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PAM WHISENHUNT | Go Venue Magazine

It was a beautiful spring night in Omaha, Nebraska May 8th 2026 when Wage War brought their It Calls Me By Name Tour to The Admiral Theatre. From the first note to the final song, the crowd made it clear they had zero interest in standing still.

Orthodox opened the night, and if you weren’t already familiar with them, all you needed was about thirty seconds to get the picture.  They were heavy, frantic, and absolutely relentless. The strobe lights were so intense they practically needed a health warning slapped on the venue doors. About three songs from the end of their set, the vocalist called for some two-stepping, and the pit answered. The pit also did something I hadn’t seen before: a kick line locked in like the Rockettes had wandered into a metal show. It was absurd and awesome all at once. Sirens wailed as the band built into a massive breakdown, vocalist Adam Easterling demanded “I don’t care where you are in this room,” “everyone put your horns up” and they obliged. Orthodox left the stage having done exactly what an opening band should: get the crowd wound up and ready for more.

Nevertel came out next with a different kind of energy. Nevertel blends nu-metal with hip-hop-infused verses and melodic hooks, drawing comparisons to Linkin Park and Bring Me the Horizon. That genre-blending sound is exactly what had some in the crowd questioning whether they belonged on this bill. Not heavy enough for a Wage War show, they said. But Nevertel wasted no time proving themselves, opening strong with arguably their biggest hit, “Break the Silence.” Both Jeremy Michael and Raul Lopez paced the stage and engaged the crowd. About five songs in, Lopez dropped down to the rail and commanded a circle pit and the crowd was more than happy to deliver. They asked how many people had never seen Nevertel before, and a surprising number called out but that didn’t matter, because they were clearly vibing with them. At one point the lights dimmed, cellphone lights came on, and the entire room swayed. When they played “Everything in My Mind,” the recognition was unmistakable. Kalie Wolfe, vocalist of Rivals, joined them onstage lending her vocals, and as she left, the band sent her off with a “Love you, Kalie.” Through it all, Nevertel repeatedly reminded the crowd: “If someone falls down, pick them up.” Clean or not, that kind of intention fits this metalcore crowd just right.

Finally, the main event, Wage War.

The first time this photographer’s love for Wage War hit was at The Truman in Kansas City, April 2023. The song “Manic” drew me in and that show sealed the deal. Catching them on this run was a must. Wage War opened with “4×4” off their new EP It Calls Me By Name, and the weight of it hit immediately.  Heavy and catchy, destine to be a Wage War classic. The second song “Alive” went way back to the beginning but felt as fresh as a new release.  “NAIL5” rounded out the first three songs. When “Tombstone” and “Low” dropped mid set, the crowd was chanting all the words. The pit was fluid, almost alive with circle pits, crowd surfers, and bodies moving side to side, wall to wall. It had been a long time since I’d seen a pit that active.

Seth Blake stepped to the mic and asked if anyone saw him fall into the weeds. He laughed it off saying, “No you didn’t!”. Mentioning it seemed to be a recurring incident.  Next the crowd was handed a choice: “Relapse” or “Who I Am.” It wasn’t close. “Who I Am” won outright.

After a pounding “Death Roll” Cody Quistad asked if they could slow it down for a minute, promising there were plenty more breakdowns still to come. Quistad and Blake were the only ones remaining on stage for a stripped-down acoustic version of “Gravity.” Briton Bond eventually made his way back to the mic, the three of them delivering an impressive harmonious ending to the song.

Bond then stood alone to start “Circle the Drain,” this time with a subtle synth texture woven underneath. The band wrapped up the set with “Purify” “Magnetic,” “Stitch,” and “Manic,” telling the crowd that Omaha had been the best stop on the tour so far.

The encore was “Blindfold” and “Song of the Swamp.” The essence of a Florida swamp was on full display as the song started off with green lights flashing like fireflies against the dark stage, frog chirps and swamp sounds rose before the band crashed in. Ending the night with two songs from their newest EP is a testament to how far they’ve come in the last ten years and how much further they’re going. It’s some of their best work to date.

High energy, start to finish. The crowd was dialed in. Wage War delivered an unforgettable night. There are plenty of dates left on this tour. Get out and catch a show. It’s money well spent.

Wage War

Nevertel

Orthodox

[See image gallery at www.govenuemagazine.com] All images © Pam Whisenhunt

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SEVEN KINGDOMS has announced their 6th full length record Sono Sola. The band will return to their long established crowdfunding model with a plan to release the record in the fall. The crowdfunding campaign will launch on May 26th and run until June 26th. 

Guitarist Camden Cruz shares, “We are really excited for this record! We took a lot of new chances on this record and got to spend a lot more time working on it. The record contains the soul of this band. We bring the highest level and heaviest release of our career to you with this album. We worked again with Jim Morris who wrote and produced the record with us. We also worked on the record with Francesco Cavalieri who also helped produce songs with us on this album. Sabrina is at the top of her game and the band is firing on all cylinders. It will be your favorite Seven Kingdoms album. We cannot wait to share this with you!”

Producer Jim Morris comments, “This is the most melodic and heaviest Seven Kingdoms record that we have ever done. We got to spend more time than ever working on the music. I am very excited for this new music and I believe it’s going to open a lot of new doors for the band!” 

Sono Sola was recorded at Morrisound Recording in April and May 2026 with Jim Morris (SAVATAGE, WARRANT, DEATH). SEVEN KINGDOMS wrote the record together with Jim Morris, who also produced the record along with co-producer Francesco Cavalieri (WIND ROSE). The album artwork for Sono Sola was done by Bo Bradshaw. The Track listing will be released at the end of the Crowdfunding Campaign along with more news. 

SEVEN KINGDOMS:

Sabrina Cruz – Vocals
Camden Cruz – Guitars
Kevin Byrd – Guitars
Keith Byrd – Drums

Connect With SEVENKINGDOMS:

Apple Music: https://music.apple.com/ca/artist/seven-kingdoms/269540019

Facebook: https://www.facebook.com/SevenKingdomsOfficial

Instagram: https://www.instagram.com/sevenkingdomsofficial/

Spotify: https://open.spotify.com/artist/0PMYvG0U25tgSi8jQExPAC?si=Zd59_nhbQeKrYGN4dUI7Cg

Tiktok: https://www.tiktok.com/@sevenkingdomsofficial

YouTube: https://www.youtube.com/@sevenkingdoms

Source: C Squared Music

In January 2016, having just released an album in ‘Too Many Gods’ and begun to attract attention for its seventies inspired, yet original, songwriting, Cats in Space made their live debut at the Half Moon at Putney, which I was … Continue reading →

The post Gig review: CATS IN SPACE- Half Moon, Putney, London, 26 April 2026 appeared first on Get Ready to ROCK!.

The collision of two of metal’s most influential forces has finally arrived. Motionless In White have officially released their brand-new single, “Playing God”, and it features a guest appearance that has sent the community into a frenzy: the one and only Corey Taylor. This collaboration marks a monumental moment in modern heavy music, blending Chris Motionless’s gothic-infused metalcore with Taylor’s unmistakable, visceral aggression.

“Playing God” is a blistering attack on the toxicity of social media and the self-appointed judges of the digital age. The track showcases a perfect synergy between the two vocalists, with Chris’s soaring choruses providing a haunting contrast to Corey’s bone-shaking verses. It’s a sonic masterclass in atmospheric tension, driven by the industrial-tinged riffs that have become MIW’s signature.

A Collaboration for the Decades

The single comes as the first taste of Motionless In White’s upcoming studio album, Decades, slated for release later this year. According to Chris Motionless, working with Taylor was a “full-circle moment” for the band, who have long cited Slipknot as a primary influence. The accompanying music video, which dropped simultaneously, is already racking up millions of views, featuring a dark, cinematic aesthetic that perfectly complements the track’s lyrical themes.

For fans of both bands, “Playing God” is everything a collaboration should be—a seamless fusion of styles that elevates both artists. As MIW prepares for a massive world tour alongside Lorna Shore and Fit For A King, this single has officially set the bar for what modern metal can achieve in 2026.

Playing God is available now on all major streaming platforms. The era of Decades has officially begun.

The collision of two of metal’s most influential forces has finally arrived. Motionless In White have officially released their brand-new single, “Playing God”, and it features a guest appearance that has sent the community into a frenzy: the one and only Corey Taylor. This collaboration marks a monumental moment in modern heavy music, blending Chris Motionless’s gothic-infused metalcore with Taylor’s unmistakable, visceral aggression.

“Playing God” is a blistering attack on the toxicity of social media and the self-appointed judges of the digital age. The track showcases a perfect synergy between the two vocalists, with Chris’s soaring choruses providing a haunting contrast to Corey’s bone-shaking verses. It’s a sonic masterclass in atmospheric tension, driven by the industrial-tinged riffs that have become MIW’s signature.

A Collaboration for the Decades

The single comes as the first taste of Motionless In White’s upcoming studio album, Decades, slated for release later this year. According to Chris Motionless, working with Taylor was a “full-circle moment” for the band, who have long cited Slipknot as a primary influence. The accompanying music video, which dropped simultaneously, is already racking up millions of views, featuring a dark, cinematic aesthetic that perfectly complements the track’s lyrical themes.

For fans of both bands, “Playing God” is everything a collaboration should be—a seamless fusion of styles that elevates both artists. As MIW prepares for a massive world tour alongside Lorna Shore and Fit For A King, this single has officially set the bar for what modern metal can achieve in 2026.

Playing God is available now on all major streaming platforms. The era of Decades has officially begun.

New album “Sylfaera the Fair” completes the epic trilogy begun with “Pomegranate” and “Centaurea”

New music features glossolalia (invented language) and weaves together elements of nordic, dark and ritual folk

30th studio album to be released on 21 May 2026 via The Circle Music in Digi CD, limited marbled transparent turquoise & black LP and a limited Deluxe Black Box. Pre-orders available

As the release of their landmark 30th studio album draws near, Ataraxia have unveiled the next chapter of their latest odyssey. The new single and video, “Alabaster”, moves away from the Mediterranean rites of the previous single towards the frost-laden peaks of the North. 

Taken from the upcoming album Sylfaera the Fair, the final installment of a trilogy that began with “Pomegranate” and “Centaurea”, “Alabaster” introduces a warrior-shaman into the band’s unfolding mythos. 

Watch the video for “Alabaster”: https://www.youtube.com/watch?v=jJgsL7HnOoU

Stream the track: https://thecirclemusic.lnk.to/Alabaster

In the world of “Sylfaera the Fair”, “Alabaster” is a free spirit and a shaman deeply entwined with the wolf species. He roams the snow-capped Northern mountains, a formidable warrior who balances the disciplined grace of martial arts with the raw, savage power of the wilderness.

As a member of the Fellowship of the 9, “Alabaster” embodies the sacred masculine. He is a body-shifter, moving between the forms of man and wolf, his identity defined by the pale hue of his skin and fur. He is the first to arrive at the ritual grounds of Loona under the light of the full moon, acting as the vanguard who opens portals through arcane formulas.

The band comments on the track’s significance: “Alabaster acts as a bridge between the physical and the spiritual. On the night in Loona, he longs to reunite with his group soul, moving not as an individual, but as a single spiritual entity guided by powerful instinct. He knows the shadows, the tracks, and the smells of the wild. He represents that primal, intuitive force that exists within the sacred masculine.”

The track features the evocative vocals of Francesca Nicoli, set against the music that includes bouzouki, electric guitar, and ritualistic programming by Vittorio Vandelli, and keyboards of Giovanni Pagliari. The haunting uilleann pipes of guest musician Gregorio Bellodi further elevate the arrangement. Wampyrion directed the accompanying video. 

Sylfaera the Fair will be available from 21 May 2026 in three distinct physical formats via The Circle Music. Options include a high-quality Digi CD, a Turquoise LP limited to 400 copies, and a Deluxe Black Box embossed in silver, limited to only 100 copies. The box set features exclusive silver vinyl, a “Travelling Stone” ritual artifact, a 16-page booklet, and a personal message from the band. 

PRE-ORDER: https://thecirclemusic.gr/product-category/distributed-stuff/?filter_artist-name=ataraxia&products-per-page=all

DIGITAL PRE-SAVE: https://thecirclemusic.lnk.to/SylfaeraTheFair

Ataraxia previously released the singles “Sylfaera” and “Llawara”.

Sylfaera the Fair – Tracklist: 
1. Alabaster
2. Breanwinn
3. Alqua
4. Sylfaera
5. Silvertine
6. Loona
7. Llawarra
8. Muirreann (CD Bonus Track)
9. Ojos Sagrados
10. Crowea

Ataraxia online:
Website: http://www.ataraxia.net/
Facebook: https://www.facebook.com/AtaraxiaFB
YouTube: https://www.youtube.com/@atarassxia
Spotify: https://artists.spotify.com/c/artist/5wRrRxmJnNTnieaNKAzTZI/profile/overview
Instagram: https://www.instagram.com/music_from_ataraxia/

The Circle Music online:
Website: https://thecirclemusic.gr/ 
Linktree: https://linktr.ee/thecirclemusic

Source: 3nation

Live Review: Metallica – Olympic Stadium, Athens

9th May 2024
Support: Gojira, Knocked Loose

Words & Photos: Tim Finch

Athens… the home of the Olympic movement, Greek gods, and some of the worlds greatest history. And hence the modern Olympic Stadium, north of the city, is the fitting location for the thunder of Metallica’s M72 tour to kick start it’s third European leg. Having witnessed the opening nights of leg one – Amsterdam – and leg two – Munich – The Razor’s Edge team are back top open leg three!

The previous legs of the tour have seen Metallica focus on the two night, two unique sets concept. Whilst that concept continues for leg three in some locations, the majority of these shows are one night only performances and thats what we have in Greece tonight. The downside… we only get a small subsection of their vast back catalogue, the upside… the promises to be an intense affair with the manic Greek fans ready to party hard!

With the sun still burning high in the sky i’ts up to Knocked Loose to kick things off. Being used to small, sweaty clubs means jumping into a stadium-sized spotlight is never an easy task, but Knocked Loose approached it with the same unrelenting ferocity that’s built their reputation. Their sound isabrasive, punishing, and unapologetically intense and tonight it cut through the vast space with surprising clarity, driven by pummelling drums and razor-sharp riffs. Frontman Bryan Garris a constant whirlwind on the circular stage in the centre of the stadium, his piercing vocal delivery slicing through the mix while commanding a crowd that, for many, are been experiencing the band for the first time.

Across all three legs of the M72 tour so far, Knocked Loose are the most intense opening act and their aggression translated into a setting that could easily swallow lesser acts whole. Circle pits erupted in pockets across the stadium floor, a testament to their ability to convert even the uninitiated. There was no compromise, no softening of edges to suit the occasion, just pure, unfiltered intensity delivered with conviction.

Speaking of Olympic games… I am sure we all remember the opening ceremony in Paris highlighted by the firey Gojira performance. This is a band used to the big shows with arena tours and Bloodstock headline sets under their belts.

From the outset of their set this felt colossal with waves of crushing riffs, thunderous rhythms, and an almost hypnotic precision that filled the stadium with ease. Joe Duplantier’s vocals roared with purpose, while the band locked into grooves that were as punishing as they were intricate. The sheer weight of their sound translated effortlessly to the vast space, proving that their brand of progressive metal loses none of its impact outside a headline slot.

Unlike their headline sets, tonight Gojira didn’t rely on spectacle, instead they let their musicianship and presence do the heavy lifting, building towering walls of sound that resonated long after each track ended. This was a performance that demonstrated a band just a few years away from headlining venues of this size in their own right!

 

As 60,000 strong fans gather around the circular stage in the centre of the field, Ennio Morricone’s ‘The Ecstasy of Gold’ has a way of building the atmosphere for a show like no other and as the song dies down four figures appear from the darkness, Metallica are back in Europe again.

Tonight the band launch straight into ‘Creeping Death’ and as 60,000 of us chant ‘Die’ in unison that electric atmosphere builds, swathed in blue light the band are ready to destroy this historic Greek city. James quip’s “good evening Athens, Metallica loves you” as the band lead us through popular classic ‘For Whom The Bell Tolls’ and more modern wonder ‘Moth Into Flame’.

“We’ve got one from Load for you” James remarks as they launch into ‘King Nothing’ a welcome return for a rarely played tune from their catalogue.
Whilst previous legs of the tour have included up to three ‘72 Seasons’ a night, the band change it up for leg three with only ‘Lux Aeterna’ from the latest album getting an airing tonight.

The first of the evenings five songs from “the Black album” sees ‘The Unforgiven’ sung at full volume by thousands of Greeks in unison, followed by the ever popular ‘Fuel’ for our first pyro bursts if the evening.

After Kirk and Rob’s jam – where they fleshed out a traditional Greek ditty much to the crowds delight – the lights dimmed and James on acoustic guitar leads us into ‘Fade to Black’, sung with the levels of emotion only he can deliver.

The Black album is more prominent in the bands set than it has been in a long time with five songs throughout the evening taken from it. ‘Wherever I May Roam’ to ‘Nothing Else Matters’ through the ever heavy ‘Sad But True’ in a fifteen minute section of pure 90’s nostalgia.

The pyro launches back to life with explosions and the crackle of gunfire, which can mean only one thing… ‘One’. It may (alongside Sandman) be the bands most overplayed song, but there’s something about the live presentation and lyrical content that brings it to life.

”We’re going to go back a long way now, do any of you have the album Kill ‘em All?” James asks as the crowd roar back a response. A Lars snare roll triggers giant beach balls falling from the rafters as James is scanning the scene here in Athens tonight. A huge sing a long to ‘Seek and Destroy’ follows with the balls bouncing around the stadium with abandon. It’s a sight to behold and an awesome way to lead us to the finale.

The eight huge screens flicker back into life as the intro to ‘Master of Puppets’ kicks in, the visualiser that accompanies the song adds to the atmosphere of the epic tune. Just as the fans get ready to rest their neck from an eight minute hand banging marathon its onto set closer ‘Enter Sandman’. The fireworks light the sky as 60,000 fans pump their first in unison and Metallica bring the curtain down on the tours opening night.

As the band age gracefully the thought crosses your mind of just how many of these moments we’ll have again. No matter what that number will be, tonight’s show in Athens indicates they have no intention of slowing down just yet.

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