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MATT NORRIS | Go Venue Magazine

Jay Som, opening artist of Death Cab for Cutie’s “I Built You A Tower” tour, gives way to the first sounds coming off the stage. Mellow guitars and soft vocals immediately draw my attention. Melina Duterte’s voice, dreamy, laid-back, and, well, objectively good. The scene felt intimate, the audience fully engaged. The whole band was visibly engaged with one another for the performance, and at the conclusion, I’m left wanting more. I can’t wait to grab a ticket the next time Jay Som is back in town. 

Death Cab For Cutie. 

Kicking off with a song off thew new album, I Built You A Tower, titled “Riptides”. The band springs to life, and Ben Gibbard’s iconic voice comes over the stage. The energy is palpable as the song builds. Visuals behind the band are lit up with five square displays a couple feet taller than the members, and eight tall rectangles that extend from stage to ceiling, equidistantly spaced to display other accompanying graphics. The dynamic lighting was at times almost too much — the square panels almost like portals for each member; the strobe-like effects that came and went or even the high-noise visualization of sound that stretched across each of the eight tall panels.

If this were any other band, I’d believe it unintentionally overwhelming — not Death Cab for Cutie. The visual overwhelm came with instrumental intensity and lyrical complement as well: “There’s too many riptides in this ocean to proceed”. Although I found the visuals at times over-the-top in a messy way, more often they acted as functional dynamic lights to color the  performers.

From new to old — “The New Year”, a throwback to 1997, was expertly transitioned into, as if it were always meant to be. Gibbard’s high-energy dancing around the stage between (and with) other members is expressive as ever. Passion in his voice, perfection in the band’s execution. Nick Harmer and Dave Depper looking sharp as ever on Gibbard’s Right and left respectively, played in tight precise movements. Jason McGerr on drums, sounding off at the perfect volume and time in back, and to his left, Zac Rae, who sounded fantastic and appeared focused on perfection.

What would it would be like to go to a show, where the setlist is an expertly designed mixtape of a band’s work stretching nearly 30-years? It would be an experience exactly like what Gibbard and Death Cab For Cutie have to offer. Mid performance, the titular track “I Built You A Tower (a)” brought a celebration of the present day band. An icon from Narrow Stairs, “I Will Possess Your Heart”, was performed to an audience bathed in dynamic gradients of red light. The sound-forward show filled The Armory with sonic perfection throughout every corner I could get to; so well that little embellishments (like keyboard trails) happening on stage manage to stand out in the crowds.

“I Will Follow You Into The Dark”, dedicated to the people of Minneapolis and St Paul for this concert, with pride in the twin cities for setting an example, across the country, on fighting fascism.

The band played 20 songs in the main set, letting echoes ring out as they walked off the stage. After continuous cheering, they returned  to reward the crowd four more tracks spanning across thee decades, finishing the evening with a stunning performance of Transatlanticisim.

Death Cab for Cutie is a band that’s been performing for nearly 30 years. Their music has influenced countless artists, featured in television and films, and seldom does one find an adult who hasn’t listened them in some capacity. Ben Gibbard and the band continue to deliver immaculate, energetic performances like tonight and I look forward to seeing them again.

Death Cab for Cutie

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Jay Som

[See image gallery at www.govenuemagazine.com] All images © Matt Norris

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The post LIVE RECAP: Death Cab for Cutie with Jay Som at The Armory in Minneapolis, July 10, 2026 appeared first on Go Venue Magazine.

A new chapter begins. German metal veterans BRAINSTORM have officially announced their brand-new studio album, Nightfall. The band’s forthcoming full-length will be released via Reigning Phoenix […]

The post BRAINSTORM Announce New Studio Album Nightfall To Arrive in Spring 2027 via Reigning Phoenix Music appeared first on Metal-Rules.com.

Rolling Stones singer says he’s forgotten any wisdom he ever gathered. His matured songwriting might prove otherwise. Continue reading…

Album Review: Eternal Drak – The Violence of Time

Reviewed by Matthew Williams

I first stumbled across Canadian based blackened thrashers Eternal Drak when I reviewed last years “The Warrior Order” EP and I was impressed. Now, with the release of their sixth album, mastermind Andres Martinez Torres (Drakar) and Michel Amyot return with 10 new songs that will simultaneously brighten and darken your world.

As the band have commented, “the album frames time as a hostile force” as a ticking clock signals the start of “We Force It To Speak” before the guitars take control. The harsh vocals of Drakar feel like an assault, yet they have layered flamenco style guitars over a dark yet atmospheric background. It’s a cracking start but the blistering bass of “The Unborn Paths Rot” ups the pace and energy levels significantly. This genre doesn’t always do catchy songs, but this one kept repeating in my head hours afterwards, especially the mid-section riff.

The band have continually tried to evolve, whilst staying true to their roots, and on “Me Hice Simultaneo” a song looking at the way obsession speeds everything up, it has a slower, more menacing pattern over the venomous Latino lyrics. “The Blasphemy of Time” sees that blackened thrash speed return and it’s interjected by a wonderful operatic style vocal allowing the harmonies to clash, as the aggressive mid-point solo sways through the melody.

The start of “Chaos is the Law” feels like a mythical creature coming to life and stumbling onwards to destroy everything before it, as the song focuses on the fact that time doesn’t preserve anything. The pace ramps up in the final third with the guitars going into overdrive leading into “Where Cause is Buried”. I’m enjoying the bass lines that flow across these songs, and there’s pockets of explosive guitars that flood the rhythm and penetrate the compositions.

Within many of the tracks, the duo offers a variety of appealing tempos that keeps you wondering what’s going to happen next. “Across the Watching Veils” has an echoed vocal that adds to the villainous, more depraved element of the song but that’s what I’ve come to expect from this band. Drakar’s vocals get more impressive with each unsavoury sounding lyric perfectly matching the demonic tones, and on the slowed down “Breathing Once Again” there’s a quite dramatic momentum change, with cleaner vocals on a stripped-down rhythm as your perceptions begin to shift and your senses warped.

The devilish intent returns alongside their legendary pace and power on “The Cosmos Rejects You” and the riff is a proper headbanger, that had my head moving instantly. What’s also pleasing is that the songs don’t drag on, these two don’t waste time, and fill every moment with a memory, as they finish with “No Direction – Total War” a short, sharp blast of blackened noise that shows that time doesn’t guide you, but you need to make time in your life to experience and enjoy the deathly screams and raucous riffs of Eternal Drak.

For all the latest news, reviews, interviews across the heavy metal spectrum follow THE RAZORS’S EDGE on facebook, twitter and instagram.

The post Album Review: Eternal Drak – The Violence of Time appeared first on The Razor's Edge.

From Dublin clubs to stadiums around the world, U2 built one of rock music’s most enduring catalogs. This complete A to Z guide covers every officially released U2 song, including studio recordings, soundtrack contributions, collaborations, B-sides, and later reinterpretations. Under the Dublin sky in 1976, a group of ambitious teenagers answered a call for musicians that would forever change the face of rock music. This was the beginning of U2, an iconic band formed by Bono (Paul Hewson), The Edge (David Evans), Adam Clayton, and Larry Mullen Jr. Hailing from Ireland, they channeled their youthful energy into creating a sound

The post Complete List Of U2 Songs From A to Z appeared first on ClassicRockHistory.com.

We've got the set list here from their show in Charlotte, North Carolina. Continue reading…

“Let the Sunshine Burn” is the new EP from Lovestruck, released in 2026. This marks their third project, following an album and a previous EP.

I love the riffs, the catchy solos, and the overall vibe of the song “Fake It Till You Make It.”, track number three of the EP that embodies the spirit of 80s hard rock, featuring memorable riffs, strong vocals, and fantastic solo sections. A very cool one, very well performed by the band and with the right sound as well. 

There’s a new boyband in town. Los Skeepers (Juan Andrés Paiz, Alex Olivares, Joaquín Flores, Juan Pablo Nájera, Danniel Díaz Contreras, and Jeremy Sandoval) formed in Guatemala City and released their debut single “Luismigirl” in June 2025. On Friday, they released a new single “NADA MÁS+” which pacifies an itch for sunny alt-pop.

The post Los Skeepers – “NADA MÁS+” appeared first on Stereogum.

Blac Corset deliver a captivating slice of dark synthpop with Lonely Wolf, blending shimmering electronic textures, pulsing beats, and cinematic atmospherics into an irresistibly immersive experience. The track balances moody verses with infectious hooks, while expressive vocals add emotional depth to its sleek, polished production. Rich synth layers and dynamic arrangements create a sense of constant momentum, making the song equally suited for late-night drives and dimly lit dancefloors. Stylish, melodic, and emotionally charged, Lonely Wolf highlights Blac Corset’s ability to fuse modern electronic pop with a brooding, nostalgic edge.

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“You’d think there was a football match on!” grins Bruce Dickinson as he looks out over 50,000 giddy Iron Maiden fans having a thoroughly lovely time in the hazy evening sunshine. In just over three hours from now, England’s men’s team will have confirmed their place in a World Cup semi final, but here at Knebworth, there are far more pressing matters: celebrating 50 years of this country’s most storied heavy metal band.

A year on from a historic homecoming gig at West Ham’s London stadium, you’d be forgiven for assuming that Eddfest – Maiden’s first ever curated, multi-day festival – is little more than a fist-pumping victory lap for a band that are well into the second year of their Run For Your Lives world tour. Nope. From the second you walk onto the festival grounds, you feel less like you’re at Yet Another Iron Maiden Show and more like you’ve just stumbled into a fanatic Maiden fan club member’s fever dream.

At the top of the site is an open air mini-museum boasting props and costumes from five decades of touring. Everything from Paul Di’Anno’s 80s leather jacket to OG Pharaoh Eddie and Dance Of Death grim reapers are on display, and fans of all ages are gravitating to attractions from their favourite era; everyone has that Maiden tour that means something to them.

@metalhammeruk

♬ original sound – Metal Hammer

Around the corner is ‘Maidenville’, a bespoke mini-fest of its own featuring Eddie-fied attractions, a Maiden-themed tattoo parlour, an Eddie dive bar and its own stage which, last night, Maiden alumni Blaze Blayley headlined. We’re in Maiden heaven here, basically, and the main event hasn’t even got going yet.

Eddfest’s main stage eventually kicks off courtesy of some well-received pub rock boisterousness from The Almighty and Airbourne, but it’s The Hu who really crank things up a notch. Their unique Mongolian folk metal stomp sounds huge, and the band look genuinely blown away to be here and at the reception they receive.

The Darkness arrive next, and while their decision to start their set with a cut from last year’s decent but lesser known Dreams On Toast album warrants a relatively muted response, they quickly make amends with a riotous showing packing plenty of bangers from legendary debut Permission To Land, a cheeky Led Zeppelin jam and a welcome drop of the title track from the vastly underrated One Way Ticket To Hell…And Back.

It goes down very well, but nothing can compare to the reaction that greets the PA blasting UFO’s Doctor Doctor about 40 minutes later, signalling the arrival of this weekend’s grand finale. The huge LED backdrop that has given Maiden a thoroughly modern upgrade on this tour flickers into life, and suddenly Knebworth is bathed in the gloomy, amber hue of 80s East London, a rollocking Murders In The Rue Morgue kicking off the gritty but anthemic four-track run plucked from the band’s Di’Anno era.

Stomping around in a biker jacket, long hair pulled tight into a slick ponytail, Bruce Dickinson sounds on fine form as he screeches his way through a lairy Number Of The Beast next, Steve Harris‘ propulsive bass lines thundering along under his wails as the band are surrounded by bursts of fiery orange flame.

“This is the first time we’ve played this song in 38 years,” Dickinson notes before Maiden launch into much-requested, Seventh Son-era fan favourite Infinite Dreams. “Well…technically it’s the first time since Tuesday night in Lisbon, but don’t worry about that,” he corrects himself to a few thousand chuckles. The atmosphere here is as warm as the weather, and the metal veterans seem to be enjoying the hell out of themselves.

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Infinite Dreams is the only tweak from last year’s setlist (and a welcome one at that; what took them so long?!), meaning that many here already know what to expect from hereon in. Not that it matters; whether they’re dropping urgent heavy metal ragers like 2 Minutes To Midnight and Powerslave or prog metal epics like Rime Of The Ancient Mariner and a stunning Seventh Son Of A Seventh Son, Maiden are putting on a masterclass in heavy metal history, and everyone is lapping it up.

These lads rarely miss live, though. What really sets this performance aside is that it’s brought to a close a whole weekend that has allowed one of metal’s most passionate fanbases to immerse themselves in Maiden’s world. Iron Maiden won’t be here in another 50 years’ time, but their legacy will. What a triumph.