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Brand New Heartache’s A New Alchemy fits into a long country tradition: two singers using harmony and disagreement to tell the truth about a relationship. The clearest earlier reference point is John Prine’s In Spite of Ourselves, a record that treated love as a conversation between imperfect people rather than a polished romantic ideal.

Becky Baldwin asked for photo with Black Sabbath icon in case they never met again following a nervous first jam. Continue reading…

Black metal veterans from Finland, Beherit, will be heading out to the land “down under” towards the end of this year featuring special guests Portal.
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In wake of their upcoming album release After Chaos: Nocturnal Vigil, Swedish long-standing death doom operatives Runemagick present another new track in advance called “After Chaos”.
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On September 25, 2026, Siberian black metal formation Theosophy their seventh long player dubbed Line Before The Event Horizon. The 6-piece music output was mixed by P.G. (Ad Nauseam Sounds) and mastered by Jonas Kjellgren (Black Lounge Studios).
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“Phoenix”, the second preview tune from Elysion‘s next studio record Identity, has premiered online together with an official lyric video. Greek melodic metal crew will put out the new outing on October 16th, 2026 via Massacre Records.
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In support of their upcoming album release System Error: Humanity, US metalcore slashers Walls Of Jericho are returning to Europe this November for a string of headline shows.
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There aren’t many guitarists whose arrival on stage is greeted with the same quiet anticipation as Eric Johnson. No bombast, no grand entrance, just a packed Roadmender waiting to hear that unmistakable first note. A Grammy Award-winning guitarist and a veteran of Joe Satriani’s G3 tours, the Texan reminded Northampton why his reputation has never been built on volume or theatrics, but on taste, touch and one of the most instantly recognisable guitar tones ever committed to an amplifier.

Johnson wasted little time settling the audience in, opening with ‘Righteous’, an ideal choice to ease the band into the evening while immediately showcasing the rich, singing lead tone that has fascinated guitarists for decades. From there, the concert unfolded in three distinct movements: an opening electric set, an intimate acoustic interlude, before returning to full electric power for the closing stretch. It was a simple but effective format that kept the evening flowing naturally while highlighting the breadth of Johnson’s catalogue.

The Roadmender was the ideal venue for his music. Close enough to appreciate every subtle detail, it allowed the audience to hear the nuances that often disappear in larger halls. From the opening notes it was obvious this wasn’t going to be an evening built around nostalgia. Johnson looked relaxed, his band equally at ease, and together they settled into a groove that felt effortless from the outset.

The set drew from across Johnsons’ vast catalogue, but the newer material never jarred against older favourites. The songs carried a bluesier edge than some of Johnson’s earlier work, driven by fat Texas grooves and muscular rhythms, while still leaving plenty of room for those soaring melodic solos that have always been his trademark. His ability to move seamlessly between blues, jazz, country and rock remains remarkable because none of it sounds forced. The influences are there, but they disappear into a style that could only belong to Eric Johnson.

The acoustic portion of the evening provided a welcome change of pace. Stripped of the soaring sustain and shimmering effects that define his electric sound, Johnson’s songwriting came into sharper focus. His touch remained every bit as expressive, demonstrating that the musicality underpinning his playing doesn’t rely on volume or elaborate rigs. It also gave the audience a chance to appreciate the warmth and intimacy that have always been present beneath the virtuosity.

For guitar players, watching Johnson’s technique up close is fascinating. His economy of movement is extraordinary. Nothing appears wasted. The famous right-hand touch, the impossibly clean articulation and the way he controls dynamics with little more than his fingers all combine to produce that unmistakable singing tone. It’s the sort of performance that reminds you why so many players have spent decades trying to recreate his sound, only to discover the secret has always been in the hands rather than the equipment.

If there was one moment everyone had been waiting for, it was ‘Cliffs Of Dover.’ The opening notes immediately drew cheers from every corner of the room, but what followed was anything but a note-for-note recreation. Johnson has played the piece thousands of times, yet it still feels alive. Familiar melodies were stretched, phrases subtly reworked and solos allowed to breathe without ever losing sight of the composition that made it famous. It was less a performance of a classic than another chapter in its evolution.

The rhythm section deserved equal praise throughout the evening. Solid without ever becoming intrusive, they provided the perfect platform for Johnson’s flights of invention. Whether locking into deep blues grooves or navigating the more harmonically adventurous passages, they listened as much as they played, giving the music a natural flow that made the evening feel refreshingly unforced.

Johnson remains one of rock’s least demonstrative performers. Between songs he offered little more than a warm smile and a few words of thanks, preferring to let the music carry the evening. There was none of the overblown showmanship that often accompanies so-called guitar heroes. Instead, the applause came naturally after each performance, growing louder as the night progressed.

What struck me most wasn’t the speed or the technical precision, impressive though both remain. It was Johnson’s restraint. He knows exactly when to leave space, when to hold a note and when not to play at all. In an age where so many players seem determined to fill every available moment with notes, Johnson understands that silence can be just as powerful.

The Roadmender crowd recognised that too. Many had clearly followed Johnson for years, while others were seeing him for the first time, yet there was a shared appreciation throughout the evening. Phones stayed largely in pockets, conversations stopped when the music started and every solo was met with genuine applause rather than obligatory cheering.

As the evening came to a close, Johnson acknowledged the audience with characteristic humility before quietly leaving the stage. No dramatic farewell, no extended curtain call, just another evening’s work from a musician who has spent a lifetime putting songs before spectacle.

Eric Johnson has never chased trends, and perhaps that’s why his music has aged so gracefully. While others have come and gone, he continues to refine a style that values melody over excess and emotion over exhibition. Northampton witnessed exactly why he remains a guitarist’s guitarist, but more importantly, why he’s still one of the finest musicians working today.

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The post Still Chasing Perfection: Eric Johnson Stuns at the Roadmender appeared first on Blues Rock Review.

Hard rockers Shakra have released “Wasteland Warriors”, the latest new single from their forthcoming record Just Live Loud, due out on September 4, 2026.
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US doomers Silvertomb announce the release of their second full-length instalment, The Interpretation Of Nightmares, on November 13th, 2026 via Steamhammer. For a preview, check out a Tom Flynn-directed video for the first single “No Way To Live”.
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