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