Southern/country rock band These Wicked Rivers took a brief break from their tour supporting bluegrass legends Hayseed Dixie to do a hometown gig. And what a gig it was. Playing to the absolutely packed Derby crowd at The Hairy Dog, it was definitely a night to remember for everyone involved. Add to that the fact that it was a fundraiser for These Wicked Rivers’ new album, and it was an awesome night for sure.
Other local boys 28 Double were the first to take the stage. While it wasn’t long after the doors had opened, they still drew a fair crowd. Being easily the heaviest band on the line-up, bordering on metal, it did feel like it took the crowd a little minute to warm to them. However, the band ripped through a fantastic short set of some of their best songs. I’ve seen them multiple times over the years, having gigged with them a fair bit back in the day, and they have come on massive amounts since. They put on a great show and sounded awesome!
Next up was the Manchester blues machine known as Gorilla Riot. Friends of the channel, it’s been almost a year since we last saw the band, at Amped last year. They were on top form again here. Arjun has such a fantastic swagger and stage presence, feeling like you’re watching a true rockstar. And yet he never overshadows the rest of the band, moving out of the spotlight even on longer instrumental parts. The band have great chemistry on stage too, clearly enjoying themselves and regularly joking around. The crowd ate up everything they laid down, too. They loved their grungy sound and great songwriting. If anything, my only criticism is that they didn’t have long enough on stage. However, they for sure won over some new fans with their set and were the perfect warmup to the headliners.
Then, came the headliners, the anticipation in the room palpable. These Wicked Rivers soon came on and left not a single person disappointed. Rattling through a set full of their older tracks and a few of the new singles too. This was by far the best set I’ve seen the band do. That’s a surprise too, as I’ve seen them a few times over the last couple of years. They keep getting better and better, both live and on track. If this gig is anything to go by, they are going to be HUGE in a year or two. One hell of a way to cap off a fantastic night and honestly one of the best sets I have seen from a band this year.
And there we have it, a brilliant night of great music from some of the best underground rock bands the scene has to offer. These Wicked Rivers are back out on the road with Hayseed Dixie while Gorillia Riot and 28 Double still have a few gigs left this year. Both bands are also headlining both nights of SharkFest in Cannock next year!
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You know the drill by now. A dozen amazing bands releasing new music, and we’re here to check it all out! See what we think below!
Lamb of God: Omens
Lamb of God releasing their ninth studio album makes me feel old. But that’s exactly what they did this last week. I’ve been a fan of the band for over half my life at this point, getting into them from Sacrament. I’ve seen the bands ups and downs and they really seem to be having a bit of a career resurgence recently after some slightly more questionable output in the 2010s. Their previous, self-titled album was fantastic and, honestly, this may one up it to an even higher level.
It takes everything new it seemed to build up well on the previous album, the spoken work/sung stuff and the dynamics with up and downs and tempos, and rolls with it all to new heights. The fact that in 2022 we have a Lamb of God album open with a track that has mostly clean verses is insane, especially when it’s one of the best tracks on the album. If anything it just makes Randy’s screams have even greater impact. And of course, from an instrumental perspective they’re still a metal guitarist and drummers dream band. The talent on display is unbelievable. The riffs are insane and Art Cruz again kills it on the drums.
The singles are of course great, and other tracks like ‘To The Grave’ and ‘September Song’ are also awesome. The whole album is a highlight, however, and hopefully will be the one to finally push LoG through that glass ceiling they seem to hit a while back. 8.5/10
The Cult: Under the Midnight Sun
I’ve never been much of a fan of The Cult. I get and respect the impact they’ve had on modern rock music, but they never did anything for me. This album didn’t change my mind. There wasn’t even a riff like ‘Rise’ or even ‘She Sells Sanctuary’ to keep me interested. There’s very little to this, and as someone who’s not that into Ian Astbury’s vocals, this was a tough listen. Sorry to anyone who I offend with this, but… 3/10
Bush: The Art of Survival
This was heavier than I expected it to be! I haven’t heard much recent Bush stuff, pretty much reserving myself to the phenomenal Sixteen Stone, so this took me a little off guard. In a good way, though!
Of course the vocals are still the melodic, radio-rock style Gavin is known for. However, the riffs are HUGE. Like, de-tuned, ch0nky and almost metal, huge. And on top of that, there’s some genuinely catchy, stadium-filling choruses and melodies on here. ‘Slow Me’ is my favourite track on the album and maybe my favourite track the band has ever put out. Tracks like ‘More Than Machines’ and ‘Human Sand’ are also amazing. They’ve almost added a progg element to their sound, sounding a little like Karnivool and Chevelle.
My only slight issue is that it all sounds just a bit similar. Most of the tracks follow the same sort of formula; slower, stripped-back verses and then the big riff that opened the track comes back for the chorus. At least it made ‘Creatures of the Fire’ feel different and unique, as the it the main exception to the rule. Still though, I’d LOVE to hear this stuff live, I feel like it would be one hell of a show. I need to check out more Bush now! 8/10
Queensrÿche: Digital Noise Alliance
I’m not all too familiar with the band outside of Mindcrime and Empire. However, I have heard that Geoff Tate’s replacement has done wonders for the band, so I’m curious to hear how this sounds!
Sadly, the opening track and biggest single didn’t actually grab my attention. However, the opposite could be said for ‘Chapters’. It’s an incredible catchy track, straddling the line between AOR and even some modern Iron Maiden. I do have to say though, the mixing on the vocals was a bit odd. It felt distant, quieter than it maybe should have been. Tracks like ‘Sicdeth’, ‘Nocturnal Light’ and prog epic ‘Tormentum’ are also highlights of the album.
And I would like to add that it is a good album. I wanted to stress that before I went on to say… it’s a little overdone at this point. I know Queensryche are very much one of the originators of the sound, but there is so much amazing AOR music these days, that I feel like it’s just already been done. I love this sort of music, but bands like Eclipse and Tygers of Pan Tang are just as good, and I am more familiar with their work. So it is definitely a good album full of good tracks, but I didn’t enjoy it as much as their older stuff, or as much as I could have done. Hence why I shall give it a 7/10
Wednesday 13: Horrifier
We had the chance to review this before it’s release. Spoilers, it’s awesome. To find out just how awesome, check out our full reviewhere.
Everette: Kings of the Dairy Queen Parking Lot – Side B
Another album we’ve had the pleasure of reviewing, and another amazing one. Find the review here.
Goatwhore: Angels Hung from the Arches of Heaven
The extreme metal titans returned with their eighth album this last Friday. If you’re a fan of the genre, like I am turning out to be, you’ll love this. Don’t get me wrong, It got a bit much and repetitive by around the halfway mark, but then I also loved the epic, plodding closing tracked. It’s everything you could want from an extreme metal album and certainly had me wanting to mosh! I shan’t pretend to be an expert on these things, but I enjoyed it, so will give it a 6.5/10
Counterparts: A Eulogy for Those Still Here
This feels very much like a Max album. Unfortunately, his uni has kept him too busy to help out this week. Depressing lyrics, heavy, Djenty riffing, solid drums and hardcore, bordering on extreme harsh vocals. I have to say, it’s not for me. I couldn’t really get anything memorable to come away with out of it, I just know the general sound and that it wasn’t for me. While I can appreciate they are all talented players, nothing about this prompted my will for a second listen. Sorry for anyone who is a fan, and I know that they are a pretty big band, but I’mma have too give this a 3.5/10
Barrett Davis: The Ballad of Aesop Fin
The North Carolinan country singer songwriter put out his debut album last week after months of putting out some great singles. It has a real old-school feel to it all and shows off some real talent as far as playing and songwriting is concerned. ‘Carolina Still’ is a personal highlight of the album, showing off Barrett’s impressive vocal range and some great guitar and piano. It almost boarders on easy listening, at times. It’s a good, relaxing album that I’ll definitely be chilling out to a lot in the coming weeks and months. 7/10
Acid Witch: Rot Among Us
This was a whole lot of fun. I don’t know what I was expecting, but it wasn’t this. I was ready for the stoner/doom metal riffing, but the almost Nightmare Before Christmas level of theatrical, extreme vocals over the top I was not. Honestly the duelling vocals and more stage-show style feel always does it for me in tracks, it’s why I love Ice Nine Kills so much.
‘Gather Each Witch’ and ‘Rot Among Us’ are the perfect tracks to open the album on, giving me a complete, great feel for what the band is about. The horror themes, big riffs and fun dynamics are all clear staples of the album. While not all tracks have the play-off style vocals, we still have some on ‘5508 Martin St.’ and ‘Evil Dad’. The later gives me ever so slight ‘Three Little Pigs‘ vibes with the higher vocals. Both tracks are amazing. However, saying that, there isn’t a bad track on this album.
I came into this not expecting to come away with one of my most enjoyable listens of the year, but there we go. It came out at the perfect time of the year but, honestly, I’m going to be listening to this way past Halloween. Great stuff, 9/10
VUKOVI: NULA
The Scottish rockers are back with maybe their most ambitious release to date. Just listening to opener ‘DEPARTURE’ sets up the epic feel they are going for. ‘TAINTED’ does a great job of continuing that feel and is a fantastic radio-rock track. ‘LASSO’ is another good track, the rapping being an interesting, fun addition. It has elements of Linkin Park and modern BMTH, while being a little lighter and indie/punky than both.
However, while I did enjoy the rest of the album, it only took me 4/5 songs to realise that it’s all going to be rather similar. Tracks like ‘I EXIST’ and ‘KILL IT’ are good and more highlights, but the album suffers from a similar issue and structure to Bush’s. It’s good, but I found myself getting distracted from the exact same formula in every song by the midpoint. It will most likely be more of a solo track album for me as opposed to listening through it front to back again. Because of that I can’t give it tippy top marks, but it still gets a very impressive 8.5/10
Borealis: Illusions
This is some of the most epic shit I’ve ever heard. Not many bands could have an epic intro track and then have a mega intro to the first proper song on top of it. And musically it’s like if Dream Theater did power metal. It’s definitely got that epic power/symphonic side to it, but the riffs wouldn’t sound out of place on a Djent album. I love it. The first three tracks are perfect. From a slow, epic intro to a radio track to the first epic prog track across 13 minutes, it’s fantastic. Then you have tracks like ‘Burning Tears’ and ‘Abandon All Hope’ and this is a damn good album. They deserve to be huge, and hopefully this album is the one to do it! 8.5/10
Country duo Everette released their muchly anticipated second album yesterday. A part two to their incredible debut album, it looks set to launch them into the stratosphere, as the band are gaining a lot of traction recently. I’d not even heard them before checking them out thanks to The Long Road Festival (find our review of it here), and have since become a little obsessed! I’ve been eagerly anticipating this album for the last couple of months now, so let’s see what it’s like!
Opening track ‘Run’ is one I’ve heard already, having reacted to it and ‘Make Me Want One’ when they were released as singles a few weeks ago. It’s just as fantastic a track as the first time I heard it. It’s slow, chilled out and infectiously catchy. It sets a fantastic mood for the rest of the album. I don’t have much more to add, if you like relaxed acoustic-country you’ll love this just as much as I do.
‘Woo Hoo Hoo’ has a great bouncy, groovy guitar riff running through it which starts the track off on a high. Add in the title lyrics being VERY catchy again and this is another great track. Also, the high ‘Woo hoo hoo’ing brought back vague drunken memories of The Long Road… I think they played this! It’s a testament to how fantastic these two are at writing songs that I can suddenly remember a track that I’d heard once months ago while half-cocked. The first chorus felt a little low but, honestly, by the second and third it all fit perfectly and felt just as anthemic as their other tracks. And the jamming outro is amazing, too Playlisted!
The lead single of the album, ‘Gonna be a Problem’, is another like ‘Run’. It’s chilled out, slower, but one of the most memorable, catchy songs I’ve heard in years. That chorus is incredible. It’s memorable and honestly everyone should hear this. It deserves to be the ‘next big song’, and hopefully now it’s gotten a second release it will get even bigger. It’s somehow pop, country, southern, blues and everything in between mushed together perfectly, and it couldn’t be better. We even get a guitar solo AND a half-time part in the barely three-minute track. This is phenomenal. Playlisted.
‘She Got That From Me’ is a cute but sad slower ballad. The lyrics here are amazing, which even more of an achievement when everything else plays second fiddle to them a little. It’s simple drums and guitar chords but Brent Rupard’s effortlessly amazing vocals make this song another great one. Another track that I can’t pick fault with, I feel like it’s a trend…
‘Wild Woman’ picks up a bit more of the southern rock style than anything else so far. Honestly this would fit right at home on a Cadillac Three album. It drops down a little for the verses but stays higher energy throughout. It’s a lot of fun and my only complaint is that it’s only two-and-a-half minutes.
The cleverly titled ‘Shrunk as Drit’ is just as fun in its lyrics. I don’t know whether it’s my childish sense of humour, but all the letter swapping and mispronunciation did make me giggle. It’s a good old-school country song on its own right, too. It reminds me a bit of Blake Shelton’s ‘Some Beach’, which is also a fantastic song. It’s an upbeat, silly and infectiously fun and catchy, as hard as it’s going to be to learn the lyrics! Playlisted!
Next up is a track I have been literally obsessed with since they released it, ‘Make me Want One’. I reacted to this one in the same video as ‘Run’ a few days after its release, which I’ll link below. Having first heard this track live, I have barely gotten it out of my head. I can go a few days without hearing it and have checked out another few albums and then bam, out of nowhere it’s back in my head again. That’s fine though because I LOVE this song. How do two guys write such simple yet massively catchy and emotion-filled tracks? It’s not fair, but so awesome. Check this one out, everything about it is amazing. It’s already on the playlist.
Closing track ‘Get By’ is of course an amazing track, but is maybe the weakest on the album. However, that’s saying nothing, as it’s still great. It’s chilled out again, catchy and another anthem for the people. I can’t say anything else without appearing like a fangirl or repeating what I’ve said about previous tracks. Check this out!
Overall: What a phenomenal album. I don’t think I was expecting any less, but it’s still incredible that I can’t pick a single fault with it. Every song is amazing in its own right and the whole album, unlike most country albums these days, is short, concise and perfectly put together. I cannot gush about this album enough. Therefore, it has to get top marks…
Not a huge week for new music this week, but it’s brimming with potential. Weezer’s third season, The Rasmus’ post-Eurovision album and some great lighter rock. Not to mention a bit of metal sprinkled in for good measure. Let’s get into this!
Weezer: SZNZ: Autumn
Joe: Weezer are 1/2 so far this year for me. I wasn’t a huge fan of Spring but Summer was pretty good. This third entry falls more towards the former than the latter. There is almost nothing here that held my attention. I’d like to stress again, like I did with the last one three months ago, that I respect Weezer for trying something different. It’s a cool idea, but outside of the odd mention of autumn, there isn’t much to differentiate this to the previous albums or their other music.
The band had a real opportunity here to go completely out of their box and hop genres to really give a feel of different seasons, making them all sound completely different. I’d have loved it if we got something bordering on Misfits or even Wednesday 13. Instead, outside of the strings on ‘Taste Like Pain’, it’s just another soft rock/pop punk Weezer album. At this point it feels like another failed experiment from Rivers. I’d much rather he take the time to make one good, short album a year or two than pump out multiple sub-par albums a year. 3.5/10, the worst Weezer album I’ve reviewed so far.
The Rasmus: Rise
Joe: The Finnish alt rock band unfortunately didn’t do amazingly well at this year’s Eurovision, despite Jezebel being a bop. The track makes it onto this, the bands 10th studio album. It’s a fairly decent album. There’s nothing bad about it, it’s all inoffensive pop-rock. There’s a decent guitar riff running through ‘Rise’ and the chorus is huge and mega catchy. It’s definitely another highlight of the album. Outside of ‘Written in Blood’ the rest of the seven tracks are on the slower side, but they’re still good. It’ll probably grow on me more with another listen or two, but I feel like this would be better as individual tracks for me, than an album to listen to in full. 6/10
Editors: EBM
Joe: The alt/indie rock Brummies brought us their seventh album on Friday. It’s pretty darn good, too. I thought the band were lighter than this, but this was quite a heavy album for an indie band. It has a fair amount of industrial elements to it that I can get down with. Like a weird middle ground between Genesis and Ministry.
It’s difficult to pick highlight tracks as, to be honest, the songs blended together quite a bit for me. However, as an album as a whole it was enjoyable, and definitely a good one to stick on on a long drive or in the background. 6.5/10
BAND-MAID: Unleash
Joe: The Japanese female hard rock/metal band released their eighth studio album last week, just a year and a half removed from their last release. The band show off their insane talent right from the instrumental opening track, and it only gets more impressive from there. While I have no idea what is being said half of the time, the vocals in ‘Balance’ are almost as impressive as the never-ending stream of fantastic riffs. The chorus is huge and very catchy, and the whole track as a whole is a highlight of the album.
The heavy riffs and female-Japanese vocals will of course draw comparisons to Babymetal, but I would definitely say these are the superior band. While Babymetal come out with some great music and the session players are incredible, the passion for this sort of music from Band-Maid is hard to ignore. They put their all into this music and it shows in their recordings.
The album’s big single, ‘Sense’, is a suitably epic affair, the vocals soaring and being catchy as hell over the top of the heavy riffs and insane lead guitar. It’s another huge plus of the album. The rest of the album is equally great though, and I would recommend any metal fan check this out. Or any musician, for that matter, as the instrumentation is insanely good. This’ll be up there for album of the year, for sure. 8.5/10
Kelsea Ballerini: SUBJECT TO CHANGE
Joe: The first country-pop artist we’ve spotlighted for a little while, Kelsea returns with her fourth album and yet again shows that she is far too successful and talented for someone under 30. To have this many streams over the first weekend of the album being out is insane, and it’s clear that Kelsea is a HUGE name in the genre nowadays.
The album itself definitely leans heavily on both the country and pop elements. It reminds me a lot of Taylor Swift’s Fearless, and I’m glad that after a few albums Kelsea is still keeping the country sound strong, unlike the latter artist. It’s hard to pick a definitive highlight or two as the whole album is pretty similar and all high quality. You’re not going to have a bad time listening to this album, it’s simple, fun and has some pretty good, emotional lyrics tucked away in it.
My only issue is that, for the third straight mainstream country album I’ve checked out on these, it’s far too bloated. I get that more tracks to stream means more money, but 15 track is too long for an album. Especially when I have to listen to it all in one weekend… And also, why is the whole SHOUTING ALBUM AND SONG TITLES thing leaking out of metal into other genres? I confess, I am getting distracted…
8/10 a damn good country pop album.
The Wonder Years: The Hum Goes on Forever
Joe: I’m struggling to find the words to describe how this sounds. It’s like all the edges of pop-punk have been sanded down. It’s smooth, soft. It reminds me a fair bit of Gaslight Anthem, with just a little bit of the attitude of Gerard Way in the vocals.
The biggest single, ‘Oldest Daughter’, was pretty catchy, but outside of the vocals there wasn’t much memorable about it. The same could be said for ‘Low Tide’. That was pretty much the story of the whole album for me, if I’m honest. It’s heavy pop rock with a slight punk twang. None of it is bad, but it was majorly forgettable for me. I know a lot of people love this band, including a few of my friends, and I can definitely understand why. But this album at the very least wasn’t much for me. 4.5/10
Stratovarius: Survive
Joe: My god, the riffs. That, and the guitaring as a whole, was a huge plus on this album for me. Whether it was the punchy, thrashy chugging, the more folk-inspired playing or the insane leads, Matias Kupiainen is clearly a massively underrated guitarist. There’s even a bit of modern edge to his playing, I heard bits of Syn/Zakky from Avenged Sevenfold in parts of the bridges and solos.
I’d have LOVED this as a young teenager, and I’m so mad at myself that this is the first time I’m hearing them. They’re power metal, but also have quite a bit of an Iron Maiden edge to them with the chugging, big riffs and folk tinge.
As for the songs themselves, they’re fantastic. Check out the first three tracks on the album and try to tell me otherwise. Then there are songs like ‘Frozen in Time’ and ‘Breakaway’ which are two more major highlights on an overall awesome album. If you’re into power metal, NWOBHM or even prog, you’ll love this. 8.5/10
KEN Mode: NULL
Joe: Why the hell did I think this was pop punk? I must have gotten my wires crossed in my research. I was, as you can imagine, VERY confused when messy, experimental hardcore came on in my car on the way to work over the weekend while I prepared to write this up.
In the nicest possible way, I don’t get this at all. Noise rock/metal has never been my sort of thing to begin with, and this album didn’t do much to change my mind. Even the more prog ‘Lost Grip’ lost my interest pretty quick. The vocals are pretty meh and, as I’d stated before, the instrumentation seems messy. If you like it, more power to you, but this isn’t for me. 3/10
The Comet is Coming: Hyper-Dimensional Expansion Beam
Joe: When I read experimental jazz rock I was quite excited to get into it. However, I’m not sure I get it. I’m partial to a good instrumental band or two and these guys are clearly talented musicians. However, I wouldn’t say there is much rock in here, to start with. It sounds more like soft House or Dubstep with some horns over the top. Every time they sound like they are adding some Prodigy-like elements, they slow right down instead of dropping.
It seems more like something God would listen to in the Preacher series. 3/10 I dont get it, I’m sorry.
Venom Inc.: There’s Only Black
Joe: I’m in two minds with this. It’s definitely a good album, but it also feels like a shell of what Venom once was. It’s a mixture between thrash and NWOBHM rather than the massive force of nature that started black metal. The more extreme riffs were fun, but it didn’t still feel much like Venom to me. Tracks like ‘Infinitum’ and ‘Don’t Feed me Your Lies’ are good, but the album as a whole is nothing to write home about, in this humble writer’s opinion. 5/10, distinctly average.
Maddie & Tae: Through the Madness, Vol. 2
Joe: More country pop, this time from a duo and their second release of 2022. And yes, while it’s a point of contention what classes as an EP these days, 8-tracks in my head is an album, so I’m covering it.
It’s a good album. The two Womens’ voices blend together perfectly the harmonies being catchy and a huge highlight of the album. Of course, the big single, ‘Every Night and Every Morning’, is great, as is the closing track. It’s again hard to find talking points for it as, much like Kelsea, the tracks are fairly similar, and all good. It does, however, have the advantage of being 20-minutes and seven tracks shorter than Kelsea’s, which is a definite bonus. Check this out if you’re into country or americana at all, you’re sure to not be disappointed. 8/10, gonna have to check out Vol. 1 now!
Sports Team: Gulp!
Joe: I’ve been waiting for this album for months at this point. It has been pushed back multiple times and I’m shocked it’s finally out.
Needless to say, it doesn’t particularly live up to the hype I have since put on it. It’s nice to hear a bit of good ‘ol English punk again, tinged with alt rock and plenty of Billy Idol inspiration. And, as a whole, it’s not bad by any means. It simply unfortunately suffers from the same issue a few of the albums have this week in that none of the tracks really stand out to me. I’m sure a bigger fan of the genre would love this, but for me I’d have rather just had a straight up punk album. The pop edge to it is what bores me with it, I think. Tracks like ‘The Game’ and ‘Unstuck’ at least stood out to me as highlights just for being the more punk tracks on the album. 5.5/10, not bad but nothing special or ground-breaking.
Razor: Cycle of Contempt
Max: Here’s a band that I have never heard of. Razor have come out with a new album full of aggression and fun. It’s a fairly easy listen but that’s not to say that it is a bad album. Whilst I found a lot of the songs quite similar to each other, especially when it comes to the drums, and there were some very odd vocals most apparent in the fifth track “crossed”, there were other parts that were very enjoyable. The solo’s that occasionally appear and the constant intensity and rhythm throughout is very nice and really kept the energy up in all of the songs, even when there were parts that I didn’t find myself enjoying as much. I would very much like to hear a bit more experimentation from the band and some different drums as I think that is the part that let them down the most. However, overall, I found myself enjoying the album and listened to it a couple of times once I had written my notes on it. Overall, I would say it is a solid 6/10. Areas to improve on but altogether quite good a fun the whole way through.
STRÖM: Self-Titled
Max: This is a hard one for me. I can’t say that I am a massive ACDC fan (that isn’t to say I dislike them, I just have never found it overlapping with any music I have been in to at the time), and this band definitely reminds me of them. Throughout the entire album, their influences remain very, very clear. This is not wholly a bad thing as it is good fun to be reminded of music from when I was younger, especially with the little bits of The Darkness that seems to come creeping through.
However, it is slightly disappointing that a group of very clearly talented musicians didn’t experiment as much as I would have like them to. It felt to me as though some of the most interesting parts of the album came from the songs that felt more organic and original, the song ‘Ta Mig Tillbaks’ especially. With all of this considered though I feel like it would be unfair to give them a low rating for this album as they played everything very well. I would say it’s a 6.5/10 and I really hope that they find their own notch to slip in to with their future work as the talent in this band is brimming at the seams and just seems like it is waiting to get out and do more.
Kaine: After Extinction
Max: Considering the low number of monthly listeners across multiple platforms, it is almost upsetting to hear how good this band is. It is clear that they are working to constantly improve their music but everything that they have is really good fun. There are some solid riffs and the drums are so on point it really shows other bands just how to do it. With all this being said there are points where I feel like there is something missing. This might just be due to the mix of the songs not being the best, but I really wish underneath some of their solos/more melodic riff they can’t have the other guitars and the drum fully going. This is clearly something that they understand as they seemed to fix these issues as I wrote it.
Their song ‘Protesting for Profit’ has some really fun groves that got me hooked on the entire album and I think this is the album that I listened to the most this week. I genuinely can’t wait for them to release more music and I hope they are able to amas a following more befitting of the talent of all of the musicians and the time that clearly goes into their music. I can’t help but give this album a 7.5/10 as the only real downsides are the like of a cohesive sound at some points in the album and the mix not nearly being as good as the music itself.
Kings of Mercia: Self-Titled
Max: First things first, and something not really relevant to the review, I love the album art. However, I can’t quite say I enjoyed the album as much as the art. I found myself trying to blot out the vocals at multiple points as I really didn’t enjoy them. This was quite a let-down as the instruments were all really good fun and when the speed of the vocals picked up again they weren’t too bad.
Unfortunately, a lot of this album was on the slower side in the vocals department. There are a couple of points where the vocals are a bit more aggressive which sounded great so I found myself wondering if they would ever do a super aggressive song. All in all, I can’t find much to say about this album other than the fact it really wasn’t for me. I hope they can release some more music where they experiment with some other styles but until then, I doubt I will find myself listening to them much. 5/10
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Strap yourselves in, ladies and gents, because we have a long one ahead of us. 18, yes 18 albums to check out. And I apologise in advance because half of this more than likely isn’t going to be for you. For all of our fans we have built up over the years there is a fair amount of heavy in here. But for all of the country fans we have started to gain recently, there is a fair bit of that too. Sorry if we scare anyone off with the stark contrasts. But check it out anyway, who knows, you might find your new favourite band! Let’s get into some new music!
Oh, and our newest writer, Max, jumped on to give me a hand again with some of these, so of course give him a hand!
Ozzy Osbourne: Patient Number 9
Ozzy should have called it a day a decade ago. He was struggling a little on Sabbath’s farewell tour but they still went out with a bang. Since then, his health has deteriorated and, let’s be honest, he can’t tour any more.
Having said that, this was better than it had any right to be. I wasn’t into Ordinary Man at all but this makes up for it. I’ve been a big advocate of ‘Patient Number 9’ since its release, it’s one of the best choruses Ozzy’s ever done. The same could be said for ‘One of Those Days’. And, of course, he has a guest guitarist on each track, and he’s selected some of the very best of all time. Between Jeff Beck, Eric Clapton, Zakk Wylde and Toni Iommi, there is some incredible soloing here.
My only slight negative would be that it’s all a little slow. However, for a 73 year old man, I didn’t really expect him to have the same energy in his tracks as he did 50 years ago. If Ozzy is going to stick to just studio music from now on, this is how to do it! 7.5/10
Parkway Drive: Darker Still
I really wanted to like this. And the weird thing is that sometimes I found myself enjoying it, but then other times it fell beneath expectation. Heck, sometimes both in the same track.
The Australian band continue to let more and more European power metal to seep into their American metalcore, to mixed results. And this isn’t even coming from a jaded old Parkway fan. I didn’t really get into them until IRE. But I LOVED that and Reverence so was excited for this album. I don’t think it lives up to my hype, but that’s not saying it’s bad. It’s certainly odd though.
I’m one of the seemingly few who loved ‘Glitch’ when it was released and I still do now. ‘The Greatest Fear’ is okay too, though it doesn’t go quite hard enough. ‘Darker Still’ however, can get in the bin. The only genuine highlight I’ve found that I’ve listened to multiple times since is ‘Soul Bleach’. Having said that though, the more I listen to that track, the more I love it. It’s heavy and the sound I wish they’d gone for for the whole record. ‘If a God can Bleed’ is weird enough to work and ‘Imperial Heretic’ is okay, but both are pretty average really. The couple of closing tracks are good, too.
As I say, nothing on here is bad at all. Maybe (hopefully) it’ll grow on me with another few listens, but right now I feel like it’s around a 7/10. Not as ground-breaking as I was hoping for.
Flogging Molly: Anthem
The not-so-Irish Irish folk punk band are back with their seventh studio album. That makes me feel old. The whole early 2000s skate-punk scene was a big part of my childhood, and hearing new music from them just makes me smile. How can anyone not like this music? It’s got the very best parts of folk, punk and rock.
There isn’t a bad track on the album. From the raucous opening track to the slower, full-on old folk songs to the fantastic ‘This Road of Mine’, it’s all great! Whether you’re into folk, punk, rock, americana or probably a bunch of other genres too, you’ll find something to enjoy here. This may be their best album since Float, and that’s saying something! 8/10
Highly Suspect: The Midnight Demon Club
I loved the first couple of Highly Suspect albums. Tracks like ‘Lydia’, ‘Bloodfeather’ and ‘My Name is Human’ all felt like they were harkening in the next big, heavy indie band. However, their last album seemed to soil that, at least over here. I wasn’t a big fan and I’ve not really seen them on any line-ups or heard them on the radio much over the last five years.
This album is at least a step in the right direction. None of it is quite as impactful as any of the previous tracks I named, but they’re at least solid, moody radio rock songs. That is, aside for the heavy AF single ‘Pink Lullabye’. It was like listening to a Zeal & Ardor track and I loved it. The rest of it was pretty similar, steady-paced, okayness (with lyrics of questionable quality), but damn is ‘Lullabye’ a tune. 6/10
ONE OK ROCK: Luxury Disease
The Japanese alt rock band returned last week with their tenth studio album. Going into it completely blind, having never heard the band before, I enjoyed it! It’s pretty basic pop rock, but there is nothing offensive or inherently bad about it. It was cool to hear the combination of English and Japanese vocals too, highlighting their own sound and culture as well as the sounds that inspired them. It reminds me of a combination of Panic! and Set it Off, but then with an even poppier ting to it.
‘Neon’ is probably my favourite track on the album, but again there aren’t really bad tracks here. The emotional ‘When They Turn the Lights On’ channelled heavy British vibes, whether it was Muse or Busted or Queen. Also, Teddy Swims sounds great in his guest vocals for ‘Free Them’. There’s a lot of good here if you’re into the lighter stuff. 7/10
Blackment: Plains of Oblivion
We’ve already done a full review of this album. Check it out, along with the fantastic score, here.
Built to Spill: When the Wind Forgets Your Name
Max: The American indie rock band, Built To Spill, is back with another great album. WTWFYN is the 10th album by the band, and it is a perfect addition. If you enjoy slower music its perfect for you as it, as always, focuses around Doug Martsch’s vocals and guitar. I found it difficult to sum up exactly what made this album so good but the simplicity of some for the riffs and the fun but relaxed vocals feel very relaxing. I sat up the other night listening to it and letting all of the instruments just wash over me and tell me everything that they have hidden beneath. It is a beautiful and yet thoughtful listen that can definitely click with everyone so long as it lets you. My rating might be slightly biased as I’ve been looking for an album that makes me feel the same way I did when I first listened to Motion City Soundtracks acoustics song, but it is an almost perfect 9/10 and I hope everyone reading this takes a listen.
Bloodbath: “Survival of the Sickest”
Max: Time for a sharp change of pace. The death metal supergroup is back with another very, very intense album. For those who are unfamiliar this group and has had a wild line up but currently consist of Martin Axenrot (Opeth), Nick Holmes (Paradise Lost), Jonas Renkse (Katatonia) and Anders Nystrom (Katatonia). so, with such a wild line up it is unsurprising that this album is brilliant for most and even better for those who follow black metal. The album is intense and is not always the friendliest of listens but it is a great one and i must say it isn’t a bad or hard place to start for those who don’t listen to black metal. So, if this becomes your entrance album, I do not blame you as it has got me back in to Katatonia and Paradise Lost. As I’ve mentioned this is a fun and intense album that does not disappoint and is great for those who need a heavy dose of music in their system. A very respectable 8/10
Laurence Jones: Destination Unknown
This is an old blues rock fans dream. Between the awesome riffs, powerful vocals and heavy focus on synth, this felt like it was ripped straight from the 70s. The guitar is of course a huge highlight of the album, but that shouldn’t take away from his great vocals and the awesome work of the band behind him. This sound has been coming back more and more in recent times, be it with Rival Sons or in the NWOCR scene, and tracks like ‘Anywhere With Me’, ‘Give Me that Feeling’ and ‘In Too Deep’ look to catapult Laurence pretty high up in that scene. If you’re into the likes of Rainbow, Foghat, Rival Sons or even ZZ Top, check this out, you won’t be disappointed! 7.5/10
BRELAND: Cross Country
Cross Country is the debut studio album of platinum single-selling artist BRELAND. He became big off of said single, ‘My Truck’, in 2020 after it hitting big on social media. This album features guest slots from the likes of Keith Urban, Ingred Andress and Thomas Rhett.
If all of that sounds insane for a 27-year-old musician… well I fucking agree.
The music itself combines R&B, rap and soul to the country sound. It’s basically what everyone wanted Lil Nas X to continue to sound like after ‘Old Town Road’. Now, I completely understand that this isn’t going to be every readers cup of tea. I get that I am in the small part of the Ven diagram that like both this and Bloodbath further up. However, I loved this. Tracks like ‘Praise the Lord’, ‘Natural’, ‘Don’t Look at Me’ and ‘For What it’s Worth’ are all fantastic tracks.
However, it’s not perfect. The album is pretty bloated at 14 tracks and there is a noticeable dip in energy (and arguably quality too) around the middle which it doesn’t really recover from. It verges more into his soul stuff which I’m sure a lot of his fans love, but it’s not as much for me. 6.5/10
Revocation: Netherheaven
Stray From the Path: Euthanasia
This was like Fever 333 on acid, and I loved every second of it. The bounce and swagger of the opening track had me hooked immediately, especially with the fantastic lyrics harshly rapped over the top.
The same energy continued throughout the album, too. It’s dark, heavy and dripping with attitude and anger. Tracks like ‘III’, ‘Bread and Roses’ and ‘The Salt in Your Spit’ are highlights of an album honestly filled with them. In an age where Rage Against the Machine feel corporate, having a younger, angrier, heavier band pick up the flag they dropped feels like a very good thing.
I feel bad for myself that this band have been going for a while now but this is the first I’ve really heard of them. I feel like the rest of my week is going to be checking out their older stuff, because that was fucking fantastic. 9/10
I AM: Eternal Steel
This band are very hard to find online. I don’t think they are the Fre3nch hip hop artist IAM, nor are they ZP (Dragonforce)’s side band I Am I. Therefore, all I can tell you is what I hear.
What I hear is heavy but damn good. ‘The Primal Wave’ opens things on a brutal, fantastic note, and it’s only up and up from there. Tracks like the title song and ‘Queen Incarnate’ are great and make me want to check out more of what the band I have to offer. Hopefully I can find more about them than just their discography and can see if they venture over here for live shows at all. This whole album would be fantastic live. Check it out if you’re into the heavy, almost medieval death metal stuff, you won’t regret it! 7.5/10
Kane Brown: Different Man
Kane Brown is going to become to Georgia what RHCP are to California if he keeps up like this. In all seriousness though, the man who did what BRELAND has just done but a few years earlier is back with his third studio album. After the HUGE sucess of the last one, I’m curious to see if he can keep his momentum going.
Right out of the gate ‘Bury Me in Georgia’ is a fantastic southern rock track. Next up is a dark, brooding roots track with Blake Shelton. But damn, it’s still good. ‘Like I Love Country Music’ channels the best kind of bro-country and adds some rock and fiddle to it. It’s a fantastic run of three tracks to open. It unfortunately again drops in energy a little again after that until ‘the excellent ‘Riot’. At least this one manages to claw back the fun and tempo, unlike BRELAND. The couple of tracks after it, ‘One Mississippi’ and ‘Drunk or Dreamin” are also great. ‘Pop’s Last Name’ is a beautiful, emotional ballad. ‘Devil Don’t Even Bother’ is True Blood style awesomeness.
However, my issue is the same as BRELAND (sorry to keep bringing him up). 17 tracks is simply too long. Is it an issue throughout country as a whole at the minute? Do none of them have producers? I can give four or five tracks that, while not bad by any stretch, I’d have cut to make this an easier, more concise listen. There are maybe 11 tracks on this that are phenomenal, and the rest seem too much as a result. 8.5/10, but it would have gotten a 9 if it was a little shorter.
Eat Your Heart Out: Can’t Stay Forever
Some more pop rock now, this time from Geordie Australia. I have to admit it was pretty enjoyable. I know it’s cliche at this point to compare any pop rock/pop punk with a female vocalist to Paramore, but screw you guys, I’mma do it anyway. They’re like a slightly heavier Paramore. They definitely feel like they are bridging the gap between rock and the weird ‘rock’ that is in pop these days. If you like this sort of music, check out tracks like ‘Down’, ‘Heavenly’ and ‘Sour’. 6.5/10
Until I Wake: Inside My Head
The creepy ‘The Sacrifice’ heading into the harsh vocals and huge riffing of ‘Forsaken’ may be one of my favourite album openings of recent times. For a debut album, too, that is one hell of an achievement. Heck, I would even good as far as to argue that ‘Forsaken’ is one of the best metalcore tracks released in the last nearly decade. That shit goes hard.
It is because of that track that I was surprised and a tad disappointed with the rest of the album. It’s still good, don’t get me wrong, but it feels like a different album to the opener entirely. It’s closer to Sempiternal/That’s the Spirit era Bring Me or even Linkin Park than the Norma Jean style metalcore I was expecting. We finally get some heavy stuff again towards the back end of the album like ‘Still Sinking’ and ‘Blue Beam’. Both are great tracks and I just wish more of the album had this sort of energy. Sprinkling a few in around radio-metal tracks is an odd choice and would definitely scare a casual listener checking them out after hearing their lighter stuff.
But still, the rest of the tracks are still good, just not what I was expecting after the opening. The band do both sides of metalcore very well so if you like the genre you’ll find something to enjoy! 7.5/10
Warforged: The Grove / Sundial
Aside for having some of the best album artwork I’ve ever seen, I actually found this the hardest album for me to review this week. While some of the music and riff are great, it’s the very definition of chaos. The vocals don’t help matters either, being very heavy death metal growls. It’s the least accessible album on this list, and that’s actually saying something this week, but I’m sure the band don’t care. There’s a couple of cool moments, like in ‘Hymn of Broken Teeth’, where multiple screams join together and sound awesome. I’d definitely recommend checking that track out out of any of them, it’s probably the best representation of them as a band. But it was even a little to heavy and chaotic for me. If you enjoy this then awesome, I’m sure its fucking fantastic if you like the genre. But it wasn’t for me, so gets a 4/10
Derek Hoke: Electric Mountain
While some of this was a tad too slow for me, tracks like ‘Let Go of my Heart’, ‘Hush Your Mouth’ and ‘Novocaine’ being particular standouts. It takes a very traditional approach to country music which I can definitely appreciate and would probably love a lot more after seeing it live. I don’t really have many more thoughts about this one, it’s a good, atmospheric album that I feel would make a fantastic soundtrack to a moody movie/tv series. It may take me another couple of listens to fully ‘get’ though. 6.5/10
And there we have it guys. We did it! What a crazy weekend, but there are some insanely good albums here. If you enjoyed the article, check out more from our Instagramhere.
We had the chance to sit down with Kentucky’s own Kyle Daniel to talk about his European tour (including The Long Road Festival), and his music, past and future!
How was the European tour?
Oh man, I’m still on an absolute high from that thing. It was incredible. This time felt like a family reunion of sorts. It was very nice!
The cool thing about this run was all of the different places that we played. We played on a boat, we played the blues garage which felt like we were in Gatlinburg Pigeon Forge Tennessee or something. I love playing clubs, I’ve played clubs my whole life, and a couple of venues in Germany were like that. And then obviously The Long Road Festival (review here) was super cool as well!
What’s the scene like in Europe compared to over there?
I think there’s a different appreciation for music all together. It feels a little hungrier I guess. Maybe it’s the fact that they don’t get to see a bunch of American artists so part of the hunger comes from that. But man, some of the best fans that anybody could as for, definitely. The support from socials to merchandise to streaming songs, the crowd over there is a different beast, for sure.
Your local scene looks to be having a bit of a resurgence too, right? Any other artists you want to shout out?
Yeah! I mean there’s so many that it’s really tough to kinda single anybody out. There’s a lot of groups in and around Kentucky that are making a splash right now. I think it’s really cool. For the longest time I think Kentucky Tennessee people think like ‘do your cousins wear shoes?’ and stuff like that. For the longest time there was a weird stigma about being from Kentucky. I think guys like Tyler Childers and Sturgil Simpson and Chris Stapleton obviously blew the doors wide open for it to be cool to be from Kentucky again. I’m just glad to see some buddies overseas, I got to see Everette while over there and it’s like man, we played in a bar that holds 350 people for years and years called Tidballs in my hometown of Bowling Green, Kentucky. Super proud of them!
How would you describe your sound? What inspirations do you draw from?
I would categorise it as southern rock personally, as that’s what I grew up on. I love The Almond Brothers, Greg Almond is my hero. And obviously the duel guitar leads, that leant itself to [Lynyrd] Skynyrd and Thin Lizzy and The Band, that classic sound that was this Southern thing. Even though The Band weren’t from the south they definitely sounded like a southern band.
I think that was what really initially for me that set the hook. My dad was a big Almond Brothers and Skynyrd fan and Marshal Tucker and Charlie Daniels so you put all that stuff together… I specifically remember I think that all leant itself to my own personal taste when I remember my dad saying ‘Son, this is real music’ and put on The Almond Brothers band. ‘Statesboro Blues’, they counted it off and I will never forget what it sounded like when that slide guitar came in. I was like ‘what is that?’ and my dad was like ‘son, that’s slide guitar, you need to learn how to play that!’.
So that was it. I went from some teenage punk kid that loved what was popular. Ironically early on Green Day was one of my favourite bands. I had a different eclectic taste, I loved a lot of hip-hop and rap. I grew up in the 90s so a lot of that R&B, soul stuff kinda peppered in with the alt rock stuff so it was kind of a jolt to say the least when that kind of stuff was introduced. I was listening to something completely different at the time. It definitely spun me in the right direction!
You put out the Following the Rain EP a couple of months ago. Did you want to talk about it? It seems like quite the journey!
Yeah man. I think this entire record, which will be ‘Kentucky Gold’, is quite the journey. I started writing this probably a year before Covid started and it’s still not out. There’s many reasons for that. The record itself, the songs are very close to me. I think this record as a whole gives a 30,000ft view of who Kyle Daniel is as a writer, as an artist, as a human being. A lot of them are very emotional songs.
I wrote a song for my wife on the record which I had never done before. I wrote a song that touches on dealing with depression and the things that I’d kinda gone through in that time. We did cut the record in the midst of Covid so that was in 2020 I believe. They’re very close to me, they’re very personable. I wrote a song about my old man on the record. I wrote about the state of the Union in some of the stuff. Not politically charged one way or the other, just a hey, this is where we’re at. A sign of the times sort of song. Ironically it still rings true to this day.
I think I tried to give as broad of a perspective of the way that I think, the way that I can feel at times and who I really am. That way people that don’t know who I am maybe get a little better understanding of that.
I can’t imagine you can give much about the dates of the album but is looking like this year?
No, I think it’s probably going to be a next year thing. I waited on it because I couldn’t tour in the midst of Covid so I tried to do what I could to keep the fire burning on socials and just being selective. I felt like what I have in this record is special and I didn’t want to rush it out just to rush it out. I probably could have done that but I’ve spent a small fortune as an unsigned artist on this record so I felt like as a businessman I had to make sound decisions on when and how I release the record.
You know, some things work, some things don’t. I feel like I’m in a really good position at this point and I think it’ll definitely coming out next year. And I think the patience I’ve had will lead to the record being hopefully more successful.
The unsigned artist thing is really taking of recently, it’s easier than ever to get heard.
Yeah it is. For me I know that can be good and bad. Part of the frustration sometimes is not being able to cast a wider net. But you can sit here in your home studio and record a record and put it up on Tunecore just like that. I think it has its pros and its cons. You have the freedom and the creativity to do what you’d like but you can hit a ceiling real fast.
Have you got any advice you could give to an artist just starting out?
Stay after it. I think that’s the number one name of the game here in Nashville and I think maybe anything in life. My old man used to always tell me ‘A winner never quits and a quitter never wins’. That’s a very true statement, I think that only the strong survive. It’s a dog eat dog world. There are 2500 artists in Nashville right now at my level doing what I’m doing. They’d cut my throat to get in front of me any day of the week. I’m not saying that maliciously, but everybody’s serious about what they do. I think if you don’t have an undying hunger for music you should probably try to find something different. It’s a gruelling, long road that artists take.
I’ve been here for 13 years and watched them blow up like a firework but then do just that and be done. Then I’ve also seen people who’ve taken a bit more of the long road approach. Put the time in, played their dues, played the small dirty venues for $25 and they have continued to write, record, tour, just continue to push the ball down the court. Sooner or later that gets recognised.
And there we have it! As always keep up to date on all of our content from our Instagram here.
Our third and final day at the festival again found us headed to the Front Porch stage early doors. We heard Tim Prottey-Jones on the YETI Tailgate Bar while we waited for James Riley to come on with his 90s Nashville set. Both artists were good and helped set the tone of the day pretty well, much like before. Whether it was the solo acoustic act or the full-on country/bluegrass band, they were both good to sit back and relax too after queuing far too long for a coffee.
Lauren Morrow grew on me a lot throughout her set. While the whole singer and acoustic guitar setup had grown a little thin on me by this point in the weekend, Lauren was such a nice, wholesome person that you couldn’t not have a good time. Whether it was the fun stories she told behind the songs or getting genuinely choked up about finally getting to return to the UK, it was a real pleasure to watch. She has clear Dolly Parton inspirations and ‘Barbara Jean’ is one of my favourite tracks of the whole weekend, honestly.
Next up were Gangstagrass. My god, hold my beer. Remember on the last day when I said that there were a few contenders to set of the weekend? Well, this is another one up there with Hudson. They are a unique blend of Bluegrass and Public Enemy style rap which honestly should work nowhere near as well as it does. This was a rock show in everything but sound. The guys owned the stage and the crowd and honestly tore the roof off the whole festival. They had such a presence about them that made it impossible to take your eyes off them, whether you are into the genres or not.
And, surprisingly, the tent was PACKED. Given the rap element, I kind of expected the band to be more niche. But nope, the crowd was the biggest I’d seen in there and they were bouncing around, singing and doing whatever the band asked them to do. And they’re all so talented, both at their instruments and the insane 5-part harmonies. And the lyrics were actually meaningful and profound, too. Man, I cannot gush about this band enough. They should and will be massive. put them on any stage at any festival and they’d go down a storm. SEE THEM.
We headed back to the main stage then for Kyle Daniel. We actually saw him twice, once with his band and once on his own acoustically later on. Both sets were great, and very different. Being rockier than most on the bill and sounding like a fun combination of Blackberry Smoke and Chris Stapleton, it was right up my street. Plus, his voice was so amazing that it translated amazingly over to acoustic. Two great sets from a guy that I definitely need to check out more. He could be massive over here, given the sucess of bands like Black Stone Cherry and The Cadillac Three.
We got to see a full set from Sunny Sweeney next. It felt a little like Stevie Nicks doing country, that’s probably the closest thing I can think of to describe it. It was a good, fun, set and another that was nice to chill out to. Much like Brandy the day before, very typical country music, but with a little more of a pop edge. She’s a good frontwoman and everyone did their parts well.
We caught the all-female bluegrass band Della Mae next and had a lot of fun. I mean, how can you not have fun seeing bluegrass live? They were pretty polished which is sometimes rare in the genre and played a good set to a loud, supportive crowd.
Then it was back to the main stage for the final run of acts. Lindsey Ell was great, but man does she have a lot of energy on stage. Like that isn’t a bad thing at all, but she was almost hyperactive between songs and could have been slightly off-putting at times. Still, she has a fantastic back catalogue of pop-rock-country songs and played a great set showing of a lot of them. Her band were great too. I couldn’t help but enjoy myself watching her and she’s another artist I’d love to catch again.
Next up were Locash, the third in the tie of best performances of the weekend. The most bro-country band to ever bro-country. It’s so easy to love them just as much as it is for some to inevitably hate them. I found myself struggling when they first came on, and it seemed like the crowd were sharing my sentiment. However, as soon as they started to interact with the crowd and their personalities came out, they quickly turned the tides. By the end of the set they had everyone swaying and jumping around.
Whether it was their big hits like ‘I Love This Life’ or ‘Beach Boys’ or covers of Backstreet Boys and Fountains of Wayne, they owned that stage and the crowd watching them. I don’t have a bad thing to say about them. Both brothers are phenomenal frontmen and the band behind them were excellent. Heck, the lead guitar was far too over-qualified. I wasn’t expecting to hear any sweep-picking at a country festival, never mind multiple solos with it! I cannot wait or these guys to announce a UK tour, I’ll be there in a heartbeat. A HUGE highlight of the weekend.
Then we reached the headliner of the night, the mighty Cadillac Three. They’re the main reason I wanted to go to the festival aside for Chris Young. I’ve seen them a handful of times already but not too recently, so I was excited to see their new stuff.
I loved it, but unfortunately there seemed to be a bit of a disconnect with some of the crowd. Don’t get me wrong, their bigger tracks like ‘White Lightening’ and ‘The South’ won people over by the end and everyone was interacting. However, they opened on a lot of their newer stuff and did a whole ‘Tabasco and Sweet Tea’ section that even bored me a little. I love COUNTRY FUZZ and hearing stuff off that was great. However, maybe at a festival where it seems that not as many people are into the heaviest band on the line-up playing a bit more of their older stuff may have helped. And while I loved the THICC guitar tone, it made them sound even heavier and clearly scared a few people off. It was a great set overall but maybe the wrong one for the crowd they had.
Then we got a real treat. Everette opened the after-party in the Insterstate, and it was amazing. They played the same sort of set but in a completely different environment than the previous set it was so interesting. The tent was pretty packed and everyone was loving it, dancing around and singing when they could. Also, my god do the band do a FANTASTIC cover of ‘Rocketman’. And bringing on Jared and the boys from TC3 on at the end was just the icing on top of the awesome cake. What a great way to close a great weekend!
And there we have it, our review of everything we saw at The Long Road 2022! We loved every minute of it, having discovered loads of new amazing bands and artists to listen to. I want to see a lot of the bands we saw again and we’ll definitely be back next year!
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We spent the morning of day 2 wandering around the arena, taking in what other things it had to offer aside for the live music. There was plenty to do. From a great classic US car show to traditional games like Cornhole and Horseshoe, we had great fun killing some time. The festival really gave you your moneys worth, with axe throwing on offer too as well as various events like hotdog and wing eating, cowboy Olympics and barn dancing.
I also just wanted to take this opportunity to speak about how fantastically organised this festival was. It had such a warm and friendly atmosphere throughout, with plenty of families bringing their kids and dogs. There was a place for kids to play and a whole field closed off where the dogs could be taken to run around. And because there were bins everywhere the place was so clean. I’m so used to rock festivals being just music and that’s it and generally the crowd littering more, so being somewhere like this was great.
As we were wandering around we caught Benjamin Francis Leftwich on the Front Porch. Hearing a British person performing at the festival was a little odd but he did a good job. He had a cool folk vibe to his acoustic singer-songwriter presentation. It fit in well with the rest of the music there. Honestly, I feel bad for not knowing him beforehand as he seems like a pretty big name. Much like Kevin Daniel, he was a slower, stripped-back way of opening the day for us. It was the perfect way to set the scene.
Next up were one of my highlights of the weekend, Everette. I could have watched them play all day and was so glad they did two sets across the weekend (more on the other later). This one saw them far too early on but on the Front Porch, which felt like a perfect setting for the duo. Opening on crowd (and personal) favourite ‘Dang the Whiskey’, the two whisked through a far too brief set of their greatest hits, and a couple of brand-new ones thrown in for good measure. They held the crowd’s attention throughout and are another that are going to be the future of the genre.
Then we had the awesome pleasure of seeing Jess again. This time it was at a more intimate setting of the Buddy’s Good Time Bar stage. While playing a muchly similar set, it was nice to be able to sit down and see everything a little better and relax, instead of bouncing around and singing. The Good Time Bar had a pretty chilled out feeling all weekend. There was little crowd interaction, just appreciating the music, and that’s exactly what we all did here.
We headed back over to the Interstate stage, this time for an Irish band called Hudson Taylor. I had them circled on my app as ones to check out but couldn’t remember why. I’m so glad I did. They put on maybe one of the best performances of the weekend. At least on parr with a couple of the bands from Sunday.
The brothers fronting the band again put in their all and had the talent to back it up. And of course their band did their part to perfection too. It’s another act that I feel disappointed in myself for not knowing, especially given that I generally love the alt-folk kinda sound they play. They also had that pop edge to them that reminded me of the 90s US pop rock bands like Hanson and Matchbox Twenty. Whether it was their older hits or tracks off their 2022 album, they performed it all amazingly and the crowd loved every second. They have a new, big fan in me! Hopefully they come back nearby soon!
We finally headed over to the mainstage for the first time that weekend to see the amazing Seaforth. Being such a big name, I’d heard a couple before. But have to admit, I wasn’t that fussed on track. They brought it live thought, and more than won me over. It’s all very polished and pop, right down to the Sean Kingston samples, but it was good to watch live. The guys are consummate professionals and I’m honestly shocked they haven’t broken out over here massive already. ‘Good Beer’ is a catchy, poppy, radio-baity hit and I have found myself humming it a bunch over the last few days.
We went for some food and caught the back end of Camille Parker on the Front Porch. She was okay, but even more pop than Seaforth. It didn’t quite fit with the feel of the festival in some ways. Then it was back over to main for Cassadee Pope.
One of the most rock artists of the weekend, Cassadee leaned into that distinction with a set that wouldn’t seem out of place opening for P!nk or Orianthi. Obviously her formerly being the vocalist of Hey Monday influences her current sound a fair bit, which is great. It was definitely my sort of pace and I thoroughly enjoyed it. The band did a great job and the crowd were surprisingly into it quite a bit. She threw in a Monday song or two with the more country tracks. But, honestly, tracks like ‘Tomorrow Night’ would have fit right at home with her old band. It’s rare to hear so many genres blended together so effortlessly, and it made for one hell of a set from Cassadee.
Brandy Clark was up next with an almost completely different set and sound. Having a lot more of a traditional country setup with a double bass and other strings, it was a more chilled out set that seemed to perfectly bridge the gap between Cassadee and the nights headliner. Tracks like ‘Get High’ and ‘Big Day in a Small Town’ of course went down a storm. The crowd were clearly, for the most part, big fans of her work. She’s got such a stage presence and swagger, as well as a great back catalogue, that you’d expect her to have been going much longer than she has been. I’d love to see her again, and may have to soon.
Marty Stuart and his Fabulous Superlatives to close out the night. Yep, that’s right, MARTY FUCKIN’ STUART LADIES AND GENTS. And, for a guy in his 60s and who has done it all, the guy did not disappoint one single bit. Whether it was playing his fantastic own songs or diving back into his history of playing and collaborating with other artists with covers of ‘Ring of Fire’, ‘Wipe out’ and ‘I’ve Always Been Crazy’, he and the Superlatives smashed it all out of the park.
Due to being a very late bump up to headliner due to Chris Young having to drop out due to Covid, he brought on some fantastic guests too. Whether it was Andrew Coombs, Sunny Sweeney or Kezia Gill, each made it count and you could tell they had a blast. Oh, and did I mention that each of the other three band members had their time in the spotlight, fronting for a couple of songs each (all of which were great, by the way). This was as masterclass and a history in country and bluegrass music and I was hooked from the start to the very end. What a fantastic way to close out the night.
Yep, you read that right. Overtone crashed a country festival. And, spoiler alert, it was fucking awesome. The Long Road 2022 celebrated the best of country, Americana and roots music, as well as having plenty of US pastimes as well on top of it all. We tried to soak up as much as we could of this fantastic, family friendly festival. And, we wanted to let you know just how much we enjoyed it!
After setting up and getting a quick lay of the land on the Friday, we found ourselves at the beautiful Front Porch stage watching Kevin Daniel. The North Carolinan/Brooklynite Americana songwriter did a fantastic job playing so early on and opening the festival for a fair few people. He rattled through a fantastic 40-minute set of some of his biggest hits. It was a great, chilled out way to start us off and ease us into an environment we hadn’t really experienced before.
Next up we ended up at the second stage, The Interstate, for Canadian pop-country Breakout star Jess Moskaluke. This was a little more of my sort of speed as she had a full band behind her and it had a rock edge, even if it was very pop. She reminded me a lot of Shania Twain, especially in her most recent single, ‘Knock Off’. She went down a storm in the tent for her entire set, having everyone dancing around and joining in. It’s very clear to me why she’s getting so big and she definitely has a new fan in me. I’m pretty sure each of the tracks she played has made it onto my Spotify, so that should say something!
After taking in a few of the stalls, we headed back to the Insterstate stage for Priscilla Block. While she was still very good, she felt like a slight bit of a comedown after Jess. She’s a little slower and more ballady, which definitely isn’t an issue, but a quicker track or two might have been fun! Still, the stuff off her February album, ‘Welcome to the Block Party’, went down a storm. Plus, ‘Off the Deep End’ is a tune and everyone in the audience loved it. I’ll definitely be listening to her more of her moving forward.
Next up on said stage were the folk/indie rock band Fruit Bats. While they were even slower than Pricilla, they brought a fair amount of energy and stage-presence to the set. They gave it their all and, in turn, so did the crowd. I didn’t know them heading into the festival but, even though I’m not a huge fan of the genre, I’ve found myself listening to them a fair bit in the couple of days since. I’d love to see these guys again.
And now for something completely different (for Overtone, at least). That is a sentence I feel like I’ll say quite a lot in this write-up. Noble Jacks played an Americana set that I loved, and it’s opened my eyes properly to a whole new genre. Yes, I’d had a fair bit to drink at this point, but they were a lot of fun to listen to. The mostly seated crowd at the Front Porch were loving it too. A great way to spend a night, sitting around a fire, learning American Folk songs and getting drunk. What’s not to love?
Then we reached the headliner of the night, Drake White. One of the acts I was most excited for heading into this, he didn’t disappoint one bit. Whether it was his biggest tracks like ‘Livin’ The Dream’ or ‘Power of a Woman’ or snippets of covers of the likes of ‘Hard to Handle’, ‘Use Somebody’ or even Pearl Jam’s ‘Alive’, the setlist was packed full of fantastic songs. His band were top notch and Drake had the crowd in the palm of his hand from start to finish. It was one of the busiest times I’d seen the tent stage for a band, and I cannot imagine a single person came away disappointed. The Optimystic has been on a lot on my Spotify since this set and for very good reason. Drake White is the future of country music, and I’m sure you haven’t heard that here first.
You should know the dealio by now. New music from nine awesome bands. Let’s get straight to it!
Whiskey Myres: Tornillo
The southern rockers returned with their sixth album this last week. I was a HUGE fan of their last couple of albums so this one had a lot to live up to. I think Tornillo does just that. Tracks like ‘John Wayne’ and ‘Feet’s’ perfectly encapsulate what the band are about in terms of sound and style, and are hugely catchy and fun to boot. But, fun quick country or ballad, the band are such good songwriters that it’s all incredible and arena-filling without it being the modern day country cheese. This band deserve to be massive, and I really hope they start getting the love and praise they should over here now country is starting to take off big. A damn hard album to beat in this genre this year! 9/10
Beddy Rays: Self-Titled
The Aussie rockers put out a damn fun indie-drenched album on Friday. For a debut album too, it’s fantastic. The band have been putting out music for five years already, but putting out a full length release so consistent first time is always impressive. Tracks like ‘Week on Repeat’, ‘Sort it Out’ and ‘Sobercoaster’ are all excellent highlights. However, honestly if you are into the more indie side of rock, you’ll enjoy every track on the album. Good stuff! 8/10
Dance Gavin Dance: Jackpot Juicer
Controversy aside, this band has always been a collection of insanely talented musicians, and that is on full display again with this album. It’s an hour of post-Tool math post hardcore craziness, and I found myself loving it. Will Swan is a criminally underrated Guitarist and both Jon Mess and Tilian Pearson handle the duel vocals perfectly. The album also acts as a fitting tribute to longtime bassist Tim Feerick, who sadly passed away earlier this year. Tracks like ‘For the Jeers’ and ‘Cream of the Crop’ are fantastic, but yet again this whole album is great. 8.5/10
Time for some Brazilian death metal. The band’s 12th studio album opens going hard and doesn’t let up once. It’s a brutal assault to the ears in the best way. If you are a fan of the heavy side of metal you’ll definitely get enjoyment out of this. Tracks like ‘Serpent Messiah’ and ‘Temple of the Abattoir’ are awe3some. The guitaring is a real highlight, Moyses Kolesne being another underrated player. However, the only negative I had was that nothing really stood out. It was all solid, but it just sounded like your typical straight-up death metal. That’s completely fine, but I’d love a bit of variety in it at times! 6.5/10
Funeral Chic: Roman Candle
The old-school biker sludge/hardcore metallers returned with their third studio album last week. Opening on the interesting, slower, great ‘Made in America’, the pace soon picks up with ‘Spit and Crawl’. The pace flits between the two styles throughout, sounding like anything from Metallica to Rob Zombie to Misfits. The whole album is awesome, every track being just as good as the last. I also love it when the band lean more and more into the sludgy edge the have, there being some great riffs and breakdowns here. My only ever so slight criticism is that the vocals could have been slightly higher in the mix. 7.5/10
Stick to Your Guns: Spectre
Hardcore punk and metalcore often go hand-in-hand, but I’ve not heard it done quite as masterfully was I have here. From the opening track you get a clear indication of the bands impressive signwriting skill, blending together anger and aggression with huge, anthemic choruses. They remind me of a heavier A Day to Remember, inspired by metal instead of pop punk. Everything from the clean and harsh vocals to the quick drums and guitars to the insane breakdowns, all of it was fantastic. It’s a modern heavy-lover’s dream while still having arena-filling earworms to get them plenty of new fans from the more mainstream audiences. I honestly can’t pick highlights from this, a lot of it made it onto theplaylist. An album I’ll be listening to a lot over the coming weeks and months. 9/10
Bastions: Majestic Desolation
The first album released by the band in 11 years, The band make the most of showcasing their talent after so much time off. The band go HARD on this album, combining elements of black metal and hardcore together well. It’s not really my thing, and the tracks did all blend together a little when I listened to them, but I can definitely appreciate the talent and songwriting skill of the band. I’ll give it a 5/10, though I’m sure bigger fans of the genre would give it much higher!
Belphegor: The Devils
It’s blackened death metal. If you like the genre, like I am starting to, you’ll love this. It takes all the good parts from black metal but adds fun stuff too like riffs and good production. And this is a band very clearly near the top of the genre where songwriting is concerned. Tracks like ‘Damnation’ and ‘Kingdom of Cold Flesh’ are awesome and definite highlights! 6.5/10
Cats in Space: Kickstart the Sun
The AOR/power Prog rock space lovers are back with their fifth album. It’s pretty great if you like this sort of thing. Fantastic instrumentation, amazing vocals and harmonies and some good lyrics. I again cannot help but compare them to the awesome Night Ranger, and that is definitely a compliment. My only slight issue is that it does all seem a little similar. I was much more than happy to listen to the album all the way through, but the tracks blended together a little and I’d struggle to name them if it weren’t written in front of me. A different sound, feeling or timing would have been nice somewhere! Still, there is plenty to love from start to finish! 7.5/10
And there we have it, another surprisingly awesome week! As always keep up to date on all of our content from our Instagram here.
