Big Big Train are preparing to hit the road on The Woodcut & Other Stories tour later this month, which will see them perform the entirety of their latest studio album across the UK & Europe. Earlier this year, the band played two acclaimed shows on board Cruise To The Edge 2026, and they are pleased to reveal a live recording of the track “Love Is The Light” featuring Haken’s RossJennings on guest vocals.
Ross Jennings comments: “The moment I heard “Judas Unrepentant” from English Electric Part 1, I instantly became a Passenger on the Big Big Train, and I’ve been on board for every station; every album; every up and down. After David Longdon sadly passed, I wondered if anyone could fill those big big boots. When “Love Is The Light” landed in my ears, it was evident to me that Alberto was absolutely perfect for the band’s continuation. This track rapidly became a favourite of mine and a joy to watch live. Accepting an invitation to perform this song alongside Alberto and this incredible band was a no-brainer and an absolute pleasure for me. Something special was in the air on that Cruise performance, and I’m so thrilled this ‘duet’ was captured!”
The band recently released a new Digital Deluxe Edition of Woodcut, complete with demos of each track from the album, as well as two acoustic tracks.
Big Big Train will play a warm-up show on Thursday, September 24th, 2026, at Thornden Hall in Eastleigh, UK, to kick off The Woodcut & Other Stories tour.
This will be the first of 19 shows across the UK and Europe this autumn where the band will play this year’s acclaimed Woodcut album in full, as well as over an hour of other material from their extensive back catalogue. Tickets for all shows are on sale here.
Woodcut feels like a Big Big Train record quite unlike any that came before—an assured union of music, storytelling and visual invention. The album is graced with a striking cover design from Dorset (England) based artist Robin Mackenzie – a black-and-white woodcut print, of course, derived from a woodcut that the band commissioned from him specifically for the album.
Featuring 16 tracks across 66-minutes of runtime, Woodcut feels epic without outstaying its welcome. From the intimacy of “Inkwell Black” to the grandeur of “Counting Stars”, Woodcut is a defiant analogue statement in a digital age—a handcrafted, deeply human exploration of art, faith and endurance.
In support of their upcoming album release Follow The White Rabbit, Germans Ghøstkid will embark on headlining tour over Europe next spring. Dropout Kings will be joining them on the road as support. Read more…
The Go-Betweens: Liberty Belle And The Black Diamond Express; Tallulah; 16 Lovers Lane; Fountains Of Youth (Live At The Town And Country Club) (Beggars Banquet) Released 25 September 2026 CD | Vinyl | DL | Streaming The Go-Betweens’ subtle, haunting indie-rock reached its apogee on their three late 80s studio albums for Beggars Banquet, now […]
Bull Y Los Búfalos are turning up the heat with the release of their new single and official music video “Ghost,” available now via TLG|Rock, distributed by Virgin Music Group. The track marks the first single from the band’s forthcoming album, Full Tank of Courage, due January 2027 on CD, vinyl, and all major streaming platforms.
For the “Ghost” video, Bull Y Los Búfalos went straight to one of cinema’s most iconic locations. The video was filmed primarily at the legendary cemetery in Spain where Sergio Leone’s classic Western The Good, the Bad and the Ugly was filmed, giving the visual a sweeping, cinematic atmosphere that perfectly complements the band’s larger-than-life sound.
“Ghost” introduces audiences to the next chapter of Bull Y Los Búfalos, the Nashville-based rock band fronted by Spain-born singer/songwriter Diego “Bull” Avello. Standing 6’6″ and bringing a larger-than-life presence both onstage and off, Bull combines the grit and swagger of American rock and roll with the fire and passion of his Spanish roots.
The result is what the band calls “Stubborn Rock.”
Stubborn Rock isn’t a genre. It’s a takeover. Bull Y Los Búfalos aren’t coming. They’re already here, and they play to win. Rock and Roll is for the brave.
“Ghost” arrives as Bull Y Los Búfalos enter a major new era. The band recently signed with TLG|Rock in Nashville, Tennessee, with distribution through Virgin Music Group, and has completed a new album recorded in Nashville. Full Tank of Courage is poised to be the band’s most ambitious and powerful work yet, with additional music and videos set to follow.
But the story behind Bull Y Los Búfalos extends far beyond music. Diego “Bull” Avello’s journey from a small mountain town in Spain to the American rock-and-roll scene is the subject of the upcoming music documentary, I Took the Road Less Traveled.
Filmed across the United States, Mexico, and Spain, the documentary chronicles Bull’s pursuit of the American dream, the challenges encountered along the way, a difficult immigration process, the sacrifices, struggles, friendships, and rock-and-roll lifestyle that shaped his journey.
The film is currently making its way through the 2026 film festival circuit and has already earned four awards, with additional festival submissions underway.
The documentary offers an intimate look at the man behind the towering stage presence and the philosophy that drives Bull Y Los Búfalos: never quit, never compromise, and keep moving forward.
Three of the band’s songs have been featured on FX Network’s Mayans M.C., the acclaimed Sons of Anarchy spin-off, giving their music exposure to a massive television audience.
The band has also established itself as a formidable live act, performing at NASCAR events in Nashville and Daytona Bike Week, Harley-Davidson events, biker rallies throughout the United States, and even an NBA halftime show for the San Antonio Spurs.
As a heavily supported Gibson artist, Bull Y Los Búfalos shared the bill at NAMM 2020 in Los Angeles with rock legends including Billy Gibbons of ZZ Top, Slash of Guns N’ Roses, and DonFelder of the Eagles.
Internationally, the band has performed at major biker festivals throughout Latin America, including Mexico, playing for crowds of more than 25,000 people.
Their touring history includes closing out 2022 on the road with Ace Frehley of KISS, followed by 2023 dates with 38 Special and Anthony Gomes. In 2024, the band returned to the Midwest for additional dates with 38 Special as well as Lynch Mob.
Bull Y Los Búfalos have released three studio albums, multiple EPs and singles, as well as a live album capturing the raw energy of their performances. In 2019, MXD MAG, one of Texas’ leading rock publications, named Bull Y Los Búfalos Best Rock Band in Texas, while Bull was recognized as Best Rock Singer.
As an independent band, Bull Y Los Búfalos have accumulated more than 1 million music video views and 1 million Spotify streams, while their single “Dinero Primero” made an impact on national Active Rock and Alternative radio through the LA Lloyd Rock 30.
Now, with the backing of TLG|Rock, distribution through Virgin Music Group, strong support from Gibson, a new album, a documentary, and a growing international profile, Bull Y Los Búfalos are ready to take Stubborn Rock to an even bigger audience. “Ghost” is only the beginning.
The APF festival returns to a suitably damp Manchester for another full day of crushing UK heavy metal. The APF label is home to some of the best the UK has to offer, and the line-up today goes a long way to cementing that. Each of the bands here are different from the others but still remain within heavy metal.
Proceedings kick off not with a live band, but with the Spider Kitten listening party ahead of the release of their new album. God Don’t Sleep is out on October 2nd and I’ve got to say there is something inherently unsettling about an empty stage bathed in eerie green light while this frankly stunning LP plays out over the PA. The album itself is fantastic, and it’s a genuine shame the band couldn’t be here to perform it live.
If this introduction is an eerie calm, what follows is the storm. The bands on today’s bill represent the incredible, multifaceted depth of the APF roster, proving that “heavy” is a spectrum, not a single note.
Praetorian just detonate, Tom is shirtless and instantly stomping out into the area in front of the stage. This is a band whose pure live sound and fury translates perfectly to the stage—it’s dense, driven by low, guttural vocals, and frankly, more people should have been in the room to witness it. If you want a band to properly kick a festival into gear, it’s these guys. The vocalist commands the floor, making his own pit with zero fucks given.
Despite early delays forcing them to play longer, they remain tight, ferocious, and armed with a great sense of humour. No matter the time crunch, there is absolutely no let-up. They set an incredibly intense bar for whoever has to follow. I reviewed Pylon Cult and it was one of my albums of 2025 and seeing them up close is just something else. Unhinged, in the best way. And definitely speak to them about drum and bass.
Trevor’s Head are up next. The three-piece occupy a completely different sonic space. After a fairly tortured soundcheck, they kick off later then they would have hoped. To be fair, the audience is pretty forgiving, allowing them to delve into a more melodic brand of metal, ensuring that there is something more on the bill than just extreme metal.
They are a different beast altogether, leaning heavily into progressive areas rather than the visceral, blunt-force trauma of Praetorian. It’s a smart placement on the bill, offering the crowd a much-needed aural palate cleanser. More rock-adjacent than pure metal, they successfully rise above their early technical frustrations to deliver a stellar, engaging set which both they and us loved.
By this point, we are behind schedule and hunger is setting in. A quick changeover sandwich is ordered and consumed at speed before Nxmad take the stage. The four-piece show yet another facet of the APF label, one where there is a competent and comfortable stage presence where on the surface, their approach feels more streamlined and straightforward, but the end result is just as devastating as a mix of speed and energy bring the energy levels up in front of a floor that is slowly filling up now with bands and punters alike, and Nxmad are enthusiastically received.
They trade in a more hardcore-adjacent sound with a heavy concentration on delivering hard-edged, massive riffs. With a frontman channelling a Randy Blythe-Esque energy, their set is all about the bottom end—which hits exactly where it should. To top it off, they walk away with the prize for the biggest breakdown of the day.
Tides Of Sulphur come armed for absolute war. Their isolated bass sound alone during soundcheck is enough to level buildings. Following a brief sample, they launch into a set that feels like the apocalypse sitting in your front room and asking you to put the kettle on. The sound is colossal, and the atmosphere shifts into much darker territory. Like Praetorian, there is an innate intensity here; it feels genuinely unhealthy when played slow, but once it picks up speed, it is horrific in the best way possible. It helps that they sport a flying V.
All of this is available from just their first song, which separates the audience like a scythe. If Trevor’s Head was a light cosmetic procedure and Nxmad was the setting of a bone, then Tides Of Sulphur are the pathologist cutting and carving. When they ask if the room wants a fast one, the answer is a resounding yes. That coruscating tone never wavers, and by the time they wrap up, it’s a mercy—collectively, the room is done.
That heavy tone of aggression carries directly into A Horse Called War. Once again, a magnificent, isolated bass whips through the setup so they can get going. They offer a different flavour of heavy—more mobile and hardcore-centric, drawing back inside the crowds who had left for the longest smoke history. It’s a sound capable of stripping the enamel from your teeth, led by a frontman Shane pouring every ounce of his soul into the performance. It’s difficult to adequately describe; it is undeniably heavy, but there’s something deeper at play as that weight is funnelled directly through the vocalist and unleashed onto the crowd.
Wall, who share members with Desert Storm, are our next stop. Setting up with just a guitar and drums, this configuration brings a completely new dynamic to the afternoon. A wave of feedback gives way to a mighty tone that makes you pause and think, ‘Oh, hang on a second.’ What follows is a fleet-of-finger display married to a killer sonic profile. The first track is an instrumental blast, and the second is replete with jagged, complex lines. Realising that a full set of heavy instrumentals is about to hit me, it feels like the perfect time to sit, type, and rest my legs. Nothing against Wall, but the boss knows that I’m not that fond of instrumental metal.
Next up are Gandalf The Green, arriving with the kind of expansive introduction you would rightfully demand from any band carrying that name. It’s a spacey, echoey attack that effectively marks them out as different from everyone else on the bill. They bring a more restrained vibe at first, before dropping a riff set that trades typical, warm stoner fuzz for a rougher attack on the verge of decay. It feels intentionally roughened up—abrasive, even. Driven by full bass and slow, crashing cymbals, their doom/sludge trek arrives like thunder.
Heads are nodding now, not in fury, but in perfect sync with those leaden beats. The fact that this marks their first gig in two years—and that they successfully debuted a brand-new song to such a massive reception—is near-miraculous. The theme of the day remains “something different again,” and Gandalf the Green seize the opportunity. Where others went fast, they slow things down, though they refuse to stay strictly in one lane, breaking out a fabulous lead section. Even if you aren’t a massive fan of the style, you can’t help but get swept along, especially in the closing moments of their set.
Finally, it’s time for headliners Desert Storm. By the time they set up and go, gig fatigue has fully set in. I appreciate that bowing out just a song or two into their set isn’t exactly cricket, but I’d rather give an objective review than one compromised by exhaustion. Out of all the bands on display today, they are probably the most “traditional” in how they go to work. That doesn’t stop it from being effective live, because good riffs never go out of fashion. It’s a mighty noise—crisp, clear, and boasting standout vocal harmonies. The crowd is highly receptive, heads are nodding, and it’s really all you can ask for at the tail-end of a solid day of extreme metal.
Ultimately, each band may share common DNA in that they play heavy music—and some share even more in their specific genre leanings—but every single act remains entirely unique to themselves. As a curated day of extreme music, APF 2026 has put an incredible breadth of talent on display.
The amount of words committed to each band here does not mean one is more worthwhile than another; it is simply that some provided more immediate fuel for the notebook, and naturally, my tastes lean toward certain styles more than others. It is a true testament to APF that they have built such a diverse roster of artists, all of whom turned up and dropped scorching sets. In turn, they’ve made a dismal, damp Saturday in September a whole lot brighter.
Website [Release date 16.10.26] An interesting album by IT as the original album was written, recorded and produced by Nick Jackson back in 1994, and it was only ever released on self-made cassettes. Nick takes up the story, “In 2020, … Continue reading →
Two nights at the Pompeii amphitheatre in July. Images that catch your breath captured in a fantastic photo book by the Marillion photographer Ann-Marie Forker. Alongside everything else that has captivated me this summer, the setting for a band who sit comfortably alongside Pink Floyd, King Crimson and Opeth as musical innovators sparkled brightly.
Marillion may not be in such impressive surroundings tonight, but the refurbished Beacon is steeped in history and tradition with a track record that reaches back to 1867. They have played the city 13 times, their first time at this venue being on 28 March 1983. The Script Tour, no less. Their last performance came eight years ago on the F.E.A.R tour.
Marillion – Bristol Beacon – 18 September 2026. Photo: Paul Hutchings/MetalTalk
Since that initial show at this grand old venue, Marillion have shed many skins. Disappointingly, despite the current incarnation of the band being a mere three years away from their 40th anniversary, the band is still more recognisable for their 1980s output. The power of radio in that era, no doubt.
But regardless, the band’s rabid fanbase, infiltrated with those few still hoping for something a bit ‘Fishy’, healthily populate European theatres in good numbers. Few of the UK shows have tickets left.
Marillion – Bristol Beacon – 18 September 2026. Photo: Paul Hutchings/MetalTalk
Time is marching on. Keyboardist Mark Kelly is the youngest member of the band, and he has been entitled to free bus travel for five years. It is inevitable that the end is closing in. Not something that we think about tonight, though.
Drummer Ian Mosely belies his 73 years with a performance of imperious quality. Tucked away at the back, only flashes of his face are visible behind an impressive set.
Marillion – Bristol Beacon – 18 September 2026. Photo: Paul Hutchings/MetalTalk
And then we have H. Steven Hogarth. Is he still jokingly called the ‘new’ boy? Surely not. Aged 70, he belies those years with a vocal performance some half his age could not get close to. Not to mention a wit which many comedians could only wish for.
Early on, he points out a Classic Rock article that named three things that happened in 1989. The fall of the Berlin Wall, the Tiananmen Square massacre, and H joining Marillion. “Hard to rank them in order of importance,” quips his comedy sparring partner, bassist Pete Trewavas.
Marillion – Bristol Beacon – 18 September 2026. Photo: Paul Hutchings/MetalTalk
There is a grace about Marillion. Forced to pursue their journey independently and subsequently becoming leaders of the internet revolution, they stand proudly as an outfit that has never compromised.
They echo my beloved Rush in many ways. Enter their world and enter a secret society. One that has formed over 40+ years. Many in the audience do not go to one gig. They follow the band across Europe, to the famous Marillion weekenders. In large numbers at multiple shows. There is an obsession few bands receive or deserve.
Marillion – Bristol Beacon – 18 September 2026. Photo: Paul Hutchings/MetalTalk
It is a great atmosphere as the lower stalls are standing, creating a buzz that all-seated shows cannot match. The band open with Gaza. A 17-minute behemoth, and probably the most political song the band has written, although this is an outfit never afraid of commentary. 17 minutes of captivating progressive rock and still heartbreakingly relevant lyrics fly by.
It is more of a suite than one flowing track, but the audience is spellbound, cheering at key moments. The lights are incredible. It is the start of over two hours of magnificence and humour as H dedicates Gaza to Ed Sheeran.
It is the start of his between-song banter, which is dry but sums up the band’s band of brothers approach. H and Pete trade to comic effect. Never more has a band typified the saying that it is the sum of the parts.
Marillion – Bristol Beacon – 18 September 2026. Photo: Paul Hutchings/MetalTalk
Mosley anchors the outfit with Trewavas. They can do heavy. They can do light. They do both with style. Mark Kelly has always intrigued me. His autobiography revealed many sides to him, and tonight he does his stuff with minimum fuss. The spotlight falls on him, revealing a man in his kingdom, the master of keys, semi-hidden in concentration at the back. Mission control.
Most of the time it is H who takes the lead role. He has never been the jester despite his humour and smile, and his vocals are an acquired taste which took me time to appreciate. As he has got older, his style has developed and adapted. He is still a brilliant frontman, his enunciation and delivery as individual as ever. At times he is caught just watching the brilliance around him. Glorious admiration of the masters at work.
Marillion – Bristol Beacon – 18 September 2026. Photo: Paul Hutchings/MetalTalk
But if the spotlight shines on H, then it also finds the glorious guitar of Steve Rothery, another who sits in the totally underrated category. Plagued by an uncooperative pedalboard, his tech earns his corn, and then some. You end up rooting for him to resolve the issues. He deals with it in a sardonic manner, but with warmth underneath. There is the inevitable frustration, but he does not let it bother him one bit.
The tech problem is resolved eventually with the use of old-school leads.
Marillion – Bristol Beacon – 18 September 2026. Photo: Paul Hutchings/MetalTalk
Rothery’s style is instantly recognisable, beautifully organic and never forced. Fresh from releasing The Roaring Waves, his joint venture with Steve Hackett, Rothery is in great form. Understated, subtle, yet essential to the mix, he plays a blinder throughout. The bursting solo that emerges ten minutes into Gaza escalates the emotions higher.
The ease of that soaring lead on Care (I) Maintenance Drugs still bursts my heart.
It is a stunner of a setlist. H and Pete do an impromptu The Bell In The Sea whilst Rothery’s rig is sorted. Seasons End gets the cheer it deserves, whilst H’s intro for new song Ribbons And Lace is interrupted by Rothery, who reminds H to read the setlist. It is You’re Gone First.
Marillion – Bristol Beacon – 18 September 2026. Photo: Paul Hutchings/MetalTalk
In fact, it is a show bookended by first and most recent with five from Seasons End and five from An Hour Before It’s Dark. The latter comes in a block which sees H dedicate the songs to those working in the health service during the pandemic. An emotional moment, no doubt replicated across the country each night, but poignant, and an opportunity to pause for a brief reflection on a time now buried in the memory banks.
The inevitable shout for Grendel is laughingly dismissed by H as he introduces Enlightened, followed by Built-in Bastard Radar, both from the recently reissued Marillion.com. And then there is Easter. A number 34 chart placing in 1990, H leads the audience in a rendition which sees him singing very little. The crowd are word-perfect, and it is a moment to appreciate. These are dedicated fans, alright.
Two hours fly by, with a blinding Mad And The Great Escape concluding the main set.
Marillion – Bristol Beacon – 18 September 2026. Photo: Paul Hutchings/MetalTalk
It is a phenomenal set-up. The Light show is magnificent, and despite Rothery’s technical issues, the sound is crystal clear. As they conclude with The Release and The Space, I am left to ponder that despite the advancing years, Marillion seem to have plenty of gas left in the tank.
A new album beckons. They seem fit and in great form and another decade seems perfectly possible at this stage. We shall see, but tonight has been an epic set from a band who, one day, might just achieve the plaudits they richly deserve.
Marillion – Bristol Beacon – 18 September 2026. Photo: Paul Hutchings/MetalTalk
Haunt The Woods
“We’ve been together for 14 years,” reminds singer/guitarist Jonathan Stafford midway through Haunt The Woods beautifully curated 35 minutes, before taking us back to Said And Done, a track from the early days.
Haunt The Woods – Bristol Beacon – 18 September 2026. Photo: Paul Hutchings/MetalTalk
The Cornwall outfit were support to Weather Systems in Thekla in this fair city in May 2025, and tonight they easily improve on that showing.
They remain an alternative outfit without a single genre label slapped on them. Their sound is beautiful, with Stafford’s vocals capturing both vulnerability and power in the same delivery. It is no wonder they are on this tour, as their music flirts with some of Marillion’s lighter catalogue.
Haunt The Woods – Bristol Beacon – 18 September 2026. Photo: Paul Hutchings/MetalTalk
Helter Skelter kicks things up a bit, whilst Ubiquity is shimmering in its delicacy.
The blend that they have crafted sees folk, progressive pop and rock merge. Guitarist Phoenix Elleschild and bassist Jack Hale are rooted to their spots, partly due to the need for rich harmonies, but they both play their part along with drummer Oliver Bignall.
Haunt The Woods – Bristol Beacon – 18 September 2026. Photo: Paul Hutchings/MetalTalk
Once again, though, it is Stafford who delivers the frontman role. He is funny, humble, and by the end of their set, the audience, who at the start were a bit reserved, are whooping and cheering.
New York singer-songwriter Sari Schorr has released the title-track from her upcoming album ‘Running Wild‘. The impassioned single is the second to be presented from the album, which will be released on October 9th in Europe and October 30th in the USA via Provogue Records / Artone Label Group. She will also support the album […]
