BAT SABBATH/Froglord/Black Mastiff; Rock City Beta, Nottingham; 12/07/26

 As a band, it often helps to branch out from the norm. In some cases, this can quite often lead to certain acts developing successful side hustles alongside whatever helped them rise to prominence in the first place. In the case of Canadian hardcore punk crew Cancer Bats, this particular side hustle is out-and-out Black Sabbath worship, in the form of their alter egos, Bat Sabbath. As part of a UK and EU tour, they've brought their salute to Birmingham's finest to Rock City's smaller stage on a warm Sunday night in July, with some more than suitable support in tow. What follows will be an evening of big riffs that pays deference to those without whom heavy metal would not exist and whose legacy speaks for itself.

Fellow Canadians BLACK MASTIFF get things underway with a heady mix of desert rock, stoner doom and post-metal. Searching vocals and stabbing riffs echo Kyuss and Red Fang but there are also moments of swirling instrumentals that call to mind the work of Isis. It's all accomplished well, to a relatively modest crowd, but they certainly set the tone for the evening, gain some appreciative fans in the process, and are very polite about the whole thing. Sometimes, the metal scene creates a niche that you never knew existed. On paper 'amphibian swamp doom' sounds like some kind of fever dream. In practice, this is the domain of Bristol quartet FROGLORD. Things are about to get swampy. Whilst this might seem like eccentricity for the sake of it, their frog-themed, downtuned slabs of lore are executed with both pristine skill and unbridled enthusiasm. Make no mistake, behind the gimmick are riffs so thick you could use them to pave roads, and driving percussion that makes you fear for the structural integrity of your insides. Commanding this mud-caked sermon, frontman Benjamin 'Froglord' Grey sways and swoons as he peels back the layers of the band's mythology, conducting a ritual that intones all and sundry to give themselves over to the swamp life. From the opening sludgy grind of Croak to the closing doomified space-rock dirge of They Came from Saturn, there will be many new converts by the end of their set. As their suitably presented mascot is held aloft, the band finish with a flourish. Whatever you make of what we've just witnessed, Froglord have spawned something unique.

The legacy of Sabbath will remain for many a decade and the sheer expanse of their influence across all corners of the metal world is truly something to behold. It stands to reason then, that bands would want to wear this appreciation on their sleeves and do whatever they can to uphold it. So, then, BAT SABBATH intend to do just that. Eschewing the usual punk-driven hardcore you'd expect from their normal day job as Cancer Bats, Liam Cormier and co. are about to take us on a journey through straight-up Sabbath worship. Rest assured, this isn't just a band covering Birmingham's finest purely for the sake of it, or paying lip service to the classics. This is a band demonstrating their respect for, and intense reverence of, the original material, whilst still adding their own spikier, more aggressive edge. 

Things kick off with a swirling, almost cartoonishly loud Children of the Grave and from then on, there's no let up. The hardcore stylings lend an extra dimension to the classic fayre, with excellent results. The already hefty riff that opens Supernaut is given an extra shot in the arm, whilst Paranoid is dispensed at breakneck speed. An absolutely filthy sounding Symptom of the Universe opens the first of many pint-threatening pits. Even the traditionally longer and slower sections get a good old going over. The ominous, slow-burn intro of Black Sabbath is still deeply unsettling, whereas N.I.B. sounds even more fiendish than the original, both tracks suitably impacted by Liam's glass chewing vocals. In the hands of a less determined and less talented act, this whole performance could come across as trite. But not here, not tonight, not in these circumstances. The added urgency provides an extra lens through which to view these songs. Fairies Wear Boots somehow sounds even more like an acid trip gone sideways. This is a masterclass in heavy metal hero worship. Front and centre of it all, Liam stares wide-eyed into the crowd, baiting people into pits and, in one of the standout moments, leaving the entire opening verse of War Pigs to be sung by the throng.  Earlier, during the first moment of audience interaction, he declares that he cares not for the day of the week or the English inability to deal with the Sun. He's here for one reason and one reason only. Worship, in its simplest and purest form. The band then launch into a crushing version of Iron Man. This is a scene of utter adoration and unrepentant adulation.  There's a reason Ozzy, Bill, Tony and Geezer are so loved and so revered. They didn't just invent a genre. They birthed a scene. The fact that such a diverse group of acts have spun directly off of what they created is testament enough. The rest of the band on stage deserve massive credit too. Jackson Landry is a demon on guitar, replicating Iommi riffs like he's been playing them all his life. Drummer Mike Peters channels Bill Ward's intense proficiency, with bass player Jaye Schwarzer providing the churning, roiling low-end. The packed room is a blur of bodies, crushed beer cans, head banging, sweat and, quite likely, tears too. 

There's even time for the band to showcase the impact Sabbath have had on their own catalogue. The closing Lucifer's Rocking Chair comes complete with the kind of oozing, meaty riff that Tony Iommi himself could have conjured in one of his moments of fretboard wizardry. By the time it's all over, ears are ringing, and what remains is a scene of elation and unbridled joy. This has been an evening to remember, and a reminder that Black Sabbath will always be a band who deserve to be worshipped. Whoever plays their songs, these are songs that mean something. Not just to fans, or the bands that continue to play them. These songs are the heart of metal. They belong to the universe. We should feel honoured and privileged to be able to witness them.   

Bat Sabbath Setlist

(All Black Sabbath covers unless otherwise stated)

Children of the Grave

Supernaut

Paranoid

Iron Man 

N.I.B.

Electric Funeral

Symptom of the Universe

Fairies Wear Boots

Black Sabbath

War Pigs

Lucifer's Rocking Chair (Cancer Bats)

TYPAN/Speeder; The Metal Monocle, Leicester; 27/06/26

Seeing live music should never just be about seeing the arena-filling, stadium-headlining, festival-topping bands. All music starts off at a grassroots level. Every band was once a local band, playing local venues and every band is always somebody's mate's band. So, when your best mate tells you that their band are playing at a venue less than an hour's drive from you, you make damn sure that you make the effort to go. In this case, the band are Typan and the venue was The Metal Monocle, a steampunk-themed rock and metal bar on Braunstone Gate in Leicester, a short distance outside the city centre. It's the perfect setting to showcase bands who are bringing their own unique flavour to the alternative scene by dishing out great big slabs of proper heavy metal on a Saturday night, and providing a welcome distraction from the football as a useful aside. The billing on this occasion featured three bands, although we'd only stay for two, with the objects of our interest filling the second slot of the evening. One corner of Leicester is about to be given a lesson in rock and roll, whether they like it or not. 

Beginning proceedings are SPEEDER, a quartet from Newcastle, who open things up with a short set of prog-tinged thrash. It's heavily indebted to the work of Megadeth and early Metallica, with big expansive riffs that almost feel like they belong on Ride the Lightning. They're not afraid to show off their doomier credentials either, slipping in a well-executed cover of Ozzy's classic Mr. Crowley to an appreciative showing from the crowd. Much of their work focuses on longer, heavier sections with prolonged breakdowns, allowing them to display their technicality, alongside urgent, stabbing vocals. Clattering, thunderously loud drums and buzzsaw riffing get the crowd in the mood for what's to come. Before too long, they screech to a halt to a smattering of applause. They've done a good job and, despite their short run time, the journey down from the north-east has definitely been worth it. 

Bristol-based five-piece TYPAN have been plugging away for a while now, with three albums under their belts and numerous lineup changes since their formation. This current incarnation certainly seems best placed to drive them on to further success. Original members Kenny Guppy (vocals) and Matt Smithers (drums and admin) have added further technical prowess up-front, beefed up the rhythm section and, as a result, significantly added to the amount of hair on stage at any one time. Their sound is very much steeped in NWOBHM and old school rock and roll, with the energy, charisma and, most importantly, the songs to live up to their various influences. And what influences they are. Maiden-coded opener Keeper of the Gate kicks things off with aplomb, rampaging closer Midnight Man channels the speed and heft of Saxon, whilst Chariot of the Gods boasts the sort of power metal chorus you'd expect from Manowar and opens with a monstrous guitar riff that would make Muse fans weak at the knees. It's a rollicking good time from start to finish but, beside all the fun and games, Typan aren't afraid to get political. Demagogue shakes an angry fist at tyranny and division and Harp from Hell comes complete with a gang-vocal style, bile-flecked chorus that hints at barely repressed rage regarding the state of, well, everything. They're also not frightened of showing off their proggier chops. Mid-paced stomper Strike Back has several changes of tempo that hint at more grandiose possibilities. 

Power and fury aside, there is time and space for emotional weight. Not to be outdone by their predecessors on this stage, a really rather good cover of Bark at the Moon gives way to Blade in the Dark, written on the same evening that the Prince of Darkness himself shuffled from this mortal realm. There's a deeply personal touch too. Fight for your Life, was written by, and is dedicated to, former guitarist Adam, who tragically died in 2025. Its inclusion in the setlist carries an extra poignancy and is a really nice touch that the band should be commended for. Throughout the set, the songs explore a gamut of emotions. But it's all very well having the songs if you don't have the ambition and ability to pull them off. Thankfully, Typan have both, in absolute bucketloads. Lead guitarist Joe 'Showstopping' Topping is a real force to be reckoned with, peeling off one blistering solo after another and then spending his down time pointing his guitar into the crowd like an AK47 with a hair trigger. Behind him, Matt covers his drum kit like a mechanised spider, propelling everything along like a heartbeat, whilst carrying a face that simultaneously radiates calm and looks a bit like he can't be sure whether he locked the front door on his way to the show. The rhythm section are locked in seamlessly. Guitarist Dan's riffs and licks are underpinned by Steve Mercy's rumbling basslines. In and amongst all of that, frontman Kenny is never still, making the most of every inch of the, admittedly small, stage space afforded to him. Vocally, it's a stellar performance too, with an impressive range. His low notes are reminiscent of Messrs Halford and Dickinson, whilst his higher register lands well in the vicinity of Robert Plant and Rush's Geddy Lee. The heft and passion behind the lyrics is conveyed with a real heartfelt enthusiasm. And the same is true throughout the band. They're clearly having the time of their lives. This is by no means the biggest venue, or the largest crowd, that they have played, or will play to but they're clearly enjoying sharing the fruits of their labour with a select few on a balmy night in the East Midlands. By the time their 40 minute stint is over, they've absolutely garnered more than a few new fans from amongst the watching throng. Typan have been doing this for a long time and deserve to be much, much bigger. Gigs like this are the perfect opportunity for bands to shine and do what they do best, as well as supporting grassroots music venues and giving potential new fans the chance to find their new favourite band. Big riffs, cracking songs and genuinely strong performances, alongside the fact that they happen to be a belting bunch of lads, should be more than enough to see Typan filling much bigger rooms than this and, much like the snake for which they are named, getting their teeth right in. Catch them whenever you can. I promise you that you won't regret it. If nothing else, make the effort to see your mates bands, and support them in any way that you see fit. They'll appreciate it and so will you. 

Typan Setlist

Keeper of the Gate

Demagogue

Harp From Hell

Strike Back 

Bark at the Moon (Ozzy Osbourne cover)

Blade in the Dark

Fight For Your Life

Chariot of the Gods

Midnight Man

DOWNLOAD FESTIVAL 2026; Donington Park, Leicestershire; 14/06/26

It's been that time of year again. Download Festival seems to come around more quickly every year and this year's edition, the 23rd, came stacked with a bill to generate a considerable amount of nostalgia amongst alternative millenials whilst still finding plenty of room to showcase the next generation of rock and metal. Headlined by nu-metal standard bearers Limp Bizkit and Linkin Park, with returning legends Guns N Roses sandwiched in between across the weekend, there was a lot to take in for those in attendance, many of whom would be setting foot on Donington's sacred turf for the first time. This year, our attentions would be turned firmly to the Sunday, primarily down to misgivings with the overall lineup and having seen a lot of the bands relatively recently. The general feel of the weekend seemed geared more towards attracting new attendees but there was a lot to draw in returning fans. Despite some questionable forecasts, and an outright deluge on the Thursday, the weather settled down nicely just in time for the bands, although there were some strong winds on both Friday and Saturday. By Sunday though, this had died down too. The weather was dry, not too warm, not too cold and, in the end, sunnier than predicted. All in all, a perfect day for a festival. 

To start proceedings, here's a question: what do you get if you take the crunching riffs of Don Broco, the symphonic layering of The Flaming Lips, the manic energy of The Hives and the grunge sensibilities of Hole, mash them all together and animate what's left? The answer, it seems, is UNPEOPLE, who have been given the unenviable task of waking everyone up for the last day by opening the Apex Stage. Despite the early start, they've attracted a decent crowd with their mish-mash of alternative metal, post-grunge and shoegaze-inflected post-rock. They certainly take the plaudits for the loudest opening of the day and, by the time it's all over, a few of the crowd look considerably more alive than they did when things got underway. Anybody still lingering under the influence of a hangover will soon be cured or made much worse by KUBLAI KHAN TX. Their blend of crossover thrash and straight-up, knuckle-dragging hardcore gets heads banging and pits swirling. Frontman Matt Honeycutt is clearly enjoying himself and even throws in some dog barks for good measure as the Texas collective take no prisoners and, one imagines, leave quite a few bruises in their wake. 

RORY's rise from YouTube to festival stages may have been a long one but nobody present can say that she hasn't deserved it. She's clearly simultaneously thrilled and overwhelmed to be here, and almost can't believe her luck at finding herself on a stage of the scale of Download's new and improved, and bloody massive, main stage. Her 45 minute set is a testament to the hard work and determination it's taken her to get here. Whilst the crowd is modest given what's come before, she has more than earned this billing. Her heartfelt and sincere lyrics, inspired by genuine heartache and loss, coupled with her energetic and magnetic stage presence, have not only attracted the curious alongside pre-existing fans, but also provide real moments of tear-jerking grief and release. The topic of her deceased mother, and the ensuing grief spiral, comes up more than once, no less so on Sorry I'm Late, and ensures that there isn't a dry eye in the field. Alongside the vulnerability, there are levels of toughness as befits someone who has seen rock bottom and then tunnelled their way through it. There's even a chance to address music industry misogyny too as Rory makes a point of saying that she is one of the oldest female performers to grace this particular stage, despite being only 41. In the end, this short snippet of a set is a triumph and wins over a few new fans along the way. This won't be the last time you see Rory in this environment so you better get used to it. 

To those in the know, BLOODYWOOD need no introduction. The New Delhi crew have built an ever-growing fanbase off the back of their nu-metal-meets-traditional-Indian-instrumentation schtick. Whilst it may once have seemed like a niche concept, the emergence of bands using traditional folk instruments and musical styles alongside more recognisable metal tricks proves that this is more than just a flash in the pan. Folk metal is very much in these days and Bloodywood are one of its finest proponents. Not only have they summoned a sizable crowd, but they've brought the party, and the mid-afternoon sunshine to go with it. From the opening Dana Dan, right through to the closing, and aptly titled, Machi Basad (Expect a Riot), it's an absolute joy from start to finish. The combo of rap-metal, heavy metal growls and bhangra rhythms, in conjunction with the sheer chaotic energy on show ensures that this is one of the most fun, immersive and exciting sets of the day. Whilst on paper, the whole thing sounds bonkers, it's carried out with significant aplomb and shows that Bloodywood are not a gimmick. What they are is unashamedly flying the flag for the Indian metal scene, their culture, their home and the fact that metal is universal. Regardless of creed, colour, religion, sexuality or any other characteristic, metal is a brilliant, uniting force. They are also unashamedly and undoubtedly brilliant. The party has well and truly started. It's just a shame that the set wasn't longer but they will be back again.

Time now for something a little bit more straightforward and accessible. It's been a while since THE PRETTY RECKLESS have graced Donington's hallowed ground but they're not here to make a big deal about it. Taylor Momsen and co. are back and they've brought riffs by the shedload. Death by Rock n Roll does what it says on the tin without coming across as too on the nose. What follows is an accomplished set of hard rock bangers. Make Me Wanna Die and Heaven Knows generate the biggest singalongs, the latter with its big chugging bassline and the former with its soaring chorus. Throughout, Taylor channels Stevie Nicks and Courtney Love, her impressive pipes adding a grungy attitude to go alongside her significant stage presence. Such is the length of the band's back catalogue that it's easy to forget that she didn't start out doing this, but it's clear that she has made the correct decision and can now be considered one of rock's most talented and recognisable frontwomen. In contrast to The Pretty Reckless not having played Download for a while, this is very much not the first rodeo for ICE NINE KILLS. This is approximately their third appearance in the last 5 years and, two bands down from the headliners, higher than they've ever been in the running order. It's certainly not without merit or reputation. Their horror-themed, movie-inspired metalcore brings a massive crowd, who are ready to lap up not just the songs but the graphic theatricality that comes with the stage show. Off the back of a phenomenally successful UK arena run, they've got every right to come out with a swagger. Beginning with Meat and Greet, inspired by Silence of the Lambs, we're in a for a treat as the next hour brings mock decapitations, disembowelments, blood, gore and the premature demise of Download Dog in a short-lived climactic scrap with Art the Clown. Beyond the stage show, the performance is exceptional. Spencer Charnas's vocals are on point and the band showcase every one of their influences, from the ska-tinged Ex-Mortis, through the Huey Lewis and the News aping Hip to Be Scared, to the straight-up gruesome metalcore of Funeral Derangements and Welcome to Horrorwood, it's one hell of a show from start to finish, pun very much intended. There's even time for some surprises across the 60 minutes. Matt and John from ska-punk legends Reel Big Fish add their trumpet and saxophone to Ex-Mortis before, a few songs later, we're indulged with a storming cover of NOFX's Linoleum, a throwback to INK's origins as a ska band. Later still, Hannah Greenwood from Creeper, herself pulling triple duty with her usual band over the weekend, shows up to fill in on the female vocals on Twisting the Knife and A Work of Art. In short, it's a gloriously over-the-top hour that is equal parts brilliant and not for the faint-hearted. Still, this is a magnificent showing from a band very much in the ascendancy. With so much debate about which up and coming bands are positioning themselves for future headline status, Ice Nine Kills have bludgeoned, hacked and slashed their way to the front of the queue. Band of the day by quite some margin. 

Given that their last scheduled performance, in 2024, saw them withdraw so that frontman Noah Sebastian could focus on his mental health and recover from exhaustion, BAD OMENS have a point to prove, with this year's sub-headliner appearance set to be a determined swing for top billing. It's just a shame then that a massive but surprisingly non-committal crowd don't really seem to be into it. Rest assured, Noah's voice sounds immaculate and the band are impressive but the nature of their songs doesn't seem to translate as they should. They do have a solid collection of tracks, many of which are capable of inciting mass singalongs, amongst them early highlight Limits but the chop and change between melancholic, yearning anguish and blistering rage means that the flow seems to struggle. There's no doubt that they are big and will get bigger and will likely find themselves at the top of the poster in years to come but perhaps the setlist structure needs work in future. It also can't help that the sun hasn't even touched the horizon when they come onstage. You can't help think that darkness may have helped carry the message further. As much as things at Download, be that the weather or the toilets or the queues, are hard to predict, some things are never in doubt. Amongst life's certainties is that you will always have a good time with A DAY TO REMEMBER, who are closing the Opus Stage on the Sunday night. Despite being relegated to the smaller stage and being scheduled during Bad Omens and before Linkin Park, they show no sign of sour grapes as they emerge to an appreciative crowd and the familiar strains of long-time opener The Downfall of us All. Barring some flecks of grey in his beard, frontman Jeremy McKinnon shows no evidence of ring rust and still seems to be having a fantastic time as he leads band through a set of bonafide anthems. They do well to keep the energy up throughout, choosing to eschew their slower numbers, with the exception of If It Means a Lot to You, a classic, in favour of the big hitters, pyro and breakdowns. All I Want has the crowd singing every word back in force. So too 2nd Sucks with it's 'get the fuck over it' rallying cry and a decidedly raucous The Plot to Bomb the Panhandle. Even newer songs, like party anthem in waiting All My Friends, get a big response and then it all comes to a close with a suitably cathartic All Signs Point to Lauderdale. It's good to have ADTR back. You forget how good they are live and how many strong cuts they can call upon but they've aged like a fine wine. 

To state that LINKIN PARK have been through the mill doesn't come close to covering the extent of what they've had to deal with. Almost 26 years on from the release of genre-birthing debut album Hybrid Theory, and 12 years on from their last headline appearance on this ground, they're back, closing out proceedings. The path to this point hasn't been an easy one, far from it. The tragic suicide of much-loved frontman Chester Bennington in 2017 sent the band into a hiatus which it seemed unlikely they would ever return from. Then, in 2024, like the proverbial phoenix, the band re-emerged seemingly from nowhere, having recruited former Dead Sara vocalist Emily Armstrong to carry on Chester's weighty legacy. To say the level of expectation is unprecedented seems like a gross understatement. By virtue of this headline appearance, Linkin Park become the first female fronted band to headline Download's main stage, a fact which, in and of itself has become a bone of contention and led to discussions as to whether that honour should have belonged to somebody else. Regardless of the noise, Linkin Park are back! Great news for fans, especially those who may have never seen them live in their original incarnation, and also for a younger generation who finally get to witness the phenomenon that soundtracked the angst of a generation. 

Things start promisingly enough. Following the trailer for their upcoming reunion film Unshatter and then a brief countdown, the band launch straight into The Emptiness Machine, the massive hit single from comeback album From Zero. Straight off the bat, the chemistry between Emily and Mike Shinoda is obvious and the interplay between their distinctive vocal styles reflects the strength of the newer material. Two things become clear very quickly: Linkin Park are clearly relishing being back together, performing and bringing their anthems to audiences old and new, and Emily is a very different proposition to Chester. It's hard not to make the comparison. Whoever took over the reins when the band returned would find themselves under scrutiny, both professionally and personally. To Emily's credit, she has faced the criticism head-on and the band have backed her to the hilt. There are both highs and lows throughout this performance. A surging, angst-ridden rendition of Crawling features the crowd at full volume for the first time. Time and again, thousands of voices will be heard singing every word in unison. Emily allows them to do so, perhaps too often on occasion. It's in these moments when the vulnerability shows. Whilst there's nothing wrong in the slightest in letting the crowd sing when occasion calls for it, it sometimes comes across that this is compensating for a lack of involvement in the older songs. It does feel weird hearing someone else singing what are, effectively, Chester's words. Make no mistake though, Emily is a very powerful and accomplished vocalist, not least when demonstrating her prowess on the 27 second long held note in Heavy is the Crown. In general, the whole showpiece feels a bit disjointed. Longish spells of inactivity between sections of the set interrupt the opportunity to build momentum, especially after what is a strong start. A cover of Where'd You Go by Mike's other band, Fort Minor, feels oddly out of place, even though the song is about their much-missed friend and colleague. One Step Closer starts off with the familiar dread-inducing riff and explodes to life before having to stop and start again, although quite rightly, due to an emergency in the crowd. Musically the band sound fantastic and are very much locked in. It's in the overall spectacle that shortcomings occur. Several songs are altered or played differently. Numb, which is still one of the best songs ever written about how it feels to be an outcast, starts off in a different key, which somewhat lessens the impact. Bleed it Out, by contrast still sounds positively ferocious and What I've Done conjures many a mid-2000s Transformers flashback. Somewhere I Belong and Breaking the Habit still carry significant emotional heft. Wisely, In the End and Faint are held over to the encore, ensuring that the bigger tracks get their spot in the limelight too. 

In a nutshell, this is show of two halves. First time and new fans will be absolutely blown away by the spectacle and the strength of the performance. For the older generation, who can't help but cling to the memory of the Linkin Park of old and the one-of -a-kind individual that was Chester Bennington, the shadow of the past hangs long. This isn't a bad performance, just one shaped by tragedy and fate. Linkin Park are still very much finding their feet again and reassessing their place in a music scene that has changed a lot since they first rose to prominence. They will recover from this and it will be intriguing to see where this lineup is able to take the band moving forward. An act of this calibre, with the influence and impact they have had, can never be written off completely. 

Linkin Park Setlist

The Emptiness Machine

Lying From You

Crawling

Up From The Bottom

Somewhere I Belong

The Catalyst

Burn It Down

Where'd You Go (Fort Minor cover)

Waiting For The End

Two Faced

A Place for My Head

IGYEIH

One Step Closer

Lost 

Breaking the Habit

Overflow

What I've Done

Numb

Heavy is the Crown

Bleed It Out

Papercut

In The End 

Faint

And so, another Download Festival draws to a close. It had been a good one. Every year seems to throw up something a bit different and it will always be good to see a homegrown festival doing whatever it can to champion the next generation and ensure that the alternative scene not just thrives but is spoiled for choice. Whatever people's opinions are on the lineups and everything else, and there are a LOT of opinions, there will always be a place for Download Festival. Next year's event takes place from 9th-13th June. Headliners have yet to be announced at the time of writing. 

BLEED FROM WITHIN/Disembodied Tyrant/Baest; Rock City, Nottingham; 08/03/26

Bleed from Within are having a bit of a moment. More than 20 years into their careers, the Glasgow metalcore crew have suddenly found themselves very much in the ascendancy after substantial time plugging away in the underground. Such has been the strength of their determination to not be left behind, that they've supported some true heavyweights, such as Trivium and Slipknot, manifested stellar performances at Download and have a sub-headline slot lined up at this summer's Bloodstock. All of which means that it's about damn time that they headlined a tour of their own. This is what has brought them back to Rock City's hallowed hall on a Sunday night in early March, and they've recruited some strong support acts as accompaniment. 

BAEST (pronounced to rhyme with 'paste' and taken from the Danish word for 'beast' or 'brute') get proceedings underway in front of a crowd that are more than up for an evening of heavy metal to distract from the Sunday scaries. Their mix of old school death metal and contemporary metalcore goes down a storm, with the first pits of the night opening almost immediately. By the time vocalist Simon Olsen is in the middle of the floor with a circle pit swirling around him, they have the crowd in the palms of their hands. They even take the bold step of asking people to sit down for a song intro, which leads to the obligatory floor rowing. Throughout their set, it's pretty clear that the band are having the time of their lives. One perma-smiling guitarist is clothed in a Van Halen T-shirt, which seems appropriate when he blazes out a solo that the late, legendary Eddie Van Halen would have been more than chuffed with. The songs are tight, with buzzsaw riffs, chugging percussion and genuine, lighters aloft, singalong choruses. They close on a stompy slice of quasi-industrial thrash that would not seem out of place on an Amon Amarth album. The band's genuine enthusiasm for their craft and the strength of the songs, alongside what seem to be their all-around friendliness and approachability, earn them many a new supporter on the night. 

If you were asked to list the US states that have produced bands who've had a profound influence on the alternative music scene you'd likely list California, Florida and Washington for starters, and then maybe Georgia, Massachusetts and Louisiana if you're a bit further initiated. You'd probably be highly unlikely to mention Missouri. DISEMBODIED TYRANT are certainly looking to change that, with their expansive technical death metal. From the get-go, they fire out some truly ferocious sounds, with guttural vocals from frontman Blake Mullens backed by thunderous blastbeats and furiously picked guitars. Amongst the brutality, there are softer moments with symphonic edges and almost classical time signatures that call to mind Lorna Shore, with whom the similarities are clear. All-in-all, they're certainly a gnarly proposition and aren't just here to make up the numbers. There are some genuinely atmospheric sequences which point to much more grandiose ambitions. For the most part, they seek to bludgeon. Crowd interaction calls primarily to make the pits bigger and faster. This does slightly backfire as the band are forced to pause twice due to people getting slightly too carried away. Despite their relatively young career thus far, they've proven that their gameplan extends beyond just making as much noise as possible. Guitarist Dominic Petrocelli, with staring eyes and shit-eating grin, is presumably hoping they get big enough to employ a merch person so he no longer has to pull double duty.

By the time BLEED FROM WITHIN take to the stage, the atmosphere inside Rock City has risen to fever pitch. It's been pandemonium amongst the crowd for both support bands and the anticipation seems to hang in the air as the backing tape plays a selection of  classic rock, nu-metal anthems and, presumably in a nod to their home turf, Baccara's 70s party classic 'Yes Sir, I Can Boogie'. Just as the guitar riff for 'Livin' on a Prayer' is about to kick in, the lights go down and the band emerge, firing straight into the title track from last year's magnificent Zenith album. What follows is an hour and a quarter of exceptional metalcore from a band who genuinely can't seem to believe that they're here. 

This tour, dubbed the Dying Sun Tour, is their first proper headline tour in decent sized venues. In fact, this show was upgraded from neighbouring Rescue Rooms after tickets sold out in 24 hours, making it the biggest venue that the band will visit during this leg. It's clear from the outset that they are genuinely humbled and affected by both the size of the crowd and the strength of the reception. Wave after wave of crowdsurfers pass over the barrier and don't let up, including the same banana attired gentleman from last month's Avatar show. To say that Bleed from Within are in fine form doesn't quite do justice to the quality of the performance and the proficiency on display. It helps that the songs sound positively monumental. The End of All We Know is an absolute banger and generates the first proper singalong, despite being dropped very early in the set. More big hitters are to come. The soaring chorus of Levitate sounds absolutely mighty, especially when backed by thousands of extra voices. Violent Nature showcases the range of the band's influences, with the kind of sludgy riff-driven breakdown that Mastodon have been building on for years. They have the audacity to replicate Slipknot's penchant for asking people to kneel down and jump up during I Am Damnation. The knees of every 30+ year old in the room will be screaming for mercy on Monday morning. God Complex is a monster of a song in its own right and they bring back Simon from Baest for this version. He ends up stranded mid crowdsurf and eventually steered back to the front of the room. Bleed from Within are clearly relishing the opportunity to headline in these sorts of venues. Scott Kennedy could not be more pleased with the turnout and gushes between songs about how the loyalty and support of their fans has gotten them this far. In tribute to the strength of this bond, the band have chosen a setlist that reflects their longevity. Whilst around half the set is populated with songs from Zenith, they've thrown in some deep cuts for this tour. That means Leech from 2013's Uprising makes an appearance. Scott admits that the band don't play songs from this particular album much as they 'think it's shite' so this is a privilege indeed. It definitely goes down well, with a surging riff and barrelling rhythm. So too, Lamb of God indebted Fracture track A Depth That No One Dares, which features Scott doing his best Randy Blythe impression, sounds positively monstrous. 

To explain Bleed from Within's sudden rise to this level, you have to look beyond the songs and at the close relationship between the band members. Beyond the well-oiled heavy metal machine, there's a genuine camaraderie that shines through, particularly when things don't go according to plan. At one point Scott accidentally flicks his microphone off the stage whilst the rest of the band carry on like nothing has happened. Drummer Ali, a bonafide force of nature, winds Scott up by starting a drum fill when he tries to talk to the crowd. The bonds between the band have helped them forge what they've created. What they've created is a band destined for greatness. Metalcore seems to be having a bit of a purple patch and Bleed from Within are certainly at the front of the queue. The musicianship is impeccable. Davie Provan's rumbling bass underpins everything whilst guitarists Craig and Steven are finely tuned magicians of their art. The latter's clean vocals are the perfect counterpoint to Scott's unclean growl. Throughout the set, the crowd are completely hooked. Not one song goes unappreciated, which speaks volumes about the quality of the offering. By the time things come to a close, on a pummelling In Place of Your Halo, Scott is simultaneously kneeling whilst being held aloft by the crowd. It's just a shame that the live piper they've used for outdoor performances of the bagpipe breakdown isn't present. However, make no mistake, this is an utter triumph. No streamers, no confetti, and none of the pyro that they've gotten accustomed to using in larger arenas. Just 5 lads from Glasgow levelling a medium sized room in the East Midlands. Get used to seeing Bleed from Within topping bills and in front of exponentially bigger crowds. This is more than just a moment. This is their time. 

Bleed From Within Setlist

Zenith

The End of All We Know

Pathfinder

Alive

Violent Nature

A Hope in Hell

Invisible Enemy

Dying Sun

Levitate

Leech

God Complex

A Depth That No One Dares

I Am Damnation

In Place of Your Halo

AVATAR/Alien Weaponry/Witch Club Satan; Rock City, Nottingham; 17/02/26

Mention the name Avatar to most people and the word will conjure images of James Cameron's multi-billion dollar film franchise. Unless they're very much in the know, they probably won't associate it with a Swedish band who specialise in what's best described as avant-garde demonic circus metal. But, the truth of it is that the Molndal quintet are 25 years into their career and they seem to love a UK February show. Four years on from their last tour, they're back in town, touting a new album and with new support to back them up. 

WITCH CLUB SATAN kick things off, to a room filled with curious onlookers. The all-female Norwegian trio aim to use their gnarly, pagan black metal to reclaim feminine power in what is, sadly, still a misogynistic genre. They take to the stage, dressed in outfits that resemble possessed deer/rabbit hybrids and begin what is best described as a ritual, with bursts of riff punctuated by screams and periods of spoken word. They then disappear off stage and return a few moments later, in the nude, to complete the set. The second half is the most interesting musically, with the blackest of riffs showcasing the influence of such genre luminaries as Mayhem and Satyricon. It's an exercise in potent, politically charged BM with hellish vocals and the deepest and darkest instrumentation, all blastbeats and doom-laden downtuning. Unfortunately, the response is somewhat mixed. The stop-start nature of the opening half of the set seems to have confused and alienated some, and there are way too many phones in the air, which raises questions about safeguarding. The ambition is admirable and they've definitely earned themselves some new fans and some considerable respect along the way, but the question remains as to whether their controversial performance style will translate as they hope, and be a beacon of feminine strength in an increasingly polarised world.

Where Witch Club Satan aim to take back the power of the female form, ALIEN WEAPONRY are aiming to reclaim indigenous Maori culture through the medium of thrash. The three lads from New Zealand, brothers Henry and Lewis de Jong, on drums and guitar respectively, alongside bass player Turanga Morgan-Edwards (who joined in 2020), have been plying their trade since they were literally children and have definitely grown into their roles and significantly developed their command of the stage. The emerge to the sounds of a traditional Haka being played over the sound system, with Henry himself performing part of the dance. In a room such as this, it's easy to see why it has been used to terrify generations of opposing rugby players. What follows is 45 minutes of well-executed, old-school thrash with some prog elements, all sung in the native Maori tongue. All of the band are of Maori descent and have loaded their songs with disgruntled tirades against the colonialism that destroyed and co-opted much of the indigenous culture. Not only do the songs carry a message, they hit hard. The core thrash elements are all present and correct. Chugging riffs and machine gun drumming carry Lewis's guttural, rage-inflected vocals. Rooms like this suit Alien Weaponry down to a tee. The songs that first got them noticed still sound as aggressive and as relevant as when they first burst onto the scene. This is a band who have matured sonically as well as physically. They might not have blown up to the scale expected when they first emerged on the scene but based on powerhouse slots like this, and in a time when metal is firmly embracing indigenous influences across all sub-genres, their time is surely coming.

Whilst the support acts come from very different ends of the metal spectrum, they both make sense in the context of what is to follow. AVATAR are known for melding influences from across metal's gamut of subgenres into an eclectic, cohesive whole. New album Don't Go in the Forest might be their most accessible and most radio-friendly but it is still unmistakably Avatar, equal parts industrial stomp, heavy metal riffage, sing-along choruses and death metal brutality. The stage lights turn a disconcerting shade of blue and the band appear, with frontman Johannes hidden by a cloak and carrying a lantern, like a late arrival to the Traitors turret. Without further ado, the band lurch into Captain Goat, a devilish, slow motion sea shanty that sounds like the condemned souls of a Viking raiding party finally making it to shore. And then the gloves, and the cloak, are off and everything properly fires into life. 

Whilst this tour is showcasing the new album, Avatar have come loaded with some choice cuts from across their discography, which showcases the almost dizzying array of influences that have coalesced to produce the sound that they call their own. Setlist staple The Eagle has Landed elicits the first proper singalong of the night. The industrial march of Colossus is a menacing parade of staccato drumming, with all of the band at the front of stage, as if leading everyone in the room straight to Hell. Bloody Angel is a haunting, twisted lullaby with a hummable earworm riff that would not be out of place in a haunted playground in the dead of night. Central to the band's showmanship is the towering figure of frontman Johannes Eckerstrom, who controls proceedings like a demented ringmaster, prowling the stage balletically and often grinning manically. His black and white makeup, done like a sinister clown (is there another kind?) creates the impression of the bastard son of Eric Draven and Pennywise. Aside from the imposing stage getup, he demonstrates his vocal prowess, from the softer cleans of the piano-led Howling at the Waves to full bore growls for Silence in the Age of Apes, in itself a nailed-on death metal banger.

However, it's all very well having the theatricality and the evil carnival gimmick but you still need the style and musicianship to pull it off. Luckily, Avatar are blessed with that, and in spades. John Alfredsson is a gurning, wide-eyed lunatic on drums, with his elaborate fills and spidery patterns holding everything together. On guitars, Jonas Jarlsby and Tim Ohrstrom (the band's newest member, despite joining in 2011), match up perfectly, their leads and rhythmic riffs intertwining to sometimes haunting effect. They both even get time to unleash blistering solos that owe a considerable debt to old school heavy metal. Henrik Sandelin's bass underpins everything with an ominous chugging menace, his backing vocals complementing Johannes's delivery perfectly. They're a well-oiled unit, clearly well-versed in how to put on one hell of a show. The crowd are bonkers, virtually from the get-go. A man, for some reason dressed as a banana, crowdsurfs for every single song, at least in the first half of the set. The level of devotion, especially for a band who occupy a very particular niche, is profound. We're all having a wonderful time and the setlist is fantastic. We get a rousing rendition of The Dirt I'm Buried In, Johannes's falsetto almost drowned out by the extent of the crowd interaction. Smells Like a Freakshow marries the industrial clatter of Ministry with the melodic death metal riffing of In Flames. Let it Burn is a satanic waltz. Hail the Apocalypse, a plea for the end of everything, closes things out with an explosion of confetti and a rapturous reception. Avatar have given everyone an education in modern heavy metal. They're hard to pigeonhole, constantly adapting and continuing to merge styles and influences from metal's vast spectrum into something truly unique. As the crowd files out and the band take their bows, appropriately enough to Vera Lynn's wartime ballad We'll Meet Again, there's a feeling in the air of a job well done. Avatar have proven their worth, as if it was ever in doubt. They might be a band with a very specific schtick but they deserve to be massive. After 25 years of rampaging, genre-bending, carnival theatrics, surely it's time that they were filling arenas? We will, indeed, meet again. And a bloody good, off-kilter, zany time it will be. 

Avatar Setlist

Captain Goat

Silence in the Age of Apes

The Eagle Has Landed

In the Airwaves

Bloody Angel

Death and Glitz

Blod

The Dirt I'm Buried In

Colossus

Torn Apart

Howling at the Waves

Glory to Our King

Legend of the King

Let It Burn

Tonight We Must Be Warriors

Don't Go in the Forest

Smells Like A Freakshow

Hail the Apocalypse

JINJER/Unprocessed/Textures; O2 Institute, Birmingham; 30/01/26

Birmingham will forever be a place of heavy metal pilgrimage. The indelible stamp left on the music scene by Messrs Osborne, Iommi, Butler and Ward will continue to attract those who lean towards the heavier way of things. For that reason, any metal gig in Birmingham always feels a little bit different, almost like those on stage are paying homage to those that helped their band to exist in the first place. With so many of the old guard winding down or, in too many cases, no longer with us, it's up to the next generation to keep the scene alive. The new guard might transcend genres and styles but the debt owed to the fathers of heavy metal is still the same. The same DNA is intertwined across the entire metal spectrum. Performing in the Second City can be a seen as a rite of passage. Which is why, on a cold, wet and windswept Friday night, a queue of punters is snaking down the street awaiting entry to an evening of progressive metalcore, headlined by Ukraine's finest export since Andriy Shevchenko and the brothers Klitschko.

The peculiarities of Birmingham gigs means that queuing to get in always seems to take a while. By the time the majority have shuffled in from the rain and made their way into this 1500 capacity former church and civic hall, they're just in time for the final couple of songs from TEXTURES. The Dutch sextet are rattling through some fairly by-the-numbers metalcore to an appreciative crowd which has swelled significantly since they emerged on stage. Following support act UNPROCESSED are an entirely different beast. Hailing from Germany, they've attracted a sizeable crowd, with no small number clearly familiar with their work, even before the opening notes are properly struck. Soon, fists, horns, and a number of pints, are in the air as they treat us to 40 minutes of well-executed technical metal that lands in the sweet spot between Deftones' spacious atmospherics and the riff-driven emotion of Killswitch Engage. It's an impressive performance and one that certainly wins them several converts and a rapturous send-off. 

By the time JINJER take to the stage, the room is packed. Tonight's show is not quite sold out, but you wouldn't know it. This is their first ever UK and EU headline tour, in support of last year's excellent Duel album. Such is the reputation that they've built and the strength of their live shows, they've not long come off a US tour supporting heavyweights Trivium. This tour is their chance to really flex their muscles and show that they belong at the top of bills and can thrive at this level. 

From the off, it's clear that they're not here to fuck about. No sooner have the band emerged onstage, all clad in black bar frontwoman Tatiana, whose white and peach combo adds contrast, the machine gun drums and razor sharp riff of the title and closing track from last year's album burst forth. The set will showcase most of the album but the band will also pluck choice cuts from their back catalogue throughout. The crowd are enraptured almost instantly as the opener is followed by another one-two punch from the same album. A particularly ferocious Fast Draw sees the evening's first crowd surfer hurtling towards the safe hands of the waiting security. It's obvious from the outset that a venue like this perfectly suits Jinjer as a live act. The small scale allows for the ebbs and flows of the music to wash over the crowd, like waves breaching a seawall in the heart of a storm. It also showcases the intricacies and technicalities of the instrumentation. Drummer Vlad, perched high above the rest of the band on his drum riser, hammers away with consummate precision, switching between skittering beats in the slower sections before battering away like a man possessed when required. Equally, bass player Eugene keeps the urgent, rampaging hum going, unleashing it with bowel-loosening intensity. On guitar, Roman makes use of the extra scales their sound requires to bring to life riffs that are both brilliant and brutal, highlighting an astonishing amount of dexterity and musical prowess. Tatiana's vocals are something to behold. The contrast between her guttural, almost malevolent roars, and the softer, almost angelic cleans holds the crowd in an almost hypnotic state. It's an incredible performance from a vocalist at the top of her game. The minimal amount of crowd interaction turns this into a thoroughly immersive experience, and she barely stops moving throughout the set, whether she's twisting seductively or whirling like a dervish. Enhancing the show are impressive, tesselating visuals on a screen behind the stage and a myriad of coloured lights. 

Jinjer's songs have never sounded so tight and their lyrics never more profound than they do on this night, when it feels like they finally have nothing to prove. A storming Disclosure! elicits the first singalong of the night. Kafka dials things down a notch and is all slow-burn, amidst an anxious sounding riff. Teacher, Teacher! is a jagged whirlwind of spite and rage. There are messages amongst these lyrics, deeply personal and profound, and conveyed in a way that really allows the songs to breathe. Someone's Daughter is a polemic about women throughout history and their struggle to make their own paths in a world that was historically made by men. It's a progressive metal, feminist battle cry that shines light on how, even in the widely accepting world of metal music, female artists and female led bands have often found themselves unfairly sidelined in favour of male contemporaries. Jinjer refuse to be pigeon-holed and routinely reject the label of 'female-fronted band'. The fact that this newer song sits so well alongside the older material is testament both to the strength of the songwriting and Jinjer's growth as a band. Judgement (& Punishment), from 2019's Macro, begins with a twanging bass riff before segueing into an almost ska-tinged number until the riffs come back with a vengeance. I Speak Astronomy, is a bludgeoning slice of in-your-face metalcore that not so much reads your horoscope as punts you into the Sun. Just when you think things are coming to a close, and a sublime Pisces has knocked everyone sideways with it's gentle intro into massive chorus, it's time for an absolutely caustic and vicious Sit Stay Roll Over. The band name flashes up on the screen, bathed in yellow and blue lights to reflect the Ukrainian national flag. And then it's over. 1500 punters stagger out into the Birmingham night, minds well and truly blown.

Jinjer have absolutely nailed this show. For a band that's had to battle so much adversity, not least the total invasion of their homeland and the ensuing war, this is a triumph. They truly are deserving of high praise, not least for their perseverance, but for the sheer strength to carry on and create metalcore for a new generation. Technically brilliant, vocally astonishing and with songs that not just back it up, but sound phenomenal live. In a recent interview, Tatiana herself revealed that she's a big believer in manifestation. Based on this, they won't be headlining venues this small for much longer. They'll certainly have manifested something even grander.

Jinjer Setlist

Duel

Green Serpent

Fast Draw

Vortex

Disclosure!

Tantrum

Teacher, Teacher!

Kafka

Judgement (& Punishment)

Hedonist

I Speak Astronomy

Perennial

Someone's Daughter

Rogue

Pisces

Sit Stay Roll Over

BIFFY CLYRO/Soft Play; Motorpoint Arena, Nottingham; 12/01/26

Biffy Clyro are one of those bands. You know the ones. The ones that divide opinion. They're either greeted with unbridled devotion by a loyal fanbase or, at best, mild indifference by those that don't get it. To say they're a cult band is probably pushing it but they're certainly a band who've risen from relative obscurity to the very top of arena and festival bills. It's not difficult to see why they generate such opposing viewpoints. Too proggy for some. Not heavy enough for others. Simultaneously accessible, with well-written songs and personal lyrics, but also confusing with often less than standard song structures. Make no mistake though, they can definitely draw a crowd. As part of the UK and European tour for recent album Futique, they've included a Nottingham date, the first in quite some time. There's a definite sense of anticipation in the air, despite it being a Monday night in the depths of winter. The uneducated, who maybe haven't witnessed their potency as a live force, will soon be enlightened in the ways of the Biff. 

They're not the only bad on the bill tonight though. Whilst we can't testify to the performance of The Armed, who are opening on this tour, the second support act are a different prospect entirely. Biffy have a habit of using relatively well-established bands as tour support, and it's no exception here. The strength of a support band is often measured by the sheer scale of the crowd. Whether out of curiosity or familiarity, SOFT PLAY have just about filled the place for their set of unadulterated modern punk vitriol. Completely failing to live up to their name, the Tunbridge Wells duo go hard from the off, rattling off spiky barbs of politically driven noise, alongside staccato drumming, rumbling guitar and characteristically shouty vocals. They're unashamedly and brilliantly woke, insisting on a female only moshpit for the 13 second barrage of Girl Fight, which they dutifully play twice. It's a raucous set with a reception to match and the pace barely lessens throughout, before a closing The Hunter clatters to an end and they're off, almost as soon as they arrived, or so it seems. As far as a warm-up for the main act goes, you could certainly ask for worse.

BIFFY CLYRO have been at this game for quite some time. Since they emerged in 1995, they've escaped the shadows of the underground and forced their way up to the highest echelons of the modern rock scene. Throughout, they've learned to adapt. From their early albums, which first introduced the janky rhythms and uneven time signatures that accompany their genuinely heartfelt lyrics, to the mainstream breakthrough of 2007's Puzzle, they've stuck to the formula, developed their style and built a fabulous reputation as an energetic and explosive live act. All of which brings us to the reason that we're here tonight. Recent album Futique is the Kilmarnock trio's tenth full-length. The title is a portmanteau of 'future' and 'antique' and designed to represent ideas across time. In general, it's a reassessment of the band's journey both to and from this point. Songs from the album will be scattered throughout the set, along with big hitters from across their discography, although the first three albums are not represented over the course of the night. 

  

Things begin as only a Biffy set can, with a white curtain draped over the stage as the opening bars of A Little Love kick proceedings off. The band appear in silhouette, before the curtain rises to reveal a stage set up of stairs and platforms. No time is wasted. The first song, from the new album, is barely over before it's followed by Hunting Season, another from the new record. Simon Neil's vocals are on-point throughout the set, equal parts anxious and yearning, and at some points urgent and almost feral. It's a testament to the strength of the songwriting that he pulls off each part with suitable aplomb. You can hear the evolution of the band as the older songs begin to appear. The call to arms of Wolves of Winter still sounds suitably ferocious. So too A Hunger in Your Haunt, which hums with urgency and desperation. Biffy attract an ardent devotion from their fans. Every word is sung by everyone in the building, in some cases rather beautifully as Simon himself remarks during one of the few periods of audience interaction. It's quite something when a crowd is even prepared to sing riffs as well as vocals. Anthems such as Mountains and That Golden Rule sound suitably massive. However, one of the band's biggest strengths has always been their ability to bring intimate moments to life in a way that makes them feel bigger and more grandiose. Tear-jerking new ballad Goodbye is as powerful an ode to lost love as you'll ever hear. Space has couples in the crowd embracing, with more than a few tears being shed. Machines, played by Simon alone onstage, still stands up as being one of the best songs they've ever written. There's something approaching a deep cut when Different People (from 2013's double album Opposites) gets an airing. The new songs fit in perfectly amongst the more familiar material. There's a nice moment of poignancy when Simon dedicates Friendshipping to absent bass player James Johnston, who has taken some time away to deal with issues surrounding his mental health. May he get the help he needs and return soon. 

Simon isn't alone in bringing these songs to life though. The rest of the band are fully immersed. Drummer Ben Johnston, James's twin brother, flits between thunderous rolls and subtle fills, all executed to perfection. He also issues a heartfelt thanks to the audience for the support and love sent towards himself and his sibling. Stand-in bass player Naomi McLeod is an excellent choice to cover for James and doesn't miss a note. The touring musicians, particularly the two violinists, carry out their respective roles impeccably. In and amongst it all, the stage production hangs everything together. Sparks fly, streamers go off and, throughout it all, a tightly coordinated light show bathes everything in shades of white, red and kaleidoscopic patterns. By the time the encore is in sight, everything is in wonderful, flawless flow. The stop-start intro to Living is a Problem...... is played in full before it explodes to life and threatens to take the building with it. Bubbles has the crowd in raptures. A cathartic, closing Many of Horror, now a certified set-ender, conjures one last massive singalong and an explosion of confetti from above, and banishes the memory of the literal horror of Matt Cardle's cover version. This, in essence, is what Biffy Clyro are about. Massive choruses, punchy riffs and deeply honest lyrics that run the whole gamut of human emotion. Seasoned fans are elated. First timers are converted. Love them or hate them, or not sure about them, there's very little denying that this is a band at the top of their game and very good at what they do. You don't get to 10 albums and get to headline festivals and arenas without some grasp of what you're doing. Biffy Clyro are what happens when the hard work pays off. Mon the Biff!

Biffy Clyro Setlist

A Little Love

Hunting Season

That Golden Rule

Who's Got a Match?

Shot One

Space

Wolves of Winter

Tiny Indoor Fireworks

Goodbye 

Friendshipping

Biblical

A Thousand and One

Different People

A Hunger in Your Haunt

Black Chandelier

Instant History

Mountains

Two People in Love

Machines

The Captain

Living is a Problem Because Everything Dies

Bubbles

Many of Horror