White Denim & Plantoid - Ritz, Manchester (6/3/25)

Plantoid were one of my discoveries from Manchester Psych Fest last year. I started listening to their debut album a fest months before the festival, and it's a record that I've been listening to fairly regularly since then.

They open with 'Modulator', with its tight jazzy rhythms and terrific guitar solos. I don't remember the percussionist from the last time I saw them but he is wonderfully animated. The driving and dynamic 'Pressure' is Plantoid at their best; jazzy prog rock not dissimilar to The Mars Volta. 'Wonder/Wander' starts off with latin rhythms before gradually getting heavier and more challenging before heading into a full on prog wigout and coming out the other side with a fantastically tight 'Insomniac (Don't Worry)'. The rhythm section are fantastic and complement the amazing lead guitarist, Tom Coyne, who has a touch of Carlos Santana about his playing. Another great showing.

It's a low key opening with very little fanfare for White Denim. The band are just setting up with music playing over the house PA when the singer, James Petralli, asks 'shall we start?' and they just start playing. It feels honest and organic and suits them as a band. The opener 'Pretty Green' is a good mix of southern soul and southern rock. They lock into a lovely warm groove which then becomes a jam and all the band look like they're having fun. It doesn't always hit the mark though. The times when they are lighter or funkier are less successful. There are a number of '70s Stevie Wonder touches and some cool, dirty southern rock riffs too. The smooth soul of 'I Still Exist' is pretty good. The terrific 'Bess St.' is shitkicking boogie rock like The Black Crowes channelling ZZ Top. The tightly honed funk rock of 'Double Death' is excellent too. The '70s MOR of 'Backseat Driver' doesn't really hit the mark but it goes straight into the much gnarlier 'Moves On' which is great. This sequence kinda sums them up, a mix of styles with some tracks being much better than others. 'Corsicana Lemonade' features too much choogling for my liking but the talking guitars are cool. 'Crystal Bullets' is closer to '80s Stevie Wonder (which is much less cool than '70s Stevie). A beefy 'At Night In Dreams' is terrific. 'Burnished' has a euphoric 'Loaded' quality, which is quite different to the studio version. White Denim are clearly a talented band who enjoy what they do, and I like the fact that they just plug in and play and give the audience true value for money but after 70 minutes it feels like I've seen enough. Setlist FM tells me that they play 34 songs in total so I'm guessing they played for at least an hour longer but feeling like I've seen all that they have  to offer, the prospect of an early night is too enticing.

White Denim ***

Plantoid ****

Opeth & Grand Magus - Albert Hall, Manchester (1/3/25)

I last saw both of these bands roughly 20 years ago. Grand Magus were part of a three band bill with Cathedral and Electric Wizard, and they were probably the best band that night. I saw Opeth at roughly the same time and, to be honest, they bored me a bit. However, both bands have been on different trajectories since then. Grand Magus are probably no bigger than they were then and have moved away from the doomy trad metal sound to a more classic metal sound. Opeth on the other hand have got much bigger and have gone much more progressive.

Grand Magus open with the Judas Priest-like 'I, The Jury', a driving piece of classic metal. JB's vocals are a little quiet but his voice still sounds strong, like a more soulful Rob Halford (minus the screams). 'Skybound' features some powerful riffing, reminiscent of Jag Panzer. Their brand of metal sits at the more muscular and less ridiculous end of power metal. The epic 'Ravens Guide Our Way' has lots of Iron Maiden touches, from the 'Wrathchild' style opening to the Steve Harris-esque bass flourishes to the 'Rime Of The Ancient Mariner' middle section. 'Untamed' has a nice, mid-paced, anthemic chorus. However, I would prefer more of the lightning fast, razor sharp, Priest or Accept style riffing that opens the song. 'Like The Oar Strikes The Water' is excellent. The final track 'Hammer Of The North' gets a good response from the crowd with it's 'woah oh' singalong which continues for a few minutes after they've finished their set. It definitely seems like Grand Magus have gained a few fans tonight.

Opeth open with '§1'. It's wildly progressive and heavy with numerous twists and turns. It's very exciting, and Mikael Åkerfeldt's deathly vocals seem effortless. 'The Leper Affinity' is pretty crushing, whilst the gentle mid-section provides some lovely light relief before the punishingly heavy finale. They definitely seem a lot more dynamic than the last time I saw them. 'The Last Will And Testament' material like '§7' combines the latter day progressive elements with the earlier heavier sounds and this translates very well live. Lead guitarist Fredrik Åkesson is excellent throughout. Without the heavier dynamics, the gentler prog rock of 'Häxprocess' is probably more challenging but there's still magic sprinkled within, particularly in Mikael's Knopfler-esque guitar solo. This is partly why they're so beloved, they're challenging but not impenetrable. 'In My Time Of Need' is magical. 'The Night And The Silent Water' doesn't fare as well, as the folk infused guitar lines sound like the theme tune  for 'The Riddlers', as most folky metal tended to in the '90s (see also, Skyclad). The ending is pretty dramatic though. 'Ghost Of Perdition' is suffocatingly heavy yet grandiose in its ambition. Mikael humours the crowd who are asking for various songs by playing odd snippets, mainly to demonstrate how he's in the wrong tuning for them. The elegant and classy prog rock of 'A Story Never Told' closes the regular set. Fredrik's solo during this is fantastic. The ominous, lurching doom of 'Sorceress' is spectacular. 'Deliverance' is described by Mikael as 'our 'Paranoid' but fourteen minutes long and really complicated'. It is dynamic and labyrinthine, and is the perfect way to end the show.  The staccato climax, in particular, is fucking astounding.

Opeth ****

Grand Magus ****

Uriah Heep, April Wine & Tyketto - Bridgewater Hall, Manchester (25/2/25)

When I was seventeen, my local library started lending CDs and cassettes as well as books. I was still relatively new to rock and metal so I saw it as a good opportunity to discover more music. Every Wednesday I would go to the library after school to see what I could borrow. They would get some new releases but not very many. However, this was how I first heard Megadeth's 'Rust In Peace' which is still one of my favourite albums of all time. They didn't have a massive stock so if there weren't any new releases I fancied, I'd have a look through the older albums they had. This was my first experience of the Jimi Hendrix Experience and tonight's headliners. I can't even remember which Heep album I borrowed. I think I remember hearing 'Gypsy' around this time which would probably have made it 'Very 'Eavy... Very 'Umble'. However, I also discovered 'Easy Livin' around this time too so it could have been 'Demons And Wizards' or maybe it was one of those double album deals. I was impressed with what I heard and although I wouldn't have considered myself a diehard fan, I certainly respected them and kept an eye on what they were up to.

Tonight is part of 'The Magician's Farewell' tour, their final ever tour, although they do concede that it might last for two or three years so it still may not be the absolute last time to see them. Time is clearly running out for them as a live act though.

Cult melodic rockers Tyketto open up the evening with 'Reach'. It has a strong chorus and the backing vocals are great but even this early in the set, you can tell that their trump card is frontman Danny Vaughn. His voice is incredible and it immeasurably improves everything the band plays. He is one of those singers about whom you could use the old cliche 'he could sing the phone book and make it sound amazing'. 'Wings' has another great chorus and another towering vocal performance from Danny. It is unfair to just single out Danny though because the whole band is really tight. The uptempo and harder edged 'Burning Down Inside' is excellent. 'Strength In Numbers' has an Extreme or Electric Boys funk rock tinge. 'Lay Your Body Down' is played with a bit of verve, and that chorus is pure gold. The guitarist Harry Scott Elliott is great, playing some fantastic solos and also throwing in a bunch of Dave Lee Roth style high kicks. The ballad 'Standing Alone' is spine tingling. The evergreen 'Forever Young', with it's gargantuan chorus and blazing guitar solo, is a killer way to way to close the set.

April Wine are a band whose name I've known ever since I got into metal but have never actually listened to before now. The Donnington Monsters Of Rock festival was probably the central point of most metalhead's year. Even though I only went once, I used to obsess over the Monsters Of Rock line ups and would even try and predict line ups (I had pages and pages of fantasy line ups each year and then rated each one out of ten). I knew April Wine because they were a part of the very first line up in 1980 and therefore became a fabled name to me. Apparently, this is the first time they have played the UK in forty years. They sit at that midway point between '70s rock and NWOBHM (yes, I know they're Canadian), kinda like Graham Bonnet era Rainbow. It's solid enough. There are quite a few bluesy touches too. Guitarist Brian Greenway takes lead vocals for 'Before The Dawn' which is kinda like Derek And The Dominoes meets Motorhead. His voice possesses a bit of grit and soul which suits the song well, and I probably prefer his voice to that of the lead singer Marc Parent. 'Big City Girls' is all AC/DC boogie. 'Just Between You And Me' is a nice change of pace, being a doo wop style ballad. 'Roller' is a high energy slice of ZZ style blues boogie. They're solid rather than spectacular.

'Grazed By Heaven' is a good uptempo opener for the Heep, firmly in Maiden meets Purple territory (although it actually really reminds me of the Japanese band, Double Dealer). 'Save Me Tonight' is a powerful piece of power metal. The keys in this track, and throughout the night, are great although they are heavily indebted to the great Jon Lord. 'Overload' is surprisingly potent. All the songs seem to have more muscle than their studio counterparts. 'Shadows Of Grief' is played with a real energy, and that organ is sweet. The rhythmic mid section is great and the singer, Bernie Shaw, reaches some impressive notes. Bernie is in great voice and he sounds particularly strong on 'Stealin'. He has a Bruce Dickinson style edge to his voice although he has a greater, Gillan-esque range. Founding member Mick Box looks cooler than ever (and certainly cooler than when I first discovered them in the nineties). 'Hurricane' is a bit too formulaic, and there are certainly better choices to include in a final tour set. The acoustic led 'The Wizard' is a real crowd pleaser. A rapid fire 'Free 'N' Easy' is hard hitting. The razor sharp riffing is amazing considering it was written in '71. 'The Magician's Birthday' is still proggy bollocks although the creepy mid-section and doomy guitar solo is cool. The stomping 'Gypsy' is fantastic, and the harmonies are great. 'July Morning' is epic and moving and closes the regular set. A rampaging 'Easy Livin' closes the show. If this is the last time we get to see them then this is a fine farewell.

Uriah Heep ****

April Wine ***

Tyketto ****

Green Lung, Unto Others & Satan's Satyrs - Ritz, Manchester (21/2/25)

When I first read about Satan's Satyrs many years ago, they sounded right up my street. Trashy, garage influenced doom as imagined by Russ Meyer. Hell yeah, sign me up! I bought their album 'Wild Beyond Belief' as soon as I could. However, I liked it rather than loved it. I'm still looking forward to catching them live though.

They seem less doom than they do on record, leaning much more into the garage rock aspect of their sound, bringing to mind bands like MC5 and The Stooges. A heavier Who is also brought to mind. It's a sound which suits them well as that raw, wired energy initially translates well live. It still has the tendency to be messy and a bit chaotic, like the records do too. Their garage rock attack isn't always as sharply focused as it could be and sadly, this happens more frequently as the set progresses. When honed, it's pretty savage as demonstrated on the closing 'Alucard'. Sadly, I think I like the idea of Satan's Satyrs more than the reality.

Unto Others play gothic rock very much like The Sisters Of Mercy or The Cult with some extra metallic muscle. 'Momma Likes The Door Closed' is more akin to speed metal with a towering gothic chorus. 'It Doesn't Really Matter' and 'Jackie' are similarly anthemic. There seems to be quite a few people here for them and they are singing along to every word. The alt rock tinged 'Suicide Today' is like Therapy? covering The Cult. It's great but I don't like the cod reggae breakdown in the middle. 'Raigeki' misses the mark but virtually everything else is a direct hit. 'Heroin' is thunderous and sounds like Glenn Danzig fronting prime Metallica. There's a great cover of 'Pet Sematary' by The Ramones which is quite faithful to the original. They have the whole crowd on their side now. The superb 'Give Me To The Night' is The Sisters Of Mercy gone thrash metal and the key change towrds the end is *chef's kiss. An excellent showing from a band who will probably playing venues likes this on their own before long.

You know that scene at the end of 'Purple Rain' where Prince plays at the club, initially to indifference then to acceptance before the whole crowd is going wild, realising that Prince (or The Kid as he is in the movie) is going to be a superstar and won't be playing clubs like that any longer? That's what tonight is like. Not the indifference or acceptance parts because Green Lung are loved by everyone here but everyone realises at some point that they are going to be playing much bigger venues very soon.

They open with a stupendously heavy 'Woodland Rites'. The guitar tone is crushing. The audience reaction, even at this early stage, is rapturous. The groovy doom of 'Mountain Throne' is like the second coming of Cathedral except Cathedral were never revered like this. It's like watching the greatest hits of UK rock and metal. There are touches of the greats everywhere such as Tom Templar's Halford-esque top notes and the solos which echo a number of guitar greats. The Hammond organ in 'Templar Dawn' conjures a foreboding atmosphere. The stage set is impressive with risers and various props. 'The Reaper's Scythe' is pure heavy metal and should probably be renamed 'The Ripper's Scythe' given the notes Tom reaches. It is not just his voice which is impressive though as he commands the crowd with ease. 'Oceans Of Time' is epic and anthemic, and Scott Black's Slash style guitar solo is excellent. Extra female musicians enters the stage to perform a folky 'Song Of The Stones'. It is rather different to the studio version which has the scope and vision of a Queen ballad. The incredible pagan balladry of 'May Queen' channels Gary Moore in Scott's playing. In fact, they are all prodigious players. The superb 'Forest Church' is heavy doom transformed into arena rock. The Jon Lord style Hammond solo in it is ace, and the one in 'Maxine (Witch Queen) is even better. 'Hunters In The Sky' has a monstrous groove whilst the Hammond makes it sound like a super heavy Uriah Heep. 'The Harrowing' also has heavy Uriah Heep and Deep Purple influences. 'Let The Devil In' mixes Electric Wizard's heft with Queen's melodic sensibilities. The elegant verse of 'One For Sorrow' gives way to a colossal chorus and the overall effect is like Andrew Lloyd-Webber's 'Phantom Of The Opera' being covered by Windhand. Tonight feels like a real event, like we are witnessing the birth of something very special indeed.

Green Lung *****

Unto Others ****

Satan's Satyrs ***

Tribulation & Livgone - Rebellion, Manchester (18/2/25)

I arrive to the surprising sight of the upper part of the venue being closed off, meaning that just the lower bar is open and the merch is shifted to the back of the main room floor, opposite the stage. It turns out that the venue has sold less than two hundred tickets which has prompted the decision to reduce the size of the venue available (which actually turns out to be a decent decision because it makes it a more intimate show). It seems a long time since 'Children Of The Night' when Tribulation were one of the hottest acts in extreme metal.

The support act Livgone are a completely unknown quantity. Speaking to a couple of friends beforehand, no-one has heard of them before. They are a tricky band to categorise too as each person I speak to afterwards has a different take on what they just heard. They start off with female vocals and keys. It's vaguely gothic and atmospheric, and to be honest it's pretty unremarkable but then when the band kick in with some doomy riffs, it is transformed. The weight and heft, and the contrast between what came before, is staggering. They seem to be a mix of doom, prog, shoegaze and even black metal. A few parts remind me of My Dying Bride. Their mix of styles brings Lowen to mind. When given space on the slower, sparser material, the vocals don't really do anything for me. but when the singer Elise opens up vocally along with the rest of the band, she is quite impressive. I find I'm just waiting for the whole band to play heavy because when they do they are compelling. The spoken word part at the beginning of one of the songs is really interesting, like Diamanda Galas or maybe even Karyn Crisis. Livgone are definitely more good than bad, and when they are good I adore them.

Tribulation open up with the dark and brooding 'The Unrelenting Choir' which goes straight into 'Tainted Skies', driving gothic metal with an epic chorus. The blackened goth rock of 'Nightbound' is pretty thrilling. 'The Lament's black metal has a big classic rock influence. It's all really accessible, making it all the more puzzling that there are so few people here. The epic 'Suspiria De Profundis' is excellent. It's choppy guitars make it sound like a blackened Jag Panzer. The Deep Purple-esque mid-section and solo during 'Rånda' is fucking cool. 'Melancholia' with it's driving rhythm and Thin Lizzy guitars is catchy as hell. 'In Remembrance' is incredibly anthemic too. In fact, every song is extremely memorable. The goth rock of 'Hungry Waters' is fun. The deep vocals make the track sound like Pete Steele fronting Evergrey. The stomping, blackened rock of 'Saturn coming Down' is great, and the chorus has a big Sisters Of Mercy feel. Encore 'Strange Gateways Beckon' is the perfect marriage of black metal and classic rock, and is an amazing way to close the show.

Tribulation ****

Livgone ****

High Vis & Narrow Head - New Century Hall, Manchester (15/2/25)

This is undoubtedly the biggest show I've seen High Vis play to date and pleasingly, it is pretty busy. The momentum which they have built up over the last couple of years doesn't seem to be slowing down.

Narrow Head play post-hardcore in the vein of Rival Schools or Quicksand. There's some decent riffs, a nice crunch to the sound and some cool, swirling guitars but then again, it's nothing I've not heard before and it washes over me a little. The vocals are probably typically emo like, say The Hotelier. One track has a heavy grunge feel, like a screamy Alice In Chains. They veer from being boring to being mildly engaging but most of the time they're somewhere in between.

High Vis open with 'Talk For Hours' and it's solid gold chorus. Graham seems up for it right from the get go, pouring himself into the entire performance. He is the quintessential hardcore frontman and his energy is transmitted to the rest of the band and also to the audience. The punchy hardcore of 'Altitude' raises the energy level further. 'Walking Wires' has some lovely jangling Madchester guitars mixed with a post-punk/post-hardcore pulse and bolstered by Graham's impassioned hardcore delivery. New track 'Drop Me Out' keeps up the hardcore intensity. I was worried about how their live show would translate in a much bigger venue but I needn't have worried because it still feels like they are playing venues like Rebellion or Outpost. 'Guided Tour' has some nice Happy Mondays/New FADS/Northside  jangle. '0151' causes quite a pit. Graham says that he would have killed himself years ago if it wasn't for the band and the catharsis he gets from these songs, before unleashing some savage vocals for 'Out Cold'. 'Forgot To Grow' pilfers 'Morning Glory's guitar line and makes it fucking thrilling. The John Squire-esque wigout in the middle of 'Fever Dream' is cool too. The dance flavoured 'Mind's A Lie' adds an extra dimension. 'Trauma Bonds' is one huge, emotional outpouring, not just for Graham but for everyone, especially those who have lost someone. The ever dynamic 'Choose To Lose' is an incendiary way to close out the show. I love High Vis. I've seen them many times but I'd probably say that this is the best time that I've seen them.

High Vis *****

The Hallé Orchestra featuring Angélique Kidjo - The Bridgewater Hall, Manchester (13/2/25)

Tonight Manchester's premier orchestra are performing a selection of works by the composer Philip Glass, including the UK debut of 'Ifè Songs'.

They start with 'Days And Nights In Rochina' which is gently moving with occasional injections of bombast, and gradually builds in volume and intensity. An orchestra is such an awesome sight live as you've always got something to look at. You can focus on one particular instrument (triangle man is my favourite) or you can find who has just made that sound or you can just watch the impressive sight of a legion of bows moving up an down in time on an army of violins or cellos.

Famed Beninese singer Angélique Kidjo enters the stage for the debut performance of 'Ifè Songs'. The first of these pieces is a dynamic, symphonic romp with her voice cutting through as a soaring instrument of defiance. The second song is gentler and more emotional. The third track is awesome, being sweeping and epic with some catchy vocal lines. The closing crescendo is incredible, with Angélique hitting an amazing final note.

Glass's 'Symphony No. 11' is stirring and probably the closest to his soundtrack work. The third movement is percussive and ominous. You could imagine all the movements in this piece soundtracking a creepy chase or an action setpiece in a movie.

Maybe it's the novelty of watching an orchestra live rather than a band but I thoroughly enjoyed myself.

The Halle Orchestra featuring Angelique Kidjo *****

Jazz Sabbath - Band On The Wall (12/2/25)

Jazz Sabbath return to the Band On The Wall after a great show around this time last year. What initially seemed like a novelty (jazz versions of Black Sabbath tunes) has stretched out into three full albums and placings on the Billboard jazz chart. After a short video introduction, the band open with the mournful 'Black Sabbath' which starts off quite faithfully and then goes a bit more freeform. 'The Wizard' is light and delightfully playful, and the double bassist Jerry gets his chance to shine in the middle section with some dexterous playing. 'War Pigs' (hilariously introduced as 'Raw Pigs' as a warning about eating uncooked meat) is exquisite.  Not everything is easily recognisable. It took me a couple of minutes to figure out what 'Behind The Wall Of Sleep' was but it is captivating. The intro to 'Iron Man' is impossibly beautiful before disappearing into Duke Ellington style jazz, taking in Deep Purple's 'Black Night' and The Beatles' 'Eleanor Rigby' along the way. Everything is done knowingly, with a nod and a wink, and the whole crowd is in on the joke. 'Fairies Wear Boots' has an incredible lightness of touch. Milton Keanes (AKA Adam Wakeman) is an incredible piano player and the other two band members are no slouches either. 'Paranoid' (the full nine minute version as Milton introduces it) again starts off beautifully before transforming into a boozy barroom polka. Jerry's performance on 'Into The Void' is spectacular. Ash on the drums get his moment in the spotlight on the fantastic 'Rat Salad'. Most of the crowd in attendance are rock fans and his is a different style of drumming than most are accustomed to but everyone is impressed, including myself. Absolutely jaw-dropping.

Jazz Sabbath *****