Spread across the three adjoining Academy venues in deepest, darkest Birmingham, the third annual HRH Metal indoor fest is well into its second day when I finally arrive (a long story involving illness and unforeseen hospitals), and gathering pace on the main stage with Nottingham stoner trio Witch Tripper. The band’s beer-fuelled, Black Sabbath inspired riffery capturing the attention of a respectably sized early evening audience.
“It’s Pink Floyd turned up to fifty”, my mate said. I’d never heard Waters or Gilmour roar with the same ferocity as Steff, lead vocalist of Sheffield quartet Ba’al, but the band do display a level of progression and turn of pace that would fit in with the Prog legends’ template. The phenomenal power and blackened hostility of the music, however, leaves any such comparisons in the shade. Continue reading
When you talk about dream touring packages, very few co-headliners feel like such a glorious match as Corrosion of Conformity and Orange Goblin – the best of the US “Stoner Rock” and the UK’s finest down-and-dirty bluesy Heavy Metal troupe, tearing it up round the UK with Fireball Ministry and Black Moth in tow to warm things up. Continue reading
Thrash has long been perfected on record. Indeed, it’s hard to justify owning many Thrash records made post-Rust in Peace. Live, however, is a different beast entirely. Continue reading
Well into their fourth decade, the history of Bay Area Thrash legends Testament is already a well-documented one. We all know they were originally called Legacy, and that Steve “Zetro” Souza from Exodus used to be their vocalist, and we all know that they are one of a select bunch of bands many Thrash Metal fans would like to have seen included in the so-called “Big Four”. While it looks like we may have a long wait for classics like The Legacy, The New Order, Practice What You Preach and Souls of Black (all Atlantic/Megaforce) to be reissued and/or remastered, Nuclear Blast have done (close to) the next best thing and reissued two live records, a collection of re-recorded tracks, and two studio albums. Continue reading
The final day of a festival is often filled with many emotions: a wonderful weekend sadly coming to an end; another day spent celebrating brilliant innovative and life affirming music; hours spent trying to dry your tent out… So it again proved with Sunday at Download.
Leaden skies greet the hordes either nursing hangovers of epic proportions or gathering their belongings for the trudge back to cars and the dreaded long trip home. It’s cold on the field so a bit of warming up is required. Bacon rolls and coffee do part of the job but Dead Daisies do the rest in a punchy late morning slot that has a much bigger crowd than perhaps even they were expecting. Dead Daisies inhabit that strange world where it is perpetually 1986, eternally sun-soaked California and every band is the last gang in town, riding steel horses into sunsets or the arms of star crossed maidens. As you have probably guessed, I thought it was terrific and an object lesson in how to warm up a crowd.
Sweden’s h.e.a.t. have gathered plenty of plaudits for their two albums of 80’s inspired rock and from this performance it’s easy to see why – they are pumped full of energy and chutzpah and have a genuine love of big tunes and even bigger riffs. It may not be the most original sound of the day but it does the job very nicely indeed. Finland’s Von Hertzen Brothers finish the morning off in predictably brilliant fashion with vocalist Mikko Von Hertzen channelling his best John Travolta via a natty white suit that he does well not to get covered in the ubiquitous festival mud. The VHB brand of rock is so packed full of intelligence and hummable tunes, particularly the peerless ‘Flowers and Rust’, it does make you scratch your head as to why these guys aren’t absolutely massive but their time will come…..Please make it so.
Backyard Babies’ raucous and efficient cock rock gives way to the studied and equally efficient metal of Mark Tremonti who does Alter Bridge without the tunes (if you’re not a convert) and Alter Bridge with added metal (if you are). I’m in the latter camp, as are most of an appreciative if slightly wet crowd on the main stage. The new songs from his second album, Cauterize seem to stand up equally well with the more familiar tunes from All I Was (both Fret12) too. Boxes ticked, job done.
Blackberry Smoke are the perfect band for a warm sunset, cold beers and a barbecue, so the presence of rain, wind, rain and some more rain probably didn’t help their cause but I found their performance compelling in an insouciant and entirely charming way. Billy Idol, by contrast, is a bit of a man for all seasons and you can tell why: he has an arsenal of hits that most bands would give their right arm for. You have to pinch yourself that this is 2015 and not 1985 but Idol turns in an effortless performance of crowd pleasers that you know and love- of course there’s ‘White Wedding’ and ‘Rebel Yell’ but it’s ‘Flesh for Fantasy’ and ‘Eyes Without a Face’ that are the standout tunes. Idol has this look of a man who won the lottery, the football pools and the EuroMillions over one weekend – he simply cannot quite believe that he is still the draw that he is – and, even more brilliant, no one in the crowd seems to begrudge him one iota of his considerable success. Bless him.
In much the same way that people gripe about Cavalera Conspiracy and how it’s not the REAL Sepultura (yawn, boring, get over it) so there is a similar constituency that seems to surround former Guns N’ Roses guitarist Slash and his latest incarnation with Myles Kennedy from Alter Bridge. Honestly, I don’t know what the problem is: what’s not to love about an artist playing a blinding set of classic song after classic song peppered with huge tune after huge tune from his latest solo records? I tell you what’s not to love: nothing. Slash clearly writes mega tunes in his sleep and his set is one hour of aural bliss. The 55,000 or so on the main field lap it up like a horde of very thirsty Pavlovian dogs. And rightly so.
Likewise, the same old situation (song pun entirely intended) for LA’s Motley Crue. Crue, midway through a thoroughly deserved and valedictory world tour to say farewell are another act that many can’t seem to wait to sneer at. “It would be better if Vince Neil could sing better”- kids, Vince Neil hasn’t been able to sing since 1981. This isn’t the point at all. Crue are about the glamour, the sleaze, the rock, the roll, the girls, girls, girls. They bring a show that is part rock opera, part vaudeville, all fire and brimstone. Of course they are absurd and ridiculous- THAT IS THE WHOLE POINT. It is absolutely silly and absolutely brilliant- all at the same time.
And so we come, finally, inexorably, to the self-styled hottest band in the world, Kiss. Arriving on site in a fully badged up Kiss-copter, the New York quartet turn this corner of a foreign field into a veritable circus of pomp, circumstance and old style rock n roll. There are stadium rock shows and then there is a Kiss show. There isn’t one second that passes by in this blistering set where there isn’t something going on – fireworks, drum risers, zip wires, crowd singalongs, flame throwing, blood vomiting all in glorious technicolour and all set to a soundtrack that you know and love. As an end to the best music festival I know, it is both fitting and invigorating.
I’ve booked my place for next year already.