Category: news

Posted on August 27th 2026, 11:09am

Moving on after the exit of an integral band member is never an easy task, but for Mastodon the circumstances were infinitely harder. Five months after their friend and guitarist of twenty-five years Brent Hinds parted ways with the band, he tragically lost his life in a motorcycle accident, leaving the three remaining band members bereft with a seemingly impossible hole to fill. Blindsided by shock and grief, they continued with their touring and recording schedules, choosing axeman Nick Johnston to be the man who would take up permanent guitar duties. Also welcomed into the fold was keyboardist Joao Nogueira, and with the rejuvenated Mastodon now operating as a five piece, new album ‘Marrow Deep’ finds the band charting a renewed and impassioned course.

Mastodon of course are no strangers to making music overshadowed by death. 2009’s career defining ‘Crack The Skye’ saw drummer Brann Dallor confront the tragic suicide of his sister, while 2017’s ‘Emperor Of Sand’ was a loose concept album about the band’s individual experiences of dealing with cancer within their immediate families. Even the band’s most recent album, 2021’s ‘Hushed And Grim’, was recorded in the midst of them losing their longtime manager and friend Nick John. With this in mind, it will come as no surprise that ‘Marrow Deep’ is littered with odes and references to the late Hinds (his tattooed likeness can also be seen in the album’s spellbinding cover art) as well as the sad passing of Dailor’s Mother, who died during the writing of this album.

In quintessential Mastodon fashion, ‘Barbarian’s Blood’ opens the album in thunderous style as powerhouse drumming gives way to treacle thick, sludge-infused riffs, alongside bassist Troy Sander’s commanding howl. A shapeshifter of a track recalling both the Mastodon of new and old, the storming opener also features the first touches of proggy, atmospheric keyboard work from Nogueira, cementing his place in the band early on in the record. Immediately noticeable too is just how crisp and clear the band sound in the hands of producers Kurt Ballou and Patrick Berger. Dailor’s distinctive drum patterns have a little more space to breathe, whilst this is by far the most prominent Sander’s bass have ever sounded on record. ‘Poisonous Weapons’ is another absolute rager of a track and features a great solo from new boy Johnson, who instead of trying to replace the irreplaceable has clearly brought his own ideas to the Mastodon table. Likewise his lead guitar work on the ferocious ‘Out Like A Lamb’ is showstopping, demonstrating just what a perfect fit he is. Lead single ‘Your Ghost Again’ already feels like a Mastodon classic with Noguiera’s keyboards once again nudging the band in a proggier direction during instrumental passages, recalling ‘Sorceress’ and ‘Heritage’ era Opeth.

‘Marrow Deep’ gets really interesting, however, when it starts venturing into slightly more uncharted waters. The album’s moving centrepiece ‘In The Ruins’ is easily one of the best tracks of their career, featuring Hinds-esque, heartfelt vocals from Sanders, moving guitar work and a chorus that truly embeds itself in the mind. The trippy ‘The Vanishing’ is also a standout. Opening with a bass intro from the legendary Geezer Butler, it morphs into an emotive and psychedelic-tinged ballad complete with memorable, emotive arpeggios, gorgeous harmonised vocals and a glorious solo from Johnson. Speaking of guest features, Lamb Of God’s Randy Blythe lends his almighty roar to the groove-infected and riff-filled ‘A Vampire’s Demeanour’, whilst Clutch’s Neil Fallon lends his unhinged vocals to the mind-bending trip of a closer ‘The Three Fates’. Here, we find the band fully embracing all things psychedelic, using the second half of the near eight-minute runtime to have one heavy blissed-out jam, complete with mesmerising keyboard and guitar solos.

In all, ‘Marrow Deep’ contains many elements you could easily attribute to Mastodon’s past albums, in particular ‘Blood Mountain’ and ‘Hushed And Grim’. But more importantly, this album represents a new incarnation of Mastodon; with Johnson and Nogueira on board, the band are confidently carving a new path and entering a new era of their career. ‘Marrow Deep’ is a passionate, intricate, raging, and at times poignant album that more than stands up to the band’s best work. 

ADAM FIRTH

We got the pleasure of interviewing Grammy-nominated hardcore legends Hatebreed during Wacken Open Air about the festival and more. 

Benedetta

I’m here with two legendary artists from Hatebreed. How are you doing guys?

Hatebreed

Tired, I just woke up, and it’s hot. This summer’s been very hot. But today’s not bad, not yet. We’ll see.

Benedetta

So, since Wacken is celebrating its 35th year of the festival, how does it feel to play in such an edition of the festival?

Hatebreed

I love it. I mean, it’s always great bands. We’ve been here a few times, and every time it’s always great. A lot of heavy bands on a big scale, not more commercial type, I guess, or smaller ones where they’re extreme. It’s like a good mix of real heavy bands, and I love it. Yeah, I feel like this and Graspop and Hellfest, those are, to me, the ones over here for a band like us, you know. Fortunately, sometimes the stars align and you get to see some of the bands and not just play your show. I saw there were some bands I wanted to see today. Saxon, Judas Priest, Black Label Society. Hopefully we’ll find time to do that today.

Benedetta

Since you have a lot of experience in live shows, but you also are experienced in music production and recording, do you think that the life of an artist is a lonely life?

Hatebreed

Oh yeah, 100%. I mean, life on the road is one of the loneliest things there is. And a lot of people can’t comprehend that because they think, “How can that be when you’re out with a bunch of other people, your friends, your bandmates?“. it’s mentally taxing to be away from home and your normal things that you have over there, like your loved ones, your pets. So it’s definitely a lonely place. In society overall, we are a weird group of people, you know, and it’s hard for us to exist amongst normal people sometimes because this lifestyle, especially when you’ve been doing it as long as Hatebreed, over 30 years now, you know, it puts you into a different mind frame.

Benedetta

Do you think that we will ever reach some sort of equality between men and women in the metal world?

Hatebreed

I mean, I hope so. It seems like it’s definitely a lot better now than it used to be. There’s a lot of females in a lot of bands, not just like the singer; all instruments and everything. I think it’s definitely getting a lot better and way more accepted than it used to be, that’s for sure. You’re seeing, especially in the underground music scene, there’s a lot of female fronts in bands, in the younger hardcore scene. I mean, Arch Enemy is one of my favourite bands too, so…

Benedetta

Thank you so much for taking the time to do this interview today. Is there anything else that you want to add to our viewers and readers?

Hatebreed

Yeah, we have a new record coming out in November. “Fatal Paradox” on BLKIIBLK Records. We’re excited. It’s been a long time since we’ve had new music out. Check out our new video for “Kill Count Increase”.

The post Interview with Hatebreed first appeared on FemMetal – Goddesses of Metal.

Jack White has never been an artist to rest on his laurels. Having only just released his seventh solo album, Frozen Charlotte, in July, White immediately hit the road with a schedule of shows that makes any hungry young band sweat. 

Jack White

Eventim Apollo, London – 26 August 2026

Words: Kahmel Farahani

Photography: David James Swanson

Tonight’s gig at the Eventim Apollo is sold out, and the lines of fans snaking around the venue are facing tighter security checks than they would face at most international airports.

This show is a totally phone-free zone, and this means three separate bag checks, pat-downs and phones in pouches before reaching your seat.

However, the hassle to get inside is soon forgotten as everyone finds their seat, the house lights go dim, and Jack White’s band makes their raucous entrance. The man himself struts to the centre of the stage, plugs in and launches into That’s How I’m Feeling. It is followed by The White Stripes Dead Leaves And The Dirty Ground.

The sad news of Dolly Parton’s passing was announced a few hours before the show time this evening, and Jack White provides the most fitting of tributes early on by playing his starkly beautiful version of Parton’s Jolene.

This is the first time he’s played it live since 2007, and it is a most fitting tribute to the queen of country music. 

Tonight, Jack White seems to be in a mean mood, in the best possible sense. There are very few words spoken to the crowd, but the music does all the talking needed. The moody Old Scratch Blues melts into a brilliant cover of the Hank Williams classic My Bucket’s Got A Hole In It.

Tonight White is pushing his three-piece band for all its worth. They follow his lead through countless noisy and muscular jams as White hurtles from riff to riff. His sound is still inimitable, but if anything, it has developed from its overdriven delta blues roots into something like The MC5’s Wayne Kramer on steroids.

It is mesmerising to watch and listen to White and his band move from new songs like Neighbors Blues. This is followed by the upbeat shuffle of Underground before the doomy, Sabbath-esque riff of The White Stripes’ Canon. We get another White Stripes song, The Union Forever, before the psycho blues G.O.D. And The Broken Ribs, another great song from an outstanding album.

Rather than smoothing anything out, White’s music is all about the rough edges. If they are not there, he practically hacks them out of the air. The feedback is massive and the treble dialled up to 11.

Tonight’s encore starts with a jam that leads into The White Stripes’ Icky Thump. This is still one of White’s very best songs and lyrically more relevant than ever on top.

Another rare White Stripes number follows: the positively evil-sounding blues slide of I Fought Piranhas. Jack White takes a moment to introduce his band before launching into another anthem that moves the crowd to start moshing.

The Raconteurs Steady As She Goes is probably the catchiest chorus White has ever written, and it is a real highlight, even at such an impressive gig.

At this point the gig is pushing two hours and there is only one riff left to let rip. White teases by changing guitars several times before plucking the opening notes of Seven Nation Army. The entire Evetim Apollo responds by bouncing and singing along to the iconic riff.

Like Neil Young doing Tonight’s the Night or Dylan during his first electric tour, Jack White is at a creative and musical peak, doing exactly what he wants to do, as he wants to do it. The audience will come to him.

Tonight’s show proved without question that not only does Jack White still have the hunger, but he most certainly still has the fire and the commitment to pull it all off.

The Deep Purple Splat! world tour hit Toronto on 18 August 2026 for a night of classic rock that had fans, new and old, making their way down to the RBC Amphitheatre for a fantastic and nostalgic night of live music.

Deep Purple – Kansas – Jefferson Starship

RBC Amphitheatre, Toronto – 18 August 2026

Words And Photography: Taylor Cameron

Closing out the night were none other than Deep Purple, and they hit the stage at full force, opening their set with Highway Star. The crowd excitedly sang along.

It is hard to believe the band’s average age is 80 (minus guitarist Simon McBride), because they still deliver strong performances night after night as if it were 1976, not 2026. 

Ian Gillan, Ian Paice, and Roger Glover, all members of what would be considered Mark II of Deep Purple’s lineup, still hit the stage every night with a fiery passion. It is clear that they still enjoy what they do after all these years.

Simon McBride and the legendary Don Airey (Rainbow, Ozzy Osbourne) round out the lineup, both musicians being masters of their craft and the perfect fit for the band.

Machine Head was the most featured album in the setlist, with newer tracks Lazy Sod (2024) and Diablo (2026) hitting the right spot. David Freiberg and Cathy Richardson of Jefferson Starship even made an appearance during Diablo, helping out on backing vocal duties, which was a fun surprise for fans. 

Continuing to release new music and touring frequently, Deep Purple show no sign of slowing down. Something so special about bands from the ’70s/’80s, is that it is clear that they are on that stage for the love of the music.

They have paid their dues and gone through the hardships, but they continue to perform because it is what they love to do. 

When McBride took centre stage and started playing the iconic riff to Smoke On The Water, the crowd went wild. Everyone stood to their feet for possibly the band’s most notable song.

Every fan in the crowd brought their singing voices for this one as Gillan commended the audience to help him out, not that he had to, as everyone was already singing along. 

“We’re not done yet,” Gillan said as they kicked into Guinnesis. Opting not to leave the stage before playing their encore, they closed out the evening with their cover of Joe South’s Hush.

We did not get Ritchie Blackmore on stage, but fans still left not wanting the night to end. Tonight was the perfect blend of nostalgic and hard-hitting riffs. 

Kansas

The current Kansas lineup may not include any original members, however, the musicians who take the stage every night to play these classic songs are keeping the spirit of Kansas and its music alive.

And they are doing a damn good job at it.

It is easy to tell that they respect the legacy that Kerry Livgren created throughout the early years of the band, and they continue to honour it every night on stage. 

Bringing a more progressive sound to the evening, they kept the show diverse. From Fight Fire With Fire, Dust In The Wind and Song For America, to closing out their set with Carry On My Wayward Son, all the fan favourites were played.

The crowd sang along to every word. The delivery of the songs was spot on. Impeccable harmonies, ripping guitar solos and large drum parts filled the amphitheatre, making their set incredibly memorable and worth praising.

Jefferson Starship

Jefferson Starship started off the night with some classic AOR. Although they only performed a short seven-song set, they treated it like a headline performance.

Original member David Freiberg still graces the current lineup of the band at the age of 87. Freiberg is one of the oldest current touring musicians in the industry. Cathy Richardson handles lead vocal duties alongside Freiberg, with Donny Baldwin (drums), Jude Gold (Guitar) and Chris Smith (Keys) finishing off the lineup.

Their classic hits, Jane, We Built This City, and Nothing’s Gonna Stop Us Now, had everyone singing along. These classic AOR hits still hold up today.

Their set also included a brand new track titled Jet Pack and their cover of The Great Society’s Somebody To Love. Playing with as much passion as when the songs were first released, Freiberg still visibly loves what he does.

This energy carried throughout the entire band. Jefferson Starship started off the night on a high. 

Odgers and Kettle have demonstrated their rare talents as musicians by interpreting and delivering a superb catalogue of contemporary interpretations of some of the best protest songs ever written.     

The post Phil Odgers & John Kettle: The War Is Over – Album Review appeared first on Louder Than War.