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It is a bitter fact in the world of music that some bands never seem to achieve the level of success or popularity that they deserve. On the back of their fantastic album Void, Newport’s Godsticks surely deserve more than the paltry smattering that attended this show at Bunkhouse, Swansea.

Godsticks – Karmen Field – Antarctica – Painted As Monsters

Bunkhouse, Swansea – 25 April 2026

Words And Photography: Paul Hutchings

Now, I am not in any way having a pop at those who did make the effort. But God damn, this was something special which was crying out for a full room.

As it was, those present will be part of the concert filmed by the band, and we witnessed them in magnificent form.

Behind the highly amusing between-song banter from singer/guitarist Darran Charles (who surely has a career in stand-up should he want it) lies a phenomenally talented band who make complex look easy.

There is something mesmerising watching musicians of this calibre flow through song after song whilst laughing, smiling and generally having fun.

Darran told me recently in our interview that he loves playing live, and it shows. Taking the proverbial out of bassist Francis George for wanting London as the location to record rather than Swansea, “He said Swansea was a shithole,” laughs Darran to roars from the audience.

Darran barracks the crowd for turning up just to be on the video. “You’re all bastards,” he quips. It is brilliant banter, and something that we have come to expect as the band deliver their particular brand of Progressive Metal which crosses many boundaries.

They pull a good selection from VOiD, including the raucous lead single MIA, Hold Back and Hope Is Burning. One wag shouts, “I’m not leaving until you play Masterplan,” another from the album. “You’ll be chucked out later then,” retorts Darran.

It is this humour that enhances the show. But the new album is superb, and the band easily transfer the studio to the live experience. The songs are magnificent.

For me, there are few better bands around today than Godsticks. As they deliver the grandstand finale of Unforgiveable and Exit Stage Left, I reflect on their unique style.

They are heavy, yes, but they do not bring it in an extreme way. Instead, the sheer intensity of their music makes it so. They may not pull the vast crowds they deserve, but in a selfish way, that makes them even more special.

It is a secret I would be happy to share.

Karmen Field

Having been around for over a decade, Karmen Field are slowly but surely making a name for themselves. Stalwarts of the local scene, the band appear to be performing almost every weekend according to the local listings.

That can only be a good thing, for the Karmen Field of 2026 is a more polished and complete act than I had seen when they first appeared.

Singer Molly McBreen continues to channel the spirit of Joplin and Bush through her performance, whilst the band around her are tighter and more complete than I had seen before. 

The band’s sound remains an alternative mix of ’90s grunge and pop, with social commentary running through some of their songs. It is not all serious stuff, though, with a new track about space Vikings (or something) bringing a smile.

Big riffs, throbbing bass lines and vocals that can penetrate deeply, Karmen Field proved their inclusion on the night was the correct choice. 

Antarctica

Five-piece Antarctica are slightly out of kilter with the rest of the bill, but the Cardiff outfit play their Post-Hardcore with heart and feeling and provided an entertaining 30 minutes which kept the audience involved.

Surely that’s all you can ask? A big set, with some big riffs and a nice balance of songs, means that they are worth another look sometime soon.

Painted As Monsters

Opening the evening, Painted As Monsters are a Progressive three-piece who have also been around for a few years. Their music sits very much in a rocky Muse style, with Rhys Evans combining vocal and guitar duties with his usual excellence.

Their alternative sound fits in neatly with the other bands on the bill, especially the headliners, and with a new single due out by the time you read this, there is much more to come from the band.

Posted on April 27th 2026, 11:31a.m.

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Color Theory returns with The Naked Eye, a sleek, cinematic synth-pop cut dripping with late-night intrigue. Channeling unmistakable Depeche Mode-esque melancholy, Brian Hazard crafts a slow-burning atmosphere where glossy electronics meet emotional unmasking. The Bond-theme aura isn’t just aesthetic—it amplifies the song’s core tension, as vulnerability gradually replaces guarded detachment. Lush pads and restrained beats give space for introspection, while the chorus subtly soars without excess. It’s a refined, evocative piece that balances nostalgia with modern polish, proving Color Theory still masters mood-driven storytelling.

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