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Pagan black metal formation Asenblut are unveiling a music video for “Tavernenrausch”, the newest preview tune from their forthcoming long player Urgewalt.
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Davis “treated me with the same respect and kindness as a 22-year-old nobody as he did after all my success,” Springsteen said after the music executive’s death on Monday.

A dromos is a passageway to an underground tomb, likely where a funeral procession would walk to deliver a body to its final resting place. That a band calling themselves Dromos plays funeral doom feels like a perfect fit. Formed out of the underground scene in northern London, Dromos contains members from disparate backgrounds, leading to a funeral doom record that sounds a little different from the crop released so far this year. The lineup includes Sami Tuohino of Finland, former guitarist of death metal outfit Mutagenic Host, serving as lead vocalist here. There’s Poland’s Amadeus on guitars, bringing his experience from black/death metal acts like Grave Miasma and Eihort. Guitarist Patrick Schafstein (Brazil) brings further black metal experience and a little sludge, leaving the drummer, just Matt, as the sole Londoner. These four somehow found one another and decided to craft this dark, despairing reflection on death.

Dromos specialize in long-form, slow-burning funeral doom that builds upon simple melodic riffs to evoke gloom and despair. Structurally, Failling Light is similar to Oromet’s The Sinking Isle, containing one 20-minute song and two in the 12-13-minute range. Musically, Dromos plays a more patient style of funeral doom with less dynamic drumming. Matt’s work behind the kit sets a glacial pace, using sparse drumming to foment the feeling of despair, and sometimes he disappears altogether. They borrow heavily from the Bell Witch school, building lengthy passages and using reverb to fill any silences. They also borrow My Dying Bride’s dual clean/growl vocal approach, though stylistically very different, which I’ll touch on later. Dromos continues in the vein of 2026’s funeral doom acts like Lone Wanderer and Ennui while offering something a little different.

While Failing Light hits the usual funeral doom beats, the backgrounds of its musicians offer up some diversity to keep Dromos from being a simple copycat. Atop the list is the vocal approach from Sami. Rather than the muscular death growls of Aaron Stainthorpe, Sami snarls like a fantastical creature—on opener “My Final Tomb,” he sounds remarkably like Gollum. The cleans that follow take on an unusual tone as well, deep and warbly. What this approach takes away in power, it adds in unpredictability and pain. Sami does instill some variety in his approach, however. “Death is Silence” sees his growls more muffled and less unhinged, while the cleans in “Sinking” grow more melodic and even catchy. The guitar as well takes on some different characteristics, with psychedelic touches on “Death is Silence” and midway through “Sinking.” Occasional blasts of feedback interrupt passages of deep reflection and further the sense of unease that Failing Light evokes.

With songs between 12 and 20 minutes, Failing Light does require some patience to fully appreciate. For lovers of the genre, that’s typically not a problem; however, Dromos tests the limits with some overly repetitive elements. While the riff on “My Final Tomb” is a great one, Dromos milk it for too long. They add some distinctive elements like mournful bells and a few variations in the vocals, yet structurally, the foundation spends too much time building on that one riff. “Death is Silence” falls into the same trap, though an extraordinary moment late in the track, with pained cleans and acoustic strums, makes one wish they could have developed that portion of their songwriting some more. Ironically, it’s the 20-minute finale, “Sinking,” that doesn’t feel overlong. While staying true to their patient approach, Dromos inject just enough variety to keep Failing Light engaging throughout.

For their debut, Dromos have crafted a remarkable piece of funeral doom. It won’t supplant your favorites in the genre, but Failing Light stands apart enough to make it a worthwhile addition to your collection. The cover art comes from a painting by Caspar David Friedrich, A Walk at Dusk, and portrays a man reflecting on his mortality in front of a tomb.¹ Failing Light provides the perfect soundtrack for that man’s reflection, thoughtful and somber and at times unnerving. Next time you’re in the mood for contemplating your own tomb, consider taking Dromos along as a companion.

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Rating: 3.0/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Argonauta Records
Website: Bandcamp
Releases Worldwide: May 15th, 2026

The post Dromos – Failing Light Review appeared first on Angry Metal Guy.

California hard rockers Buckcherry have released the official live video for “Blackout,” filmed in July 2025 at the Rock The Mountains festival in Cumberland, Maryland. The clip was shot and edited by Chris Aleshire.

“Blackout” is taken from Buckcherry’s latest album, Roar Like Thunder, released in June 2025 via Round Hill Records in North America, Sony Music in Japan and Earache Records elsewhere. As with 2023’s Vol. 10 and 2021’s Hellbound, the album was recorded at Sienna Studios in Nashville and produced by Marti Frederiksen, whose credits include Aerosmith, Def Leppard, Jonny Lang and Sheryl Crow. All 10 tracks were written by vocalist Josh Todd, guitarist Stevie Dacanay (a.k.a. Stevie D.) and Frederiksen.

Buckcherry has announced the final dates of the Roar Like Thunder tour for 2026. The second leg opens June 26 in West Fargo, North Dakota and runs through July 25 in Pueblo, Colorado, with stops including a July 2 appearance at Summerfest in Milwaukee, Wisconsin and a July 12 date at the Rockin’ Thunder festival in Edmonton, Alberta, opening for Creed. Additional highlights include nine shows with Black Stone Cherry and Tyler Bryant, an appearance at the Rockin’ The Island festival in Welch, Minnesota supporting Stone Temple Pilots, a stop at the Beaver Dam Amphitheater in Beaver Dam, Kentucky supporting Bret Michaels, the band’s annual slot at the legendary Sturgis Buffalo Chip during Sturgis Bike Week, and an appearance at Rocklahoma in Pryor, Oklahoma. The year concludes with eight dates supporting the Scorpions during their Las Vegas, Nevada residency, Sept. 17 through Oct. 3.

Buckcherry’s current lineup features Todd — the only remaining original member — alongside Dacanay (guitar, backing vocals), Billy Rowe (guitar, backing vocals), Kelly LeMieux (bass) and Francis Ruiz (drums). Dacanay joined during the band’s 2005 revival and helped shape the comeback album 15, which produced hits “Crazy Bitch” and “Sorry.”

The post BUCKCHERRY Releases Live Video for “Blackout” From Latest Album “Roar Like Thunder” appeared first on Sonic Perspectives.

Capturing their time in the vortex.

The post Pro-Shot Footage Of Paleface Swiss’ 2026 ‘Welcome To Rockville’ Set Released appeared first on Theprp.com.

Deep Purple drummer Ian Paice has revealed that the band is already discussing the possibility of recording another studio album in 2027, even as their 86-show world tour for the upcoming Splat! (July 3, earMUSIC) gets underway. Paice made the comments in a new interview with the Rockonteurs podcast.

After co-host Gary Kemp quoted producer Bob Ezrin expressing hope to continue working with Deep Purple for “a very long time,” Paice said (transcribed by Blabbermouth): “Well, that’s already being discussed for [2027]. This [2026] is a heavy touring year — it’s almost 100 shows or something — so next year won’t be the same. You can’t keep doing it that way. So if you have any ideas, making a record’s easy. If you don’t have ideas, making a record’s impossible. So getting together, and if we find we have some ideas we all like, there’s no reason why we shouldn’t put together another record sometime next year. It’s all about ideas. You can be an actor, but if the guy hasn’t written a screenplay, you’ve got nothing to say.”

Asked how Deep Purple approaches writing in its current configuration, Paice described a process of spontaneous group improvisation: “Everybody comes in with a couple of basic notions of something that they probably woke up in the middle of the night and said, ‘Oh, that sounds good.’ And one person will start something. Now, if it’s interesting, the other guys will join in. If it’s not interesting, there’s a deathly silence and somebody else starts something. The amazing thing with the whole process is you go in in the morning and you’ve got nothing, and you come out after five, six hours’ work and you got two or three really nice somethings. And that’s what keeps it working for the next day. You don’t get three good ideas every day — the first day, all these things you’ve had loitering in your mind, they come to the fore. But after 10 days, you’ve probably got more than you can put on an album in the way of ideas, and then you gotta separate the wheat from the chaff.”

Paice stressed the importance of capturing every moment during writing sessions: “You capture everything. ‘Cause you may only play something once as a jam, and it’s gone. So if you’ve caught it and say, ‘Well, there was something good five minutes ago,’ you take that and you see if you can go further with it. It’s always been that way. We never had one dedicated songwriter. So it becomes out of the influence of the five people.” He also offered a candid take on how initial excitement curdles into doubt: “When you start something, everything you do is the best thing that’s ever been written, ‘cause you’re all excited about it. The next day you go, ‘What a piece of crap.’” Paice noted that singer Ian Gillan plays a distinct role in the early writing phase: “Initially the four [instrumentalists work out the music], because Ian’s there noting all the atmosphere and what the emotions of it are.”

Splat! is Deep Purple’s sixth consecutive collaboration with producer Bob Ezrin, who has helmed every Purple album since 2013’s Now What?! The album has been described in press materials as “the heaviest Deep Purple album in many years.” Two singles have been released: “Diablo,” which features a guest appearance by guitarist and singer Keith Urban, and “Arrogant Boy.” Uncut calls Splat! “distilled, high-octane Purple at its finest,” while Classic Rock praises the album for delivering “everything that makes Deep Purple one of the greatest acts in hard rock.” The concept was conceived by Gillan and imagines the end of humanity not as destruction but as metamorphosis — a transformation beyond physical existence.

Deep Purple recently kicked off a major European summer run, beginning in Finland and moving through Norway, France, Germany, Spain, Switzerland and Italy before the Splat! world tour heads to North America. The full touring schedule encompasses 86 shows across 28 countries. With more than 120 million albums sold since forming in 1968, Deep Purple are among the founding forces of hard rock and heavy metal.

The post DEEP PURPLE’s IAN PAICE on Possible 2027 Album: “You Go In the Morning With Nothing and Come Out After Six Hours With Two or Three Really Nice Somethings” appeared first on Sonic Perspectives.

Polish extreme metal legends, Behemoth, unleash “I, Scvlptor”, the first single from their new studio release, I, Scvlptor. The music video was produced by the acclaimed Polish production collective Grupa 13, while the cover artwork and design were created by long-time Behemoth collaborator Bartek Rogalewicz/Lodge.Black.

Nergal commented on the new single: “’I, Scvlptor’ is a new Behemoth song rooted in the tradition of monumental tracks like ‘O Father O Satan O Sun!’, ‘Lucifer’ or ‘Nieboga Czarny Xiądz’, while at the same time opening a new chapter. It carries that epic weight but also takes an unexpected turn that makes it feel fresh and different from the previous pieces. Lyrically, it is a metaphor for the endless process of shaping oneself – an uneven struggle with matter and personal limitations. The paradox is that from the moment we are born we are already destined to die, so perhaps it is not about victory itself, but about the constant act of sculpting who we are”.

I, Scvlptor, which will be out on September 04, 2026, is an exclusive release featuring eight previously unreleased songs – seven new studio recordings and one live track. It is an autonomous body of work that bridges the band’s foundational past with their present creative fire. The release features brand-new studio material embodying the full force of Behemoth‘s live energy and intensity. Two tracks – ‘Rise of the Blackstorm of Evil’ (from The Return of the Northern Moon, 1992) and ‘In Thy Pandemaeternum’ (from Pandemonic Incantations, 1998) – are newly re-recorded versions of early Behemoth material, reshaped with modern sonics while preserving their original spirit; a tribute to the bands who had a huge influence on Behemoth – ‘In League With Satan’ (originally by Venom, featuring Shagrath of Dimmu Borgir) and ‘The Return of Darkness and Evil’ (originally by Bathory, featuring Sakis Tolis of Rotting Christ). Available on CD, LP, MC, and Limited-Edition Box Set through Massacre Records worldwide and digitally via Nuclear Blast Records.

Nergal commented: “We’re fucking excited about the release of I, Scvlptor. Even though it’s not a regular studio album and is, in fact, more of a compilation, the mere fact that it contains songs nobody has ever heard before makes it a significant release for us. What’s more, some of these tracks are likely a little different from what we offered on our last album, The Shit Ov God. That’s why we see I,Scvlptor as an important record — a connecting piece, a bridge between where we are now and whatever may come next in the distant future.”

I,Scvlptor is available at the Behemoth webstore:

• Exclusive “Blackstorm” White/Black Splatter LP [Limited to 700]
• Exclusive “Lord Ov the Horizons” White/Black Half-And-Half with Gold Splatter LP – [Limited to 700 – RUNNING LOW]
• Exclusive “Darkness and Evil” Liquid LP [Limited to 100 – SOLD OUT]
• Exclusive Deluxe CD Digibook (Gold Metalisation) [Limited to 500 – SOLD OUT]

Massacre Records webstore:

• I, Scvlptor Boxset [Limited to 550 – including w/ Exclusive Black/White Splatter LP, CD, MC, Signed Art Print and T-Shirt]
• Gold/Black Splatter LP [Limited to 170]
• Black/Gold Sunburst LP [Limited to 170]
• Black/White Splatter LP [Limited to 170]
• Black LP
• Digipack
• Mini-Cassette [Limited to 500]

• Various Exclusive Worldwide Vinyl Variants, see more here.

The post BEHEMOTH Has Shared New Single & Video For “I, SCVLPTOR” appeared first on Sonic Perspectives.

Finnish melodic death metal act Crownshift and bassist Jukka Koskinen have parted ways. The band also confirmed that they are in the final stage regarding the completion of their sophomore album.
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Monolord, who are currently in the midst of a U.S. tour following the release of their new album, Neverending, have partnered with Dunable Guitars for a pair of signature model instruments: Dunable USA Custom Gnarwhal and R2 Bass.

Monolord have been great friends of Dunable Guitars for almost a decade, using the brand’s guitars and basses as weapons of choice for their torrential downpour of heavy tones and catchy hooks live and in the studio. Neverending is a perfect showcase of their mastery in blending loud metal with great songwriting, and similarly an encapsulation of what Dunable instruments were built for. 

Artist signature models for Thomas Jäger and Mika Hakki are long overdue, and Dunable is happy to finally present their Dunable USA Custom Gnarwhal and R2 Bass signature instruments, limited to only six of each model.

“Mika and I have been playing our Dunables for a couple of years now and to get your own instrument with your own specifications, it’s pure magic,” Jäger says. “These instruments came out great and we’re absolutely stoked.”

Hakki adds: “After years of using and owning several Dunable Guitars, it’s a great privilege to be part of the Dunable team with this amazing instrument. When Sacha Dunable asked us what color options we wanted for the instruments, I just saw this sick scorched bass in my mind, and he got probably equally as stoked on the idea as we did. Great minds twist alike!”

These guitars and basses feature a custom Monolord Icon graphic on the headstock, tuxedo stripe pickguard, and a charred Swamp Ash body, giving a classy yet grizzled look to these weapons of doom. 

The single High-Wind P90 pickup in Jäger’s Gnarwhal comes from Lollar Pickups, a company whose founder literally wrote the book on pickup winding. The P90 lends itself incredibly well to all applicable tones, from loud cleans to ultra heavy fuzz and distortion.

Hakki’s R2 Bass comes in two pickup variants – one with dual Dunable Katana pickups, for a hot output, but sharp attack, and one with a Dunable D-Split and D-J pickup combo, for a more traditional sound.

Grab one of these unique instruments while you can. Orders are live at this link: https://dunableguitars.com/

Dunable Gnarwhal – Thomas Jäger limited artist collab model

Scale length:
24.75″
Neck:
mahogany
Fingerboard:
Ebony
Frets:
22 Jumbo Nickel
Inlay:
none
Side dots:
luminlay side dots
Body:
charred swamp ash
Finish:
satin lacquer
Nut:
Graphtech Tusq
Tuners:
Graph Tech Ratio
Bridge:
Nashville TOM/Stop Tail
Bridge Pickup:
Lollar Soapbar P90 – High Wind
Controls:
1 volume
Setup:
E standard 10-46
Case:
hardcase

Dunable R2 Bass – Mika Hakki limited artist collab model (Katana variant)

Scale length:
35″
Neck:
maple
Fingerboard:
Ebony
Frets:
22 Jumbo Nickel
Inlay:
none
Side dots:
luminlay side dots
Body:
charred swamp ash
Finish:
satin lacquer
Nut:
Graphtech Tusq
Tuners:
Leo Quan Badass Clover
Bridge:
Leo Quan Badass
Neck Pickup:
Dunable Katana Single Black Foil
Bridge Pickup:
Dunable Katana Single Black Foil
Controls:
2 volume 1 tone
Setup:
E standard 105-45
Case:
hardcase

Dunable R2 Bass – Mika Hakki limited artist collab model (PJ variant)

Scale length:
35″
Neck:
Maple
Fingerboard:
Ebony
Frets:
22 Jumbo Nickel
Inlay:
none
Side dots:
luminlay side dots
Body:
charred swamp ash
Finish:
satin lacquer
Nut:
Graphtech Tusq
Tuners:
Leo Quan Badass Clover
Bridge:
Leo Quan Badass
Neck Pickup:
Dunable D-split
Bridge Pickup:
Dunable D-J
Controls:
1 volume
Setup:
E Standard 105-45
Case:
hardcase

More Monolord:

Monolord.com

Monolord.bandcamp.com

Instagram.com/monolordofficial

Facebook.com/monolordsweden

Es gibt Konzerte, bei denen schon nach wenigen Minuten klar wird, dass hier weit mehr passiert als das routinierte Abspielen einer Setlist. Queensrÿche lieferten in der Hamburger Markthalle genau einen solchen Abend ab. Rund drei Viertel der traditionsreichen Halle waren gefüllt, die Vorfreude war greifbar und spätestens mit den ersten Klassikern verwandelte sich das Publikum in einen lautstarken Chor. Die US-Amerikaner präsentierten sich spielfreudig, technisch brillant und mit einem Sänger, der einmal mehr unter Beweis stellte, warum Queensrÿche auch 2026 zu den stärksten Live-Bands des Progressive Metal gehören.

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Ein ungewöhnlicher Auftakt: Rivers of Nihil überraschen mit Death Metal und Saxophon

Den Konzertabend eröffneten Rivers of Nihil. Die Band aus Pennsylvania zählt seit Jahren zu den interessantesten Vertretern des modernen Progressive Death Metal und brachte einen Sound auf die Bühne, der sich bewusst jeder Schublade entzieht.

Die Lautstärke war zu Beginn etwas zu hoch angesetzt, wodurch einzelne Feinheiten im Mix verloren gingen. Trotzdem hinterließen Rivers of Nihil Eindruck. Zwischen wuchtigen Gitarrenwänden, technisch anspruchsvollen Rhythmen und tiefen Growls sorgten immer wieder melodische Passagen für Abwechslung. Besonders das Saxophon verlieh den Songs eine ganz eigene Atmosphäre und setzte Akzente, die man im Death Metal nur selten erlebt.

Gerade dieser musikalische Gegensatz machte den Reiz des Abends aus. Während Rivers of Nihil die moderne Interpretation progressiver Härte verkörperten, standen Queensrÿche wenige Minuten später für jene Band, die dieses Genre bereits Jahrzehnte zuvor entscheidend mitgeprägt hatte.

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Eine Band, die den Progressive Metal geprägt hat

Seit der Gründung Anfang der 1980er-Jahre gehört Queensrÿche zu den wichtigsten Namen des amerikanischen Heavy Metal. Gemeinsam mit Bands wie Fates Warning oder später Dream Theater entwickelte die Formation aus Seattle einen Stil, der harte Gitarren mit komplexen Songstrukturen, anspruchsvollen Arrangements und starken Melodien verband.

Den endgültigen Durchbruch schaffte die Band 1988 mit dem Konzeptalbum Operation: Mindcrime. Bis heute gilt das Werk als eines der bedeutendsten Alben der Metal-Geschichte und wird regelmäßig in einem Atemzug mit den großen Konzeptwerken des Genres genannt.

Auch Rock-Music.net widmete diesem Meilenstein bereits einen ausführlichen Bericht, als Geoff Tate 2018 mit seinem Projekt Operation: Mindcrime das komplette Album live präsentierte. Umso spannender war es nun, viele dieser Klassiker wieder von Queensrÿche selbst auf einer Bühne erleben zu dürfen.

Mit Todd La Torre steht inzwischen seit vielen Jahren ein Sänger am Mikrofon, der längst bewiesen hat, dass er keine Kopie seines Vorgängers sein muss. Er interpretiert die Songs mit Respekt vor dem Original und bringt gleichzeitig seine eigene Handschrift ein.

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Ein Auftakt ohne Kompromisse

Schon mit den ersten Tönen von Queen of the Reich war klar, dass Queensrÿche an diesem Abend keine Zeit verlieren würden. Druckvoll, präzise und voller Energie legte die Band los. Es folgten Operation: Mindcrime, Walk in the Shadows, Speak und I Don’t Believe in Love – eine Eröffnung, die den Fans kaum Gelegenheit zum Durchatmen ließ.

Todd La Torre präsentierte sich dabei in absoluter Bestform. Seine Stimme wirkte kraftvoll, klar und erstaunlich mühelos. Selbst anspruchsvollste Höhen meisterte er scheinbar ohne Anstrengung und ließ keinen Zweifel daran, warum er heute zu den besten Metal-Sängern seiner Generation zählt.

Noch beeindruckender war jedoch seine Bühnenpräsenz. Immer wieder suchte er den direkten Kontakt zum Publikum, lächelte in die ersten Reihen, animierte zum Mitsingen und nahm die Begeisterung der Fans sichtbar auf. Die Hamburger ließen sich nicht lange bitten. Bereits nach wenigen Songs wurde jeder Refrain lautstark begleitet. Zwischen Bühne und Publikum entstand eine besondere Verbindung, die den gesamten Abend tragen sollte.

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Michael Wilton liefert eine Gitarrenstunde

Wenn eine Konstante die Geschichte von Queensrÿche prägt, dann ist es Michael Wilton.

Der Gründungsmitglied bewies eindrucksvoll, weshalb er seit Jahrzehnten zu den angesehensten Gitarristen des Genres gehört. Seine Riffs klangen druckvoll und präzise, die Soli technisch makellos und dennoch nie selbstverliebt. Jeder Ton saß genau dort, wo er hingehörte.

Gerade in einer Zeit, in der viele Bands ihre Klassiker mit modernen Arrangements verändern, blieb Queensrÿche angenehm authentisch. Die Songs erhielten genau den Raum, den sie verdienen. Keine überflüssigen Experimente, sondern starke Kompositionen, die auch fast vier Jahrzehnte nach ihrer Veröffentlichung nichts von ihrer Wirkung verloren haben.

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Eine Setlist, die kaum Wünsche offen ließ

Die Songauswahl führte durch nahezu alle wichtigen Phasen der Bandgeschichte. Mit Warning, Best I Can, London, Behind the Walls, Digital oder Empire zeigte Queensrÿche eindrucksvoll, wie viele Klassiker sich über die Jahrzehnte angesammelt haben.

Einer der emotionalsten Momente des Abends war Take Hold of the Flame. Bereits nach wenigen Sekunden übernahm das Publikum große Teile des Gesangs und verwandelte die Markthalle in einen riesigen Chor.

Mit Jet City Woman folgte einer der melodischsten Titel des Abends, bevor Empire noch einmal für ausgelassene Stimmung sorgte.

Den krönenden Abschluss bildete schließlich Eyes of a Stranger. Ein Song, der mehr als jeder andere für das legendäre Operation: Mindcrime steht und einen Konzertabend beendete, der sowohl musikalisch als auch emotional auf ganzer Linie überzeugte.

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Weniger Show, mehr Musik

Queensrÿche verzichteten auf große Effekte oder spektakuläre Bühnenelemente. Die Lichtshow blieb funktional und rückte nie in den Mittelpunkt. Genau das erwies sich als richtige Entscheidung.

Der Fokus lag vollständig auf der Musik. Nachdem der Sound bei Rivers of Nihil noch etwas unausgewogen wirkte, präsentierte sich Queensrÿche mit einem hervorragend abgestimmten Mix. Gesang, Gitarren, Bass und Schlagzeug waren klar voneinander getrennt. Gerade die vielen Details der Arrangements kamen dadurch hervorragend zur Geltung.

Die Markthalle erwies sich erneut als idealer Ort für ein Konzert dieser Größenordnung. Die Nähe zur Bühne ließ das Publikum unmittelbar am Geschehen teilhaben. Große Arenen mögen mehr Besucher fassen. Die Atmosphäre eines Clubkonzerts wie an diesem Abend können sie jedoch kaum erreichen.

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Fazit

Queensrÿche haben in Hamburg eindrucksvoll bewiesen, dass ihre Geschichte noch lange nicht abgeschlossen ist.

Todd La Torre überzeugte mit einer außergewöhnlichen Gesangsleistung und einer sympathischen, offenen Bühnenpräsenz. Michael Wilton spielte einmal mehr auf Weltklasse-Niveau und führte eindrucksvoll vor Augen, warum sein Name seit Jahrzehnten untrennbar mit Queensrÿche verbunden ist. Die Band wirkte eingespielt, voller Spielfreude und mit sichtbarer Lust, diese Songs auch nach über vierzig Jahren noch auf die Bühne zu bringen.

Für Rock-Music.net schloss sich an diesem Abend ein Kreis. Nachdem wir 2018 Geoff Tate mit Operation: Mindcrime begleitet hatten, zeigte nun Queensrÿche selbst, dass ihre Geschichte weit über ein einziges Album hinausreicht. Die Band lebt nicht von ihrer Vergangenheit. Sie lebt von ihrer Qualität auf der Bühne.

Wer Queensrÿche bisher nur aus den Plattensammlungen der Achtziger kannte, dürfte die Markthalle mit der Erkenntnis verlassen haben, dass diese Band auch heute noch zur ersten Liga des Genres gehört.

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Queensrÿche – Live in der Markthalle Hamburg

Setlist

1. Queen of the Reich
2. Operation: Mindcrime
3. Walk in the Shadows
4. Speak
5. I Don’t Believe in Love
6. London
7. Best I Can
8. Warning
9. Neue Regel
10. Behind the Walls
11. Take Hold of the Flame
12. Jet City Woman
13. Digital
14. Anarchy-X
15. Revolution Calling
16. Empire
17. Eyes of a Stranger

Queensrÿche 2026

• Todd La Torre – Gesang
• Michael Wilton – Gitarre
• Mike Stone – Gitarre
• Eddie Jackson – Bass
• Casey Grillo – Schlagzeug

Support

Rivers of Nihil (USA)

Danke für´s Lesen. Punkt!

 

Der Beitrag Queensryche – Die Legenden in Hamburg erschien zuerst auf Live, laut, legendär!.