Finnish melodic metal band Blackment is set to release their second studio album on June 12th. The sophomore full length is preceded by two more singles. The first of them ‘In Motion‘ is out now! Listen on music services (Spotify, Apple Music, Deezer, Tidal, YouTube Music etc.): here “’In Motion‘ is a concentrated burst of energy […]
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Posted on April 28th 2026, 10:22a.m.
Tonight, as fans are packed to the brim of a sold-out OVO Arena Wembley, the massive space feels as if it has shrunk to a packed, sweaty dance floor. This is because The Prodigy are about to hit the stage.
Words: Kahmel Farahani
Photography: Manuela Langotsch
Keyboardist Liam Howlett and frontman Maxim are flying high off the back of a massive 2025, which saw the band headline festivals across the world from Summersonic in Japan to Coachella in the US and even a massive, era-defining headline performance back in the UK at Glastonbury.
As the lights go down and the band launch into pulsing club industrial anthem Omen, the dance pit turns into a combination of rave and mosh pit, with everyone surging forward and bouncing along to the beat.
As the Prodigy close in on their 36th year, the energy levels on stage have not diminished in the slightest. It is actually astounding to watch Maxim walk his way into the crowd singing all the while, before climbing back up and bouncing across stage like the Duracell Bunny.
Keyboardist Liam Howlett and front man Maxim are themselves approaching 60 but their audience seems to be getting younger if anything. Tonight’s crowd is genuinely all ages and mix of everything from old time ravers to punk rockers.
It is also impressive to see how far and deep The Prodigy’s music is resonating in 2026. The heavy-hitting floor fillers Invaders Must Die sends the standing crowd into total pandemonium, and it is followed by synth-heavy raver Roadblox.
Honouring the memory of the late Keith Flint, whose spirit is still very much felt live on stage, the band perform a medley of Claustrophobic Sting and Firestarter. Flint’s iconic spiky mohawk is silhouetted on the screen by lasers. It’s a worthy tribute to a much-missed frontman.
The encore begins with Breathe. This is the ultimate combo of dance, rave, goth and industrial packed into sub three minutes. With lasers pouring over the crowd and everyone jumping, it feels like falling backwards into The Matrix film. It is followed by the robotic hypno acid of Take Me To The Hospital.
“Taking it way back for all my old school ravers here,” says Maxim before launching into the next song, “Gen Z don’t know this shit!”
Performing Ruff In The Jungle Style live for the first time since 1993 is a surprise treat for the veterans here, and it gives the younger fans an idea of the impact that The Prodigy had on the rave scene and club music as a whole. It is followed by the old school hip hop of Diesel Power.
The band return to the stage for their second and final encore to rip through the aggressive stop-start of Comanche. This is the perfect end to a tremendous show.
The Prodigy will bring their huge headline performance to four massive outdoor UK shows for summer 2026 including a return to Milton Keynes Bowl which they last played in 2010. This will see their Warriors Dance experience, along with new production and their sonically attacking wall of sound.
2026 is set to be their biggest year yet in an impressive new high for a 35 year strong career full of many life-altering highs and lows. These massive live dates will be bolstered by a stellar support lineup.
This event will create history, bringing The Prodigy together with four masters of the rave and electronic music for the first time. The legendary Carl Cox, the king of drum & bass Andy C and then the big-league authority on all that is reggae, Mr David “Ram Jam” Rodigan, bringing the opening vibes at all four shows. Adding in riotous sets from the best of the underground with Japanese DJ/Producer ¥ØU$UK€ ¥UK1MAT$U and the UKs own Trap Metal pioneer SCARLXRD.
If tonight’s show at Wembley is anything to go by, you do not want to miss those Summer shows. The Prodigy are still at the peak of the mountain and nobody is coming to claim their spot any time soon.
Warriors Dance – August 2026
Thu 20 – Dublin, Irish Museum of Modern Art
Sat 22 – Milton Keynes, The National Bowl
Sat 29 – Edinburgh, Summer Sessions, Royal Highland Showgrounds
Sun 30 – Manchester, Wythenshawe Park
TICKETS: www.theprodigy.com
It hasn’t been long since their debut, but DEUS SABAOTH have already moved forward with Distortion of Lies. I spoke with them about how the album took shape and what’s changed – both musically and in the ideas behind it.
Hi! DEUS SABAOTH appeared only a few years ago, yet you already have a second full-length ready. Did Distortion of Lies grow out of ideas that were still left from Cycle of Death, or did this album begin from a completely fresh point?
Hi!
I would say it continues evolving the same ideas, but in a new chapter. The listener encounters familiar themes from a different perspective. The material for this album was written after we had finished working on Cycle of Death, so it was a fresh start, but with a shared foundation.
In the description of the album you speak about the “fragile architectures” people build to protect themselves from reality. Where did that idea first come from?
The first and most common source of these protective lies people tend to adopt is, of course, religion. Living in a predominantly Christian environment, this is inevitably present in almost every aspect of life, and it gives a lot to reflect on.
The title Distortion of Lies suggests that deception is rarely obvious – that lies often hide behind something comforting. Is the album more about manipulation coming from institutions, or about the lies people slowly start believing themselves?
It’s about both. While the church and similar institutions do their job of making their followers believe whatever they promote, people willingly consume these false promises or create their own systems of belief to cope with pain, disappointment, and loss.
Alyona, you handle composition, lyrics, bass and piano. When a song starts taking shape, what usually comes first – a musical mood, a melody, or a lyrical idea?
There’s absolutely no pattern. For instance, “Worship” began with the lyrics, and I composed the music to match them both rhythmically and atmospherically. “Distortion of Lies” started with guitar lines, and everything else came later, while “Last Gleam” originated from the violin motif you hear at the beginning.
So, when it comes to that ongoing debate about “proper songwriting” — whether music or lyrics should come first — I’d say it doesn’t matter. A song will take its shape regardless of where it starts, as long as there’s something genuine behind it.
Anton Vorozhtsov handled the guitar parts as a session musician. When working with someone outside the core lineup, how much room do they get to shape their own interpretation of the material?
It depends on the instrument. For example, the violin parts are usually performed with minimal changes. But when it comes to guitars, Anton has more freedom. He does an amazing job adding subtle details that enrich the sound without altering the core idea.
Although he mostly follows the tabs I provide, the way he performs them is up to him, since he has a strong sense of balance and a deep understanding of the music we create.
Looking back now, what changed the most in the way you approached songwriting compared with the debut album?
This time, there’s clearly more focus on guitar work than before, and much less on the symphonic elements. We also paid more attention to the rhythm section. But overall, the core songwriting process hasn’t changed much.
Black metal has always had a strange relationship with spirituality. Even while criticizing belief systems, do you see Distortion of Lies as a record that still deals with spiritual questions?
Yes, in a way. It explores how spirituality is used and manipulated, and how it mutates in response to dissatisfaction and inner conflict. It challenges beliefs and questions the meaning of existence.
“Last Gleam” feels like it hangs somewhere between despair and clarity. What kind of moment or idea gave birth to that track?
You described it quite well. It came from the realization that there are things that cannot be changed, no matter how hard you try. No external help will make them better. It’s a burden you carry alone — and the closer you get to the end, the clearer it becomes.
The closing piece, “Wooden Box”, is an interesting title. Without revealing too much, what place does that track hold in the overall flow of the album?
It represents a moment of complete exposure — when the final layer of protection falls away, and you are left alone, facing your deepest fears and the absolute hopelessness that remains.
This track was written at a time when I personally confronted an inescapable sense of finality and inevitability — a realization that stays with you and cannot be undone.
Being a Ukrainian band in the current moment inevitably shapes how artists see the world. Has your environment influenced the mood or perspective behind this record?
That’s a very valid question. There is definitely an indirect influence.
First of all, my views have changed significantly — becoming more cynical and nihilistic. A certain degree of tolerance has disappeared from my value system, replaced by a sense of fatalism. And I believe this shift is reflected in the music — particularly in the atmosphere of hopelessness that runs through the album.
The album description ends with the idea that after the longest night there will be a dawn. Is that meant as genuine hope, or more as a quiet acceptance of reality?
The latter. No matter how long someone deceives themselves, the moment of facing reality inevitably comes — and it can be devastating.
DEUS SABAOTH works with a small core and several session musicians. Do you see the project eventually turning into a fixed full lineup, or does the project format suit the music better?
At the moment, I find this format very comfortable. The three of us are on the same page in terms of musical direction, which makes collaboration easy. I’d like to preserve that atmosphere within the band.
Also, the current session musicians are great to work with, so I don’t see any need to change anything for now.
When someone listens to the album from beginning to end, what do you hope stays with them after the final track fades? Thank you for your time!
To remain half-blind and protected, or to face brutal reality — it’s a choice. Make it consciously. That tension is what the record revolves around.
Thank you!
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It has only been a few weeks since Sevendust were in the UK supporting Alter Bridge on their February arena tour. Their 15th album follows that and precedes a winter return where they will headline smaller venues, but to no doubt similar levels of devotion.
Release Date: 1 May 2026
Words: Paul Hutchings
I cannot say I am a keen follower of the band or their music. They flirted with me in the noughties, partly due to their inclusion on a WWE compilation album that my son used to play to death. So it is with fresh ears that I approach One, the latest release from the Grammy Award nominees.
The line-up remains steady. This is an outfit that has not really changed since their inception, apart from a small break for guitarist Clint Lowrey.
Since 2008, there has been rock-solid stability in the camp, which is a factor in their impressive output. Alongside Lowrey, the rest of the band remains the well-oiled machine comprising Lajon Witherspoon (vocals), John Connolly (guitar), Vince Hornsby (bass), and Morgan Rose (drums).
One is described as a continuation of their unmistakable sound, and I can see why this is the case. They have the big low-end to their songs, which provides ample heft, the dual guitars have teeth and cascade some massive riffs, whilst their sound blends elements of grunge, Nu-Metal and a more radio-friendly Modern Metal approach.
It is no wonder they toured with Alter Bridge, for tracks like One and Unbreakable are earworms that fit neatly into that arena-sized world.
One might be their 15th album, but you do wonder why, with a sound that straddles the new wave of classic rock genre perfectly, they have not got more airplay on the likes of Planet Rock. It is certainly a style that would draw attention.
Is This the Real You, with its rich melody and harmonies alongside an instantly memorable riff, is made for sing-alongs in cavernous halls, and you can add We Run to the list. Another track drenched in melody, with a hook that you simply cannot avoid.
For me, this style is a little too generic and sits with my lens on the likes of Halestorm, Shinedown, Godsmack, and hundreds of others. Fine songwriters, but all a little bit beige for my tastes. But regardless of my view, there is no doubting that Sevendust can write a tune, and sometimes, big, radio-friendly rock is welcome on the menu.
The thumping stutter of Construct with its pounding bass sounds huge.
Part of the setup that makes Sevendust a big attraction is the vocal prowess of Witherspoon. His voice is rich, smooth and powerful. He can do the big noise, as well as the more sensitive approach. Bright Side, which is a semi-ballad with a large riff to power it along, is a fine example of his quality delivery, even if the song itself is a little bland.
One sprawls over ten tracks in total. It is not a hugely long album, and it does pop along with a spring in its step. As I have already said, the music is crying out for big venues due to the anthemic nature of the writing.
Penultimate song Blood Price covers all bases, big and brash yet also perfectly crafted and cultured with a big breakdown and the most aggressive roars of the entire album. It contrasts with the closer, Misdirection is almost pop by comparison, despite a crunching riff and swirling tempo as it slowly moves to an impressive finale.
For those who are longtime fans of the band, I would imagine One is not going to let you down. For those new to the band, it is either going to pull you in or bounce right off you.
I admit to enjoying it whilst listening to it, mainly because of Witherspoon’s vocals. But it is not one that will remain on the playlist for long, although I am looking forward to hearing on that tour later this year.
Sevendust release their 15th studio album, ONE, on 1 May 2026 via Napalm Records. Pre-orders are available from lnk.to/Sevendust-One. For all upcoming tour dates, ticket information, and VIP packages, visit sevendust.com/pages/tour.
Traditional heavy metal band Wishing Well from Finland has released a new video off their brand new ‘Playing With Fire‘ album, released in March. This time visual extra boost was given to album’s fastest track, ‘Train Of Thoughts‘, by animated video. The video was illustrated and animated by Natalia Śmiechowicz, who has made videos for Uriah […]
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