Eliza Carthy releases her new album ‘Frenemies’ on October 26 and it features guests including Jools Holland, Robyn Hitchcock, Miranda Richardson, Tim McInnerny and more. Focus (pictured) have a 6CD live box set bringing together all of the band’s live albums from … Continue reading
The post News: PALLAS, MINISTRY, QUEEN (August 2026) appeared first on Get Ready to ROCK!.
(written by Islander) Occasionally some of us play a mind game in which we imagine how people who know almost nothing about metal would interpret words and phrases we throw around about the music on a daily basis. Like, how would they interpret “tech death”? The possible or hoped-for demise of Silicon Valley? AI reaching […]
The post AN NCS VIDEO PREMIERE: VOLUBILIS — “UNUKHALAI SUPERNOVA” appeared first on NO CLEAN SINGING.
A decade has passed since Anette Olzon last visited Finland, when she appeared on the television show Tähdet, tähdet. Before that, she had risen to […]
The post ANETTE OLZON on Revisiting Her Nightwish Years: “I Have the Right to Sing Those Songs” appeared first on Metal-Rules.com.
The experimental rock band Shearling, like Alex Kent and Sylvie Simmons’ prior outfit Sprain, have an often extreme approach to music that inspires fierce devotion and revulsion. But whether you love them or hate them, hopefully we can all agree they’re great at naming records. Shearling debuted last year with the single-track epic album Motherfucker, I Am Both: “Amen” And “Hallelujah”… This year — this week, in fact — they’ll follow it up with a new EP called Don’t Look At Me The Way A Dog Might Look At Your Leg. That’s evocative! In several ways!
The post Shearling Announce New EP <em>Don’t Look At Me The Way A Dog Might Look At Your Leg</em>: Hear “Believe Me (Dust)” appeared first on Stereogum.
The biggest live-show beatdown I ever saw happened during New York hardcore heroes Sick Of It All’s set at the 1997 Warped Tour in DC. One guy came running through the crowd past me, gushing blood from his head, while a bunch of other dudes chased after him. One guy had his wristwatch over his fist, and he kept punching the one bloody guy in the side of the head. Sick Of It All weren’t exactly known for the most peaceful live shows in the world, but they weren’t having that. This thing happened right next to me, and I was too slow to react. But right away, SOIA stopped the song they were playing, and frontman Lou Koller made his disdain clear: “Ten guys on one guy? Ya got no heart!”
The post Drain Cover Sick Of It All In Tribute To Lou Koller appeared first on Stereogum.
Let’s not bury the lede here: I don’t like Avenged Sevenfold’s Statica EP. Having listened to it multiple times since it was surprise-released on Friday, I think it’s an overcooked misfire, burying potentially winning songs under goofy effects and enough Auto-Tune to make T-Pain go ‘bit much’. But I also respect the hell out of it.
Avenged didn’t need to make four tracks that evoke the feeling of tripping balls in a hall of mirrors. They’re Grammy-nominated Billboard 200 chart-toppers whose throwback sound – inspired by Metallica, Guns N’ Roses and SoCal hardcore – was revolutionary as nu metal ate itself. Waking The Fallen and City Of Evil are classic albums for countless millennials. They could have carried on, kept churning out pale imitations of hit singles Hail To The King and Afterlife, and they’d have kept filling arenas and headlining festivals. No problem.
I know this because so many other metal bands have followed this exact course – and it’s boring as sin. I could list dozens of names who made it big and then clung to the same formula for the rest of their careers, and dozens more who closely imitated their forebears without adding an original spin. You could too. And most of the artists who break the mould sooner or later return to it: remember when Metallica appeased the St Anger haters with the safely thrashy Death Magnetic?
When you’ve amassed a fanbase who seek catharsis in noisy riffs, you can’t take the pedal off the metal without disappointing someone
Where reinvention is expected and encouraged in genres like pop (Taylor Swift’s Eras tour, the highest-grossing tour ever, was a celebration of all her sonic and aesthetic changes), metal fears it. Broadly speaking, when you’ve amassed a countercultural fanbase who seek catharsis in hellion screams and noisy riffs, you can’t take the pedal off the metal without disappointing someone.
The fact that plenty of metalheads consider heavy music to be anti-everything else, rather than just one other genre in the hundreds of genres out there, makes things harder. From Metallica’s Black Album to Deafheaven’s purely shoegazing Infinite Granite, almost every album where a major metal band incorporated less aggressive stuff has been lambasted as ‘selling out’, regardless of the fact their wallets were probably fine beforehand.
This leaves musicians with two options: live in the same bubble you always have, or take charge and put fans in their place. The latter is scary, not just because of all the hate-comments you risk receiving in the short term, but the longer-term possibilities of playing smaller venues and dropping down bills. It can ruin you, like Suicide Silence’s career-derailing self-titled album did, or it can catapult you. Where would Bring Me The Horizon be if they were too frightened to make Sempiternal and kept copying There Is A Hell… every other year? Not headlining Download and leaving every other metalcore band in their dust, I’d wager.
While I’m never going to be at the front of the queue for Statica cheerleading practice, I at least admire what Avenged are doing. It’s a wild, if uneven, blast of colour in a scene often content with black. I’m not the same person that I was when Nightmare came out in 2010, and if you expect them to be, you’re putting unnecessary limits on artistry.
The final day of the Maid Of Stone 2026 event continued to dial up the enjoyment, with an embarrassment of riches from down and dirty rock’ n’ roll to the more progressive end, taking in all stops en route. A little bit of magic for everyone.
Words: Liz Medhurst – Paul Monkhouse
Photography: Gina Smith
Germany’s Velvet Rush brought some hot and sweaty rollicking hard rock to Maid Of Stone, the Hamburg quartet hungry and ready to make the most of their half-hour slot.
Shake That Thing, Euphonia and Fire Spirit leave everyone shaken and stirred, and new song Nature Of The Beast sees lead singer Sandra Lian exercising her extraordinary range to jaw-dropping effect.
There was a sense that they were holding back a little, but considering that British Airways had lost all of their equipment, meaning that everything had been borrowed from The Almighty and other bands, we will cut them all the slack needed.
Local band Queen Horizon were due to play on the Firestarter stage last year but had to cancel last minute. The alt rockers started well, with a lively energy, and had some interesting elements like the guest cello. Unfortunately, the sound was not always clear, and the vocals were not strong enough to really make an impact this time around.
The former Biters frontman is back with a solo band, and Tuk Smith And The Restless Hearts shattered a peaceful Sunday afternoon in the best possible way.
Playing like his life depended on it, Smith delivered an onslaught of rock ‘n’ roll, controlled aggression channelled into his guitar playing. Blues power with a punk attitude and really tasty hooks and unashamedly influenced by Thin Lizzy. For many, he was the find of the festival.
Following on from LN the previous day, it was Square Wild that captured hearts and minds by bending the rules on Firestarter for Sunday. Kinetic performances from Lucy Shevchuk and the band saw their own brew of prog, Metal and jazz explode in a welter of constantly shifting bodies and riffs from the stage, and the results were nothing short of incendiary.
Hounds, Kill The King and Masquerade have twisted hooks that stay for days and with their debut album due to be released shortly, the future of music is about to become a lot more interesting.
The return of Heavy Pettin is a very welcome one, the veteran Scottish outfit having emerged back onto the scene with a new album that has been taken to hearts in a way that surely brought both reassurance and gladness to Hamie and his bandmates.
A constant fixture of theatres and arenas in the mid ’80s, hearing the outfit smash out big hitters like In And Out Of Love was not just a heady blast of nostalgia but also a reminder of what great songwriters they are. The flame burns as brightly as ever.
Having just secretly signed their first record deal, making the triumphant announcement on stage, Silveroller were on a definite high, their blues-soaked rock blending the best of Bad Company and The Faces.
Unlike others who slavishly copy classic bands, this was a modern take done with style and flare(s) that just felt right, and with lead singer Jonnie Hodson’s Paul Rodgers soulful howl and easy bonhomie, it is not a stretch to see them reach the highs of Rival Sons.
Hip-shaking live rock ‘n’ roll of the finest order.
Over on the VIP Acoustic stage, Parker Barrow, currently on a UK tour with the full six-piece band performing their captivating cocktail of powerhouse southern rock, stripped it right back down to basics.
With only Megan Kane and Alex Bender armed with an acoustic guitar and a tambourine, this punchy and appealing set showed that if you have the songs and stagecraft, then you can rock out in any setting.
Later in the afternoon, Brave Rival took the full band approach and delivered a laid-back set of their live classics, complete with plenty of banter and the personal touch, delighting their many fans in the crowd.
Times have changed for Glasgow trio Anchor Lane. The commercial pop-rock feel of their debut left long behind them for something much rougher and dirtier, with definite shades of Green Day.
Stuttering and groove-filled new single It’s The End, My Friend has enough heart and bite to make a docker dance, and with a set filled with such fine stuff, they are looking real contenders for Gun’s crown.
One of the most anticipated acts of the day was South Carolina blues rocker Hannah Wicklund, who took to the stage as a barefoot fairy queen and proceeded to knock everyone sideways with her commanding and incendiary guitar playing combined with soulful and gritty vocals.
Playing mainly as a power trio, with Kula Shaker’s Paul Winterhart on drums, the set ranged from full-on rock ‘n’ roll to something more otherworldly but always, always captivating, from one of the best guitarists in the park today.
Bringing on flute player Erin Clare took things into an almost psychedelic dimension, moving into heavy progressive territory. Speaking about the importance of stepping into power and using our voice, the finale of Neil Young’s Ohio made a strong statement.
Hannah has a new album out this August, and she is not holding back. Buckle up. It is going to be a wild ride.
Ginger Wildheart is a warrior and a man who is built for this. His band The Wildhearts are a force of nature that epitomises all that makes rock music so earthy and thrilling.
Watching the band live is like witnessing a tightrope walker, the threat of everything falling into a glorious chaos at any minute utterly gripping. This latest line-up of the band crackles with danger but without the damaging razor-edge volatility of previous formations.
The Wildhearts these days are a joyous thing and times like these make memories and warm the heart for all welcomed into the family.
It has been a busy year for Aethoria, the fast-rising quintet becoming a solid feature all over the country, and here, playing their biggest stage so far, they have a lot to prove.
Fiery-haired singer Mecia Jade Holden embodies the spirit of Boudica, leading her warriors into battle and hours spent on the road have certainly paid off, moulding them into a tight outfit.
New guitarist Jamie Gray has added some extra energy to the outfit, and Tamed and Bring Me Home are hook-filled delights that get the crowd gleefully punching the air, while Stepping Stones has turned into one of the most addictive sugar-rush songs of the year.
Chez Kane may have seemed an odd choice to headline the Firestarter stage, but this really worked. The effervescent Welsh singer has skilfully tapped into the very best of the ’80s Glam and Hair Metal sounds that built FM radio stations, displaying that she has the voice and the emotion to bring back those halcyon days and give them a modern spin.
She is obviously doing something right, as the largest crowd she has played for was lapping up every moment, Too Late For Love and Wreckless displaying hooks so big that they could have trawled the English Channel.
Night Of Passion and Tongue Of Love may have brought a knowing nudge and wink, but you cannot fault the power and control in Kane’s vocals, and they proved that she is a very serious contender, albeit one who loves a bit of spandex.
So good, Chez Kane will bring back Walkmans.
Fresh from their triumphant opening slot at the huge EDDFEST, co-headliners The Almighty made the journey from Knebworth to Mote Park, bringing their muscular, hard driving greasy rock ‘n’ roll to shred the assembled masses.
Following fellow icon Ginger Wildheart, Ricky Warwick is another figure that encapsulates the pure, tattooed punk spirit of rock ‘n’ roll, and along with Floyd London, Stump Munroe and Tantrum, their last gang in town mentality shows a brotherhood bonded by blood and loud Marshall stacks.
With the piledriving intensity of an unstoppable run of numbers like Jonestown Mind, Wrench and Full Force Lovin’ Machine, this was a set full of the very best of their craft, the gentle Jesus Loves You…But I Don’t being the only respite from the exhilarating barrage.
By the time that a full-throttle Free And Easy wiped away any last shreds of resistance, it was game set and match for the Glasgow wrecking crew, and Warwick’s smile said it all. Magnificent.
And so to the final act of the festival with co-headliners Uriah Heep leading us out in style. The show may be billed as The Magician’s Farewell, but the band are not going anywhere. This is not a retirement, only a step back from long tours and globetrotting.
They are not going quietly either, having flown in from Frankfurt today, arriving just in time to take to the stage.
After 56 years, we know what to expect from a Uriah Heep show, with plenty of hard-rocking pomp, proggy interludes and a liberal sprinkling of mysticism and magic.
Choose any track you like – The Magician’s Birthday, July Morning, Gypsy, Sweet Lorraine, The Wizard. It was wonderful to hear these live, in peerless Heep style.
A hero’s welcome was given to guitarist and all-round legend Mick Box, who had to sit out the Scandinavian leg of the tour earlier in the year but is fully recovered now.
There is no sign of tiredness from any of the band, with vocalist Bernie Shaw retaining his clarity and enough of his higher range to make sure no song was compromised.
With a rip-roaring Easy Livin’ to see us out, we are already looking forward to next year. ‘Appy days indeed.
Now in its fourth year, Maid Of Stone has firmly established itself as a must-attend event for rock fans. With a wide variety of music styles covered, the festival’s reputation continues to grow.
MetalTalk’s 2026 team was Liz Medhurst, Paul Monkhouse with photography by Gina Smith.
Set to be a highlight of Festival Season, MetalTalk will have more news very soon. All our coverage for 2026 will be found MetalTalk.net/maid-of-stone.
Tickets are available now for 2027. For full details and to grab your tickets, visit MaidOfStoneFestival.com.
MetalTalk’s Maid Of Stone 2025 coverage can be found at https://www.metaltalk.net/tag/maid-of-stone-festival-2025.
MetalTalk’s Maid Of Stone 2024 coverage can be found at https://www.metaltalk.net/tag/maid-of-stone-festival-2024.
For MetalTalk’s Maid Of Stone 2023 coverage, visit https://www.metaltalk.net/tag/maid-of-stone-festival-2023.
