner conflict, emotional turmoil, and the constant push-and-pull of personal battles. The chorus “This is the strife that never ends” highlights the feeling of being trapped in a cycle of pain and struggle. 6) Until the world goes cold Getting into the album again, Silence in the Snow (2015) resonates deeply with fans due to its emotional intensity and message of perseverance. The song’s powerful, melodic structure, paired with lyrics about enduring hardship and staying true to oneself, provides comfort and strength to listeners facing personal struggles. Its accessibility helped broaden Trivium's fanbase while maintaining a strong emotional connection, offering a sense of solidarity and resilience to fans during tough times. 5) The Sin and the Sentence At the half way point, we have The Sin and the Sentence, it resonates strongly with Trivium's fans due to its raw energy and thematic depth. The song’s exploration of guilt, redemption, and personal struggle strikes a chord with listeners who relate to its message of grappling with one's own sins and seeking redemption. The intense riffs, aggressive vocals, and powerful breakdowns create an empowering experience, motivating fans to confront their own challenges and emotions. For many, the song represents a cathartic release, fueling their drive to overcome adversity while connecting them to the band’s cathartic expression of internal conflict. 4) In the Court of the Dragon Adventuring into Trivium’s 2021 album, this self-titled song is a dynamic and ambitious track that blends melodic death metal, thrash, and progressive elements. The song features intricate guitar work, powerful drumming, and both harsh and clean vocals, delivering a mix of aggression and melody. Lyrically, it explores themes of power, corruption, and internal conflict, with the "court of the dragon" symbolizing a place of temptation, control, and the consequences of surrendering to darker forces. Fans love the track for its complexity, energy, and blend of classic Trivium elements with new, experimental sounds. 3) The Heart from your Hate Going back to The Sin and the Sentence (2017) album, it is an energetic track with thrash riffs and metalcore elements. It focuses on overcoming hate and personal struggles, urging strength and resilience. Fans love it for its high energy, catchy chorus, and powerful message, making it a concert favourite. The song creates an electrifying atmosphere, motivating crowds to embrace positivity and empowerment. 2. Pull Harder on the Strings of your Martyr Throwing it back to their 2005 album Ascendancy this song is a high-intensity track that combines metalcore aggression with thrash elements. The song features intricate guitar work, fast-paced riffs, and a mix of harsh vocals and melodic choruses. Lyrically, it addresses themes of defiance, self-determination, and fighting against manipulation, using the metaphor of pulling "harder on the strings" to regain control. It deserves to be ranked number 2 on the list because it encapsulates Trivium's early sound, fierce, technical, and emotionally charged, while becoming a fan favourite and a staple in their live shows. Its relentless energy and powerful message make it one of their most iconic tracks, influencing countless fans and bands in the metalcore scene. 1) In Waves Was this expected? Most likely cause its an absolute banger which is proven to bring the mosh pits out. It’s considered the number 1 song by fans because it perfectly encapsulates Trivium’s ability to balance raw intensity with emotional depth. The track resonates deeply with listeners, offering both catharsis and empowerment. Its technical complexity, combined with its anthemic, sing-along chorus, makes it a standout not only in Trivium’s discography but also within the broader metal scene. At concerts, “In Waves” creates an electrifying atmosphere, with fans singing along, headbanging, and feeling united by the song’s power. Its combination of heaviness, melody, and emotional rawness makes it the ultimate Trivium track for many. With it being 10 years since they last played the main stage at Bloodstock Festival, they have been touring around the world, and it will be an unstoppable and incredible show at in the field of Derbyshire. Will it beat the last set they did? We will be the judge of that! Catch Trivium at Bloodstock Festival this summer, headlining alongside Gojira and Machine Head Words: Ciara Hicks-Evans

Mangata has a miraculous talent for always landing on absolutely boiling days, and this year was no different. Set across five stages in Nottingham, Mangata brought a diverse, packed lineup to each one. Between the bands, the beer garden pints, and the small market, it was definitely a lovely day for everyone. Shadowvale Shadowvale were the first band on the BSB TV stage, Nottingham's own sludge-core icons. Opening with a slow, brooding intro, they gradually ramped things up into heavier, riff-centric territory. The dual vocal approach, gruff, low-end growls paired with more resonant, almost chant-like shouts complemented the heavy instrumental mix. Alunah Alunah took the stage and didn’t let go. A vibrant stoner-doom and psych mix of a set was exactly what the Liquid Light stage needed to kick off the day. Built on solid rhythms, engaging interplay, a megaphone, and strong crowd connection, their set felt both grounded and electric. A superb early highlight. Paradise Sins Paradise Sins took the small yet busy Tap ‘n’ Tumblr stage by storm with a performance packed with retro rock flair, featuring massive riffs, catchy hooks, and no pretension whatsoever. The band found their groove right from the start, but it was the lead guitarist who truly captivated the audience—striking poses as if every chord was a chance for a photo, completely in the moment and clearly enjoying every minute. Their cover of “Ain’t No Grave (Can Hold My Body Down)” came across like a bold declaration, filled with passion and confidence. Loud, assertive, and played with genuine enthusiasm, their set served as a powerful reminder that classic rock energy still resonates deeply when delivered with this much joy. Red Rum Nottingham’s own Red Rum hit the packed Rescue Rooms main stage with full sails and no subtlety, showcasing the same commanding presence they had on the Sophie Stage at Bloodstock last year. Mixing furious folk metal with a playful theatrical flair, they powered through a set of high-energy new tracks that resonated just as well as the crowd favorites. The audience was completely engaged from the start, but things really took off during their wild cover of “They’re Taking the Hobbits to Isengard” a mix of absurdity, brilliance, and loud enough to shake the pint glasses behind the bar. It was big, fun, and unmistakably Red Rum doing what they do best: transforming any stage into a seafaring, beer-slinging, fantasy-fueled riot. Death Warmed Up Nottingham’s own Death Warmed Up stormed the Tap and Tumblr stage with all the energy you’d expect from M2M finalists who clearly know how to work a crowd. Their set was packed with pun-filled banter about their band name, non-stop jumping off the speakers, and a drummer who kept the energy going by twirling his guitar sticks mid-beat. This wasn’t just a warm-up, it was a full-throttle, high-energy show from a local band that’s hungry to make some noise. Defences Defences delivered a standout set on the Heavy Metal Hairdresser stage, blending metalcore precision with an emotional intensity that made every moment feel sincere and hard-earned. Their performance balanced heaviness with atmosphere, locking in a packed crowd who responded with constant movement, hand hearts, and full engagement from start to finish. From hand hearts flying between the crowd and stage, to the guitarist aiming a fan into the pit mid-set because it was that hot, it felt like a real connection, not just a performance. With a Bodega headline already on the horizon for December, Defences looked and sounded like a band on the edge of something bigger: confident, connected, and ready for larger stages. Frog Lord Frog Lord packed out the Red Room at Rescue Rooms with a crushing dose of doom metal, their masked presence adding an eerie theatricality to the already suffocating atmosphere. Opening with “The Mystic Toad” and moving through a set thick with slow, tectonic riffs, they created a wall of sound that held the crowd in a steady, hypnotic grip. Midway through the set, a plastic toad, perched on the drum kit like a silent overseer was ceremoniously lifted by the vocalist and held aloft, briefly worshipped by the crowd like a doom metal messiah. It was strange, brilliant, and completely on brand. Frog Lord don’t just play doom, they summon it. Abduction Abduction unleashed a raw, uncompromising set that cut through the festival noise with sheer intensity. The frontman, face painted like a ritualist, growled into the mic, “Show us some violence,” summoning a confrontational, visual spectacle that felt almost ceremonial. Their performance was a concentrated blast of noise and power, highly visual, provocative, and absolutely immersive, leaving the crowd rattled and fully engaged. Coilguns Coilguns stepped up from packing the Red Room supporting Pupil Slicer to commanding the main stage at Mangata with pure chaos. Hailing from La Chaux-de-Fonds, their noise-rock set was a frantic blur of intensity, with raw songs about imposter syndrome and plenty of lying on the floor moments. The frontman’s wild energy saw him running right up to the crowd, and even practically into my camera, creating a frenzied, unfiltered connection that perfectly matched the band’s chaotic sound. The Five Hundred The Five Hundred delivered an impressive performance on the main stage, highlighting their distinctive fusion of djent and progressive metal. Originating from Nottingham, the band enthralled the audience with their complex rhythms and powerful melodies. Their setlist comprised tracks from their recent album, GHOSTWRITER, including "Rainmaker," "In The Dark," and "New World." With their precise musicianship and captivating stage presence, The Five Hundred demonstrated that they are a significant force in the UK metal scene. The Raven Age The Raven Age closed out Mangata’s main stage in style, packing the crowd with their seasoned modern metal blend. They first made waves on the Rescue Rooms’ Red Room supporting Pupil Slicer and have since leveled up to commanding main-stage presence. Their set was tight yet explosive, feeding off their massive arena experience, having supported Iron Maiden on “The Book of Souls” world tour—bringing precision riffs, soaring vocals, and polished stagecraft. With a busy main stage and eager crowd, they demonstrated a clear evolution: no longer a support act, but true headliners who earned every cheer and then some. Mangata Festival proved itself once again as a vital celebration of the heavy and the weird, where rising local acts shared stages with international chaos merchants and every room felt alive with something loud, strange, or completely unexpected. From the sweaty intensity of the Tap & Tumblr to the scale of the main stage, the day was a showcase of just how rich and varied the underground continues to be. Whether it was toads on drums, metalcore hand hearts, or doom-laden rituals, Mangata didn’t just bring bands to Nottingham, it gave them a space to go feral, and the crowd loved every second. Words and Photos: Lizzie Jones

Rebellion Festival returns for its 29th year (in some iteration) and is now looming on the horizon of summer like a punk monolith. With eight indoor stages and over 300 bands you really are spoilt for choice and it does make a weekend in Blackpool all the more worthwhile. Whittling 300+ bands down to a top 10 list was a feat of huge proportions and we definitely haven’t touched on a lot of the incredible bands you can see across the weekend. Take this as a starting point for your look through the immense line-up. Not only do Rebellion have some of the biggest names in the scene, they also are big supporters of the underdogs too. For an excellent variety of up-and-coming bands in the scene check out the Rebellion Introducing Stage. Read on for our top 10 recommendations across the weekend. Bruise Control A genre smashing band in the tiniest shorts and biggest mullets you’ve seen outside of the 70s, Bruise Control have truly broken into the festival circuit in a big way. If you missed them at boomtown last year or Manchester Punk Festival, Bearded Theory and 2000 Trees so far this year, make sure to catch them at Rebellion. High energy, great stage presence, and taking elements of classic punk, hardcore, garage, and indie, Bruise Control have something fresh and interesting about them that makes them a must see. Circle Jerks An incredible legacy act and one to say you’ve seen before their 50th anniversary are Circle Jerks. Early originators of the hardcore scene in LA, featuring Black Flag’s original singer, Keith Morris, they are cited as influences for many of the bands you see on the circuit to this day. With six studio albums and countless shows under their belt, Circle Jerks bring gritty hardcore and determination to Rebellion with messages from the 70s still standing true to this day. Skinhawk Super fresh on the Reading scene formed in the summer of 2024, Skinhawk have made a name for themselves and fast. Immersive political nerd-punk that takes you on a journey from your DnD table to your local pub to a loud angry punk show, their sets are shout-a-long fun, angry, and melancholy. Skinhawk are only just starting out so now is your prime chance to brag about seeing them before they’re huge. Millie Manders and The Shut Up Taking pop-punk and making it cool to listen to again, Millie Manders and The Shutup take hard hitting topics like sexism, poverty, and the rise of the far-right and make them accessible and poignant. More than just a band, Millie Manders and The Shutup are true activists and voices in the community, taking their time on and off stage to talk about what’s going on in the world. They are fantastic musicians and Millie has an excellent voice well suited to keep a crowd engaged and taking a message home with them. Bite Me Bambi Blending the rhythm and bounce of the ska-punk you love to hear with pop influenced melodies, Bite Me Bambi are a refreshing light-hearted dance-a-long band. One of the newer bands on the bill formed in 2019 in California and independently releasing their debut album Eat This earlier this year they have a lot of energy and joy. Having succeeded in breaking into the UK ska-punk scene and being well-loved across the country, there are even more opportunities to see lead singer Tahlena Chikami in Taylor More Swiftly, a ska-punk Taylor Swift covers band featuring Beth Pegler of Old Chase and Boys Ruin Everything, Karl Smith of The Bar Stool Preachers, and Andy Baker of Andy B and the World who you can see on tour later this year. Muddy Summers & the Dirty Field Whores Clad in the black and red of anti-fascism, Muddy Summers & the DFWs live and breathe their message. Foot-stomping, chest-pounding folk-punk and protest songs bring the crowd together in a unifying and gratifying way. With humorous takes on everyday issues and the wider political climate, tackling big topics in such a way that there is something for everyone to laugh and dance along to. Phat Problem Bright, brash, and loud, Phat Problem come clad in UV and flash warnings. Noisy street-punk from Brighton they are a high-energy act not to miss at Rebellion. Lead vocalist Frankie brings their anger at the ‘cis-tem’ to the stage alongside their love of performing in a captivating way that you can’t help but slam dance along to. Talking personal struggles, politics, and disrupting the mainstream, they will keep you wanting more. Skunkworm Guildford based Skunkworm are maybe the youngest band at Rebellion this year, formed from college projects and now playing more and more prominent venues and line-ups, Skunkworm have an unfiltered energy that we hope they cling onto. Bringing a fresh take to post-punk with incredible vocals from lead singer Harrison they are a band you should make time to see at Rebellion. Split Dogs British rock’n’roll to a T. Split Dogs have an infectious energy built for live shows, with grungy vocals and great riffs to boot they have found themselves equally at home on both punk and rock line-ups while bringing something new to both. Gigging hard across Europe and the UK Split Dogs are all go and enrapturing crowds and building their ever-growing fanbase. Wonk Unit There is so much to say about Wonk Unit and so much that you can’t describe until you experience it. Formed in 2006 as a diary and catharsis for lead singer and Daddy Wonk, Alex, the band has become so much more for them and everyone involved. Proper punk you can sing, dance, shout, and cry along to and well worth a watch and then several more watches. Rebellion offers much more than just bands with a dedicated literary stage and talks across the weekend too. You can check out the likes of Chumbawamba, Neville Staple, and Irvine Welsh talk about their careers, experiences, and links to the punk scene, these talks are always fascinating insights into key figures in the scene. Rebellion takes place at Winter Gardens in Blackpool from the 7th-10th August. Tickets are still available and set times are up on the website so you can plan your weekend. https://www.rebellionfestivals.com/ Photos: Kayleigh Fryer Words: Kayleigh Fryer

PVRIS celebrated the 10th anniversary of their debut album White Noise with not only a re-release of the album featuring some reimagined versions of songs (including a feature from Courtney LaPlante!), but also an accompanying tour with dates for both Manchester and London with support from Julia Wolf. PVRIS’ last Manchester show was cancelled due to the venue flooding, resulting in their highly anticipated return, as the crowd piled into the stunning Albert Hall there was a clear air of excitement in the room. The intimate chapel-turned-concert hall was the perfect venue for this unforgettable event for an album worshipped by their fans. Julia Wolf opened the evening, this tour being her first time playing in Europe ahead of her own EU/ UK headline tour at the end of the year. Her setlist featured primarily songs from her new album ‘Pressure’. The religious theming in ‘Kill You Off’ being especially appropriate for the venue, as well as playing other songs discussing trauma, self worth and issues within relationships, amongst other topics. Wolf closed her set with her well known song ‘In My Room’ which went down well with the audience, including fans holding up Julia Wolf printed thongs which the artist was selling on the merch table. PVRIS take to the stage, led by Brian Macdonald and touring member Denny Agosto Vega, with singer Lynn Gunn following closely after. The crowd is fixated from the get-go as the first half of the setlist is White Noise front to back, with the only exclusion being ‘Empty’. The mic was well and truly on as Gunn performed each song effortlessly. As fans sang along to every word it was evident how impactful this album has been in people’s lives, especially for the queer and alternative communities as you look across the audience and see pride- themed hand fans, couples sharing moments together and a sea of PVRIS merch from each era over the past 10 years. The second half of the setlist consisted of various PVRIS songs from each of their albums, with the exception of “All We Know Of Heaven, All We Need Of Hell”, but with the 10th anniversary of their second album being in the not too distant future it will be fun to see what they pull out of the bag for that. 2024 release ‘Burn the Witch’ came first, setting an upbeat tone which contrasted greatly with the songs featured in the first half of the setlist. Following the same theme, up next is ‘Snakes’ from the Arcane series as well as “Good Enemy”, “Animal” and “Dead Weight” which sees fans screaming along. The chaos is brought to a calm once again by “Oil & Water” before we reach the last few songs of the night “Monster”, “Hallucinations” and last but not least, “Goddess”. Words and Photos: Libby Percival

Everyone’s feeling a little weird right now. The passing of something. Everyone knows it, but no one quite knows how to say it. Sabbath have called it. Ozzy has called it - for real this time. It’s one of those seminal occasions that requires a new method of timekeeping; henceforth, we are living in 0 A.S. (After Sabbath) in the metal calendar after 57 years. There’s an air of uncertainty. What bands will carry the generational torch? How will the genre evolve? And most poignantly put by one of the participants of this event, where do we go now? Metal legends such as Motorhead’s Lemmy and Sabbath alumni Dio did not get a grand sendoff whilst they were still alive, but on Saturday in Birmingham, it was first and foremost a sendoff to the great Ozzy Osbourne. It would be disingenuous to post this as a “Sabbath tribute” as no tracks from beyond Never Say Die! were mentioned. This is Back to the Beginning after all, but it would have been poignant to do a proper sendoff to the legacy of the mighty Black Sabbath, as well as, after all, this is their final show together. Rage’s Tom Morello was in charge of proceedings tonight, and he claims to have put on the biggest rock show since the Freddie Mercury tribute show in the 90s. Bold words. Did he deliver? Editor's note: All views in this article are the writer's own honest opinion and do not reflect the views of Out Of Rage. The first thing you notice in Villa Park is the mutterings of a thousand tongues, mostly Americans. There’s no British shame here to speak of; tales of past Ozzy shows in cities that may or may not exist (Lexingham?) fly as free as the seagulls overhead. A Herculean effort was made to be here; there’s a sense of relief, but overall weariness in the atmosphere, and it seems you’d be hard-pressed to find someone who had an ‘easy’ time getting there. And sadly, a lot of people did not end up getting there, their dreams ostensibly crushed by random acts of disruptive serendipity; be it the air traffic control strike in France or just general travel strategies that were not meant to be. The vibe is relief heavily laced with exhaustion. There’s a palpable sense of “thank god I’m here” throughout the grounds, and it all feels a bit dreamlike. Once inside, confusion reigns. The prevailing question is; how do people get in the venue? Queues seem to form at random, and in a display Brits would be proud of, many seem to just join them for the hell of it, only to be told that they’re in the wrong queue. The security and the ushers do a commendable job here of wrangling this intercontinental human jamboree. VIPs get a goody bag absolutely filled with commemorative items of all shapes and sizes, including a beanie, Ozzy vinyl record, a poster, and a metric ton of other things. In an age of cost-cutting, this comes as a pleasant surprise. The merch stand is borderline unapproachable due to the load of people there. Also, the burgers outside are £9.50, but aren’t bad at all. Anyway, enough about the goddamn goody bags and burgers. Who wants to hear about that? This is the concert of a generation, isn’t it? That is true, but there are a few things to go over beforehand, as this show was so densely packed with happenings that to describe them all in sequence would be foolishness. In between acts, they play various clips of Ozzy in bizarre commercials where he appears in pop culture moments. Highlights include him on-stage with The Beatles and standing beside Sam Jackson and John Travolta during their famous Pulp Fiction scene. Also included are video messages from other figures who couldn’t attend, notably fellow Brummies Judas Priest, and also the almighty AC/DC. Things in this review might seem a little negative to the “you should be thankful to be there!” crowd, but rest assured, everyone was thankful to be there, and this is simply a play-by-play account of what it was like to be in the venue. There already seems to be a strange divide in opinion on some things between those who watched the livestream and those who were there, rest assured that certain procedural misfortunes may not have made it into the stream. Regardless of when things start, everyone isn’t wondering if it will be good, but just how legendary this whole thing is going to be. It begins with very recently engaged Slipknot DJ Sid Wilson (to Ozzy's daughter Kelly) opening on the turntables with a decent if scattershot selection. Some transitions don’t land, he tries out a noise to transition from Blue Öyster Cult’s ‘Don’t Fear The Reaper’, but it ends up sounding like feedback combined with screeching police sirens. But he’s not one of the main acts, so we move on. Then, an American emcee waves an Aston Villa flag whilst mispronouncing “Birmingham,” getting both jeers and laughs and shortly after, heavyweight sludgers MASTODON run giddily onto the stage, clearly fuelled up and ready to go. They’re still Brent-less, but that doesn’t seem to make much of a difference other than guaranteeing their biggest song, “Oblivion” is not on the setlist. They start out with ‘Black Tongue’ where bassist and frontman Troy Sanders does the thing where he enunciates every single word. They soon move on to ‘Blood & Thunder’, which is where things start to go a bit south. The rest of the band seems blissfully unaware that a technical glitch has rendered a speaker completely out of sync, making it sound like there are two ‘Blood & Thunder’s’ on at the same time. By the time they start the first Sabbath cover of the day with ‘Supernaut,’ the stereo is still finishing up the last song; it’s a fairly discombobulating experience. Regardless, their cover is well above par, and drummer Brann Dailor has the perfect vocal register for it. The drum break in the middle is where people get their first real taste of “holy shit-ness” when Eloy Casagrande, Max Duplantier, and Danny Carrey join in on smaller toms. Holy. Shit. The concert setup seems to be clear to people now; it’s proper Live Aid style, where the bands can do maybe two or three of their own songs and one Sabbath song, seemingly of their choosing. To speed things up, they employ a Lazy Susan stage so they can set up the next band whilst another one is playing. Before you have time to process the diligence of it all, Aquaman himself, Jason Momoa, walks on stage in that very odd Mr. Monopoly hat he keeps insisting upon wearing. He waxes lyrical on how lucky everyone is to be there and how much of a massive fanboy he is - and fair play to him. He’s the real emcee for the day, and just seems as happy to be there as everyone else. The second band RIVAL SONS, who many might know from their opening of the previous Sabbath's final’ tour, come and 70s up the proceedings with ‘Do Your Worst.’ They’re a great group of performers, and their playing is tight as a duck’s ass. Frontman Jay Buchanan wears what appears to be a velvet purple suit, which should tell you everything you need to know about their sound. Their cover of choice for this evening is ‘Electric Funeral,’ it turns out to be a great choice as they do a damn near 1-to-1 rendition of the classic number. Thoroughly impressive. They go out with ‘Secret’ as Jay proceeds to channel Robert Plant as much as he can. A solid group that received a fittingly good reception. It bodes well for the rest of the day. Thrash legends ANTHRAX always seem rearing to play any place they go, it may be controversial to say, but they’re easily the most dynamic of the thrash metal “big 4.” Wasting no time they volley into ‘Indians’ with such haste that the pit has already kicked into one of their signature wardances. Their cover of ‘Into The Void’ is another exceptional one, the steady beat a headbanger’s dream, hands rising into the air in awe. As there isn’t much buzz about it online, it’s definitely the most underrated cover of the entire affair. A studio version of this would not go amiss at all. It’s just unfortunate that they only had time for two songs due to the lengths of each song. They soon retreat off stage left, but they leave a chuffed mass in their wake. Then it’s HALESTORM, who come from a town that’s named after a good 90% of pubs in the UK; Red Lion, Pennsylvania. One of the few women on the lineup, frontwoman Lzzy Hale is a goddamn electrical substation, with enough power in her voice to run the lights in Aston for months. ‘Love Bites (And So Do I)’ and the ballsy addition of a new number ‘Rain Your Blood On Me’ go down an absolute storm and turn sceptics into believers. That is, until they kick into their cover of Ozzy’s ‘Perry Mason’, where they somehow manage to switch into 5th gear even more than they had. It really is a monster of a cover, Hale’s voice works so amazingly well to add her own flair onto Ozzy’s vocal line. The rest of the band brings in a strong rhythm as well, punching through like a struck anvil. It’s a bit of a shame that the sound desk couldn’t decide whether to crank the bass or kill it, as the sound tends to shift inconsistently during the performance; hopefully, something cleaned up in post. Still, easily one of the top performances of the entire affair. It looks like someone got a ‘motherfucking invitation’ of their own, as LAMB OF GOD cut like a polished knife through ‘Redneck’ and ‘Laid to Rest.’ The crowd instinctively throw themselves at each other in a Hobbesian ‘war against all’ style, not seen since the dawn of humanity, even rid of the dreads Randy Blythe seems to psychically influence thousands to his will. Mark, Willie, Art, and John are terminating their instruments with extreme prejudice. It seems the gravity of the event has influenced their playing in a very positive way. In fact, their cover of ‘Children of the Grave’ is so goddamn good that people were begging it to come to streaming almost immediately after it finished, which luckily for them, it did. It’s a perfect blend of their signature groovy-death growl style with the original’s trotting pace. A lot like Type O Negative did in the 90s with their cover of Black Sabbath’s self-titled song, Lamb of God made it completely theirs. In a display of Hunter S. Thompson gonzo madness to match his t-shirt, Blythe not only seems to get lost in the hype and fall down, but also throws both of his shoes into the crowd after they’re done. Let’s just hope they weren’t Air Force 1s. Then comes out ‘Tom Morello’s super group A’ where the first song is a grandiose rendition of Ozzy’s ‘The Ultimate Sin’ once again by the remarkable Lzzy Hale and a charcuterie board of other great musicians including Ozzy guitarist Jake E. Lee, Extreme’s Nuno Bettencourt, former Megadeth bassist David Ellefson, Faith No More’s Mike “Puffy” Bordin, and Rick Wakeman’s own progeny, Adam Wakeman. The boos that ensue when the next act comes out are staggeringly loud in the stadium, and the few cheers they receive are nearly completely washed away by the sheer lack of people wanting them to be there. The beehive of boos got to him, and he couldn’t wait to leave that stage as he rushed into ‘Shot in the Dark’ much to the chagrin of Jake E. Lee. There’s a huge shift in the vibe as he plays, suddenly there’s negativity in the air, and it hangs heavy like a noxious cloud for the rest of his performance, which is objectively pretty poor. Breaking into the classic ‘Sweet Leaf’, which he doesn’t do anything particularly interesting with, he retreads the record as pedestrian as he can. I believe that booking this guy for the performance was a mistake, because no matter where you stand, as a large part of the media conversation will now be squarely focused upon him and his views outside the concert, rather than honouring the legacy of Sabbath and Ozzy. Ugly Kid Joe’s Whitfield Crane comes out and does a pretty nothing-of-note cover of ‘Believer’ that features Sleep Token’s II on drums. (Nice of at least one of them to turn up.) But soon afterwards, YUNGBLUD comes out to do a rendition of all-time Sabbath tearjerker, ‘Changes.’ Now this is where the review really seems to veer off from general opinion, because while it’s generally being lauded, it wasn’t as good as it could have been. The world has seen what can be done with a song like ‘Changes.’ As if the original wasn’t as solemn as music could get, soul singer Charles Bradley made a cover back in 2016 that breaks the hearts of all who listen. In a way, it felt like the song was his, or that it easily belonged with the other Berry Gordy tracks of the Motown age. The song had the potential to have the entire stadium in tears, weeping like babies to the stripped-down melody. But Yungblud’s rendition seems to not attempt any sort of sombre angle - quite the opposite. In his hands, the song becomes more of a statement, the subtlety of Geezer’s lyricism meekly and brokenly lamenting a failed relationship with the stiff-upper-lip words of “I’m going through changes” becomes literal, and it feels like Yungblud is telling us about some changes he seems to be going through, but he’ll get over em’ – right? You don’t have to look far to see how tonally confusing this whole thing is as he sings about how “all my days are filled with tears” whilst triumphantly raising his fists. You may have liked it, but in the end he sadly Robbie Williams’ his way through what could have been the emotional point of the proceedings. Elation isn’t the only feeling that can be conjured through music, you know. The next few minutes has you asking yourself bizarre questions: Why do I exist? Why is Jack Black playing ‘Mr. Crowley’? Why isn’t he on-stage? Why is this particular section of the show so bizarre? In fairness to Mr. Black, it’s not a bad cover at all; it’s just a shame he couldn’t be there to cover it himself. There could have been a whole Minecraft movie reunion up on stage with Momoa in the proceedings; it would be a great way to celebrate Black Sabbath’s legacy… somehow. It's all looking a bit weird, the “oh wow!” moments have all but dried up, and the lines for food and beer grow ever longer. That is, until grunge gods Alice In Chains emerge. William Duvall and Jerry Cantrell are a performing powerhouse that has the entire stadium waking up. After ‘Man in the Box’ and ‘Would?’ - because of course, those are the two songs they played - they come out with ‘Fairies Wear Boots.’ It’s a great cover, yet they don’t put their own special stamp on it. They instead seek to emulate as much of Sabbath as they possibly can, which in itself is respectable. Plus, the crowd is going bananas over it, so that’s got to count for something. From this point, it seems like ‘Back to the Beginning’ really reveals itself as the legendary gig that was promised. GOJIRA aren’t really a band. They’re more akin to a tsunami or earthquake, an unstoppable force of nature that inspires awe and terror like their namesake. They also happen to possibly be the finest metal act around right now. Their musicianship is as sharp as the edge of a diamond. ‘Stranded’ and ‘Silvera’ are just as magnificent live as they were when they first struck the metal world in 2016. They also class up affairs with a performance of their song of choice for the Olympic games, ‘Mea Culpa (Ah! Ça ira!) featuring mezzo-soprano Marina Viotti on co-vocals. Their choice of cover was ‘Under the Sun’ from ‘Volume 4.’ It is a great song, one of the most underrated Ozzy era Sabbath songs in fact, and a good cover. But it’s palpable that Gojira didn’t grow up with Sabbath, as evidenced by the short length of the whole thing and- some dare -slightly unenthusiastic playing. It may have been an illusion, and it may have been different in the livestream, though that’s the way it looks in the arena. Not the slam dunk expected, but still totally awesome. Old Blighty holds its breath for their return as headliners next month at Bloodstock. We then bear witness to a drum-off between Travis Barker of Blink-182, Chad Smith of Red Hot Chilli Peppers, and once again Tool’s Danny Carey. It’s an impressive few minutes, with all of them competing over the main riff of ‘Sabotage’s’ ‘Symptom of the Universe.’ Tom Morello, Extreme's Nuno Bettencourt, and Quiet Riot's Rudy Sarzo perform the other instrumentation over these guys hammering their kits. It’s an exciting bit of kit flourishing, and keeps us all sated for what comes next. Before you can say “what the fuck is happening,” Billy Corgan from the Smashing Pumpkins, Tool’s Adam Jones, and KK Downing are on stage playing Judas Priest’s ‘Breaking the Law.’ Corgan’s wearing some long priestly sash as he belts out Halford lines in his trademark nasally voice. It’s all very weird, with people in the audience seen turning to each other in confusion. At this point, the more inebriated audience members are happy that Rob Halford has made an appearance, blissfully unaware that it is - in fact - the guy who did ‘Mellon Collie’ and ‘Siamese Dream’ there instead. It’s a pretty novel cover, not much to do with Ozzy or Sabbath, but a classic Brummie anthem nonetheless. It just sounds like Priest with Billy Corgan doing the karaoke really. They then break into ‘Snowblind,’ and many metal elitists scoff at the prospect of such a classic song being made by… by a “poseur” like Corgan. But to hell with them, Corgan does a commendable job, channelling some heaviness in his voice seemingly not conjured since 1994’s ‘Pices Isacariot.’ Put that in your pipe and smoke it. Then come the “surprise guests”, and surprise! It’s Sammy Hagar! From Van Halen! And he’s doing Ozzy’s ‘Flying High Again’ like it’s the final track on ‘5150.’ He’s in good form here and everyone seems to be happy to see him. After a bit of a restrained rendition of set-staple Montrose song ‘Rock Candy,’ which seemingly nobody is interested in, he bows out in favour of Mr. Ghost’s current persona Papa V Perpetua. Papa’s a rolling stone here, in full Ghost uniform he brings a genuine stage presence to the Ozzy classic ‘Bark at the Moon’ in a firecracker rendition. Just when you thought it couldn’t possibly get any better, they introduce the Rolling Stone’s Ronnie Wood and Aerosmith’s Steven Tyler for a heavenly cover of blues number ‘The Train Kept A-Rollin.' It’s an all-out rock and roll bash; the Freddie Mercury tribute moment is finally here. People jump out of their seats when Tyler throws off his magnificent black and white snakeskin leather duster and dives headlong into ‘Walk This Way.’ For someone who had to cancel a tour due to vocal issues, he sounds right as rain. He and Ronnie do one last cover of Zeppelin’s ‘Whole Lotta Love’ keeping the momentum going like the Flying Dutchman, and the show goes from a tribute into the last stand of 20th-century rock. Next up is the resurrected PANTERA, who dedicate the performance to two former members who are both on record as saying they don’t want the band to continue without them. Doesn’t stop the performance from being great. ‘Cowboys from Hell’ and ‘Walk’ have the audience moving like a wave, still riding that high of Tyler’s performance. Zakk Wylde, who would return later on, makes his first proper appearance here, channelling Dimebag as best as he can. Not only do they perform a great rendition of ‘Planet Caravan’ that sounds straight from the record, but they hit out with ‘Electric Funeral…’ again. Odd seeing as Rival Sons already did that one earlier, which makes you wonder how much coordination there was behind the scenes regarding the covers. You wouldn’t be amiss expecting TOOL to only fit one track into their setlist due to their massively lengthy songs. But you would be wrong. In fact, they fit three. Seeing them out in the open feels a bit wrong, and singer Maynard Keenan is uncharacteristically at the forefront of things (although still behind his bandmates); there’s no hiding in the sunlight. They begin proceedings with ‘46 & 2’ and then careen into their choice cover, ‘Hand of Doom,’ a song that almost feels tailor-made for the group with its staccato pacing feeling like something from ‘Fear Inoculum.’ We can only beg that the band sees reason, and this one also gets out as a studio recording because it’s an absolute masterpiece of a track on its own. It transitions pretty seamlessly into ‘Ænema’, which plays them out. Tool appear to be unstoppable, and put on another one of the highlight performances of the day. SLAYER! The battle cry of many an annoying metalhead, but right now that statement seems proper as ever. The newly reunited thrash legends are one of the three big 4 acts on today, and begin robust as a raging bull with ‘Disciple.’ Multiple mosh-pits open like whirlpools in a rough sea as the titans unleash their wrath, with Aston screaming out ‘GOD HATES US ALL’ for the first and possibly last time in its history, lord only knows what the locals' thoughts on that were. Into ‘South of Heaven’ next, and the impetus continues intact, they somehow fit in a cover of ‘Wicked World’ between it all to create the greatest metal sandwich of all time. Then ‘Raining Blood,’ then ‘Angel of Death,’ and like magic, the tired crowd is given energy anew. Outstanding. Some even liked it so much they went to London the following day and caught them at Finsbury Park, not even god can keep down the metalhead with a taste for blood. Next up, GUNS N' ROSES. They start with a surprise, a piano cover of ‘It’s Alright’ from the less lauded ‘Technical Ecstasy.’ It’s a really nice surprise, and Axl Rose’s voice sounds promising - at least for a while. They don’t finish it, and instead give ‘Never Say Die’ some love with a rendition of the title track and then into ‘Junior’s Eyes.’ Hey, this is pretty good. They’re giving some love to lesser-appreciated Ozzy Sabbath records! A very elegant move. Then they move into ‘Sabbath Bloody Sabbath’ and things start to… fall apart. Not due to any of the other band members, mind you, Duff McKagan and Slash are killing it on their respective instruments, but it’s Axl. The guy has obviously had a serious talk with his vocal coach, who advised him to sing in a new way to save his voice, but he just ends up sounding like Mickey Mouse most of the time. It’s a damn shame, not to mention his in-ear monitor malfunction as he ends up botching the ending of ‘Sabbath Bloody Sabbath’, leading to a disappointed head-shake from Slash. Classic tracks ‘Welcome to the Jungle’ and ‘Paradise City’ have the crowd moving and bopping along, but they don’t seem to be taken all that seriously. Perhaps it’s time for Axl to rein it in a bit. Their performance is one of the few things about the show that the majority of people can agree on. Tom Morello comes out and reminds everyone that this is the last act before Ozzy arrives, the hype is real, and then they come out. METALLICA are probably the most consistent metal band in the world. Bigger than Sabbath since at least the 90s, they’ve come back to pay their respects. And while they took a much larger influence from other Midlands band Diamond Head, they’re like kids in a candy store at the prospect of honouring their benefactors. They begin with covering the opening track to ‘Sabotage,’ ‘Hole in the Sky.’ It’s a cover as great as it was when ‘Tallica recorded it in the studio, but it would have been nice for their rendition of ‘Sabbra Cadabra’ to make an appearance as well. They then come out guns a-blazing with a spectacular run of ‘Creeping Death’ into ‘For Whom The Bell Tolls.’ Bassist Robert Trujillo crawls around like the crab he is while James Hetfield chases him around the stage, the crowd yells ‘DIE’ as loud as they can, and Lars is making silly faces behind the kit - it’s unadulterated fun. ‘Junior’s Eyes’ from ‘Never Say Die’ also gets covered, which is getting a lot of love this evening for some reason. It drags on a bit, and a lot of people feel it is an apt time to head to the bathroom, to which they are sorely mistaken, as they pull out the deadly combo of ‘Battery’ into ‘Master of Puppets’ next. The crowd turns into a whirlpool once again. They have a longer set than their peers, but it feels like it goes by in an instant. Seeing Metallica is always a treat, and tonight it’s no different. Surely there’s no way they can top this. Oh, but they can. As Carl Orff’s epic ‘O Fortuna’ echoes across the crowd, something rises from the stage. It’s no mere man, it’s a throne, and upon the throne is the legend himself. Ozzy “fucking” Osbourne slowly rises up with the ebony seat, waving to the crowd. Like a phoenix rising from the ashes, he’s back. He simply asks, “Are you ready?” When the keen metalheads respond in kind, he lets loose the chained beast. “Let the madness begin!” And before you can shout “fucking hell” the band breaks into ‘I Don’t Know.’ As for Ozzy? He sounds magnificent. Weathered, to be sure. But his voice isn’t dissimilar to how it was during the last Sabbath ‘final’ show. He headbangs along with glee, Zakk Wylde is an emperor’s loyal general as he stands resplendent beside his liege’s throne. Once Ozzy gets to ‘Mr. Crowley’ and Adam Wakeman plays out those creepy organ notes, there are real tears in the crowd. Ozzy looks absolutely elated. This is everything he’s wanted in the last few years that he wasn’t able to do. For a man with a legacy of untamed antics, it seems being in front of a crowd is what really gives Ozzy’s life meaning. And that’s the reason why this strikes such a chord with the audience, who stand by in devotion with their chants of “OZZY! OZZY! OZZY!” whenever they can. After a great final performance of ‘Suicide Solution,’ the man speaks to us; “thank you from the bottom of my heart.” Then it’s time for ‘Mama, I’m coming home.’ If it wasn’t the waterworks before, it sure is now. Clearly emotional, Ozzy fights to get out as many notes as he can whilst the crowd light up the night with their torches – and there’s not a dry eye in the house by the end. For the last time, we hear that scream of “ALL ABOOOOOARD,” every request Ozzy asks the crowd for is met within a millisecond, “let me see those hands in the air!” and every single hand in the stadium goes up. Then, with a bang and some confetti, Ozzy’s set is all over. Such a glorious finish. It makes you weep; weep for how great everybody was, how Ozzy’s voice still rings out with purpose, weep for how other metal legends did not get the same farewell, and for how this is the last time we will ever hear Ozzy play those songs. It’s a bittersweet ending, but to have been part of the ones who witnessed it is like bearing witness to the Big Bang. He may not be able to stand, but Ozzy has never looked more like a god. But we’re not done here yet, oh no. It’s ‘Back to the Beginning’ after all. The speakers roar out with ‘Sabbra Cadabra,’ and archival footage of Sabbath’s interviews and legacy, the “Lost Cartoon” even makes an appearance. Before long, red lights search the crowd and alarming sirens wail. Then comes the riff. It’s ‘War Pigs,’ and the boys are all in their places. With every cymbal hit, every note, and every fret, the weary crowd hangs on for dear life. Guitarist Tony Iommi stands like a colossus, there are no wild licks here, just that devilishly pragmatic playing that changed the face of music for the rest of time. As the stadium wails away the ‘Luke’s Wall’ coda, Ozzy is conducting 40,000 souls in a danse macabre. And before you know it it’s time for the next one. Geezer Butler strums away on his bass more like a 25 year old than a 75 year old as they transition into ‘N.I.B.,’ still as hauntingly groovy as it was the day it was released. Ozzy tries to get out of his chair a few times, heaving as he hoists himself to no avail, there’s a sense that he may feel he has to stand before a crowd like he’s always done and that by not doing so he would be letting people down. It’s quite the contrary, as the enthroned Ozzy somehow feels far more powerful and present. He’s laughing away, egging the crowd on at every opportunity to party along with him. By the time they start ‘Iron Man,’ Ozzy is introducing his bandmates for the last time, and Bill Ward has inexplicably taken his shirt off – once a drummer, always a drummer. It’s a slightly slower rendition than usual, that is, until the second half of the song picks up and Tony shoots into his mad solo. It might be the heaviest rendition this song about a metal man has ever been, no cover or interpretation can possibly match the sheer weight of the ‘Iron Man’s’ last stand. Afterwards, Ozzy gives the epitaph of Sabbath, “go fucking crazy, it’s the last song!” as the warm resonance of ‘Paranoid’ fills the stadium. It’s a final hurrah to end all final hurrahs, Geezer’s bass is galloping like an ungelded stallion, Bill brings that jazzy swing that heavy music has been lacking so badly in the last 40 years, Tony is playing the riff for his dear life, and Ozzy gives it his all, the weakening of his voice being vastly overpowered by the strength of his will. Even with his condition there’s nothing on heaven and earth that can stop him from delivering a good show, spitting in the face of Parkinson’s disease and all of its machinations; they are the best act of the day. And after all the money raised tonight, scientists will be equipped to bring down its reign of terror for good. Fireworks launch out of the stadium, the band stands and claps, and Geezer hands Ozzy a commemorative cake (to which Ozzy characteristically replies “what the fuck is this?”) and then it’s all over. Everyone makes the long journey back, but even those that weren’t there are still talking about the gig. For all the technical glitches and some less than stellar performances, in the end they really pulled it off. It really was a show for the ages. So many bands, so many hits, all crammed into a single event back to where it all started. It was hard to process everything happening in real time, like trying to remember a dream just after waking up. It felt once-in-a-lifetime, and in all likelihood, it was. People are already hawking commemorative items online for hundreds of dollars and pounds. Sure, Sabbath could have knocked out their self-titled song and maybe ‘Fairies Wear Boots’ like originally planned and couldn’t due to the curfew, but does it really matter? Bands rarely ever get curtain calls quite like this, and for good reason. Because there are no bands like Sabbath. Many have tried, hell, many have even done a commendable job of replicating them. But in the end – there is only one Ozzy Osbourne, and there’s only one Black Sabbath. And we may never see their like again. The final words we hear from Sabbath echo out: “And so as you hear these words/Telling you now of my state/I tell you to enjoy life/I wish I could but it's too late.” But it wasn’t too late. It was right on time. Words: Kiarash Golshani

Once again, the New Cross Inn did not disappoint with an all-star, all-hardcore bill, bringing together death metal lords Xibalba and hardcore quintet Extinguish from California, joined by Reading hardcore boys Detriment and Brighton death metal crew Blood Gutter. Hardcore temple New Cross Inn is a milestone venue for any metal-adjacent band, and tonight’s line-up gave the crowd an outstanding performance. Despite a last-minute string change and being one member down, Blood Gutter started the night strong with a powerful set, opening up an acrobatic pit of punching fists and flying feet. With death metal and hardcore influences going from Lamb of God, to Prowler or Your Demise, Blood Gutter’s debut EP ‘Below No One’ hits hard. ‘Sick’, and ‘Welcome the Rope’ were crowd favourites, going from heavy death growls to fry screams that itch your brain the right way. Next up, Detriment took the stage, performing to an ever-growing pit. And yes, to answer the question everyone is asking, frontman Reuben’s moustache game was as magnificent as his stage presence. Touring for the release of their new EP ‘LIFE IN SHEER TERROR’, Detriment put on a high-energy show, with hits like ‘Stone Cold’ and ‘TORN FROM THE VEIN’. We’re sold. You know it’s going down when the pit turns into a wrestling ring worthy of the greatest WrestleMania matches. Stink face mode ON. Extinguish brought it down with all the riffs, breakdowns and screams you could ask for. With fire tracks from their discography and their latest album ‘One Less Enemy’, we could not have asked for a better band to prepare us for what was to come. In ancient Mayan mythology, “Xibalba” describes the home of the lords of the night, the underworld, roughly translated to “a place of fear”, where the souls of the dead would pass through or remain there, depending on the interpretation. So, as the room got darker, the tension rose, and the crowd got more ecstatic by the second. You have been warned. Now, embrace the chaos and enter the Underworld. A Xibalba show is like getting (consensually) punched in the face: it's raw, it's intense, it's guttural. And if you're brave enough for the pit, you might very well literally get punched in the face. And you will want more. (or like that one guy, get a lost kick in the nuts. We sincerely hope you are okay.) From the very first notes of ‘Desending Into…’ the pit opened wider than ever, resembling Yucatán’s “Cenotes” (clear-water cave portals to the Underworld), giving a freeing space to the moshing souls two-stepping into the New Cross Inn. The euphoric crowd cheered on the return of the Xibalban lords to our shores for the first time since their Outbreak set in 2022. Vocalist Nate Rebolledo poured his heart and soul into a high-powered set, always giving his all to the crowd and getting everyone a scream by sharing the mic. ‘Hasta La Muerte’ brought an already exhilarated crowd to the most intense point of the night, filling the room with filthy breakdowns, blast beats, dense bass and growls coming straight from the depths of hell. As all good metalheads know, we are all for a fun exit tune. We then all came back to reality and re-entered the realm of the living to the sound of ‘Feliz Feliz’ by Mi Banda El Mexicano. This was a night none of us will forget; you just had to be there. All we have to do now is pray to the Underworld lords that Xibalba will come back to us soon. Because we need more. Words and Photos: Claire Cabanac

This weekend has been a true celebration of heavy metal, Black Sabbath’s last ever gig put many metalheads in a contemplative state after seeing everything that makes metal great placed upon the global stage. Metal fans are often some of the most dedicated music fans around, and arguably the band with some of the most loyal fan is Slayer. When they announced a handful of American reunion shows last year, many fans in the UK and Europe were upset that they would not get a chance to see the band again; however, their reunion finally hit the UK with many other legendary bands joining the bill for another celebration of what makes metal truly special. First on this day long celebration of metal is Danish death metalers Neckbreakker bringing their unique brand of high energy death metal. Despite the size of the stage, the band managed to bring the joy of a small local show to the crowd with the pits already bursting to action as soon as the riffs hit the crowd. The band, despite being so young, have found their sound in metal and they know how to work the crowd into a frenzy. Despite being the only band on the bill without a long standing legacy, they are starting to carve their own way into the heavy metal lineage. They were the perfect band to kickstart the day with a nod to local scenes. Hatebreed brings their own take on metalcore with them everywhere they go and often seem to appear at festivals to give the right burst of intensity that other subgenres just don’t seem to touch. The band bring a lot of what makes hardcore great to a new audience as their fanbase seem to be built mostly from metal fans. The band work the crowd with such intensity starting the waves of crowd surfers for the day. Being in the crowd, you can feel the communal intensity already being built up. Circle pits starting with a pace that would make many headliners jealous. Hatebreed’s legacy has been built by playing absolute belters of shows that match the crowd. what other band for an opening slot would have a giant inflatable demon and balls of death. The crowd started off slightly relaxed with Mastodon’s trademark take on progressive metal, but once the riffs became heavier,r the crowd reacted with pure joyous moshing. The band haven’t been to the UK in a fair while, so many fans came to just for the chance to see them bring their unique take on metal. Tracks like ‘The Motherload’ have become modern metal classics with the combination of great riffing, intense drumming and iconic lyricism. The band are tight, and it’s impossible to tell their new guitarist only joined this year. The different vocal stylings brought by the band’s members are one of the most iconic parts of the band, and they manage to keep it working well live. The band don’t bring the largest stage show, but they bring pure progressive metal intensity that leads the crowd singing along to tracks written about Moby Dick. Almost by accident, this gig has ended up with 2 of the big 4 of thrash metal on the lineup. Anthrax is a party band, they bring a lot of that old school metal, slight cheesiness with sing along choruses and Scott Ian’s legendary guitaring. For a band going since the 80s, they don’t seem to have slowed down at all, as every member works together bringing their sound together. Vocalist Joey Belladonna, despite being 64, still brings energy to the stage and intensity on the vocals. The slightly nerdy side of metal is brought out again with their song ‘I Am The Law’ being based on the comic character Judge Dredd, but this is such a core part of metal. The band works the crowd well, still hungry for more metal, at one point stopping a song so they can push the pits to grow larger. Waves of crowd surfers drift above the head during the set. Anthrax may be the smallest of the big ,4 but they bring a great stage show and a lineage of songs with them, proving their place in thrash and metal in general. Amon Amarth have become such a beloved band within metal for their stage show, theme and just generally great songwriting. The band despite not being today’s headliners still put on a headline show full of fire, props and their legendary row pits. The band bring a full production stage show along with them, complete with two towering inflatable statues of Vikings, just adding to the impressive nature of their set. Frontman Johan Hegg knows that the crowd is here to ‘Party like a Viking’ as he often asks the crowd to do so. Complete with chugging from his drinking horn, he embodies the band. His vocals lead the band through their setlist of metal classics. As soon as the band enter into ‘Put Your Back Into The Oar’, the crowd starts the row pit, everyone tongue in cheek pretending to row as the band marvel in their place within the audience’s heart. As with most of the bands at this gig, the band had many fans within the audience, with many donning the band’s shirts or generally being excited to get a chance to finally see a band they’ve now been listening to for many years. Amon Amarth are a perfect live band with a giant stage show, great music and an audience who wants to see them. They have a definitive place within metal history, like every band playing today. Slayer are a band whose fanbase is truly hard to put into words. The announcement of the band’s retirement came as a shock to many, as Slayer have been such a consistent part of metal from their inception. The one band that is guaranteed to have some of the most intense pits you’ll ever see. A band whose two-word catchphrase of ‘Fucking Slayer’ was guaranteed to be shouted hundreds of times at any festival. But the band and their fans returned for this gig with all the intensity you would expect from both sides. The band don’t sound like they’ve aged from the time they have taken away from the stage. Even with the technical issues created from their curtain, the band remained professionals and delivered a setof pure intensity. Their may have been heavier bands that have come since but Slayer retain that guttural punch you have come to expect. The band’s stage show is built mainly from the sheer amount of pyrotechnics they use. The band iconography of satanic imagery remains such a core part of their identity, leading to the stage having two giant upside-down crosses being engulfed in flame at various points within the set. Kerry King, as a guitarist, shines through the set with his constant headbanging and signature noisy solos. Every song retains the initial intensity that you get upon first hearing it. Many of the crowd are getting tears in their eyes whilst moshing with furious intensity or crowd surfing to their favourite songs because they are seeing Slayer together again. A lot of the crowd is made up of those whom never got to see the band play due to being too young, so they are taking every second to go through the joy of a Slayer show. As the set draws to a close with the second-to-last song being the all-time classic ‘Raining Blood’, the stage show reaches its pinnacle of flames and now joined by fireworks heading down on the stage as the song approaches full pace. The riff that so many have learnt on guitar hits the audience with everything it truly can give. The song then blends into the final track of the night and one of the band’s other legendary songs, ‘Angel Of Death’ . Tom Araya’s scream is at its best, it has ever sounded pure metal intensity. The band play the song in the way it should be played, with absolute power. Slayer drew the gig to a close with the band seeming emotional to share the time with fans and play together again. As an overall package of metal, the gig is perfect, a true distillation of what makes metal a true joy to experience. Over the top extremity, pits that are a true workout to be in and of course, great riffs. It feels like a bonus on this weekend, celebrating metal, but every band being given a long set to make sure they can share what makes them special with the community. Metal crowds leave you with some of the greatest sense of community one can truly feel within music. Everyone becomes one and the same when in metal. Sometimes, all you need in life is to see Slayer and many of the greatest bands deliver a gig for the ages, bringing tears to the eyes of many. Words: Will Freeman Photos: Bryce Hall

The New Cross Inn in London has been steadily growing a reputation for hosting some of the most exciting and high-energy punk and hardcore shows around, and this night’s stacked lineup delivered on that promise from start to finish. With a bill featuring Closed Hands, Flesh Creep, Big Laugh, and headliners Destiny Bond, the night was loud, fast, and full of moments that reminded everyone why small, DIY-feeling shows are often the most memorable. Closed Hands kicked things off in full-force. From the opening seconds, their vocalist made it clear this wasn’t going to be your standard stand-and-sing kind of set. They were off the stage and in the pit almost immediately, blurring the line between performer and crowd. That directness created an atmosphere of unity—like we were all in it together, not just watching but participating. Musically, they were tight and urgent, giving the set a punchy start that set the tone for the night. It was the kind of opening performance that pulls you in before you've even fully settled into the space. Flesh Creep followed with a grittier, more chaotic edge. Their sound was raw and aggressive in the best possible way—unpolished but purposeful. They didn’t hold back, and there was something refreshing about how unapologetically loud and confrontational their set was. You could tell they weren’t performing for approval—they were performing to release something, and in doing so, they created space for the audience to do the same. For a second band on the bill, they held their own and brought a noticeable shift in energy, keeping things heavy and immersive. Flesh Creep Then came Big Laugh, who added a twist to the night—not necessarily with their sound, but with their presence. Sonically, their set was sharp and well-rehearsed, but their choice to spend a large part of the performance facing inward- toward their drummer rather than the audience- was unusual. As someone who hadn’t seen them live before, it threw me off a bit. It felt like they were playing to each other, not to us. While that inward-facing style might be their way of staying locked in rhythmically, it also created a disconnect with the audience, especially following two bands that had leaned so hard into physical crowd engagement. That said, their musical tightness was undeniable, and the set had a solid momentum that kept things moving. It might not have been the most interactive performance, but it was still a strong one, and still a lot of fun for those watching. Finally, Destiny Bond took the stage, and instantly the energy in the room shifted again. From the very first note, you could tell they were here to play, and not just in the musical sense. Their set was full of personality, movement, and humour. The lead vocalist bounced between being a commanding presence and the funniest person in the room, cracking jokes between songs that made the room feel casual and communal. At one point, they joked about not wanting to jump too much in case they gave themselves another concussion from the venue’s low-hanging lights- a moment that got a huge laugh and added to the feeling that this band doesn’t just perform to an audience, they connect with one. What made Destiny Bond’s set even more memorable was their decision to perform unreleased songs, tracks that no one in the room had heard before. It was a bold move that paid off, making the show feel exclusive, like we were part of something special. There’s a trust in giving your audience something they can’t stream later, and it’s that kind of interaction that builds lasting fan relationships. Even when the vocalist spent time in the pit too, the band radiated this infectious energy that made it impossible not to move. One of the most impressive aspects of the night overall was just how tightly run everything was. Each band started on time, the transitions were quick, and there was barely a moment where the energy dipped. It’s rare to see a four-band bill run so smoothly, and credit goes not just to the bands but also to whoever was managing the backline and transitions. In the end, all four acts brought something of real value to the night. Closed Hands drew the crowd in. Flesh Creep shook it up. Big Laugh confused a few but played with total conviction. And Destiny Bond sealed the deal with a set that was as engaging as it was fun. Destiny Bond More than anything, what stood out was how much all the performers genuinely looked like they were having a good time. And that feeling, when shared between band and audience, is what turns a good gig into a great one. This night at The New Inn didn’t just showcase great music, it highlighted the importance of community, energy, and joy in live performance. Words: Con Macadam Photos: Artemi Falzon

Once upon a time in the smog-choked labyrinth of London’s doom metal underground scene, there was a band that clawed its way out of pint-stained floors and onto the grand stage - GREEN LUNG, hometown heroes, the underground success story. When people talk about modern bands that have gone into the “big-time,” Green Lung are typically top of the list. There is a damn good reason that at least one person is wearing one of their shirts at every gig in the UK; they toured like wandering druids, cranking out spellbinding live shows until their coven swelled like a sabbath moon. From shows in 2017 at fabulously dinkey venues such as the Crows Nest in Deptford, to headlining the O2 Academy Kentish Town and playing the almighty Arctangent festival in 2025,Tom Templar, Scott Black, Matt Wiseman, John Wright, and Joseph Ghast are ready to go medieval on your ass. But to distil their monster catalogue into just ten songs? No small feat. But with a lot of perseverance and elbow grease, we proudly present to you, Lunglings, the top 10 offerings of folk horror that define Green Lung’s extraordinary rise. Let’s dive in. 10) Old Gods Striking like a great thunderclap, ‘Old Gods’ is the swan-dive into 2021’s ‘Black Harvest.’ Riff-master Scott Black’s gargantuan Brian May-gone-evil tone underpinned with some wonderfully creepy keys create a beautifully vast wall of sound. Let’s just say if Phil Spector heard this in hell, he’d probably crap himself. It’s a bludgeoning reminder that the old gods are not only alive, they’re pretty pissed. A great track if you were planning on introducing someone to the wonderful world of Green Lung for the first time. Lucky bastards. 9) Templar Dawn According to Tom Templar, Green Lung’s songs fit neatly into a few categories, and ‘Templar Dawn’ from 2019’s ‘Woodland Rites’ falls squarely into the “we’re back!” section. And back they are indeed. Once, they were knights (in the service of Christ), now to Satan sworn, or so the story goes. An unbeatable concept pulled straight from a Hammer horror flick. The chorus is arguably the catchiest one they have, and the instrumentation creeps along close like a mangy dog in the pale moonlight. It is Lung at their very best. 8) Mountain Throne Possibly the greatest single distillation as to what the Lung are all about is ‘Mountain Throne’ from 2023’s ‘This Heathen Land.’ It’s the tale of Albion’s mystical hills, the Pendle Witches riding out once more, and a love letter to everything sinister and supernatural that lurks in the countryside. It’s big, it’s bold, it’s spellbinding, and it contains the first known use of the word "phantasmagoria" in a doom metal track, which is reason enough to celebrate. Matt Wiseman’s vivacious drums elevate this one into a proper bop with more buoyancy than a witch on trial. It’s their very own “Detroit Rock City” with the sheer volume of locations mentioned, when a roomful of fanatics roars “MOUN-TAIN THROOOOOONE” in unison live, you begin to understand. 7) Reaper's Scythe The lack of listens to this one on Spotify is truly baffling. As any survivor of a Green Lung pit will tell you, whenever this one starts at a live show the whole room goes bananas. It is a high-energy bonanza of a song, with great start-stoppage that makes you want to scream along. John Wright’s keyboard on this sounds like somebody going just a tad too hard at their local church congregation whilst the rest of the band goes with all the energy of the Duracell bunny. Not to mention that King Diamond bit in the middle, it’s all so strange, so macabre. But it works so, so, well. 6) Lady Lucifer Back in 2018 when the Lung had fewer listeners, they came out with their first “proper” release in the form of ‘Free the Witch EP.’ The hype around this thing was very real, and it met expectations with flying colours. While it feels like a million years ago since this song came out, it still fits very snugly with the rest of their songs. In fact, it’s probably the first of the contemporary Green Lung jams, with a sound that would be gloriously expanded upon in the coming years. With downright filthy grooves, Sabbathian swagger, and a chorus that hooks its claws into your soul. Hard to overstate the importance of this song and how it signified such a massive shift in their sound. It’s this exact energy that began to deliver them from the London jungle. 5) Freak On A Peak Something you may not know about Green Lung is that they are perfectionists. Scott Black’s guitar tone is the result of ages of tinkering and experimentation to create a unique and whole sound, and it’s clear that their success was forged in the fires of this hermetic dedication, but it all had to begin somewhere. So their first EP, 2017’s ‘Green Man Rising,’ is a curious look into the more stoner-based origins of their sound. ‘Into the Wild’ this is not, it’s stripped-down in comparison. Yet, this spacey jam’s one that veteran disciples remember fondly as the start of something great. But for now, it stands alone, like a noble savage in the wilds, waiting to be reappraised (and hopefully remastered). If you have not heard it before, now is the time to break out Bandcamp. 4) May Queen Put that flower crown upon your brow, keep that smile upon thy countenance, and prepare to march into the Wicker Man, Miss May Queen. Because the gods aren’t gonna grow crops for nothing. ‘Woodland Rites’s’ display of pagan pageantry is a fuzz-drenched ode to spring rituals. A kaleidoscope of a ballad, the solo on this one is realised in glorious technicolour whilst the bass croons gently away into oblivion. By the time the whole thing erupts into its ecstatic, full-throttle finale, you can practically see dancers around the Maypole and bonfires blazing away into the night. Haunting and melodious, it stands tall as the soundtrack to every festival your ancestors didn’t survive. 3) One For Sorrow The dark horse option on this list, many would ask why some of their other favourites aren’t on the list by now. For you there is one task; go see this song live. Because once you see ‘One For Sorrow’ live, you will never see it the same way again. At Bloodstock, it ushered about the “slowest circle pit in the history of the festival.” It was a beautiful, ethereal experience. Tom crooning out a sorrowful dirge, Matt beating out a doomy rhythm, Scott wearing out the whammy bar, Joe rumbling his bass, and John playing with legs spread further apart than a 17th century actor. And that breakdown. Necks cracked. Some heads may have come clean off. This song is a powerhouse, five minutes of bone-chilling majesty by the only ones who could do it. 2) Woodland Rites The phrase “oh lord, yeah!” has not generated this much hype since Ozzy himself yelled it out at the start of Sabbath’s debut. Yep, its ‘Woodland Rites.’ When this song came out after the wait for their debut album, it was a ‘Master Of Puppets’ moment. ‘Initiation,’ the intro to this song, is incredible on its own, but that opening riff? A goddamn monolith, a towering pine forest of a riff as rows and rows of guitar gods before them look on in admiration. The organ swells, the guitars burn, and suddenly you’re in the woods, surrounded by naked figures, something ancient stirring beneath the roots that compels you silently. Just when you’re least expecting it, it erupts into that towering, earth-rattling climax. Green Lung at their most untamed and elemental and a genre staple forevermore. And just when you think it can’t get any better… 1) Let The Devil In It really is iconic. You could be galivanting anywhere in the country, there’s a high probability you’ll spot some metalhead clothed in the legendary Branca Studio long-sleeve. You know the one, the white-eyed nun looking up to an unholy being has inspired so many to think “I gotta check THAT out!” From the first note, it’s a revenant spirit marching straight into damnation. The whole band is on point here like dark prophets. The best tale of sisterly corruption since Type O Negative’s ‘Christian Woman,’ it wears its many influences on its sleeve, dripping with everything from Sabbath’s dirty groove to early Maiden’s feverish energy. It’s got the swagger, the glory, and the sinful undercurrent to make it into a modern masterpiece. Now a staple in the soundtrack of metal bars across the world, it’s our best export since Jaffa Cakes. Of course, you probably disagree with some of the choices on this list – good. That just means Green Lung is doing something right. Keep in mind that it is damn difficult to get these down into only ten, like cram Stonehenge into your living room. There are many honourable mentions, ‘Maxine,’ ‘Song Of The Stones,’ ‘Forest Church,’ and ‘Call Of The Coven’ to name a few. Hell, even their excellent cover of ‘Snowblind.’ That is the great thing about Green Lung; there is so much quality in their catalogue that trying to rank them feels almost blasphemous. It’s what happens when a band so wholly and fully embraces their sound and aesthetic that the quality just seems to come out of them like some kind of torrential dribbing ichor. Now they seem to be on top of the world, but one thing’s for certain - the coven is growing, the rites are far from over, and the next chapter of this band’s story is going to be one hell of a trip. Catch Green Lung at ArcTanGent Festival this summer! Words: Kiarash Golshani

Describing the weather before a gig may be a bit of an overused cliché for these types of reviews, but tonight the Roundhouse is suffering. The heat is so intense that people lie prostrate across the floor, like casualties of a great battle, seeking relief in the cool, alcohol-soaked ground of the venue. The relentless heatwave continues to claim more victims. But the crowd remains undeterred – oh no, this is an audience ripe for the taking by the malevolent monarch KING DIAMOND. The shock-rocker returns with a vengeance, bringing his massive stage show in tow. And it really is the elephant in the room, like draping a whole house in black cloth and pretending it’s invisible. Hidden beneath it all is a hulking semi-mansion set, complete with dual staircases and an elevated platform. It’s somewhat awkward, then, when UNTO OTHERS wander onto the stage against this extravagant backdrop. Arriving slightly late, the goth-rockers tear through their setlist with urgency. Drenched in sweat, frontman Gabriel Franco rocks his aviator shades on in the dark like a Blues Brother as the band runs through tracks like “Suicide Today” and “When Will God's Work Be Done” to a bit of a disappointing response from the crowd. Uplifting refrains like “IT WILL BE OK!” are noticeably absent, and some odd mixing choices leave the performance feeling flatter than usual. The draped bombastic stage behind them does little to alleviate much of the awkwardness. A disappointing result for an otherwise excellent group, hampered by elements beyond their control. Soon after, the music fades and Halifax goth veterans PARADISE LOST casually take their places—no fanfare, no intro track. That changes swiftly as the heavenly piano of opener “Enchantment” sweeps across the venue, and with a thunderous hit, they’re off to the races. They serve up a solid mix of newer and classic tracks like “No Hope in Sight” and “The Last Time,” but the set feels short but it all feels a little bit short, as if they need more time to simmer like the fine stew they are. But stand fast - faithful ones, Paradise Lost will return to the Big Smoke this October for a proper headliner, just as autumn’s chill sets in. They finish off their set with a majestic rendition of their all-time classic “Embers Fire” and fan-favourite “Say Just Words,” but “Embers Fire” is so deftly performed that the lethargic crowd can’t even resist, with a few shirts seen propelling wildly in the pit. Even goth metal, it seems, isn’t immune to the Newport Helicopter. As the lights dim and the music fades, the grand black drape is lifted to reveal the stage in all its eerie glory. It’s a perfect tableau: a coffin marked “ABIGAIL” center-stage, eerie stained-glass windows, and icicles that strangely don’t melt. The atmosphere is heavy; the band is in position, but where is the King? In a display of Scandinavian restraint, he... simply walks out. Anticlimactic entrances seem to be the theme of the evening. He seizes the doll from the coffin and gets to work, the night is his. Singing into his iconic bone mic, his falsetto is shockingly sharp for someone nearing 70, sounding remarkably like the record. The King is as classy as they come, introducing all the members of his band early on rather than at the climax, a move which hopefully spreads and echoes that of an opera. The fans are in absolute ecstasy, chewing on “Halloween,” “Voodoo,” and “Sleepless Nights” like sugarcane, the King is on top form. There’s a very light stage production present as well, occasionally actors (or perhaps the same actress in various costumes) will come out and do some shimmying about the set in clothing relevant to the song, then King Diamond will come along and do something evil to them. It’s minimalist staging, but it works, and more importantly doesn’t distract from the music, which is played tightly and with a furious vigour by the band. About halfway through the set he returns clad in an old-man mask, everyone knows what’s coming, when the crowd sees her they know what to scream: “GRANDMAAAAAAAAAAAAA!” Yep, it’s “Welcome Home,” and everybody laps it up. The dysfunctional family both engage in a bit of a Looney Tunes back-and-forth with each other as King Diamond does some of his best falsetto yet. By the end of the set, he hands a sheet over to someone in the front row to choose a final song. What would it be? “Gypsy?” “Evil?” “The 7th Day of July 1777?” Nope. It’s “Abigail.” Shocker. But, hell, it’s awesome. It’s an amazing closer to an amazing show. The King’s still got it, dammit. With a setlist packed with favourites from across the King’s discography, there is not a doubt that every fan would have left the arena satisfied. What was unfortunate was the lack of Merciful Fate songs seeing as the band was thinking about doing a new album, but with an already stacked setlist it would have been a difficult endeavour. Tonight was a real testament to King Diamond, theatrical, methodical, and endlessly entertaining. Long live the king indeed. Words: Kiarash Golshani