ELUVEITIE | YNGWIE MALMSTEEN | HEATHER FINDLAY | JOHN LYDON
THOSE DAMN CROWS | BOBBIE DAZZLE | RIVAL SONS
Arthur Brown
Welcome to volume XXIX
Editorial
The Team
Chief Editor - Adam Kennedy - adam@hrhmediahub.com
Designer - Charlotte Hooper - charl@darkwatch.net
Contributing Writers:
Russell Peake, Viki Ridley, Adam Kennedy, Paul Davies, Charlotte Hooper, Dennis Jarman, Peter Ray Allison, Simon Rushworth
Contributing Photographers:
Adam Kennedy, Simon Dunkerley, All Others Credited.
Advertising info@hrhmag.com
Subscriptions Visit hrhmag.com/subscribe or email info@hrhmag.com
Management
Publisher - Dark Watch BVI Limited
HRH Experiences Ltd
Chairman / Founder
Jonni Davis
European Director
John Ellis - john@darkwatch.net
Head of Marketing
Charlotte Hooper - charl@darkwatch.net
Head of Sales
Jessica Lloyd - jess@darkwatch.net
HRH Official Photographer
Simon Dunkerley - simond@hrhmag.com
Fresh off the back of his spellbinding appearance at HRH Prog, iconic shock rock legend Arthur Brown is on the road across the UK with his latest show. Bringing with him in tow all of the theatrics which the groundbreaking artist has become known for throughout his long and successful career.
It’s been almost 60 years since the release of The Crazy World of Arthur Brown’s eponymous debut album. Despite this, there are no signs of the prog rock titan slowing down. “This year is our most concerts possibly ever,” declares Arthur.
To see Arthur Brown perform is truly something else. You are not just getting a live concert; you are getting a show – resplendent with stimulating visuals, costume changes, complimentary lighting and more theatrics than a night out with the Royal Shakespeare Company. But did Arthur always have a fascination with the theatrical aspects of live performance? “What happened was I went to London University, and at that time, I went to some of the student productions and some of the festivals. In those days, it was largely traditional jazz. And then what happened was I got my first professional booking in Paris, and that was a residency playing six nights a week and twice on Sunday afternoon and evening. And it was long, so we had long sets, and after a few weeks of playing the same stuff, you start thinking. And there wasn’t a lot of time to be learning too many new pieces,” recalls Arthur. “And so, what happened was we decided to do a lot of improvising and then make up little sketches while we were going along.” Arthur adds: “One night, somebody left a crown, and that was the beginning of Fire. And so, all of these things came together.”
occurred to me in that process of meditation,” he recalls. “And one of my early memories was to do with fire because the streets were on fire. It was the end of the Second World War. And so, all of those came together.”
The Who became friends with Arthur, of course, the artist featured on Tommy in 1975. “Pete Townshend came down to a gig …and it went from there. He said, have you got any ideas for recording? And I said, well, I’ve got this idea of fire, and it’s partly a story, but also a poem. And he said, oh, I like that. I’ll take you to my studios, and we recorded Fire.”
Arthur’s shows, over time, became more innovative, elaborate and groundbreaking. “It came to doing more complicated presentations,” he says. “We were coming to a crowd that was new to those kind of ideas. And so, the whole idea of, okay, if we’re playing these tunes that have lyrics that are not the kind people normally listen to in those days, characters are a way to make it work. And so, there were different characters in there.” Arthur adds: “We got various artistic people in to make more expressive costumes. And the lighting was an important part. But we couldn’t do the fullness of what we wanted. But it was enough for that audience because they hadn’t seen anything else.”
coming on at a concert. They were opened for by Howlin’ Wolf. And Zappa came up to the front and said, this is a travesty. We should be opening for him,” recalls Arthur. “John Lee Hooker, who had been one of my favourite influences with Howlin’ Wolf and Muddy Waters and all of that generation of musicians. And so next thing I knew, I was singing with John Lee Hooker and Zappa, who brought it all together. And it’s like, wow, this is quite amazing. Because how many hours have I spent listening to this man? And they just sort of accepted me. And one thing that I loved about it was improvising. So, this was heaven for me.”
But one legendary guitarist in particular took an interest in working with Arthur. “Lambert and Stamp had conceived this idea that Hendrix wanted to move into new territory. At this stage, it was almost like Coltrane. And of course, classical music was one of the first things he got into before he got into African and then Indian music. So, Hendrix was starting down that search,” recalls Arthur. “He wanted to be more than a pop star; he didn’t want to be trapped. And so, I got a call.”
The award-winning artist intended to carry on his creative practice when he returned home. “When I came back to England, I wanted to build a multimedia club, but I couldn’t get the finance,” said Arthur. However, not all was lost, as the versatile performer switched his approach. “I put those ideas into the band and formed a band,” he says. “And again, it was coincidental how I got the band together. When you start a band, you get to a point where you’re going to maybe do your first album or some amount of songs need to be created.”
It was the ideas which had come to Arthur through his mindfulness practice which catalysed his songwriting at the time. “When I came to want to write this stuff, it was thoughts and ideas that
The Crazy World of Arthur Brown won the hearts of the hippie movement in the sixties. “At the time, they loved it, because we used to make fun of a lot of things. It was equally funny and scary,” he recalls. “There’d be people talking about politics - poets, dancers, all kinds of different people performing. And so, everybody would absorb everybody else’s ideas. And you’d hear Floyd with their unusual song structures. And depending on which period it was, you’d get the Soft Machine, and later you’d get Hendrix. Also, lots of people from the mainstream - Tom Jones came down to see what was going on. And opera singers and dancers came up because there was a lot of experimentation in all the arts. But since then, everything’s technologically just developed so much that we are now able to present a thing that we sometimes dreamt of, but we’re not able to present.”
Arthur Brown has rubbed shoulders with a who’s who of rock luminaries. “We did the Miami Pop Fest. And there was the Mothers, there was Hendrix, Zappa, there was a lot of the other main figures. And then there were some of the blues guys. Zappa particularly, I remember him once
Arthur got a call from one of Hendrix’s associates that he wanted to set up a meeting in LA. “It was at Hendrix’s place where he was staying, in the hotel. And when I opened the door, he was writing on a musical stave, a few notes, and then he’d go, hmm. So, when I came in, the floor was littered with all these musical stave papers that he’d written,” recalls Arthur. “I watched him do that for a while, and we chatted a bit. He said I’ve got this idea. And I played with him on stage on several occasions, and we jammed so that we knew that it would work. And we jammed, not knowing what we were going to do.”
“So he said, I want to do a big band. He said, I want to have the experience of Vincent Crane on keyboards, and yourself as the dramatic singer. Of course, we were by that time, we were number one. So, it was like, well, I have my own direction, and we’re already in that. But yeah, Jimi, fantastic. And so, he said, go away, think about it,” recalls Arthur. “The next thing I knew was, we were playing in New York, and I got another call. And it was, look, we’ve got Mr. Hendrix at Steve Paul’s singing club, which was where anybody who had a name at any time would go to play with other great musicians. And he said, why don’t you come down?” Arthur adds: “And so we went down there, and we jammed. It was five nights, and we did long jams.”
Arthur Brown
Brown
The creative chemistry was certainly there. “I’d look at Hendrix, he’d be smiling,” said Arthur. “And so, Hendrix then said, okay - the idea is this, we will have visual projections on the screen behind the band. We will have tapes of classical music in the background while we’re playing. And then we’ll have this conjoined band orchestra, and then we’re going to create the music, and it’s going to have theatre with it.”
However, the plans for the band digressed. “It was at that point that someone spiked Vincent. And in the end, he had to go back to England. It turned out that he was a manic depressive, and they sent him right over the top, and it took him months to get back. And what do you do - you wait. And Hendrix was needing to play, so he ended up with Buddy Miles and the Band of Gypsies was formed. And that was where he went instead of doing this band.”
Even at this point in his career Arthur Brown is still enjoying pushing the boundaries of his live shows and performances. “We’ve created this show, and it’s a lovely thing to be able to express it. And to share a lot of energy with the audience. We’re way along the path to finally making it sound exactly like we wanted it.”
Arthur’s manager and partner have been pivotal in bringing the new show to life. “Claire is redesigning the costumes because we can’t play it the same year after year. And also, there’s a kind of love between the musicians, Claire and the lighting,” said Arthur. “And, of course, Claire has several roles. She’s the business manager. She’s my fiancé, so that’s nice. She’s a creative director, and she’s a costume maker. And so, I think it’s a lot of work for her, but I think she finds it very fulfilling.”
Arthur Brown has a lot on the agenda moving forward. “We’ve got the structure of the year, and Claire is doing all of the tour managing. So, an unbelievable amount of energy is in there,” he says. “We have a plan, and it never goes to it,” jokes Arthur. “Creativity, though, is an interesting thing - there’s true freedom; it’s not just there’s no plan. There’s a vision.”
Arthur Brown will tour the UK throughout 2025. For information including an up-to-date tour schedule please visit https://www.thegodofhellfire.com/.
Words & Photo Credit: Adam Kennedy
Eluveitie, formed in 2002 by Chrigel Glanzmann, has consistently merged modern metal with Celtic musical traditions. Originating from the Swiss Alps and deeply rooted in Celtic history, mythology, and spirituality, the band has become a cornerstone of the modern metal scene.
As they approach the release of “Ànv”, Eluveitie remains committed to their roots while exploring new musical horizons. Coming as one of their most profound and earnest albums, “Ànv” presents a result of more than 20 years of intense involvement with Celtic mythology and spirituality, translating deeply pagan knowledge for a modern generation.
The last twelve months for the band have been somewhat busy finalising their latest offering as well as touring with a whole raft of the band’s metal peers. “We were on tour with Infected Rain and Ad Infinitum, but in 24, I think we concentrated mostly on songwriting. This is when the biggest part of the album was written and recorded,” said vocalist and Celtic harper player Fabienne Erni. “A
few songs, of course, were a little bit older as well. The whole process of this album took longer than one year of a period.”
With the band’s latest offering set for release on the 25th of April, how is Fabienne feeling ahead of the album’s unveiling? “Very excited because it’s been six years since we released the last album. So, I think the anticipation is quite high from people as well. So, of course, I guess there is a certain pressure to it a little bit, especially since it’s been six years of new music,” she says. “We already got a little feedback when we released the singles, which I think was overall very positive feedback. We also got to play two of these songs already live. And I say especially live. It felt great to play this music and to see the reaction of the people.”
This year started for the group with a stint of dates on the road. But how has touring been going for the band so far in 2025? “I am very happy to be on the road in January, especially as we went to Scandinavia, which has been a long time since we
were last there. And it’s one of my favourite parts of the world. I’m a huge fan of Scandinavia. So, it was very special to me. And it was just nice to be back with the whole Eluveitie family,” explains Fabienne. “I think it’s been almost two years since we toured last. And it was just nice to be all together again because I really appreciate the band and our crew. And we had a great time also with the other bands and just seeing that people were waiting for us. Let’s say that they’re coming after such a long break from a proper tour. It’s beautiful to see. And the feedback was very good. I loved interacting with everybody, it was a really successful tour in all the different aspects. I would say it was a great comeback if you want to say it like that.”
The band’s latest offering continues to explore lyrical themes found in the band’s last album. “Exile and Aidus started this new era. And I mean, it’s always been Chrigel’s idea and vision. And I think one of the very important messages that he wants to convey with the lyrics and the music is to bring these ancient philosophies and prayers
and he wants to bring them to this modern world because we don’t live in these ancient times anymore. We have a completely different life,” explains Fabienne. “But he believes, and we all believe that we can take some of these beliefs and whatever and bring it to our modern world. And that’s a simple one, we are not separate from each other, and we’re not separate from nature, from the animals. But that we’re kind of all one. The title is about that. So, I think this is kind of like the task of this album to bring this into the modern world because we are the modern warriors.”
The band’s sound continues to evolve with the release of Ànv. “I guess it changed even more probably when we had the bigger lineup change with drummer, guitarist, me and hurdy-gurdy. But still, especially since now for this album, Jonas was more in charge of the musical aspect. Of course, it changes.
It’s just natural. I mean, also, it’s been six years. People change. Musicians change. Musicians
evolve. And if also the core team of songwriting changes, the sound changes,” explains Fabienne. “But still, I think we succeeded if you want to say so, and have this in the end. We are Eluveitie and there are folk instruments there. There are these interactions between screams and my clean vocals and so on. So, the core, I would say, stays. But of course, we evolve. And I personally think that’s a good thing. I like when bands evolve. I think it’s a bit boring if the album sounds the same because we are also humans. So, it should show probably also in the music.”
Arwen is the band’s third single to be released from their forthcoming album. “It’s the one where let’s say, I have most of the of the leads. We were talking a lot about the lyrics of the chorus because it had different names until Chrigel came with Arwen. I think it’s such a beautiful picture that is created with this song. For me, recording-wise, it was a little bit of a pain in the ass, to be honest, because I think it’s fine on the record, but to sing it live, it’s going to be real a challenge because I
think I would have done it half a note lower. But somehow then the music was already done and then I fought my way through. I think it’s a catchy, modern song and works with Eluveitie really well.”
This year, the group will hit the road with Arch Enemy. But how much are the band looking forward to touring alongside their metal peers? “I’m very excited. I mean, it’s huge venues, let’s be honest. I think also production-wise; it will give us a lot of opportunities. I think it’s the biggest tour in that sense that, at least since I’m with Eluveitie, we got to play. I don’t know the Arch Enemy band yet. Of course, looking forward to meeting them with Amorphis. We were already on tour. So, we know those guys already. So, yeah, I’m looking forward to it,” concludes Fabienne.
Ànv by Eluveitie will be released via Nuclear Blast on the 25th of April, 2025.
Words by Adam Kennedy
Photo Credit: Press Supplied
Heather Findlay
Heather Findlay returns with her latest stripped back solo album Wildflower. A release which follows Findlay on a solo journey, exploring self-love and inner-growth.
You may know Heather from her work with Mostly Autumn, or more recently, The Bee Keepers. However, for her latest offering, the esteemed artist is returning to the solo space with her new album Wildflower.
Did Heather feel like it was the right time to venture back into the world of being a solo artist? “Yeah, it did. Very much. And it’s been coming for a little while. And then songs just started wanting to make their way out into the world. Some old and some brand new ones that were just stopping me in my tracks,” explains Heather. “I’m a very intuition-based person. And I’m less cerebral with a lot of things. And I just go with my gut on what’s trying to happen. So, yeah, the call was loud and clear. It was time for Wildflower.”
For her latest offering, Heather has adopted more of a stripped-back sound. But did she have a distinct sound in mind for the project from the off? “I really just let go and see what wants to come through, and it’s sort of an intuition-led way of being creative. But then also there’s a lot of different influences that come through me. And I never really know exactly where I’m going with something.
I might get an inkling of the message of what’s trying to happen. And even, to be honest, even the concept that flows through Wildflower, I wasn’t 100 per cent certain of. And that was the message that was trying to be pieced together until the end; until I put the tracks in order. I was like, oh, that’s what you’re trying to say. So, I think for me, it’s a comfortable way of working,” explains Heather. “I know a lot of other people would very much like the beginning, the middle and the end are all lined up before they start. But this is just my way of working. And, for others on the outside, it might seem a bit like chaos. But I can trust that process, that there is a plan, and I’m just sort of a conduit. So that’s very much how this felt for me. I did know very much that it needed to be something that I approached on my own. And that was the one rule that I broke, really, by inviting
Wild at Heart
Wildflower has been described as a compendium of love letters. In that respect, the songwriting is deeply personal to the artist. But does Heather prefer to write from a personal perspective in her material? “I was given mirrors throughout the process of writing those songs, who may have at the time appeared to have been somebody else. But really, they were sort of helping me unpack that constellation that’s kind of within me. So there would be a mirror, and that might have been one of my children, helping me to address the inner child as well as the outer child. Or there would have been, for instance, my cat, Dusty, who disappeared for a couple of days. And I had to go through a process of detaching myself from him and altering my own energy to become magnetic enough to allow him. I mean, this sounds so woo-woo for some people, but if you are a seasoned practitioner of yoga or energy work or anything like that, then you perhaps appreciate that everything is energy. Even scientists admit that everything is energy. And if there’s something in your energy that’s clinging very tightly, then the magnetism is not allowed to flow. So I found this amazing video on YouTube of an energy worker called Diana Rankin, and she talked us through this process of being able to connect with the animal energetically with the help of Archangel Fhelyai, who presides over animals and protects animals. And to my astonishment, this Reiki master teacher qualified for 10 years in Kriya Yoga, and it still astonished me that I went through this process and I tried to just let go. Whilst printing out flyers, putting them through the neighbourhood.”
Heather adds: “I was trying to hold it together because it was very out of character for Dusty to vanish like that. And lo and behold, I was given a clear insight into where he was, the part of the neighbourhood that he was. I was shown this light where he was, and it was all based on sort of adapting your energy field to be able to communicate with the spirit of the animal, as well as calling in help from the angelic realm and then just allowing your intuition. And sure enough, he came from that very direction. And it was like he just strolled in, just like, oh, so you got the message then. Honestly, I can’t describe
it. It was just such a mystical experience. And that turned itself into the song Ever True. And it was just really a message about open-handed loving and trying to love through non-attachment. And you can apply that to your friends, to your possessions, to your pets, to your lovers, to yourself. Let go of all those ideas and stories you have about yourself that are holding you back and keeping you in your sort of self-made prisons.”
For her latest offering, Heather Findlay also assumed the role of producer. But was self-production something that she enjoyed? “I think over the years, I’ve been given the opportunity to work with great producers. Chris Johnson, as soon as I left Mostly Autumn, he’s meticulous and astonishingly brilliant. Luke Morley, again, is absolutely brilliant. And I learned very different skills from each of them. And, working alongside Brian Josh as well, he’s the producer behind Mostly Autumn. So, in some ways, I was working under his production at that point. So, I’ve just listened and learned along the way. And those experiences allowed me to be more aware of what I actually really do want to create for myself. And whilst showing me some of the skills required along the way, I’m not saying it wasn’t a lonely process, and it is very hard sometimes when you go down the rabbit hole.”
Heather adds: “My way was just forcing myself to have breaks and go out for a walk, maybe create a bounce, listen to it as I’m walking. You really have yourself to rely on and to bounce off. There’s something that Chris had always said to me as well, making records, and he’s always been extremely aware of what he wants to create for himself. And I was always like, I go with the flow.
But I found that I was quite sort of honed in, reined in on what I wanted Wildflower to sound like, and that was a process for me to get there.”
Wildflower, the new album from Heather Findlay, is out now. For further information and live schedule please visit https://www.blacksandrecords.com/tour.
Words by Adam Kennedy Photo Credit: Press Supplied
Troy [Donockley] into the frame. So, yeah, I knew it
YNGWIE MALMSTEEN
TOKYO NIGHTS
Legendary guitar virtuoso Yngwie Malmsteen is set to release his brand-new album, ‘Tokyo Live’ on 25 April via Music Theories Recordings. The album is a celebration of his illustrious 40-year career.
The concert was recorded at the Zepp DiverCity, Tokyo on May 11th, 2024, as part of his 40th Anniversary World Tour. Calling upon an enormous catalogue of material, Malmsteen shredded his way through a furious set, backed by a mountainous Marshall stack wall.
Whilst the artist has been celebrating his musical milestone, he still prefers to keep his eyes on what’s coming down the line rather than looking back over his shoulder. “I always go forward, I don’t look backwards,” he says. “Last year and 2023 and 2022 as well was extreme touring. I mean, ridiculous. When I’m talking about touring, I’m saying six nights a week for like nine weeks straight in America or Australia, Japan, Singapore - all over Asia, India, Europe, South America, you name it, the whole world. When I say world tour, I mean world tour, the most bizarre places. So, there has been a lot of that. And in the meantime, I write songs as well. I always work on new stuff and it’s kind of a continuous thing.”
To have reached this musical milestone in his career is something that the artist expressed gratitude towards. “I’m extremely grateful for how things have been working out. But it’s been 40 years of consistent recording and touring. No hiatus at all, ever. So that’s kind of an unusual thing because a lot of people, they slow down and whatever, not I. It’s very bizarre,” he says. “The way I see this as well is that I started when I was extremely young. I mean, ridiculously young. I got my first job when I was five years old. And by the time I was seven, I was playing every day. And by eight or nine, I had no bands and stuff. So I’ve been consistently doing this for more than 40 years. But I came to America around 1982. I joined
a couple of bands and then I started my solo career in January 1984.”
He adds: “I am a solo artist in the true sense of the word where I write everything. When you hear the drum lick, a choked cymbal or whatever. I wrote that. And, in a normal band, quote-unquote, the guitar player usually starts playing something, a drummer joins in and then the bass player starts playing with it. Then the singer comes in and starts singing on top of it. It’s a group effort, which is great. I love all these bands, Stones, and I love them all. That’s not what I’ve done ever before I came to the States or after. So it makes me laugh sometimes when I see people that were involved, they were hired by me. I gave them a salary. And I told them what to do.”
To celebrate Yngwie’s 40-year career the artist will release a live album recorded whilst on tour in Japan. But was a live record always on the cards to celebrate this landmark achievement in his career. “It’s a very good question, because I would have wanted that, but it wasn’t really in the plan, because the touring in 2021/22 as soon as COVID lifted, I just toured and toured and toured and toured. And somebody said it’s 40 years since your first solo album. So I started calling the tour a 40th anniversary tour. And then we booked Japan. We booked Korea and Australia and all those places. And when I came to Japan, they said, oh, we want to film and record the show. I said, oh, wow, that’s a really good idea. Well, let me have the footage and the audio. And so that was their initiative. I’m very happy it happened because it is a great snapshot. I would call it a snapshot.”
Performing in Japan is something which the guitar legend enjoys. “Very early on in my career, I kind of kickstarted my career in Japan because that’s where I saw signed my first solo deal. So, I’ve had a special relationship with them. But I got to say
this, if I go to Bulgaria, I go to Istanbul or go to Dubai or I go to Santiago, Chile, or I go to San Diego, California or Orlando, Florida, the crowd goes f*cking apeshit there too. So it’s amazing how blessed I am in a way that I can go on playing for these people everywhere on this planet,” declares Yngwie.
With his new live album in the bag, the artist will continue to pursue his craft on stage with an extensive run of touring throughout 2025. “I know there’s a lot of touring coming up, but I’m also going in the studio. I have the luxury of going in whenever I want, so that’s nothing I’m grateful for. But I’m going in and I’m putting down ideas and I have a lot of shit, it’s just a matter of you clicking yourself into the mode of putting the record together. But for the last 20 years or so, I’ve been doing touring and recording at the same time. And then whereas on the last album I did I was in the studio consistently for a long time because of covid. And it turned out really f*cking good. So maybe I should try that again. But it’s also good to be mixing it up,” concludes Yngwie.
‘Tokyo Live’ by Yngwie Malmsteen will be released on 25 April via Music Theories Recordings.
Words by Adam Kennedy
Photo Credit: Hikari Yuba
TOOTH GORE
Teeth Grinder
Brit surf punk artist, Tooth Gore, will release his explosive sophomore album, For Losers, By Losers, on Friday 6th June.
Tooth Gore (aka Kobi Joe) is a supremely talented and exciting surf punk solo artist hailing from the seaside town of Newquay, Cornwall. Tooth Gore sprung to life in late 2021, but it wasn’t until last year that Kobi started turning heads and making waves.
Since the release of the artist’s debut album last year, Tooth Gore has been forging his unique and distinctive surf punk sound. “The last year has been really great because I’ve had a lot of changes to my music happen very quickly,” said Kobi. “I played my first proper show as Tooth Gore almost exactly a year ago. So, I mean, even that was a crazy change, because I used to do gigs playing covers in pubs. But playing my own music was a really big change.”
As a solo artist, Tooth Gore is having to grapple with the mechanics of playing live on his own. “I started doing stuff with a drum machine. And then I transitioned to playing my songs using backing tracks, like the drums and the bass off my laptop. And ever since I’ve done that, it feels like I’m playing the type of shows in the vein of the bands I would go see.”
Tooth Gore is preparing to release their sophomore album in June. “I think these are the best songs I’ve ever written, I think they sound a lot more like me. I feel like I’ve really defined myself more in this album than anything I’ve made before. And I’m excited for people to hear it,” confirms Kobi.
The artist recorded their new album in Truro,
Cornwall. “I recorded all of the songs over a fourweek period, where I was going three, four days a week. And I think I had a very clear vision of what I wanted it to sound like and what I wanted to get out of it. So, it was really good to sort of have that vision and have that control. And everyone kind of understood what I wanted to do, and the sound I wanted to get. So, we’re all just kind of working on that same sort of wavelength. And it was just like a really good experience,” said Kobi.
Having released his debut album last year, the artist’s new album follows in quick succession. In that respect does Tooth Gore’s sophomore record feel like a continuation of their debut? “This sounds way more like the kind of music I want to make going forward. So, it was a big stylistic change, even though it was soon afterwards. It was that moment of like, oh, this is what I want to do.
I’m going to start getting to work on that. That was kind of how it happened so quickly,” confirms Kobi.
There are a lot of sub-genres and micro-genres in the music world today. Tooth Gore is forging ahead in the world of Surf Punk. The artist was looking for a sound that was original but also suited the famous Cornish surf scene. “I really wanted to have my own thing that was a bit different,” said Kobi. “It was just a sound that I thought was really nice as well because they are quite catchy songs and quite poppy, as well as the punk thing. I think it makes a nice combination. They are songs people can dance and sing to as well whilst keeping that good high energy.”
The surfing side of the artist’s aesthetic has been honed in his hometown on Newquay. With world-famous surfing spots like Fistral Beach, it’s no wonder that the area’s sporting pursuit has fed into his music. “It’s such an amazing place to grow up. To be able to go down to the beach after school was just like an amazing thing. And I think that definitely feeds into both my music and just my attitude and personality in general. It is just
such a big part of life down here. And it’s amazing. I absolutely love it,” confirms Kobi.
The artist’s moniker is unique but what does it mean? “I love horror films, books and horror games. I love everything to do with horror. And I was in my A-level film class. And I heard the people behind me talking about all the things they’re scared of. And they’re like, I hate needles. And I’m scared of tooth gore. And I didn’t know what that was. But I thought that sounds really cool,” recalls Kobi. “And it’s a very specific thing where people get their teeth injured. And it’s usually in horror films or other horror media. I just thought that sounded cool. And it’s kind of really gross as well, which as a 16-year-old, I was thinking, of course, I was going to name it.”
Looking ahead, Tooth Gore will shortly be heading out on the road. “We’re going out on my first proper little tour,” he says. “So yeah, it feels like really branching out and getting to play more proper shows around in different places and get different people to listen to my music and see what I’m about.”
With a new album on the horizon, it looks to be a busy year ahead for Tooth Gore. “This is the first album we’ve done where we’ve had a proper budget to do marketing and everything,” he says. “I’m looking forward to the tour. I’m also looking forward to really perfecting my craft as a stage performer and just getting to be able to show more people what I’m about and having a bigger audience of people hear my music,” concludes Kobi.
Tooth Gore will release his explosive sophomore album, For Losers, By Losers, on Friday 6th June. For further information please visit https://www. facebook.com/tooth.gore/.
Words by Adam Kennedy Photo Credit: Press Supplied
Photo Credit: Simon Dunkerley
REVIEWSLive
THE DARKNESS
O2 CITY HALL, NEWCASTLE
Twenty-two years might separate The Darkness’s most successful albums (newie Dreams On Toast landed at number two on the UK album charts earlier this year, one place down from mighty forerunner Permission To Land) but the thread that runs through more than two decades of crazy bombast is the quality of the songwriting.
Just as Love Is Only A Feeling was genius back in the day, so The Longest Kiss is Justin Hawkins at his joyous best. Rock N Roll Party Cowboy is the obvious companion piece to Friday Night and I Hate Myself is Growing On Me for the 2020s. There’s been the odd blip but The Darkness generally don’t deal in mediocrity.
A few years ago the band cancelled Easter but fans forgave them. Cancelling two shows on this tour — one at just a few hours’ notice — was a different matter. And even though both dates were immediately rescheduled it was clear that an atypically reticent Justin was keen to explain himself to the Newcastle City Hall faithful (Manchester was the other show hastily rearranged). Revealing that a serious chest infection had laid him low, he pointed out that nobody wanted to hear The Darkness’s colourful classics delivered with a cough and a croak. For this set to work, peak vocal prowess was required. And if the baying Geordies missed out on a Friday Night with Justin and co. then Tuesday in the Toon still felt like a weekend… only with the shadow of work the next day looming large.
For some time, it’s felt as though The Darkness have been building towards the natural follow-up to Permission To Land. Let’s not talk about the actual follow-up (it didn’t
feature at all here) but fast forward to what sounds, to all intents and purposes, like the album that should have dropped some time in 2005. It’s taken 20 years but the bullish Dreams On Toast is a feast of full-flavour Darkness that benefits both from the band’s early boyish charm and a bucket load of music industry experience (both good and bad). It’s clear Justin and co. weren’t ready to write an album like Beans On Toast back in the day but now it’s here — replete with bangers Mortal Dread and Walking Through Fire — it’s time to celebrate a band back to its mind-bending best. Weekend In Rome might well be the most comforting classic rock song we’ve heard all year and what a way to kick off an encore.
Back in 1988 the much-missed Zodiac Mindwarp and the Love Reaction released one of the standout albums of the year: Tattooed Beat Messiah was an absolute belter. And maybe, just maybe, that title had someone like Justin Hawkins in mind. A rock and roll prophet, inked up to his eyes and delivering humour-filled sermons on love, life and loss pitched at those requiring an escape, however brief, from merciless reality. On a midweek night in the North East, one of rock’s most compelling frontmen bewitched his devotees with a mix of canny craic, jaw-dropping vocals and effervescent enthusiasm. There’s always been a quasi-religious, almost cult-like, vibe underpinning this compelling band’s live shows and that’s never diminished with time. And in their singer, The Darkness boasts one of the quirkiest, cleverest, coolest individuals on the planet. Enjoy his company while you can.
Words by Simon Rushworth
Photo Credit: Adam Kennedy
MARISA AND THE MOTHS
THE GROVE, NEWCASTLE
UK rockers Marisa and The Moths continue to grow in stature since the release of their chart-topping sophomore album. Some may say that the second album is the hardest for a band – but try telling that to Marisa and the Moths. There is certainly no signs of any second album slump here.
The band returned to The Grove in Newcastle, not much more than a year after their last appearance in this very same room. This time around much like the band’s rise, their audience is also growing in numbers, with a strong attendance for a Saturday evening in Tyneside.
Marisa and the Moths aside, you may have also seen the band’s lead vocalist Marisa Rodriguez perform recently alongside former Moth’s guitarist Sophie Lloyd. The versatile rocker has many strings to her bow.
Of course, Marisa also has ties to the region through her connection with Newcastle’s own Elvana. Furthermore, the band have played in the North East in recent times including a main stage spot at Northern Kin Festival in County Durham last summer and as a result have built quite a following in the area. Subsequently, following the show’s two opening acts, the room was at a fever pitch as the quartet took to the stage.
The band’s three-pronged attack of guitarist Alez D’Elia, bass player Liam James Barnes and lead vocalist/guitarist Marisa fired up the audience from the edge of the stage,
with only a small security pit separating the band and the audience. The show felt up close and personal from the off, with Marisa frequently showing why she is regarded as one of the best in the business via her engaging persona and captivating vocals.
The set was no messing, to say the least as a barrage of back-to-back fiery rockers propelled the band through the opening of their set via Needy, Skin and Tied Up. Each of the latter were taken from the group’s eponymous debut album.
There were moments during the show where members of the band were able to step into the spotlight including Liam’s solo spot, and Marisa’s acoustic number. Each of which was well received and allowed the set to ebb and flow accordingly.
Of course, the band proudly showcased their latest offering with the lion’s share of the album featuring. Highlights from the album featured in the set included an explosive airing of Get It Off My Chest, an emotive airing of Borderline and set closer Who Are You Waiting For?
Approximately nine tracks from the album were featured in the set.
Marisa and the Moth’s latest album, What Doesn’t Kill You, topped the UK Rock and Metal album charts upon release, and based on their performance in Newcastle the band are Number 1 in our books also.
Words & Photo Credit: Adam Kennedy
FRANK TURNER & THE SLEEPING SOULS
O2 ACADEMY, BIRMINGHAM
Frank Turner returned to Birmingham this April to celebrate the release of his 10th studio album, Undefeated. The crowd were certainly fully prepared for an evening filled with stories, circle pits and some great music. From the very first song Frank and his epic band were encouraging the crowd to embrace every second, with Turner stating “it’s the first song but let’s start a sing-a-long - we’re going to sing and we’re all going to go f*cking crazy!” and let’s just say, no one in that room was left disappointed.
The audience were given two rules right at the beginning of the show, rule 1 - don’t be a dickhead, if you see someone fall you stop and help them up, you’re considerate to the people around you and you make sure you’re not the person to spoil someone’s night. Rule 2 - if you know the words you need to sing along.
Turner took to the stage stating this was show number 3017 and also his 22nd headline show in Birmingham, which works out roughly as 1 show a year for 2 decades! He has always been considered one of the most dedicated and hard-working artists in the business, with his relentless touring and continuous support for upcoming artists, music venues and the live music scene. For this tour, he has made a £1 donation from every ticket purchased to support grassroot indie venues and help prevent any more music havens to be forced to close.
The evening was filled with a mix of songs from his archive including fan favourites Girl from The Record Shop, Worse Things Happen at Sea, Polaroid Picture and If I Ever Stray as well as tracks from his latest album Undefeated released just last year.
Frank’s humbleness was prominent throughout the entire evening with his reflective moments expressing some of the stories behind his songs and the struggles he faced throughout his teens and early adulthood. For example before performing Ceasefire, he expressed that the song and a lot of the album hosts a number of debates between his mid-40 year old self and his 15 year old self saying “spoiler alert - he was full of sh*t. His intentions were right but [this song] is just me giving him a hug”.
One big thing that stood out was how he always referred to the audience as his friends. Everyone in that room was there for the same reason and whether they have similar stances and views or different ones, ultimately, – they were all there because they love Frank’s music.
Turner has and always will be an exquisite storyteller, not only through his music but as a person he has a natural flare of being able to talk to people and connect with them on any given level. A fantastic live performance that combined punk, metal, folk and rock at its finest. Bursting with infectious energy, charisma and total honesty.
Words by Charlotte Hooper Photo Credit: Pete Key
AIRBOURNE BOILER ROOM, NEWCASTLE
According to Airbourne It’s All For Rock N Roll. A quarter of a century down the line and brothers Joel and Ryan O’Keefe continue to steadfastly Stand Up For Rock ‘n’ Roll.
Rock ‘n’ Roll For Life — that’s them. You get the idea. No?
Well put it this way: you won’t find Airbourne suddenly penning an introspective prog record anytime soon. There’s no chance of uncovering an alcohol-free lager on this band’s rider. Touring’s still about getting pissed, turning everything up to 10, causing trouble with your mates and maybe meeting the odd lass along the way. Airbourne are so old school they probably never even went to school. As true Rock ‘n’ Roll lifers, they’re a dying breed. Selling out shows but never selling their soul. Except, of course, to Rock ‘n’ Roll.
But where the hell have Airbourne been lately? Once upon a time it was impossible to keep the O’Keefe brothers away from UK shores but this hastily announced tour — revealed to very little fanfare — included the band’s first British shows since the summer of 2023! Reassuringly it was like the lads had never been away as they raced through 11 songs in just 75 minutes. Minimum chat, maximum riffage and Joel being hoisted aloft his roadie’s shoulders for the obligatory march through the crowd made it feel like only yesterday that Airbourne was in town. Seeing them Back In The Game, back in the UK and back where they belong, it suddenly felt like rock n roll order had been restored.
Maybe even Airbourne needed a break from the relentless rock n roll rollercoaster. Bursting onto the scene with 2007’s spirited debut Runnin’ Wild, a run of five albums in
12 years afforded little opportunity for a breather. Then came the global pandemic. It forced a pause, provided time for a refresh and allowed the O’Keefes to take stock of their riff-fuelled legacy. Older, wiser (OK, maybe not) and rowdier than ever, this long-awaited run of UK shows revealed a band re-energised, rewired and reborn. Not since the late noughties — just before No Guts. No Glory dropped — have Airbourne sounded so good. Just over an hour of absolute mayhem was just enough for fans who’d almost forgotten what made these Aussie rabble rousers such a riot in the first place.
But are they ready to drop a new record anytime soon?
The short but sweet set that soundtracked 2025’s return to the UK was all killer and no filler. Every one a winner. Every song a bona fide banger of a rock n roll anthem. But fiveand-a-half years since the band’s last album it’s surely time for some new tunes. There was talk of a 2023 follow-up to Boneshaker. It never happened. Rumours were that 2024 would herald a brave new dawn. Last year came and went. And then Joel suggested 2025 would finally see a new Airbourne album see the light of day. Well, there’s time yet. But if there’s one criticism of the band’s comeback UK shows it’s that they lacked the killer punch of a brand new song or a big reveal. Die-hard fans might argue ‘if it ain’t broke don’t fix it’ but nobody ever broke new ground by standing still.
Words by Simon Rushworth
Photo Credit: Adam Kennedy
FISH
O2 CITY HALL, NEWCASTLE
This was the most special of nights: a truly life-affirming live experience that exceeded expectations and delivered on Fish’s heartfelt promise to roll out the fondest of farewells to his devoted fans. The last English show on the long and winding Road To The Isles Tour was a chance for Marillion’s former frontman to take stock, catch a breath and take in the true enormity of his influence prior to two final — and inevitably emotional — stops in Aberdeen and Glasgow. And he did just that.
Within a gloriously elastic set, stretching beyond twoand-a-half hours, there was plenty of time for casual chat, endearing anecdotes, a few dreadful dad jokes and some well-deserved adulation from a faithful, if far from capacity, O2 City Hall crowd. That Fish got through the door in the first place was a triumph in itself: the inherently risky ploy of calling out the practice of charging venue commission on merchandise can’t have gone down well with his hosts on the night. But refusing the campaigning Mr Dick one final Tyneside hurrah would have surely incited a prog rock riot. And nobody wants to see slightly overweight fellows in their 50s and 60s (and possibly 70s) scrapping with security staff on a school night.
What everybody wants to see is a 66-year-old titan of the scene — replete with tartan trousers (or were they pyjama bottoms?) — belting out the very best of a back catalogue stretching across five decades. Those who still recall pre90s Marillion, through the Buckfast and Brown Ale-fuelled mists of time, could quite easily have closed their eyes and dreamt of being back at the City Hall around 1981, such is the enduring tone of Fish’s familiarly soothing voice.
The flowing locks might have gone and the energetic pomp somewhat dissipated but there was still a brief balletic turn and the busting of a few trademark moves as the main man thundered through an epic performance. And there might have been a time when that dynamic display didn’t include a single note from his former band. But this was, after all, a ‘career-spanning’ farewell tour and even 37 years since he quit Marillion, Fish is still, for better or worse, synonymous with the poetic pop rockers who made his name. The first of three encores featured
Kayleigh, Lavender and Heart of Lothian. Fish and band reappeared for a febrile rendition of the furious Fugazi. And if that was that as far as Marillion is concerned then a faultless four-song burst from back in the day was enough to satisfy early adopters of Edinburgh’s bard for the ages.
Arguably even better than that nostalgic blast from the past was the six-part Plague Of Ghosts epic introducing funk, soul and trip-hop to the prog rock mix. Wake Up Call (Make It Happen) allowed each band member his or her special exit — with a full crowd accompaniment — before the same song ushered everyone back on stage again. By now the City Hall was bouncing.
The word-perfect masses had already been treated to solo gems including Credo, Big Wedge and the brilliant Family Business. Thanks to Fish On Friday — the offbeat, lockdown-inspired ‘podcast’ that proved to be a sleeper hit — there was even a shining version of Shadowplay. Leaning heavily on solo debut Vigil In A Wilderness Of Mirrors and 1999’s Raingods With Zippos, this was a gig for the ages.
Truth be told we may never see his like again: in an age of TikTok, The Masked Singer and Spotify, demand for bona fide rock and roll troubadours with a penchant for penning socio-political calls-to-arms is diminishing day by day. Fish was a man of his time and a man of the people. Many of those people are still there but that time has run its course. The Heart Of Lothian may still be beating hard but it’s clear the Celtic soul can no longer align with the tech-fuelled, Ticketmaster-punching, increasingly transient nature of today’s ever-murkier music business. Fish’s final show on English soil — 45 years after he first pegged it down from the Borders in his favourite Mini to catch Lindisfarne at the same venue — was a triumph for artistic freedom and for rock and roll in its purest form. Backed by a faultless band and benefitting from a pin-sharp mix, Dalkieth’s favourite son bowed out in reassuringly flamboyant style.
But make no mistake — a bullish display doubled up as the proverbial flick of the Fish finger to those he blames for his beloved industry’s sorry implosion.
Words by Simon Rushwroth
Photo Credit: Adam Kennedy
ROSALIE CUNNINGHAM
THE CLUNY, NEWCASTLE
Rosalie Cunningham is an inspirational flag bearer for single-minded women everywhere as she continues to navigate the notoriously male-dominated music industry with trademark grace and guile.
After years spent honing her skillset, often in the face of adversity, the fiercely independent singer songwriter’s free to explore her potential and push her limits — as evidenced by this sublime, spellbinding set.
Boasting the voice of an angel and a devilish determination to succeed, Cunningham’s solo career continues to follow an ever-steeper upward curve. Devotees of her art would say that the pace of that trajectory is nowhere near fast enough.
In truth, of course, Cunningham should already be jostling for position with Charli XCX, Raye et al on the UK’s biggest stages but dizzying talent doesn’t always equate to critical acclaim and commercial success. Rarely, in fact. For now, Cunningham remains that most common of anomalies in a business famed for missing the next big thing: a generational disruptor whose artistic ambition knows no bounds. One day the rest of the world will catch on and catch up. One day.
Since 2022 Cunningham’s been flanked by another magically gifted musician more than capable of proving the worth of creative women the world over. Claudia Gonzalez Diaz might have missed the band’s last trip to Tyneside — in The Cluny’s sister venue — but the triple threat Spaniard was clearly in the mood to make up for lost time.
Bassist, backing singer, flautist and tattooed, velvet jumpsuit-clad fashionista, the most striking member of Cunningham’s crew (and that’s saying something given the cool cats she performs alongside) is fast emerging as
the ace in the post-Purson pack.
An invaluable asset and a visceral entertainer, Gonzalez Diaz does the heavy lifting with the lightest of touches.
So what of the third powerful female presence celebrating a day of huge significance in appropriately unapologetic style?
Prior to Cunningham’s stellar set — a show that leant heavily on last year’s To Shoot Another Day by placing a heavier slant on that shimmering record’s softer tracks — Newcastle’s Saturday night rock crowd was treated to a tantalising glimpse into the future.
Bobbie Dazzle, fronted by the eye-catching Siân Greenway, is surely on the cusp of something seriously big. Freshly announced as main support on two huge Alice Cooper gigs this summer — and lined up to open up for rock and roll royalty Lita Ford and Vixen in London — it feels like this is a band on the brink of the big time.
Crucially, in the shape of fabulously flamboyant Fandabidozi, Bobbie Dazzle boasts the songs to back up the hype. Key cuts from one of 2024’s most talked about debuts dominated a feelgood, glammed-up gig for the ages: Merry-Go-Round, Revolution and Lady On Fire locked in a sense that this was a genuine ‘I was there’ moment.
If the somewhat sludgy, 70s-styled grind of introspective openers Requiem Blues offered little hint of the joyous jamboree to come then the focused three-piece laid down a compelling marker for 2025’s assault on the senses. Pitched somewhere between Cream and Clutch, the men from the Mersey are clearly ardent believers in the power of a heavy blues riff: turns out Last Place I Want To Be — taken from January’s self-titled long player — is the place to start.
Words by Simon Rushworth
Photo Credit: Adam Kennedy
INCUBUS
THE O2 ARENA, LONDON
Celebrating their iconic Morning View album, Incubus played to a packed out O2 Arena crowd to replay one the best releases of the early noughties. A night filled with pure nostalgia as thousands sang along word-for-word to their anthemic back catalogue.
Opening for the Californian rockers was cellist Lucina Chau, who stepped in last minute as a replacement for Paris Jackson due to unforeseen circumstances. An exquisite musician who was a perfect fit for such an iconic gig. Chau performed a number of breath-takingly beautiful compositions which consisted of atmospheric loops and sound bites that certainly set the tone for the evening.
Of course the next part of the night was what we had all been waiting for. As the lights faded, the band walked onto the stage soaking in every cheer as they burst into Nice to Know You. As always, Brandon displayed an effortless performance with his natural frontmanflare. His vocals were classic, clean and demonstrated impeccable projection. He performed alongside the audience for key moments throughout each song as he held his microphone out, encouraging them to sing it back to him, and the sound the audience made rippled total sentimental comfort throughout the arena. The way the stage was set up allowed each band member to walk around freely and play to each other as openly as they wished which certainly emphasised their chemistry.
Just before we heard Blood on The Ground Brandon introduced us all to Nicole Row, their badass bassist who became an official member of the band last year.
For the almost 2-hour set we had their classics such as Wish You Were Here, Warning, Are You In?, Circles, Anna Molly and Aqueous Transmission. But we were also treated to some extremely unique covers including Phil Collins’ in The Air Tonight, Rihanna’s Umbrella and even Portishead’s Vitamin which went down an absolute storm.
As they played their last track of the Morning View album section of the show, the original cover artwork and the XXIII reissue cover artwork were given centre stage as they appeared on the screen and the band simply stood back and stared in awe as the audience roared a seal of approval, before Brandon expressed “thank you for letting this album be a part of your lives”. This extraordinary night was then concluded with Pardon Me and of course, Drive.
From the laser and lights show to the absolute anthems, Incubus are a timeless band who know exactly how to perform their signature sound and prove that their music has aged like a fine wine.
Incubus have announced the release of their brand-new 9th studio album Something In The Water which will be available at some stage during 2025.
Words
by Charlotte Hooper
Photo Credit: Kalpesh Patel
Heres Johnny!
John Lydon’s iconoclastic band Public Image Ltd (PiL) has announced a major tour of the UK and Ireland for summer of 2025.
The 23-date tour billed as ‘This Is Not The Last Tour’ will start in Bristol on 22nd May and end in Belfast on 16th August.
The tour also includes festival appearances at Stone Valley South in Ware (23rd May), Stone Valley Midlands in Newark (27th June), Rebellion Festival in Blackpool (7th August), Stone Valley North in Durham (8th August) and Putting the Fast in Belfast (16th August).
But how much is John Lydon looking forward to hitting the road this time around? “I’m excited about getting out the damn house is what I’m excited about. All the woe is me stuff I kick aside because it’s unhealthy - after a certain point, you’ve just got to be grateful about all the good things. And so, my head is in a really good position about that, but I’m bored out of my f*cking mind sitting here alone.”
The sound of Public Image Ltd is eclectic, to say the least. “Well, let’s cut to the chase. PIL is a very different sound from one album to another. And that’s not just going out of our way to be music snobs or anything like that,” he says. “The songs shapeshift the environment that ends up as an album. Different songs require different instrumentation, and a different kind of racket to emphasise the emotions. So, there you go. Accidentally, I’ve been incredibly awkward to myself.”
When PIL started, did Lydon intend to deliberately create music that was so different to that of the Sex Pistols? “Well, I knew I couldn’t take it too far in the Pistols because they had their fears and their prejudices, and it was insurmountable. My only real serious conquest there was, apart from giving them an image, writing all the lyrics, and presenting the band to the world in the way I did was to bring Sid in, who was the worst thing that they ever had to endure. I’m very happy about that,” said John. “And this is why they’re going out; they’re now doing karaoke to try and cut away the hardcore image of what it was really all about. But I don’t know, I mean, that’s all right, that’s what they’re doing, if you like bingo.”
When you hear the name, Sid Vicious, it’s almost like he is a mythical creature subjected to the annals of punk rock history. But what was he really like as a bandmate and a friend? “Sid was very
shy but very, very humorous. A witty fella who would take a piss out of anything, but shy, and like myself in that respect, but brave as hell about imagery. But when I dragged him into the pistols, I didn’t realize that it was so difficult for him to cope because he had to face the imminent fact that he couldn’t play and he had no aptitude whatsoever,” said John. “But he definitely was brave enough for it, but then the drugs took over, and that’s where the tragedy began. If he just survived that course then he’d have been all right. As I stated in the past, it broke my heart to see him collapse like that. That was a really close friend of mine.”
Of course, Public Image Ltd has had a huge impact on the music world, having influenced bands far and wide. Even the likes of Pearl Jam covered one of the band’s classics, Public Image. “Eddie of Pearl Jam, he’s a bloody nice chap, by the way,” he says. “And I don’t hardly ever meet many people in other bands. But a lot of bands who have taken our ideology and our stance and definitely their musical direction have shown no respect at all by acknowledging it. They just have not acknowledged our existence. That annoys me because I’m pretty free and open about all the things I’ve ever loved in my life.”
PIL tour aside, John Lydon will embark upon a spoken word tour later in the year. Somewhat of a different change of pace from his gigs with PIL. But is this something which the frontman enjoys? “Yeah. I didn’t think I would. But after Nora died, I was obligated to do that stand-alone comedy act, shall we say. And I found it to be fantastic and fascinating. I love the meet and greets before I go on stage because, in a weird way, they’re giving me the script for that night. They’re telling me their woes and problems. They’re sharing with me. It’s the most rewarding feeling that people could put up like that with me. I feel like they’ve known me all their lives. And they did have. They’ve known the fake news of me. And they also suspected that there was a genuine side, and they make that. And then I go out on stage, and I’ll express everything I’ve heard from them. And try to make a connection between my situation and theirs,” explains John. “There’s no arrogance in it, but it always ends up being hilarious because I can’t help it. I’ve got Norman Wisdom in me and Frankie Vaughan, and all of these people.”
John adds: “My mum and dad always said this when I was young. It’s best to laugh at a thing because you’ll learn more from that. And being deadpan serious, and wallowing in self-pity again. And so there it is. Sometimes I do quite literally karaoke. Maybe that’s where that lot got the idea from. I don’t, you know. Do you want to touch me? I don’t mind screaming that out over a PA, because it goes down as bloody hilarious. These are songs that these hardcore punky types thought they’d never, ever be admitting to. But they know every f*cking word. And whether we like it or not, that’s
what we were brought up on. Open your mind. The only door that should be closed is the toilet.”
With regards to the spoken word shows, is there an opportunity for Q&A with John “There’s a good time in between me being up there explaining who and how I am. And then a rush to the bar,” he says. “You have a good 20 to 30 minutes. And, in that time, you can write down questions that you have. Or fill in the gaps from what you’ve heard prior. And then I’ll come out, and I’ll answer them. And sometimes, because people get really enthusiastic at this point. This is where control comes in. Because if you allow them to start yelling things at you before you know it, there are 200 to 300 people rushing the stage, shouting. And you’re supposed to translate that into answers. It’s why I hate parties. I feel like I die at parties because everybody’s talking to me at once. And I just want to run away. So, it’s how I cope with that part, too. It’s intriguing.”
With the PIL tour hurtling towards us, does the artist have a good idea of how the live set will look this time around? “It’s going to be ferocious bangers,” confirms Lydon. “We’ve had to replace Bruce, poor old sod. He’s got a situation that he can’t resolve while on tour, so I had to find a new drummer. We have Mark, who’s very in tune with Lou, to all our Middle Eastern excesses. We delve into that like tumulus territory. But he slams the f*cking kit - Ginger Baker comes to mind. With all the other musical possibilities thrown in, so slammers is going to be what we’re going to do. And we have delved into elaborate, excessive use of electronics from time to time, but there’s no need for that now.”
Are there any plans for any new music from PIL on the horizon? “Of course, we write songs while touring - it’s the best way. When you’re all in a highly agitated, aggravated state, well, that’s the goods,” confirms John.
Moving forward, there is a lot on the agenda for John Lydon this year. “There’s an awful lot of work I’m taking on. It’s simples, isn’t it? It’s like how I learned to swim when I was young. I was pushed in at the deep end. I learned, and that’s exactly what this is because that’s this. You must strike. I know it’s a lot of work, but we’re viewing that as the start, as the rest of the world should consider too. So, we’re not going to run out of Duracells,” concludes Lydon.
Tickets for the upcoming PIL tour are available now from all venues and via www.pilofficial.com.
Words by Adam Kennedy
Photo Credit: Duncan Bryceland
JOHN LYDON
Premier League Welsh rock squad Those Damn Crows finally dropped their highly anticipated fourth album, God Shaped Hole, on April 11th via Earache Records.
Packed full of certified bangers, with huge choruses and evocative lyrics, the band recently whipped out one more single from the LP to tide fans over “The Night Train”. To say that the anticipation for the group’s latest offering was high is an understatement. God Shaped Hole was sitting pretty at Number 1 in the midweek Official UK Album Charts ahead of its release.
In recent times, the band has hit the road alongside rock luminaries like the Hollywood Vampires and ZZ Top, to name but a few. Last year certainly had plenty of high points for the group. “Last year was amazing, man. We did a lot of stuff in Europe, a lot of new territories. We played for thousands of people with a German band out in Germany. The numbers were unbelievable. It was like 60,000
people at every venue. And it was insane,” reflects frontman Shane Greenhall. “We played with ZZ Top, we played Wembley and then to come back and finish it all off with that home show in Cardiff in December - an arena headline show was insane. So, lots of firsts for us Crows. The groundwork is done in different territories. So we go again now, this year back to Germany and Europe.” He adds: “It’s super busy, but it really is hard work. Thankfully, that comes first with us as a band. We’re very dedicated and want to put everything into it. So, yeah, it’s been amazing, but an absolute ride.”
The band have been climbing the ladder to the top. But Shane still recalls the early days of the band, and their appearance at HRH Road Trip in Ibiza. “We still talk about the Ibiza trip to this day. How amazing it was for us first time doing that sort of thing. And how I got injured and walked into a glass wall with my shades on and split my eyebrows, and my eyebrows haven’t looked the same since. But yeah, man, amazing times. It’s not
until you do interviews you reflect and talk about the past,” explains Shane.
The band’s latest album title God Shaped Hole certainly makes you stop and think. “I feel that we’re in a time where God, spirituality, religion, technology, AI, the human race, in particular, all this is just all unknown. There are people coming into politics now - Trump, for example - it just all seems a bit of a mess, this unknowing sort of sense of where do you feel safe? And I’ve heard so many people saying - oh, something is missing in my life. And would that be through religion? Would that be through the perfect job role? Would that be through finding someone you resonate with, love, whatever you want to call it? And that has always made me think to the point where we all focus as a society on the thing we haven’t got, don’t we? We tend to focus on it. And sometimes, that can be super positive. It’s like, that’s the goal, that’s the destination. But I think it’d be more appropriate and more beneficial if you just thought, let’s
concentrate on what you have got. It’s all very well looking forward, but focusing on now and those little things you can do to make yourself better, then that path becomes way clearer,” said Shane.
He elaborates further. “I always focus on what I have and I’m appreciative and express gratitude. And then from that, there’s the spark of wanting to do more in a positive manner, as opposed to something’s missing.”
The band’s writing on this album has been described as honest. “The truth is, that’s kind of the only way I know how to write. And I think as you’re getting older, and the band is an established band now. So you’re, again, reflecting on your life, on your personal life, on your career. And you’re just in a different place here. So, I always find calling upon the emotions. And then you can add any storyline, really, any context. But if you’ve been affected by something, for me, it’s the cheapest form of therapy and counselling there is. And it’s
really helped me,” said Shane. “What’s really, not surprised me, but touched me, I guess, is that you write something down on a piece of paper, and you think that’s you, you think you’re the only one going through that, which is bullshit because there’s not a feeling that I haven’t felt since I’ve been on this planet that millions haven’t felt before. So I think there’s an honesty in writing from the heart and from your perspective, because nine times out of ten, someone else has already had that or going through it.”
With the new album in the bag, how is Shane feeling about TDC’s latest offering? “The album was done a while ago. So, I think it was a year ago, March, we started recording. So it’s a long time coming,” he says. “We’re playing to people with new singles, new songs for the Crow family to listen to, and they’re resonating. So, only now, it’s really sinking in. And it feels great, man. It feels like we’re playing new songs, which is always great for a band to play new tracks. Keeps it exciting for
us. I don’t have anxiety about it. Whatever the number is, the number is in the charts, if it charts. So there’s no anxiety as such. From the songwriting point of view, there were some songs I wrote where I’m telling my family and friends for the first time, they were serious matters. So there was a little anxiety there. But I’m just glad it’s coming soon. And then we can just forget about it and put a crazy setlist together for later on in the year for everybody, including all the Crow classics and the brand-new songs. And let’s just get out on the road and tour the album.”
God Shaped Hole, the new album from Those Damn Crows, will be released on April 11th via Earache Records.
Words by Adam Kennedy
Photo Credit: Press Supplied
INTERVIEW
RAZZLE DAZZLE
We catch up with catsuit sporting, purveyors of glam rock Bobbie Dazzle ahead of their eagerly anticipated arrival at HRH Prog in Great Yarmouth.
With a list of dates alongside many rock luminaries, it’s been a strong start to the year for the group. Bobbie Dazzle recently featured on a run of shows alongside prog-rock star Rosalie Cunningham. “So last November, I did a whole tour with her. We’re a very dynamic duo and similar fan base, so it’s always great fun,” said Sian. “The crowds are always amazing, and they support both of us, and it’s wonderful to see.”
Bobbie Dazzle’s debut album, Fandabidozi, has been well-received by fans and the music industry alike. The genesis of the album comes from a deeply personal place. “I need to try not to cry while saying this because I started Bobbie Dazzle when my sister got diagnosed with terminal cancer, and she was very unwell, and I really needed to create something which was the total opposite of what I was experiencing in my day-to-day life,” explains Sian. “So, through all of that grief navigating that, I decided to create the happiest music possible, and it was a complete distraction at the time, and it was an escape, but then it just turned into my joy and something that felt really innately myself and a very freeing experience. So, I do Bobbie for the memory of my sister, because if it wasn’t for her, I probably wouldn’t have started this.”
The artist has been bowled over by the response to the album thus far. “I didn’t have any expectations with this. I just did it for myself, and the fact that people have wanted to come along for this ride has been really special, and obviously everyone is welcome. Glam rock is nostalgic for a lot of people, and then everyone finds joy in it, it makes you smile, it makes you want to dance, and I think people just need that right now. The world is not always the happiest place, so if you can find some happiness in it, it’s important,” explains Sian.
The track Lady on Fire was featured in Classic Rock Magazine’s Tracks of the Week feature. “People always ask me if Lady On Fire is about me, and it makes me laugh because it’s actually about a man who hires a prostitute so he can explore his sexual desires. And I tell people that, and then they re-listen to it, they have a good laugh because if you listen to the lyrics, and that’s a lot of what my lyrics are about, there’s cheeky nuances in there to just to make you smile, it’s not to be taken too seriously,” said Sian. “I do put a lot of effort obviously into the music and my vocals and the layouts of the songs and lyrically obviously as well,
but I always want there to be some just cheekiness in there and again just a bit of silliness because I don’t want to do anything that I feel is too serious because that takes the joy out of it for me.”
This year, Bobbie Dazzle will perform at dates with artists such as Alice Cooper and Arthur Brown. Speaking about these appearances, Sian said: “I have not many words for it because I’m still flabbergasted that it’s happening. I’m terrified, but I’m so honoured and yeah, I’m ready for the ride I suppose.”
Bobbie Dazzle will appear at a whole raft of festivals throughout the summer. But how important are music festivals to the artist for getting their music out there and bringing in new fans? “I personally think it is the best way to reach a new audience because I’ve been to many festivals myself, and I stumbled across so many acts just walking past, and I’ve gone to listen. That is the best way to make new fans because you’ve got such an eclectic mix of people there, someone’s going to like the music. So, festivals are really important. Touring as a musician financially is very difficult, and the downside of festivals is, especially in the UK, they struggle to pay the acts as well, so it’s really important that people turn up to the festivals because the more people that go to the festivals, they have a better budget, they can carry on going. It’s the same with grassroots venues so yeah, it’s important that people turn up to festivals, it’s important that the bands play the festivals.”
The band’s visuals conjure up images of the heyday of the glam rock era. But how important is fashion to the group in projecting their overall aesthetic? “If you perform glam rock in a pair of jeans and a t-shirt, it doesn’t have the same effect, it’s like hand in hand an aesthetic with the music, it kind of becomes this art form, and I wanted to pay homage to the 1970s glam rock,” said Sian. “Obviously, in the 70s in glam rock, they all had glitter catsuits and the crazy makeup, crazy hair, and it’s just fun, and I love the fact that it was mainly men doing that too. So I’m really dressing like a man from the 70s.”
Which bands from the glam rock era would the band say have influenced their sound and musical direction? “Sound-wise, it would be the band Sweet, especially their 1974 album Sweet Fanny Adams, which was a big inspiration to me because it’s teetering on heavy metal. It’s glam rock mixed with very hard rock, and those two really spoke to me,” said Sian. “Looks wise, it’s kind of just a mix of everyone; I have my own fashion style at this point, but you know they were all wearing platforms and bell bottoms, and so I joined the ride for that.”
Bobbie Dazzle will perform at HRH Prog at Vauxhall Holiday Park this year. But how much is
the group looking forward to their trip to Great Yarmouth? “I am excited to go down there to the Holiday Park, but it’s going to be great being on a bill with so many artists that I respect, people that have inspired me being on stage and again getting to play to new fans in an area that I haven’t been before. It’s a festival, it’s important, lots of these people wouldn’t have the opportunity to see me usually. I’m from the West Midlands, it’s not so easy to travel everywhere at all, so doing a festival down south will be great,” said Sian. “I am so excited to see Focus because Thijs van Leer is a huge inspiration to me, especially as a flute player. He’s not playing on my day; I’m going to stay for another day and watch him.”
Bobbie Dazzle has a lot of irons in the fire moving forward. “I have loads of gigs that I haven’t announced yet that I will announce. Some of them are again terrifying but exciting. I’ll be doing two tours that I haven’t announced yet, so there is a lot to come for me. I’ve got a single that I’ve just recorded that will be out either in the next couple of months, and I’ll have another album out at the end of the year. So, I am balls to the wall going for it this year,” concludes Sian.
Bobbie Dazzle will perform at HRH Prog in Great Yarmouth in November. For further information please visit https://hrhprog.com/.
Words & Photo Credit: Adam Kennedy
Hot off the back of the release of their pair of latest studio albums, Rival Sons recently announced summer headline shows in addition to stadium shows with Guns N’ Roses and an appearance on Black Sabbath’s “Back To The Beginning” show in Birmingham.
There has been a lot of activity in the Rival Sons camp over the last year. “We just put out two records, the Darkfighter and Lightbringer albums, and then we toured on those. It’s an interesting refractory period that you go through after we had worked so hard on those two records, and that’s two full volumes of material,” said Jay. “I’d like the opportunity to keep stretching that material out further and further, but such as the
way that we go about things, I know that it’s time for us to create the next volume of material. And so there’s that element of looking forward to what this next iteration of our collective voice as a band is going to be. So I think a lot of 2024 was a lot of hopscotch and jump rope, just taking different opportunities and travelling the way that we always do, touring the way that we always do. And a lot of great opportunities that we were able to be part of.” Jay adds: “I’ve been working on my solo album. And then, Scott and I have begun writing for the next Rival Sons album. There’s been a lot of action, but it feels so good to finally be able to get back out on the road.”
Life on the road is a fundamental part of being in
a band like Rival Sons. “As a band, as a musician, recording artist, and writer and everything, not touring for too long, it’s just not good for you. As much as I miss my family when I’m out there, and deeply, I’m a family man. But I’m also an artist, and I think that the travelling and the self-expression of attacking your own catalogue in each song, maybe in a little bit of a different way, exercising in just a little bit different perspective each night, I feel like it’s a healthy mindset. So I’m looking forward to getting back out.”
With two albums coming out in quick succession, did the band feel like they had tapped a creative vein? “We took so long making those two records that it’s kind of like opening the conduit,” said Jay.
“And so, once it all starts coming out, I think that so many things needed to be said. And if you look at the timing of when those songs were written, when those albums were written, it was coming through the pandemic and coming out of the pandemic. We took our time because we wanted to make a statement for ourselves that was going to reflect the uncertainty of what we had lived through. It was important to me to pay respect to how disorienting that time was and to not glaze over it and just get back to business as usual. We wanted to make a collection that would reflect not only the hardship that was obviously the isolation, just everything. We went through so much here in the United States too. We had an insane one, apparently one of many insane presidential election years, but those seem to keep coming. But we went through so much that I think that we ended up with this large body of work.”
Jay elaborates further: “On the onset, the intention certainly wasn’t to make two separate records or even a double album. I think that once we had finished, once enough came through that we were satisfied because it always seemed like there was one more song to write. I’d be writing, and I’d go to Scott and be like, look, I’ve got this other song. Scott would come to me, and he’d say, look, I’ve got this thing. And there was always a
little bit more to say. And then when Mosaic was written, which closes out the Lightbringer album, once Mosaic was written, it was very much like, okay, this is it.”
Did the band feel as though there was a natural separation of songs between the two albums? “So the attempt to partition it in a healthy way where it would be a little bit more digestible, we talked about that, and then ultimately in analyzing the songs, it became very easy to put the songs into two categories. What the protagonist was going through for the first collection - all of the searching and all of the doubts and all of these things that belonged to column A and column A was Darkfire. And then for the Lightbringer album, it was about the regrowth and the regeneration, and about more of the protagonist finding their way and then having to persevere in that direction.”
Rival Sons will soon return to the UK. But how much has this side of the pond become a home away from home for the group? “We’ve spent so much time in the UK. The UK was the first place to give us a home. It said, look, we like what you’re doing,” said Jay. “We signed to a UK label initially out of Nottingham with Earache Records. And so all of our press, all of our assets were being funnelled through the UK, and then outward toward Europe and then back to the States. And so, coming through that lens, I think that seeing things come through that UK lens, I think that a UK presence and our time in the UK and our subsequent touring, I feel that it’s so deeply intertwined with who the band was in particular in those early years because that’s where the water was. Just like wild animals, they go to where the water is, and that’s where the water was for us. And we were being accepted, and we were being appreciated. And rock and roll meant something in the UK then.”
Having toured with Black Sabbath on The End tour, the group will feature on the bill of their Back To The Beginning gig in Birmingham. “It’s great when you get to run into a bunch of your friends; it’s great when you get to run into people and watch their bands play for a little bit, and it’s going to be nice and short. Everyone’s playing for just a little bit, and it’s really great to watch all of your friends interpret a Sabbath or an Ozzy song, and so we’re all there doing the same thing, and it’s going to be a really good time to watch everyone do that,” says Jay. “And then, of course, watching Sabbath play, and after playing with them so much - we were the sole opener for Sabbath on their The End tour. We toured with them for almost a year and a half. So, Black Sabbath gave us something that we will be in debt to them forever. They gave us something out of a fairy tale. They came, and they picked us up, and we were like a larger theatre band, and they said, we’re going to grab you out of the large theatre, and now you get on our stage, and you become an arena band, and do this
night after night, we’ll give you our arena for you to come and work out in our gym. Come to our dojo, and we’ll show you the ropes.”
From performing alongside one legendary outfit in Black Sabbath, the band will also perform at Stadiums alongside classic rock legends Guns N Roses. “That’s going to be a great time. The audiences are huge, and once again, we’re salt and peppering the entire summer with headline shows and then support shows for Guns N’ Roses, and of course, we have some festival shows as well. But to be in front of an audience that large, for a band that monolithic, any time you have the opportunity to do that, it’s nothing but a pleasure, and we’re very thankful to Guns N’ Roses for the opportunity,” says Jay. “Looking at the routing and all of the countries that we’re going to be hitting, we’re definitely looking forward to being out there with them. And so I know it’s going to be a great time.”
In amongst the band’s vast touring schedule, a new album is perhaps on the horizon later this year. “I think we’re trying to get into the studio sometime in the fall. I think that that’s the target. So we have a lot of writing to do, and we’re trying to get into the studio, and there may be some more touring, possibly in the United States, and possibly in a little bit of small things in Europe that we’re pulling together for the fall,” said Jay. “And then in late fall, I did some acting in a movie, and it’s going to be a huge movie, and so that will be coming out, I think, sometime in the late fall. And so I’ll need to be home and around for that, hopefully.”
Jay adds: “We have a lot of irons in the fire right now. So writing another record. Setting up touring for 2026. We’ve had a documentary film crew following us around for the last 10 years. And there’s a Rival Sons film that is forthcoming. So we have that. And we’re talking about a Greatest Hits album. There’s all of this stuff. So we’ve got our hands full. And so I’m looking forward to getting into the studio again, and the band being together, and figuring out what our next direction is. Figuring out what sort of new material and what we’re going to do together. I’m looking forward to seeing what that is.”
Rival Sons are set for another monumental year, heading out on a coast-to-coast tour across Canada with Bush before heading to Europe with Guns N’ Roses for a stadium run. They will finish up their summer joining their old pals in Black Sabbath (and a few other friends) as special guests on their last show ever to be performed in Birmingham, UK. Stay updated at www.rivalsons.com.
Words by Adam Kennedy
Photo Credit: Anne Marie Forker
Record Store Day is the Christmas Day for all vinyl fans worldwide. Starting back in 2008, RSD was created to give a spotlight to independent record shops, where exclusive releases were made available for customers to collect and to also encourage them to head to their locoal independent record shop to support small businesses. The day brings together fans, artists, and thousands of independent record stores around the world for a day filled with great music, loads of vinyl, a chance to mingle with like-minded people and of course, all the surface noise!
Not surprisingly, 2025 gave us a list filled with a bunch of goodies and here is my breakdown of what I feel are some of the top picks!
The official Record Store Day list as well as previous year’s lists are all available on the official website www.recordstoreday.com, the website also provides a record shop finder, information on partners and monthly exclusives, PLUS the ability to make your very own Record Store Day ‘line-up’ poster of your top choices!
T.REX - BOLAN B-SIDE
DEMON RECORDS
I have been taking part in RSD since 2010, and one release that is a must for me every year as a collector is the T.Rex/Marc Bolan release. This year we were treated to a double 140g LP printed on translucent blue vinyl, and is available on vinyl for the 1st time for RSD 2025! It is the first vinyl collection ever of Marc’s 1972-1977 T. Rex B-sides, despite being a collection of flipsides, it features a host of well-loved T. Rex fan classics including ‘Born To Boogie’.
FLEETWOOD MAC - FLEETWOOD MAC
RHINO / WARNER RECORDS
Following on from last year’s picture disc release of their classic album ‘Rumours’, Fleetwood Mac released another picture disc for 2025 this time of their 7X platinum-certified self-titled 1975 album. This is the very first time the album has been released on a picture disc and this is in celebration of it’s 50th Anniversary! The record features 2-sides of unique artwork, and includes the hit singles Landslide, Say You Love Me & Rhiannon.
STONE TEMPLE PILOTS - LIVE IN NEW HAVEN 1994
RHINO
RECORDS
A must-have for all grunge lovers, Stone Temple Pilots released a Live in New Haven double LP for 2025’s RSD, which is a live album recorded at Veterans Memorial Coliseum on August 23, 1994, only a month after their iconic sophomore album Purple was released in July 1994. The set list features live versions of hits such as Vasoline, Plush, Interstate Love Song, and more. Available for the first time on standalone 2xLP Colored Vinyl (purple, of course!).
THERE ARE THREE BACKGROUNDS TO
REPUBLIC
One of my biggest wants for 2025 is this unqiue release from Post Malone purely for the fact that it has a Nirvana connection. Released on a yellow colored variant LP, this record hosts Post Malone’s Nirvana Tribute Livestream that took place on April 24, 2020 during the pandemic. A highly sought-after release that I’m sure all Malone and Nirvana fans will be wanting in their collection!
SHANE MACGOWAN & SINEAD O’CONNOR - HAUNTED UMR / ZTT
A re-record of The Pogues 1986 song, Haunted was a duet by Shane MacGowan and Sinéad O’Connor which featured on MacGowan’s 1994 album ‘The Snake’. The song featured in the soundtrack to the movie Two If By The Sea (aka Stolen Hearts) and reached the top 30 single position in the UK Official Charts. Originally released as a 4-track CD and cassette single (featuring three B-sides by Shane MacGowan including a cover of Neil Diamond’s ‘Cracklin’ Rosie’), the full 4-track collection has never before been released on vinyl or digitally, but now celebrating the 30th anniversary it is available as a limited edition ultra-clear 12” for Record Store Day 2025, housed in a single sleeve using the original artwork.
PIXIES - BOSSANOVA / TROMPE DE MONDE LIVE DEMON RECORDS
Limited to 3000 copies worldwide, for the first time ever, Pixies have gifted their fans to a live album exclusively for Record Store Day 2025. Pressed on stunning 140g Ice blue vinyl, this release features full live performances of two iconic Pixies albums from the 1990s, Bossanova and Trompe Le Monde and has been supported for RSD across Pixies’ huge social media following. The live album comes with newly designed artwork inspired by the original covers making it a musthave for collectors and fans alike.
REVIEW
Being a huge Bring Me The Horizon fan, this venue has been on my bucket list since it opened back in 2018. Church Temple of Fun was a venture that lead vocalist Oli Sykes sunk his teeth into and has now become one of the biggest vegan and street food locations in Sheffield.
Having travelled a distance to this fantastic restaurant for a family celebration I was hoping the menu I viewed beforehand was as tasty as it sounded. Not experiencing a vegan diet I was curious to taste what was on offer. The servers were knowledgeable with the menu and happy to answer all questions our party had about it; mainly ingredients. They were very attentive, welcoming and certainly added to the entire experience.
Once the food was delivered to the table it didn’t disappoint. “We eat with our eyes” is a phrase commonly used and, boy, it was pleasing to the eye! We had a selection of plates including the Satay Chicken Salad Bowl, Lions Mane Mushroom Steak, Syko Burger, Hex Mex Burger, Chilli Cheese Loaded Fries and Chilli God Dog. The burgers and hot dogs were ironically extremely ‘meaty’ and really tasty. All of us were completely blown away with the flavours, taste, textures & colours…..it was
simply amazing! We even tried their incredible cocktails menu with certain themed drinks as a nod to the owners metalcore band Bring Me The Horizon – I myself tried the Kool-Aid which was certainly one I could have had all afternoon!
This is a unique venue outside of its vegan food experience too, a dream for all gamers gaining its nickname as a bar-cade, with its very own gaming pods equipped with PlayStation 4 consoles that are free to use as well as comfy booths for you to completely relax and enjoy. The venue also offers its own tattoo parlour, photobooth, arcade machines, pool table, foosball table, plus its own merch for the venue itself and another Sykes project, his Drop Dead clothing collection. Although weather on the day of our visit didn’t allow a glance, there is also an outside balcony terrace that overlooks the River Don which is another wonderful addition to the charismatic venue.
For me, it was all about the little details that elevated the experience. From the presentation of the menu, the church podium where you’re first greeted and taken to your table, the gorgeously displayed flower arrangements and stain-glass windows that the natural light emphasises, the church chairs placed around
each table and the obvious South-American religious iconography influence throughout with the artwork and statues displayed. Their ‘Sunday-Service’ of a traditional roast dinner but with a vegan twist is also a popular choice for guests, providing a satisfying alternative that will certainly get your tastebuds talking!
The venue also hosts a number of themed evenings, free movie showings, art nights as well as being a live music venue with a capacity of up to 220 people. All information is available through their social media channels under the handles @templeof.fun or through their website www.templeof.fun for any upcoming events.
I can’t recommend Church Temple of Fun Restaurant enough. The whole experience was a dream, great value for money, provides a variety of mouth-watering food that you wouldn’t be able to try anywhere else, and provides the opportunity to make a complete day-out visit with its various activities available. This should be everyone’s new place of worship.
Words by Charlotte Hooper
Photo Credit: Charlotte & Patricia Hooper
Photo Credit: Simon Dunkerley
