British band Rites to Ruin are doing their bit to revive the NWOBHM with their debut Daughter of Hatred. Throughout the album and its ten songs, the listeners are introduced to a variety of elements from across heavy metal, particularly when it comes to vocal techniques and guitars. Providing a slightly modern twist to a well-known formula, the group are ready to rock - are you? Right at the beginning, the titular song 'Daughter of Hatred' brings in head-banging riffs and drums as drummer Tom Ross hits his snares like there's no tomorrow. The song is heavy in melody, yet the band’s vocalist Krissie Kirby does use clear vocals that make the song sound slightly softer, resulting in a well-balanced blend of sounds that compliments the overall song. On the other hand, 'In Memoriam', the third song on the album, is of a quicker nature, offering sonics full of piercing vocals and angry guitars, thanks to Lee Cartner and Matt Chambers. The blend of two guitars creates, particularly in this song, a beautiful melody full of various riffs that combine together to work perfectly. The atmosphere of the song is especially striking, with the melody being reminiscent of some of our favourite bands from the New Wave of British Heavy Metal, such as Iron Maiden, Motörhead and Judas Priest, adding to the memorability and grandeur of the piece. Speaking of resemblance, the song 'Rise' carries an unmissable slow introduction full of guitars and vocals, that then switches into intimate like drums, creating that beautiful sound many heavy metal fans know from the likes of Metallica and other already mentioned bands. Although this mould has been heard countless times throughout the years, it is still widely accepted and always adds depths to the overall song experience, especially when paired with an ear catching solo in the song, such as the one that can be heard in 'Rise'. The intensity the song takes upon itself as it goes along is significant and the atmosphere changes multiple times, only to end up the same way as it began, with few guitar accords and sad tone, which in the end results into ballad-like melody. Finishing the packed album with the song 'Sorrow', the band bids a pompous farewell to their debut album. Unfortunately the song does contain many elements and riffs that could be heard before, resulting in some patterns that feel pretty recognisable now, however, there is a guitar solo early into the track, and another one halfway through, that contain well-written riffs that carry further into the song as the solo ends, which bolster this one somewhat. With Krissie’s soaring vocals complementing the overall melody, the song is still strong, and Paul Boschen’s bass can be clearly heard throughout the song as well, which adds to the tension of the song. Daughter of Hatred is a great album made by a group of musicians who clearly enjoy their craft. Their debut album contains some beautiful moments such as the song 'In Memoriam' - however, many of the songs sound very similar, resulting into repetitive patterns throughout the project. Nonetheless, Rites to Ruin’s debut album is a strong one, as there are many elements that, with some more work, will help them stand out in future, and with a skilled vocalist such as Krissie Kirby they are absolutely going to make waves with another release! Score: 7/10 Daughter of Hatred was released on June 30th via Otter Chaos Records. Words: Katerina Stepanikova Photos: Rites to Ruin

It was just after a moment after 7pm, then all hell broke loose; calls, messages, touch news updates, all of a sudden everything seemed irrelevant, to the average metalhead it was like hearing about a nuclear strike. Ozzy Osbourne was dead. It was like a thundercrack, everybody knew he was sick but nobody quite seemed to know just how sick he was. The man took so much in his life that people were starting to believe that he’d found some forbidden alchemy that even the emperors of the Qin dynasty couldn’t suss out and had, in fact, become an immortal. If the final performance at Villa Park was anything to go off, it appeared that Ozzy had quite a few rounds left in the chamber, maybe even a couple of performances or perhaps even an album up his sleeve. But it was not meant to be, a mere two-ish weeks after the show’s completion we now have our figurehead ascending to godhood far too soon. Deified in life and canonized in death, never before has so much been owed to someone who couldn’t seem to recognise which room he was in at any given time. He was metal’s bumbling father figure, a universal constant to old-heads and youngbloods everywhere – their bat-shit dad who couldn’t figure out how to work the TV remote. Everyone’s got their own Ozzy; true veterans will have Sabbath-era Ozzy as their idol, older fans will remember in the 80s when the Blizzard of Oz really took hold with his solo career, even fans in the 90s had the incredible reunion shows to go off of, the 2000s saw his bizarre family dynamic broadcast to millions, 2010s saw his comeback and releasing of even more excellent material, and finally the 2020s saw his final bow. Decade by decade, Ozzy was always there, and even as other legends seemed to pass, the ultimate irony seemed to be that the man who could have died about 50 times over defied all logic and remained fabulously alive. Not since Lemmy’s death nearly 10 years ago has so much sorrow been felt by the our community, the general public saw The Osbourne's, sure, but they could never imagine just how huge his impact was to the metal crowd. That kid in the 70s putting on Master of Reality and hearing a riff as crunchy as cornflakes and hearing vocals soar like a falcon had his brain chemistry permanently altered and his humours balanced for the rest of his life. It’s like magic. In fact, if you have never enjoyed Sabbath quite as much as your friends do, then perhaps it’s time to balance our your humours too. Not to mention the solo career working with many weird and wonderful musicians; Rhoads, Wylde, and Gus, sounding like henchmen from the pits of Hades. They didn’t try to be Iommi, they tried to be legends of their own. And through the waning days of the 20th century the Ozzman came to scare squares everywhere (try saying that three times fast). In a raging musical whirlwind, the working class Brummie boy is launched into superstardom, and no matter where he was or who he was with, Ozzy simply existed to perform. His lifeblood was concerts, his organs were albums, and he injected as much creativity into his musical pursuits as he allowed. He rocked so hard that his last album was only a few years ago. If Ozzy believed in one thing, it was in music until the very end. That overwhelming desire to be on-stage defined him. At Villa Park, he visibly attempted to struggle out of his chair, he raised his hands and clapped like there was no tomorrow. The rest of us could barely keep up, but Ozzy kept going - in fact it seemed to be giving him even more energy. He was unstoppable. Lemmy didn’t get to go out like this, nor did Dio. Many other music legends will never be able to say that they got the final bow and a peaceful rest, the idyllic end to a life dedicated to music. The saddest thing about the passing of Ozzy is the precedent it sets, figures like him were born and bred in the 20th century and in our modern squeaky-clean cultural void people like this just don’t come about anymore. Sadly those days are over, and these icons will pass into memory. There will never be another Ozzy Osbourne. But hey, at least Ozzy Zig has gone out with a gig. Rest in Peace, Ozzy. Just know that we love you, and we’ll never forget you. Words: Kiarash Golshani

On the penultimate night of their Choose the Bear tour, Millie Manders & The Shutup rolled into Leicester and turned up the volume at the newly opened International — a venue that’s quickly picking up the grassroots baton after the unfortunate closure of a beloved local space. It’s no easy task to replace a fan-favourite venue, but credit where it’s due — this place already feels like it belongs on the UK’s rock circuit. Opening the night were Wrex, a band I’d been curious about ever since their slick, high-impact reels started peppering my feed. Live, they more than delivered. Normally a two-piece, they hit the stage in full band mode with added bass and drums — not as an afterthought, but with the kind of tight chemistry you’d expect from a seasoned touring unit. Wrex don’t just play songs — they throw everything at the wall and make it stick. Their set was a genre-blurring alt-rock whirlwind: punchy, chaotic in all the right ways, and impossible to take your eyes off. They owned the stage with constant motion, presence, and energy. And they didn’t just vanish after their set either — they stuck around chatting with fans and signing merch. Pure class. Then came Millie Manders & The Shutup, a band who never fail to prove why they’re one of the most exciting forces in UK punk. Their set was a masterclass in controlled chaos — a fusion of ska bounce, punk fire, heavy riffs and purpose-driven lyrics that hit hard but never preach. This wasn’t just a gig, it was a rallying cry. Whether they’re raging against injustice or shining a spotlight on marginalised voices, Millie and co. perform with urgency, intent, and passion — but never lose the fun. The crowd fed off their energy and gave it right back, making the whole venue feel electric. This gig had everything that makes grassroots shows so vital: two bands giving it their all, a room full of people who get it, and a venue doing its part to keep the scene alive. If this tour proves anything, it’s that Millie Manders & The Shutup aren’t just here to entertain — they’re here to wake people up. And Wrex? Definitely a name to remember. Words: Joshua Cunningham

Fresh off of the release of their long-awaited and acclaimed third album in June, ‘I Want To Go Home’, Kaonashi hit the UK with the ‘Real Deal Tesco Meal Deal’ tour this week. The boundary breaking Philadelphia four piece closed their UK tour on 13th July 2025 and descended on The Cavern in Exeter, bringing raw and unbridled angst to the South West. After hitting internet virality with ‘I Hate the Sound of Car Keys’, the hype surrounding Kaonashi has been huge in the heavy music scene. The task of opening the show was up to Exeter natives and UK hardcore beasts, Reality Check. With heavy vocals and chunky riffs, the influence of metallic hardcore bands like XweaponX and Harms Way were apparent in the best way. The energy of the band was infectious and seemed to carry through the whole venue. Reality Check managed to prime the crowd perfectly for what was to come for the rest of the evening. Next up were the genre bending UK outfit, dormant. With insanely technical riffs and passionate vocals, dormant were the perfect combination of early 2000s metalcore and modern hardcore to rile up the crowd ready for a mosh fest. Their debut single ‘Essence’ that was released in 2024 translated particularly well on stage, both the clean and heavy vocals were performed outstandingly as well as the insane breakdown. Despite this tour being their live debut and this show only being their fifth, dormant absolutely tore up the stage and proved themselves the perfect support for this tour. Kaonashi took to the stage opening with the immense ‘Our Troubled Selves’ followed by ‘The Depressive Spectrum’ which immediately set the tone for the show ahead. The unorthodox vocal delivery from frontman, Peter Rono, was absolutely outstanding and matched with the discordant riffs, created an electric live atmosphere. In between songs, echoes of the recurrent album characters ‘Taylor’, ‘Jackie’ and ‘Jamie’ were played as well as comical soundbites, including a quintessentially British rant about the inflated prices of meal deals, which only added to the live environment created by the band. Throughout the set, Kaonashi managed to amass crowds of two-steppers with their groovy drums and infectious energy. During ‘Fairmount Park After Dark’, the blast beat drums and panic chords engaged crowdkillers aplenty with a tornado of arms and legs swinging across the middle of the pit. During ‘Slower Forms of Suicide’, Rono’s angsty vocals absolutely blew the roof off of The Cavern. Following this, the band performed their viral hit ‘I Hate the Sound of Car Keys’ and completely tore the venue up. Once again, the crowdkillers, windmillers and two steppers exploded out of the crowd in full force creating a scene of chaos amongst the audience. After this epic display, with only Rono left on the stage, an acapella rendition of My Chemical Romance’s hit ‘I’m not Okay (I Promise)’ began and suddenly the entire crowd erupted into song, a huge testament to the monumental stage presence of this band. Following this short break in pace, the rest of the band returned for a one song encore, performing ‘Exit Pt.V (Shame on a N*)’, the final track of their 2024 EP ‘The 3 Faces Of Beauty: A Violent Misinterpretation of Morgan Montgomery’. What followed was what could only be described as a truly passionate display of admiration from the crowd for the absolute hit of a performance that had just taken place. The whole set was definitely one to remember, with the whole venue buzzing from start to finish. The energy displayed at The Cavern was contagious and Kaonashi have certainly cemented themselves as a truly fantastic live band. Words: India Akca Photos: Nicola Small

Hail The Sun launched their first UK headline tour at Manchester's Rebellion, delivering a career-spanning set that demonstrated exactly why they've remained at the forefront of progressive post-hardcore for over a decade. The California five-piece, now signed to Equal Vision Records, arrived with new material from their upcoming 2025 album - including the explosive single "The Drooling Class" - and a reputation for one of the most electrifying live shows in the scene. Supported by the contrasting energies of Love Rarely and Redwood, the show was a phenomenal showcase of dynamic, visceral performances. London's Redwood opened the night with an immediately engaging set of math-tinged alt-rock. Their tight musicianship and warm stage presence won over the early crowd, particularly during their new single "Owl", which showcased their knack for combining intricate guitar work with accessible melodies. The energy never faltered, their upbeat delivery providing the perfect contrast to what followed. If Redwood's goal was to win over new fans, they succeeded effortlessly. Leeds' Love Rarely took the energy up several notches with their brand of melodic hardcore. From the first song, they had the crowd moving with a sound that balanced crushing heaviness and soaring melodies. Tracks from their "Lonely People" EP demonstrated their dynamic range, shifting seamlessly between atmospheric verses and pummeling breakdowns. The five-piece has clearly built momentum toward what is sure to be a standout full-length album. By the end of their set, they'd pumped up the crowd with adrenaline, perfectly setting the stage for Hail The Sun's headlining performance. From the moment Hail The Sun launched into "Maladapted," it was clear this would be a special night. The band's signature drum assault - courtesy of Allen Casillas - sent shockwaves through the venue, creating a powerful and precise rhythmic foundation. Guitarists Shane Gann and Aric Garcia traded off intricate, dissonant riffs that blurred the line between chaos and calculation, while John Stirrat held everything together with thunderous basslines. Frontman Donovan Melero commanded attention whether at the microphone or behind the kit - his ability to deliver flawless vocals while playing demanding drum parts remains astonishing. The career-spanning setlist sported fan favorites, deep-cuts, and new material. Early highlights included “Black Serotonin”, its filthy riffs inciting instant movement, and the live debut of “The Drooling Class”, a new single that slots perfectly into the band’s evolving sound. A mid-set run followed where Melero moved to the drums, showcasing incredible vocal control singing while playing for “Rolling Out the Red Carpet”, “Human Target Practice”, and a deep-cut surprise - “Ow! (Splidao!) [I Like It, Though]” from their 2012 EP. With Melero positioned at the drums, the audience had an unobstructed view of the guitarists' technical solos - a visual treat that highlighted their precision and skill. Melero commanded the stage through each stylistic shift - launching into "Under the World" with its driving rhythm (preceded by a playful Everybody Wants to Rule the World tease), then inciting chaos during "Secret War"'s anti-authoritarian chants. The venom in "Tithe"'s indictment of religious hypocrisy landed brutally before the set's emotional reset with "Made Your Mark", where soaring melodies proved their heaviness doesn't rely on distortion. By the time the encore arrived - featuring ”Relax / Divide”, “Cosmic Narcissism”, and the fan-favorite “Chunker” - the crowd was a sea of flailing limbs and shouted lyrics, matching the band’s energy at every turn. This performance was a perfect blend of controlled chaos and emotional precision. With their new record to be released in Autumn and a live show this powerful, Hail The Sun are clearly entering a new peak of technical force matched only by their raw, cathartic delivery. The UK has waited too long for this headline tour, but if Manchester's reaction is anything to go by, they'll be back much sooner next time. Hail The Sun has never sounded sharper or hit harder - If this is how they kick off a tour, their finale is bound to be earth-shaking. Words: May Pierce Photos: Isaac Laing

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