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

SABATON/The Legendary Orchestra; Motorpoint Arena, Nottingham; 06/12/25

Theatricality has been at the heart of rock and metal from its very beginnings. From Ozzy's bat-beheading antics, to Maiden's notoriously epic stage productions and from Alice Cooper's shock rock through to Creeper's vampire rock opera aesthetics, and Ice Nine Kills's horror movie indebted on-stage bloodbaths, the spectacle has become as much a part of live shows as the music. Over the past few years, few bands have honed their stagecraft to such lofty heights as Sabaton, putting them right up there with countrymen Amon Amarth for sheer visual wonder and intensity. Tonight sees the Falun boys bring their power metal war machine to Nottingham as part of the European tour to celebrate newest album Legends. We're promised many surprises along the way and, boy, are they about to deliver on that promise. Given that the UK leg of the tour only comprises three dates and Sabaton don't tend to hit these shores that often, it's a surprise that it's not quite sold out. Still, there's much to see before the main event, at least once we've negotiated the queue of people who seem to view lining up for merch as a marathon and not a sprint. 

Only a band with the gall, nay the gumption, nay the absolute balls, of Sabaton would pick an orchestra as a support act and, not only that, have said orchestra play an hour long set of Sabaton songs, to get the crowd in the mood. That, however, is exactly what we get from THE LEGENDARY ORCHESTRA. Formed especially for this tour by Sabaton bassist Per Sundstrom, they comprise a full orchestra, backed by a choir, and held together by soloists Mia Asano (violin) and Patty Gurdy (hurdy-gurdy). Conductor, operatic vocalist and Scardust frontwoman Noa Gruman presides over everything. It's a spectacular opening. A thunderous Ghost Division leads into a threatening and ethereal Bismarck and the crowd are hooked. Blistering solos abound and the backing choir, draped in robes, elevate the songs to new heights. There's a new dimension and depth to the songs and, for the next hour, we're treated to Sabaton performed in a way you'd never expect. The Unkillable Soldier is a particular rip-roaring highlight. Throughout, Noa's soaring vocals blend in perfectly with the backing troupe. The backdrop of a giant castle set, soundtracked by rampaging strings and propulsive double percussion, gives the feel of a Viking rave at a Traitors wrap party. To say the reception is rapturous is undercutting it. The final notes of Swedish Pagans ring silent and the orchestra bid their farewells to cacophonous applause. It's a perfect amuse bouche for what's to come. All (yes, all) metal bands should perform with an orchestra. It's an elevating and uplifting experience.

SABATON haven't made it 26 years into their careers without having a USP. In their case, power metal songs about military history puts them at a level of scope and ambition only really rivalled by Iron Maiden. Clearly, frontman Joakim Broden, and his bandmates, have been taking copious notes from Bruce and the boys. Sabaton shows are always a combination of metal show and history lesson and things here kick off with what comes across as an historical comedy show. Actors cosplaying as Napoleon, Genghis Khan, and Julius Caesar introduce the theme of the current album. Legends chronicles the exploits of famous leaders and commanders from across time. The three characters argue about their respective legacies before Caesar is murdered. So far, so slapstick and so Sabaton. Despite the serious nature of some of the events their songs cover, they can never be accused of taking themselves too seriously. The crowd obviously get the joke. Napoleon (whose accent seems to have been cribbed from reruns of 'Allo 'Allo) is booed every time he speaks. Eventually, the on-stage banter is interrupted by a member of the Knights Templar who, it must be said, does look like he's taken the evening off from guarding the Holy Grail, and then the band arrive, jumping straight into album opener Templars. A rambunctious The Last Stand follows, before our three stage characters return, this time one by one, to introduce the respective tracks about them from the new record. The stop-start nature of the opening to the set doesn't go down well with all of those present but the majority are thoroughly immersed. 

Such is the breadth of material at their disposal, it's not too difficult for Sabaton to throw together a set of bonafide bangers and that's exactly what the rest of the evening entails. The fact that they're able to do so without repeating any of the songs from the support set tells you all you need to know. The band are on imperious form, steered and commanded by Joakim. The stage show is something to behold. We're treated to mock cannons, sparks, explosions, gunfire that makes everyone collectively cack themselves during Stormtroopers, fire, drum solos, plenty of onstage banter, more fire, Joakim in the crowd, in a gas mask, shooting mock gas, during a particularly harrowing and menacing The Attack of the Dead Men, and, somehow, more fire. Indeed, the sheer volume of pyro would suggest that someone in Sabaton's crew has Parkway Drive on speed dial. The temperature of the room has risen several degrees before we're even halfway through. This is more than a metal gig. Throughout, there are periodic voiceovers detailing the horrors of war. Which in itself gets to the crux of the message behind Sabaton's songs. Behind every battle, every war, every skirmish and every leader, there are genuine human stories. The fact that Sabaton can bring these to life in such a way that the power of the songs doesn't diminish the impact of the tales they tell, is a testament to how hard they've worked on this vision. In and amongst the visual spectacle, they're still not done surprising us. The Legendary Choir, and Noa herself, return for the second half of the set, taking their place on the battlements of the castle, next to the drum riser, to lend yet more theatricality, in case that well was in danger of running dry. Positioned so as to look out across proceedings, they carry an air of harbingers of doom. Their presence enhances and envelops, the perfect complement to Joakim's harsh, gritty vocals. 

It being December, we're even treated to a Christmas song. A mesmeric version of The Christmas Truce almost peels back the layers of time. Similarly, Night Witches is a thunderous summoning of death from above. The frenzied stomp of Primo Victoria tramples all before it. It's worth mentioning that pulling off a show of this scale and complexity would not be possible without the musicianship on display. Drummer Hannes van Dahl (AKA, Mr. Floor Jansen) is a whirlwind of limbs and precision. He might be the youngest member of the band but he attacks his kit like he's been here from the very beginning, leading to the obligatory mid-set drum solo. Chris Rorland and Thobbe Englund, with their Maiden-aping twin leads, are locked in like they're two heads of the same beast, whilst Per Sundstrom's basslines throb effortlessly underneath. Joakim runs around like a man possessed, his gruff delivery perfectly suiting the urgency and poignancy of the songs. In short, this is a band who have not only taken an idea and run with it, but dialled it up to the nth degree into an all-conquering, earth-scorching, tank-flattening metal machine. The whistle intro for To Hell and Back gets the biggest cheer of the night in a crowded field. Masters of the World brings things to a climax with a wall of fire and an explosion of confetti from the rafters. This is more than a job well done. This is a barnstorming, demolition job well done. When Maiden eventually call it a day, a sizable door will open for a band who can turn a gig into a spectacle and make every show an event in itself. Don't be surprised if Sabaton are knocking that door down.

Sabaton Setlist

Templars

The Last Stand

Hordes of Khan

I, Emperor

Crossing the Rubicon

Carolus Rex (Swedish version)

The Red Baron

Stormtroopers

Drum Solo

A Tiger Among Dragons

The Christmas Truce

Soldier of Heaven

The Attack of the Dead Men

Night Witches

Primo Victoria

Steel Commanders

The Art of War

To Hell and Back

Masters of the World

THE AMY WINEHOUSE BAND; Royal Concert Hall, Nottingham; 27/11/25

Legacy is a word that's mentioned a lot in music. It can be a loaded word. Every artist, every band, every musician, wants to be remembered. But how do you measure legacy? Legacy becomes the product of influence and impact. Across the music scene, across all genres, the legacy of artists shines through in the influence they have on the generations that come later, and through the music of those they inspire to follow in their footsteps. How then, do you honour the legacy of an artist who burned bright for too short a time? It's a question that no doubt a few people were considering in the run-up to the start of this performance. The original backing band of the late, great, and much missed Amy Winehouse have taken her back catalogue and run with it, recruiting a hand-picked vocalist to perform the songs, in hopes of not just honouring her memory but of keeping the songs alive and, one would hope, introduce them to a new generation. 

The venue for this endeavour is one that you would certainly imagine Amy herself would feel at home in. Nottingham's Royal Concert Hall, a 2200 capacity, fully seated, modern venue, adjacent to, and connected with, the Victorian Theatre Royal next door. This would be a celebration of Amy Winehouse's life, as much as it would be a retrospective of her career, played out in one of the most intimate venues that Nottingham has to offer. To up the ante, the band have recruited a full orchestra to fully bring the heartfelt and earnest songs to life. On paper, it looks set to be quite the experience. Such is the impact of Amy Winehouse on soul, jazz, funk, reggae and R&B, the audience is pleasingly diverse and we all settle into our seats in preparation of what is to come. The anticipation is heightened by a delay in the start time due to one of the performers running late, likely due to midweek football traffic. Soon though, the lights dim and the performers enter the stage in turn, orchestra first, before THE AMY WINEHOUSE BAND arrive, taking up their respective positions, and we await the arrival of the leading lady.

Singer Bronte Shande enters from stage right, dressed in a way that emulates Amy's inimitable style. Any nerves from the audience about what to expect soon evaporate. The opening notes of Tears Dry on Their Own kick in, and everyone is transfixed. It becomes clear, even early in the set, that the band have picked well with their choice of frontwoman. Rest assured, this is no attempt to replace Amy Winehouse. It's merely a vehicle to allow her songs to continue and her memory to thrive. The show takes the form of two 45 minute sets, with an interval, both focusing on the two studio albums, Frank and Back to Black, the latter turning 20 a few days after this show, that Amy released in her lifetime. Throughout, the emotional weight and heft that these songs still carry can be felt. Stronger than Me feels spiky and faintly menacing. You Know I'm No Good is a sultry 'I told you so'. October Song and Moody's Mood for Love, encapsulate the deep mood of heartbreak that permeates a lot of Amy's songs, so much so that you almost forget that the latter is a cover. 

Amongst the emotion of the songs themselves, the pressure to get them right feels huge. The weight of her role gets to Bronte at one point and, visibly emotional, she asks to start a song over and tearfully apologises to a sympathetic audience who, very moved by the outpouring of feeling, cheer her to the restart. It's easy to understand the difficulty of the task at hand. It's one thing singing the songs of one of the best and most influential songwriters of a generation but to do so live, backed by the very band of the singer in question, is something else entirely. For their part, the band are predictably excellent. They're clearly still enjoying bringing these songs to life, however painful and nostalgic it may be to do so. During an extended outro to the first set, we're introduced to each of the band in turn, with everybody getting their own solo. The horn section of Dave Temple, Frank Walden and Ben Edwards are locked in and clearly enjoying themselves. Their driving jazz rhythms add a propulsive backbone to the lyrics. On guitar and bass respectively, Hawi Gondwe and Dale Davis (who also acts as musical director), ooze effortless cool. Drummer Nathan Allen is the heartbeat of the rhythm section, his tight, well-drilled jazz drumming wrapping everything together. There's a touching moment where we're informed that he's just celebrated his 40th birthday, having been too young to even drink when he first joined the band. In short, this encapsulates the friendship and camaraderie of a group of musicians who have not only been doing this for a long time, but have weathered a considerable amount of heartbreak themselves. The star presence amongst the ensemble cast is backing singer Ade Omotayo. He's animated and amiable from the start. His impressive range perfectly balances against Bronte Shande's higher notes. He even takes the lead on a couple of songs, including a beautiful version of Amy's cover of Cupid, originally by Sam Cooke. Having the band backed by an orchestra only enhances the depth and diversity of the experience. Strings swell to accompany sax and trumpet. There are moments where you can hear a pin drop, particularly during the vocal pause at the close of Back to Black. There's even time to showcase the artists that Amy herself held dear. The extended instrumental that ends the opening set segues unexpectedly into the hook from Lauryn Hill's classic Doo Wop (That Thang). 

The real shining light, however, is Bronte Shande herself. Covering Amy Winehouse is no easy feat. Bronte shows that she is so much more than that. She embodies these songs and conveys the emotions in a way that only Amy herself would be able to. There are points where, if you closed your eyes and you didn't know better, you would swear that it was Amy up there, making the stage her own and unleashing her innermost demons. Bronte nails every note. The pain-inflected numbers, such as Love is a Losing Game become even more sorrowful. The antsier, more urgent songs such as Rehab are packed with trademark attitude and character. Make no mistake, these are not just songs about love and loss. They are fully-forged, tear-stained testimonies of heartache, rejection and struggle. For the more casual fans in the audience, the second set features more of the tried and tested bangers but that doesn't make their continued impact any less real. The band allow the audience onto their feet for the final few numbers, including a raucous, closing Valerie, (AKA, the song The Zutons wrote that means they'll never have to work again). A fantastic evening draws to a close with Dale Davis addressing the audience and clarifying the importance of ensuring that these songs continue to be performed. A hugely appreciative audience, barring one idiot (and there is always one idiot), hang on his every word. This isn't just a night for the fans. This is a night for Amy. Her tragically short life, with all its troubles, birthed something wonderful that will never be forgotten and can never be taken away. If Amy's legacy (that word again) could be summed up, it would be in nights like this. People coming together to celebrate a brilliant, troubled, but ultimately, a thoroughly genuine and heartfelt individual. If things had been different, there's no telling what stratospheric heights Amy would have reached. In the meantime, we'll always have these songs. They should be cherished. As far as The Amy Winehouse Band are concerned, they deserve this. 

The Amy Winehouse Band Setlist

Tears Dry on Their Own

October Song

Mr. Magic (Through the Smoke)

Stronger than Me

Moody's Mood for Love (James Moody cover)

Take the Box

Cupid (Sam Cooke cover)

He Can Only Hold Her

Band Introductions

Doo Wop (That Thang) (chorus only) (Lauryn Hill cover)

Love is a Losing Game

Back to Black

You Know I'm No Good

Me & Mr. Jones

Rehab

You're Wondering Now (Andy and Joey cover)

Monkey Man (Toots & The Maytals cover)

Valerie (The Zutons cover)

VOLBEAT/Bush/Witch Fever; Motorpoint Arena, Nottingham; 05/11/25

For some reason, Bonfire Night often seems to be a good night for a gig. Over the past few years, we've quite often swapped the fireworks and bonfire toffee of November 5th for a great big slab of live music instead. This year, it was the turn of Volbeat, who brought the opening night of the UK leg of their Greatest of All Tours Worldwide Tour to the East Midlands, following a successful scamper across Europe. Whilst Volbeat aren't a new live band for us per se, this would be the first time that we'd seen them at an indoor venue, having previously seen them at festivals. 

First things first though, is the matter of support acts. Manchester quartet WITCH FEVER kick proceedings off, to an admittedly modest crowd. After some initial sound issues where the bass is inaudible, everything is corrected by the second song and they're able to fully express the spectrum of their sound. The all-female band have just released their sophomore album, Fevereaten, which makes up the majority of the setlist. Vocalist Amy Walpole prowls the stage, unleashing feral, vitriolic, and deeply personal lyrics, whilst her compatriots conjure up riffs from the Sabbathian end of the fretboard. The combination of doomy low-end and heartfelt, punky spite is wrapped up in the bleeding heart of grunge. It's all carried off with great technical prowess and, for a band who are up-and-coming, their confidence and stage presence ensure that they will soon be getting used to stages of this size and bigger. By the end of the set, you can tell they've won a few new followers.

By contrast, post-grunge pioneers BUSH have made stages like this their home for well over 30 years. Frontman, and sole consistent member, Gavin Rossdale commands the stage, with face and voice seemingly unravaged by time, as they come hurtling out of the blocks with a selection of their choicest cuts. Opener Everything Zen gets diehards bouncing and there's barely any let up. There's even time for a spiky, edgy cover of The Beatles' Come Together, before a gorgeous, stripped back version of Swallowed, that sees Rossdale alone on stage, bathed in white light and backed by an ethereal choir. Despite his 60 years, he is much sprightlier than his age would suggest. Throughout, he's a ball of restless energy, pogoing on the spot, whirling around the stage and flailing his arms and even, during a rapturous, closing Flowers on a Grave, spending time amongst an endearing audience in what becomes the longest period of crowd interaction that he manages. Before long, everything clatters to a halt and it's over, before you even realise that they haven't played Glycerine or Machinehead. As Gav himself points out during a rare moment of introspection to the crowd, it's hard to know what to play. With a back catalogue as stacked with hits as Bush, you can afford to be picky, and it's a strange quirk of fate that they aren't as big in the UK as they arguably deserve to be.

VOLBEAT's unique blend of classic rock, heavy metal and rockabilly has steered them through 9 albums over 24 years, with their latest full-length God of Angels Trust, dropping a few months before the start of this tour. In the course of rising to this position, they've accumulated an ardent following, alongside a long list of certified bangers. Tonight's show will showcase the new album alongside classics from across their portfolio. There's an air of anticipation as the atmosphere builds to showtime. Whilst not entirely sold out, the arena is packed, with all eyes focused on the stage, where a large curtain obscures proceedings, emblazoned with an image of the band in silhouette. And then we're off. The Devil's Bleeding Crown swaggers out of the gate and kicks the doors in, as the curtain falls, and the hypnotic riff cavorts to expectant ears. It's almost complete pandemonium from the outset. It has to be said that Volbeat's hybrid of Satanic country and old school rock and roll can not only instigate rampant chaos, but also conjures up massive singalongs. Michael Poulsen is the consummate frontman, rugged and charming, and not afraid to get the crowd involved early on, inciting them into the chorus of Ring of Fire before leading directly into blatant Johnny Cash rip-off Sad Man's Tongue. Other such interactions compel moments of tenderness, such as For Evigt, which Michael dedicates to his wife and children, which is earnestly sung along by everyone in attendance, particularly impressive when you think that some of the lyrics are in the band's native Danish. Elsewhere, the frantic chug of Shotgun Blues and the ska-inflected Still Counting showcase the various influences the band have built upon. In a touching moment, the latter is performed with children from the crowd summoned to the stage, some of whom are certainly more enthused about the experience than others. 

The new tracks are a continuation of the theme, fitting nicely in amongst the more established songs. By a Monster's Hand builds to an ominous chorus, Demonic Depression comes equipped with a bucket load of groove and the deliberately long-windedly named, extreme metal baiting In the Barn of the Goat Giving Birth to Satan's Spawn in a Dying World of Doom is a straight up demonic, redneck lullaby. Make no doubt about it, Volbeat are very good at what they do. Whilst there's very little deviation from their tried and tested formula, there doesn't need to be. When there's this much swagger, rhythm and sheer joy, there seems no reason to fix what ain't broke. In the hands of less talented individuals, or with much worse songs, the concept could seem trite or ridiculous. Volbeat are neither. Even aside from Michael's charisma, the rest of the band are doing a very good job indeed. Touring guitarist Flemming Lund is a more than adequate replacement for the departed Rob Caggiano. Bucket hatted bass player Kaspar Larsen wouldn't look out of place at an Oasis gig, whilst namesake, but unrelated, drummer Jon Larsen gets to display his former death metal credentials throughout. Not only do Volbeat bring the noise, but they also bring the party. Anthems like Black Rose and Seal the Deal punctuate the back half of the set, before things come to a close on a thoroughly raucous A Warrior's Call, by which time the crowd have reached levels of catharsis that you'd be hard pressed to replicate. Whilst the niche nature of their style might not be to everyone's taste, the thousands in the arena have long been converted. Sing Hallelujah, the devil in disguise!

Volbeat Setlist

The Devil's Bleeding Crown

Lola Montez

Sad Man's Tongue

Demonic Depression

Fallen

Shotgun Blues

In the Barn of the Goat Giving Birth to Satan's Spawn in a Dying World of Doom

By a Monster's Hand

Heaven nor Hell

The Devil Rages On

Die to Live

Time Will Heal

Black Rose

Seal the Deal

For Evigt

Still Counting

A Warrior's Call/Pool of Booze, Booze, Booza

BLOODSTOCK FESTIVAL 2025; Catton Hall, Derbyshire; 08/08/25

It was about time that we made it to Bloodstock. There's always been some apprehension about it. How would we get there? Was it worth it? How would it compare to Download, a festival that we've frequented every year for a long time? Could Bloodstock really live up to the hype that had been heaped upon it by the friends we knew that had been? There was only one way to find out: we'd have to see for ourselves.

It probably helped that this year's lineup was an absolute belter, with arguably three of the best headliners in modern metal across the weekend: Trivium, Machine Head and Gojira. It definitely helped that it included a few of our favourite bands, two of whom would be playing on the same day. With the offer of a lift from friends of ours who were also attending, we resolved to go for a day. Short of camping, or driving ourselves every day, it was the easiest option, particularly given that, unlike Download, Bloodstock is not located on a site that's blessed with much by way of public transport links. So it was, on a warm and dry Friday in August, that we descended onto the soil of Catton Hall, just outside Burton-on-Trent, to finally see what all the fuss was about.

It would be hard not to compare things with Download, such is our familiarity with the much larger Donington-based festival, but Bloodstock's independence certainly puts a fresher spin on things. The beer choice is much wider, the queues are generally much shorter, and the ease with which we were able to enter the site and acquire our wristbands was not to be sniffed at. The site is also considerably smaller, making it much easier to find your way around and also to locate people. Our first impressions were certainly favourable. There's nothing quite like a music festival. It's a chance to enjoy music in a group setting, with friends and strangers, and also to cut yourself off from the troubles and strife of the outside world. Music is a tool. Not just for entertainment but to allow people to feel something that moves them. Every band that we would witness on the day would be testament to that. And a testament to the importance of music. It doesn't just stir emotions, it drives them. And no genre has the propensity for driving emotion, in all its forms, than heavy metal. More than that, and arguably more than any other genre, metal has a fanbase that strives on togetherness, support and looking after your fellow humans. Everyone is welcome. Gatekeepers and other unsavoury types need not apply. Metal is inclusive, non-judgemental and open to everyone, regardless of race, gender, orientation, colour or creed. It's one big family and so it shall remain. With that out in the open, let's get to the music shall we?

Opening up the Ronnie James Dio stage, thrash-adjacent Norwich metallers SHRAPNEL come firing out of the blocks, with scything riffs and blustering percussion, blowing away the cobwebs from anyone who is still a bit hazy after the previous night's exertions. Whilst it's nothing overly different or spectacular, their blend of metalcore, with added thrash stylings, is executed with suitable aplomb. Inevitably, given the death of Ozzy Osbourne a couple of weeks earlier, the shadow of the Prince of Darkness looms large over proceedings. A 17m long tribute wall has been erected at one side of the arena for the faithful to pay tribute. Hundreds had already done so, even early on the first full day and we wasted no time in adding our names to the throng. It's a point of fact, alluded to on more than one occasion by various bands and attendees, that without Ozzy and Black Sabbath, not one band on the bill over the weekend would exist and neither would festivals like Bloodstock. The musical landscape would look irrevocably different. Thank goodness then, that things panned out the way that they did. The Sabbath worship is on display early. Canterbury doom-mongers FAMYNE, bring their own brand of downtuned dread, complete with menacing tones and mournful vocal wails. They've even brought their own gong and they're named after an Opeth song, in case you were in any doubt as to where their influences lie. 

The darker vibes continue with KONVENT, who serve up an ice cold slice of Scandinavian death/doom under the blazing Midlands sun. The all-female Copenhagen quartet sound positively evil. Vocalist Rikke Emilie List switches between ferocious growls and unearthly screams whilst guitarist Sara Helena Norregaard unleashes blackened funereal riffs. It's the aural equivalent of a nuclear winter and earns much appreciation from the crowd. One of Bloodstock's strengths seems to be in knowing how to schedule bands so that things don't become too overwhelming. Evidence to this is Konvent being immediately followed by FLOTSAM & JETSAM. Coming straight out of the second wave of thrash in the 80s, the Phoenix, Arizona band combine all of the best bits of the east and west coast movements but with a proggier, more technical edge. They can also boast former Metallica bassist Jason Newsted amongst their previous members. Founding vocalist, and sole original member, Eric 'A.K.' Knutson certainly shows no signs of fatigue as they smash through a series of older tracks alongside material from their most recent (15th) release I Am the Weapon.

Zurich's PALEFACE SWISS attract a sizeable crowd for their own take on punishing deathcore. Circle pits are aplenty and frontman Marc 'Zelli' Zellweger prowls the stage like a caged animal, inciting further carnage as he goes. Based on the reaction he and his band incite, the future of European deathcore looks to be in very safe hands indeed. Stoner metal legends ORANGE GOBLIN are on their final lap, having announced that they're calling it a day at the end of this year after three decades of Sabbath indebted space rock. Despite their impending retirement, they clearly have no intention of phoning in their performances. Man-mountain frontman Ben Ward, now shorn of his previous luscious locks, looks positively beaming to be a part of proceedings and seems genuinely humbled and overwhelmed at the size of the reception the band receive. They're not here to stand on pleasantries though. What follows is a tour through their sizable back catalogue, opening with Solarisphere from 1998's Time Travelling Blues. One of the biggest cheers goes up when the massive riff to Saruman's Wish kicks in and from there it's banger after banger. Given the strength and depth of their output, it's almost a travesty that they weren't much much bigger. Still, a world without Orange Goblin will seem a darker place, as if things aren't dark enough already.

It's fair to say that LACUNA COIL have earned their stripes. 31 years since their formation, the Italian goth-metal trailblazers have continued to up their game, as last year's excellent Sleepless Empire album proved. More than that, they've refined themselves into one hell of a live band, focused around Cristina Scabbia and Andrea Ferro's dual vocals. They were one of the bands on the lineup that persuaded us to give the festival a go and to see them, deservedly, so high up the bill only fed the anticipation of what was to come. There is an air of impatience from the watching crowd as an unspecified delay means that the band arrive on stage 15 minutes later than scheduled. However, they more than make up for it with an absolute whopper of a set. Barring some brief early sound issues, opener Layers of Time sounds majestic. Hosting the Shadow, from Sleepless Empire, sounds absolutely massive with Andrea more than filling the space left by Randy Blythe, who guested on the album version. Despite the initial delay, there's an urgency and a determination amongst the band as they make up for lost time. There are moments of fun as well. Streamers explode in the colours of the Italian flag. Andrea runs around the stage during his quieter moments, firing T shirts into the crowd. The strength of Lacuna Coil as a live force has always been in the interplay between Cristina's soaring, operatic cleans and Andrea's gruff, feral growls. The latter comes into force on the reworked version of Heaven's a Lie, taken from the superbly reimagined 20th anniversary edition of Comalies. That's not to say the rest of the band don't pay their dues. Musically, they're perfectly locked in, with not a note out of place, all the more remarkable when you think that they've recently had to adjust to losing guitarist Diego Cavalotti. Even though their set is truncated, it's a triumph throughout. Our Truth is magnificent as is their, by now familiar but still superb, cover of Depeche Mode's Enjoy the Silence, which triggers a massive singalong. A truly ferocious I Wish You Were Dead, during which Cristina throws a middle finger to all of her haters sends the crowd into raptures (as if she'd even have any). By the time the band close out with a huge version of Never Dawn, it's very much mission accomplished. Lacuna Coil have commanded much smaller stages than this but, regardless, the end result is the same. It's 45 minutes of symphonic, goth metal brilliance.  

Lacuna Coil Setlist

Layers of Time

Reckless

Hosting the Shadow

Kill the Light

Blood, Tears, Dust

Gravity

Heaven's a Lie XX

I Wish You Were Dead

Enjoy the Silence (Depeche Mode cover)

Our Truth

Oxygen

Never Dawn

Sandwiched in between Lacuna Coil and tonight's headliners, EMPEROR are a different prospect altogether. Frontman Ihsahn looks for all the world like he's just come from a business meeting, and he seems absolutely furious about it, as he conducts the band through a set of some of the deepest, darkest black metal known to humanity. It's loud, furious and apocalyptic, but not without its softer moments despite, more often than not, sounding like a staircase falling down a staircase. Iconic albums In the Nightside Eclipse and Anthems to the Welkin at Dusk make up the bulk of the setlist but, rest assured, Emperor continue to be a defining black metal force throughout their catalogue. This is the sound of Hell collapsing in on itself. 

And now, the main event.

Some things in this modern world make no sense. Donald Trump is President (again). Katy Perry is dating Justin Trudeau. This is only TRIVIUM's second UK festival headline show. Their first was on this very ground, ten years ago, in 2015. Now, 20 years on from their legendary performance at Download in 2005, are they about to eclipse that iconic moment and deliver a set that will be talked about all weekend and potentially go down in history as one of the best ever? Not half. By this stage of their career, Orlando's finest are well and truly on the top of their game. Recent albums have confirmed that this more than just a purple patch. Trivium are downright unstoppable these days and much of that acclaim comes from their reputation as an explosive live act. Fresh off of their shortened, through no fault of their own, co-headlining Poisoned Ascendancy Tour, Matt Heafy and the boys are back on UK soil and what follows will be nothing sort of incredible. A curtain drapes the stage as the The End of Everything, the instrumental opening track from the career-launching Ascendancy album, plays out. Then, everything erupts. The curtain falls and the battering ram riff of Rain kicks off proceedings proper, as jets of flame blast skywards. The opening salvo comes at breakneck speed as an early appearance of Pull Harder on the Strings of Your Martyr follows into Like Light to the Flies, with the raucous crowd going hell for leather at Matt's insistence to sing. For a moment, you wonder whether Trivium will rattle through Ascendancy in full, as on their recent tour, but they're too savvy for that. They're not too savvy to shake up the formula though, even in the setlist. As well as Pull Harder..... being dropped early in the set, In Waves, a set closer for a while, gets played way before the end. Such is the heft of Trivium's back catalogue, they can arguably do what they want. They proceed to do just that. It's a testament to their confidence that they pack some surprises along the way. Alongside the heavy metal headliner cliches of pyro and inflatable mascots, they've got some tricks up their sleeve. Josh from Malevolence joins them onstage as an extra guitarist for a blistering The Deceived. Ihsahn returns to the stage to add guest vocals on In Waves but then proceeds to come in too early, eliciting a laugh from Matt. The biggest surprises come elsewhere. Sleep Token bass player III appears, in civvies and rune covered balaclava no less, to assist on Throes of Perdition. His appearance comes after Matt's message to the naysayers confirming that Sleep Token are indeed metal. Whatever he says goes. At this point, Matt could tell people the sky was red and 20,000 people would scream and throw their horns up in agreement. From nowhere, Matt pulls out Robb Flynn for a thunderous run-through of Symptom of the Universe, dedicated not just to Ozzy, but to many other fallen metal heroes (Lemmy, Dio, Dimebag) from years gone by.

'You never know what Trivium are going to do next', Matt intones. What they do next is blast through their cover of Master of Puppets, the first time it's been played live since 2008. To say the field goes bananas doesn't cover the scale of the response or the mass singalong that accompanies it. The fact that, in a setlist packed with bangers, Trivium resort to their own version of one of the biggest metal anthems of all time says a lot about how they've gotten to this point. Trivium have only ever done things their own way. They haven't proven their worth by sticking to the script. The setlist is absolutely full of choicest cuts. It's not all about looking back at their prior output though. There's a glimpse of the future here too. New single, Bury Me With My Screams, only dropped 48 hours before the show but that hasn't stopped a large proportion of the crowd singing along to every word. Heavily Ascendancy-coded, it even boasts a Gunshot style slam breakdown at the end. As with everything Trivium do tonight, it's executed so well that most of the crowd don't even notice that Matt's guitar stops working before the song is over. It's not just the setlist that's on form. The band are phenomenal. Matt is the epitome of the modern metal frontman, equal parts hyping the crowd up and encouraging them to look after each other. He even makes a joke or two, firstly about not being able to jump up and down due to a knee injury and secondly, a not-so-thinly veiled jab at Bullet for My Valentine for their recent tour withdrawal. The rest of the band are masters of their craft. Corey's guttural vocals sound punishing whilst his cleans perfectly complement Matt's, whilst his guitar work is razor sharp. Paolo and Alex make the work of a rhythm section look effortless and it may well be worth checking the latter for extra limbs. He's an absolute monster and covers every inch of his kit. Trivium deserve this. This slot is made for them. As things come to a close with a knockout one-two of Down From the Sky and The Sin and the Sentence, streamers explode from the stage. A full moon is high in the sky and 90 minutes has felt like 10. It's hard to put into words the elation that seeps from the bodies of everyone who's witnessed this monumental spectacle. Make no mistake, Trivium have laid a marker for every band that follows. As the stage goes dark and people file back to tents, cars, or to watch Kataklysm on the Sophie stage, you can't help but think that the next time they headline a UK festival, they won't have to wait 8 years. 

Trivium Setlist

Rain

Pull Harder on the Strings of Your Martyr

Like Light to the Flies

Catastrophist

Until the World Goes Cold

Symptom of the Universe (Black Sabbath cover) (with Robb Flynn)

Throes of Perdition (with III)

Master of Puppets (Metallica cover)

Drum Solo

A Gunshot to the Head of Trepidation

Strife 

Bury Me With My Screams

In Waves (with Ihsahn)

The Deceived (with Josh Baines)

The Heart From Your Hate

Down From the Sky

The Sin and the Sentence

Our first ever experience at Bloodstock had completely surpassed expectations. One day alone had been fantastic and it's safe to say that we may have been bitten by the bug. If nothing else, we were absolutely gutted that we weren't there the following day for Machine Head's Saturday night headline slot and the same for Gojira, who were closing the whole affair on Sunday.

Next year's Bloodstock takes place from 6th-9th August with the headliners already confirmed, as is Bloodstock tradition. 2026 will be Bloodstock's 25th anniversary and, to celebrate, they've roped in groove metal titans Lamb of God, Russian-American deathcore rising stars Slaughter to Prevail, and heavy metal royalty Judas Priest. Add Sepultura and Bleed from Within, amongst many others, to the list and the stage is certainly set for another excellent weekend in 12 months time.