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There are comeback gigs, and there is Through Storms And Stars: An Evening with Voyager. After illness forced Voyager off the road at the height of their Eurovision-fuelled rise, the Australian Prog Metallers return with a heartfelt, theatrical and thunderously joyous London show at the Islington Assembly Hall.

Voyager

Islington Assembly Hall, London – 31 July 2026

Words: Liz Medhurst

Photography: Ryan Hildrew

Australian Prog Metallers Voyager have quite the story. Formed in Perth and recording their first album in 2003, the band made a steady climb, picking up increased accolades and fans along the way.

With a line-up unchanged since 2011, a blistering live show, plenty of touring including with Nightwish, Epica, Children Of Bodom, Alestorm and Queensrÿche, and ever-better albums, Voyager established themselves as a real force to be reckoned with.

Their profile in the UK was raised greatly on their 2018 European tour, with appearances at Ramblin’ Man Fair and Bloodstock, their trademark blend of Metal and ’80s synth-pop hitting a sweet spot. 

Following the pandemic, the news broke in 2023 that Voyager were chosen for the Australian entry for the Eurovision Song Contest. As a diehard and unironic fan of Eurovision, I actually shrieked when I heard this news, and I am not sorry.

The resulting song, Promise, was three minutes of prog perfection, slaughtering the opposition in the semi-final by a country mile and then coming ninth in the grand final, which is an almighty success by anyone’s standards. Not to mention the presence of a real 1988 Toyota MR2 AW11 on the stage at Liverpool, making this event truly iconic.

With a new album, Fearless In Love, and a huge European tour lined up for the latter half of 2023, if there was any fairness in the world, Voyager would have gone stratospheric, reaping similar benefits to Måneskin two years earlier.

Unfortunately, fate played a cruel hand, and frontman Danny Estrin was diagnosed with serious Stage 4 cancer necessitating the cancellation of all dates and activities.

Thanks to the miracles of modern medicine, however, after lots of gruelling treatment, the cancer, while not curable, has been managed to the extent that shows are possible once more. Voyager are back – and how.

Before the band took to the stage at the packed and very hot Islington Assembly Hall, the backdrop showed a ten-minute countdown clock along with a slide show of candid snapshots of the band throughout the ages.

As soon as the clock hit zero, an almighty roar went up, and out came Jerry Ewing, esteemed editor of Prog Magazine, to formally introduce the band and get everyone to sing happy birthday to guitarist Scott Kay, who would be celebrating the next day.

It took about five seconds after all the members had entered the stage and burst into Prince Of Fire to realise that this was going to be a special show. The band (Estrin on vocals and keys, Simone Dow and Scott Kay on guitars, Alex Canion on bass and Ash Doodkorte on drums) are seriously talented musicians, and their vibe together is irresistible.

We got theatrical flourishes, solos to die for, and showmanship from the entire gang as they delivered one dynamic anthem after another. Danny Estrin’s clean, soaring vocals sounded wonderful, and he entered the stage resplendent in a full-length blue furry coat.

I know it’s midwinter in Australia, but this is the middle of a London heatwave. Talk about dedication to your art. It only lasted three tracks before he changed into something a bit cooler and more sparkly.

The evening was split into chapters, taking in the highs and lows experienced by the band, and these have been extreme.

During one interlude Danny spoke candidly and honestly about his illness and making a plea for people to go and see a doctor if something is not right, a sentiment that we wholeheartedly agree with. Get yourselves checked, do not be an idiot in denial, it could well save your life.

With last year’s single Seen Better Days coming immediately after this speech, the song landed with poignancy and power. 

It is not all seriousness, far from it. There is plenty of humour and banter even within the songs, such as Hyperventilating, with a hilarious karaoke-style coda using wordplay on the song’s title, or the recovery when the occasional mistake was made, or the two interludes with Alex Canion acting out his mock children’s book telling the Voyager story, which was the epitome of the laid-back lunacy that the band delight audiences with. 

This career-spanning set included Everwaiting from the 2007 album UniVers, making its live debut in these shows, fitting perfectly with more recent cuts such as Dreamer.

The synth pop aspect is done to perfection, but make no mistake. When the breakdowns hit, they hit hard, heavy and deep. Voyager have pure Heavy Metal hearts, and it is thrilling. 

Production elements were high, and as well as good lighting, throughout the set inventive use was made of the backdrop with some genius touches such as playing The Meaning Of I in front of a video replay of their much younger selves. 

Unsurprisingly, the whole hall went completely insane for Promise, but there was no sense that the rest of the show had been a build-up to this.

It was all nothing short of magnificent. The encore of White Shadow, or “a song about a horse,” ended proceedings on just the right light-hearted note. 

What a show, what a band. As Danny Estrin declared at the closing bow, “we will do this again,” and that is a promise we will be there for. 

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After years of raising a family and building businesses, Erik Schouten returned to the music that first shaped him, armed with the weight of lived experience. Recorded live with a band of trusted players in Lititz, PA, and Nashville’s Sputnik Sound, his music captures a rare authenticity: raw studio energy, hummed amps, and true live performances.

Anchored by solid Americana and Heartland Rock, Schouten’s 10-song collection explores love, redemption, and resilience. Led by singles like “Holding You,” “Mercy More,” and “Welcome Home,” the record also features “Good Love In Hard Times”, an energetic summertime rocker that celebrates leaning on loved ones when life gets tough. 

The song features a catchy hook and tight arrangements and I find it very enjoyable song from start to finish. Give it a go by clicking on the Spotify player below and follow Erik Schouten if you like what you hear. 

Does Dortmund Deathfest Dominate UK Festivals?

2026 Festival Reaction and Review
Words: Oli Gonzalez
Photos: Tim Finch

A new challenger emerges!

After just celebrating its fourth birthday, Dortmund Deathfest (DDF) has been creating a lot of noise lately… and for all the right reasons it would appear. Growing in international respect for their impressive lineups, DDF is upholding the fierce reputation festivals on mainland Europe have held for years; a stellar experience that is seemingly only available on the continent!

Is this really the case though? Using DDF as a case study, how does this compare to what we have on offer in the UK?

Having dipped my toes in the waters of European metal festival life, grabbing my ticket for DDF would give me a chance to compare this experience to the regular fixtures on my UK festival schedule. Whether that be Damnation, Fortress, Incineration, or Offal Fest, all would provide a good frame of reference for this.

Let’s discuss the venue, the line up and stand out bands,  as well as the experience as a whole to act as an answer to this.

The Venue

The Junkyard was home to this weekend’s festivities. Step inside and you’d be greeted by scenery that made the title Junkyard as literal as it could get! With used tyres scattered about the place doubling up as seating, with the ‘walls’, outdoor bar, and general infrastructure propped by empty shipping containers, this made for a unique venue with plenty of character. Rustic was well and truly the vibe.

Getting here was very simple, with either a thirty minute walk from our hotel or a short ride on the tram, which also acted as an unofficial meet and greet with other festival attendees.

The event was sold out, a mark to the trust patrons put into the young festival! Though this made for a fairly uncomfortable experience at times, especially outdoors when hugely popular bands took to the stage. Though not a lot could be done about that, other than sell a few less tickets which would make little sense for the organisers.

Also, the weather. Watching bands in 30°c heat and above was testing, with the ground becoming particularly dusty and any kind circle pit would temporarily engulf Junkyard into a mini sandstorm. Nothing they can do about that right? Wrong!

Picture the scene. Cryptopsy are leveling the venue, with crowdsurfers flying towards the stage like missiles, whilst the circle pits are fully in motion. The crowd and band are being baked in the intense mid-afternoon sun, and then it begins to rain! Yep, you read that right! With a network of pipes designed to bathe overheated festival attendees in a gentle stream of sweet sweet H2O, to say this was welcome is an understatement! This was an absolute godsend! Even if it felt strange seeing t-shirts soaked in ‘rain water’ whilst the sun was still very much a constant. Something I’ve never seen in a UK venue or festival before; such a simple yet brilliant idea. Fair play to the venue for doing this! Though did they really need pyro for bands at this time too? Especially during the daylight when this was not as effective from a visual perspective. Who knows. It looked pretty awesome later at night though!

Drink prices seemed reasonable, as well as food options. As is common in Germany but alien to the majority of Brits, the venue employed a deposit scheme where you’re essentially charged an extra Euro per drink but can get this back if you return a token and your empty bottle or cup. A venue selling glass bottles? That would never happen in the UK. Having been to countless shows in the UK and seeing the venue floors being smothered in a layer of empty plastic cups, this deposit scheme adds a welcome by-product of a cleaner venue and not running the risk of slipping on someone else’s empty cup. How can we implement this in the UK? Would this work?

Returning to the subject of food and drink, a convenience store and fast food joints could be found within a stone’s throw from the venue, so you had a fair few options.

The same cannot be said about seating though sadly, leading to a few aching bones and backs later in the day. A patch of grass with a few benches outside presented the only ways to get the weight off your feet for a few minutes. Good job the venue dropped the ridiculous €3 re-entry fee to permit this, as this really was crazy! At least they listened to their fans. Festivals like Damnation are investing more in this infrastructure to add more seating for their aging fan base whilst Fortress Festival’s unique seaside location means there’s plenty of places to gain some respite from the noise and chaos. At DDF, it felt like there was no escape leading to a fairly uncomfortable experience at times. Though their hands are tied really. Adding a small seating area on the grass patch outside is the only real option (IF it is an option). Still, we’re sure they’ll figure it out.

The Bands

Let’s talk about the star-studded line up, shall we? Featuring a two stage set up with the indoor catering for the underground and up and coming acts, headlined by Pighead and Stillbirth on their respective nights. whereas the outdoor stage was home to the international heavyweights for 2 days. Including the likes of Benediction, 200 Stab Wounds, and Beheaded, with the mighty Asphyx and the demonic Deicide topping the bill on their respective nights.

So, who were the stand out performers then?

Cryptopsy: Despite having seen the same set in January of this year, it would be rude not to check out a celebration of the seminal album “None So Vile” once again, right ? The intense heat of the August sun could not have been any more different from the frosty bite of that Thursday night in January. Though the ferocity in which the Canadians delivered genre defining hits like ‘Phobophile’ and ‘Crown Of Horns’ was a constant across both of these shows. The ferocity matched by the speed and aggression by those in the pits! You could perhaps forgive Cryptopsy for maybe being bored of essentially playing the same set every night for 8 months, but they left everything on that stage and did justice to the legacy of “None So Vile”.

Deicide: It’d be hard not to mention one of the seminal acts of the genre and the closing main stage act to the festival. Look in any direction and you’d see an ocean of Deicide merch, whether it be a baseball cap, tshirt, or patch! It was clear who people had paid their money to see. The 45 minutes or so after Immolation’s set was abruptly ended by the iconic riff to ‘When Satan Rules Is World’. Within mere seconds, this resulted in the portal to hell being opened with a circle pit which would grow exponentially as the set progressed.

“I’ve never seen such a sad face” frontman Glen Benton commented as he carefully handed a guitar pick to a fan in the front row.  A seemingly off brand act of kindness from a man who has been speaking of his profound hatred for Christianity for well over 3 decades now! Despite this, his voice sounded as sharp and as demonic as ever, showing no signs of wear and tear. Deicide peeled off classics from this vast VAST discography including ‘Scars Of The Crucifix’, ‘Dead By Dawn’, and ‘Once Upon A Cross’. Many of which provided opportunities for a communal sing along (would you expect a Deicide concert to be described in this way?).

There’s no denying fatigue was setting in, physical and mental. Though as the German sun began to set, Junkyard was slowly becoming engulfed in darkness. This amplified the lighting display and magnified the intensity of the pyrotechnics, adding fresh stimulus and an injection of energy to the set. Not that Deicide’s set lacked it! Definitely not. This was another clinic from one of the true pioneers of death metal!

Immolation: After unleashing a true monster of a record in the form of “Descent” earlier in the year, the anticipation couldn’t be any higher! They delivered though! Resoundingly. With no fancy walk ons, they just calmly took to the stage and began peeling off many of these fully qualified slobber knockers from this album. Starting with the bruising “These Vengeful Winds”

Each of which being characterised by the thunderous groove, pummelling low end and demonic guttural vocals coming from frontman/bassist Rob Nolan alongside some piercing blistering leads from Robert Vigna. Despite some aching and tired bodies out there, it was well and truly worth the pain to push through and be rewarded with an old school death metal clinic!

When discovering death metal as a teenager, bands like Decapitated and Deicide were heavily in my rotation, as well as seminal New York death metal acts Internal Bleeding and Suffocation, where Immolation also originates. Somehow they got lost in that shuffle. How I regret that!

Sanguisugabogg: The North Americans can seemingly do no wrong in the world of death metal! Representing a wave of exciting new breed of bands in the genre, they brought a youthful energy and hunger mixed with a solid old school death metal sound. Operating in the slower realms of the genre and priorising meaty grooves over rapid pace, this still resulted in many heads banging in gruesome unison (and some sore necks later on)! Appreciated by those stroking their grey beards at the back as well as being adored by the young pups in the circle pits!

Surprises

Brat: In all honesty,  watching Brat wasn’t really planned. What a mistake that would have been! Presenting more as an instructor for a spinning class than the vocalist for an extreme metal band, Liz well and truly dominated with her relentless energy and demonic vocals! Mixing pop classics from Britney Spears and Cascada provided a sense of nostalgia and resulted in many attendees bopping and dancing along. Perhaps ironically. This wouldn’t last long though as their songs that were dripping in raw primitive rage resulted in our first pits of the day. A couple of these songs acted as a preview for their upcoming album “Manslayer”, with today’s performance surely leading to some preorders or new followers on social media at the very least!

Jungle Rot: “JUNGLE ROT! JUNGLE ROT!”
When the crowd is roaring your name like this between songs, you know you’ve won as a band! Jungle Rot won today. Despite the early set time, they pulled a very respectable crowd who were very much locked in and engaged from the very first note. Their sound fused the pace and retrograde nature of thrash with the venomous bit of death metal in a delightful package! Opportunities to catch Jungle Rot in the UK are few and far between hence some thanks to DDF are in order for showcasing bands like this!

Vibes and Experience

Rather than being a strictly all German affair I had imagined it to be, DDF offered the antithesis in the form of a welcoming international community. Warm conversations with an Italian gentleman, meeting two French travellers on the met, and a wholesome moment with a German attendee debating the complexity and lack of logic within the English language sums this up. As well as finding many fellow Brits along the way, who I’m sure I’ll cross paths with again! All of which added to a true cosmopolitan feel, like a gathering from the wider metal family.

Let’s talk about value too. The hotel economy in Dortmund seems to be very fair. A rather lavish hotel (by my standards) set me back a measly £102 for 2 nights, whilst an early bird weekend festival ticket was around about the same. Whether that’s due to Brexit or the challenge of getting to the UK that has always been there, it’s hard to think of any festival or major city here that can offer that value for money! It’s hard to argue with the band for the buck that DDF offers.

Wrap Up and Verdict

DDF is a young festival, still learning and making a few minor mistakes along the way, but mistakes that are very much fixable. They’ve proven they’re willing to listen to and act on feedback too. A trait that will earn respect and loyalty. They’ve well and truly capitalised on the opportunities to intercept bands from outside of Europe looking to fill out their calendar before hitting the likes of Brutal Assault and Party San. Yep, they’ve certainly found their place in the market as a smaller, more affordable option, as compared to Wacken or those other larger festivals.

Perhaps the venue lacks some of the home comforts that some UK festivals have. Though UK festivals could learn a lot from DDF.  Also, look at any one of their 4 lineups (including this year) and you can’t deny the ridiculously stacked bills DDF have put together over the years, with the value for money being crazy!

If DDF continues in this positive upward trajectory, we’re going to have a serious player on the summer festival circuit. A highly coveted slot for bands to fiercely compete for that will represent a true rights of passage for any respecting death metal band!

Photo credits: Tim Finch Photography

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