Moon Machine deliver a richly textured, analog-soaked debut single that leans into warmth, groove, and a distinctly timeless aesthetic. Recorded entirely on 70s equipment and tracked live in the room, the track carries an organic, almost hypnotic flow, with subtle imperfections adding to its charm. Dual vocals from Jack Williams and Abielle Inegbenebho create a dynamic interplay, drifting between introspection and soulful release, while the instrumentation gradually unfolds into a laid-back yet immersive sonic space. There’s a quiet confidence here—nothing feels forced, everything breathes—allowing the listener to sink into its mood and interpret its meaning freely.
Heavy Metal icons Judas Priest have announced the release of The Best Of Judas Priest, a career-spanning collection arriving on 19 June 2026 via Sony Music.
With over five decades of influence, more than 50 million albums sold and billions of streams worldwide, Judas Priest continue to define the sound and imagery of Heavy Metal.
This collection brings together some of the band’s most iconic tracks, including Breaking The Law, You’ve Got Another Thing Coming, Electric Eye, Turbo Lover and Painkiller. The release traces the evolution of a band that helped shape the genre itself.
The Best Of Judas Priest – an accessible entry point for new listeners and a definitive compilation for long-time fans
Designed as both an accessible entry point for new listeners and a definitive compilation for long-time fans, the album highlights key moments across the Judas Priest catalogue. Pre-orders are available from judaspriest.lnk.to/TheBestOfJP.
Judas Priest will support the release with major live performances across Europe, including a headline show at Eventim Apollo in London and an appearance at Bloodstock Festival.
An in-depth documentary, The Ballad Of Judas Priest, recently premiered at the Berlin Film Festival and will be released later this year.
Eventim Apollo45 Queen Caroline St, Hammersmith, London W6 9QH
The landmark Judas Priest album Sad Wings Of Destiny is set to celebrate its 50th anniversary with new definitive editions from Exciter Records. The band
Event Details
The landmark Judas Priest album Sad Wings Of Destiny is set to celebrate its 50th anniversary with new definitive editions from Exciter Records. The band have also confirmed a London show for 21 September 2026.
Godsnake – Inhale The Noise (Massacre Records) [Spike]
I’m going to start with a confession: the cover art for Godsnake’s Inhale The Noise nearly put me off the record before I’d even hit play. There is a specific visual language associated with snakes and hard rock that triggers a deeply buried, visceral aversion in me, specifically anything that reminds me of Whitesnake.
As a band, they’ve always occupied a space I’d rather not visit, and the serpentine branding here felt like an immediate warning of hair-metal posturing to come. But as all music-related triggers go, the only way through it is to shut your eyes and listen. Once you do, you realize that Hamburg’s Godsnake are far more interested in high-velocity thrash precision than they are in the spandex-clad ghosts of the 80s.
The record opens with Scream For A Bullet, and the shift in reality is immediate. This is modern melodic thrash with a heavy-set, mechanical heart. The production is sharp and professional, providing a clinical clarity that allows the riffs to breathe while maintaining a healthy amount of grit in the low-end. It’s followed by Lost & Forgotten, which showcases the band’s knack for a rhythmic “shove”, a sound that owes as much to the technical precision of early Trivium as it does to the classic German school of metal.
What gives Inhale The Noise its specific weight, however, is the collaboration with Jean Bormann of Rage. His presence on tracks like the title track, and Rotten To The Core adds a layer of veteran authority and a “Rage-esque” muscularity to the songwriting. It’s a sophisticated bit of genre-blending that keeps the record from ever settling into a “business as usual” thrash routine. The melodies are sinister yet catchy, cutting through the distortion with a surgical precision that feels properly dangerous.
The middle of the record features Digital Dumbass, a title that is admittedly a bit blunt, but the music is undeniable. It’s a biting, high-velocity jolt that targets the modern era’s digital anxieties with a level of vitriol that feels entirely earned. The guitars don’t just cycle through riffs; they construct a vast, shifting architecture of noise that feels like it’s vibrating in your bones, leading toward the more expansive moments of Fear Is The Key and the finality of The Price We Have To Pay.
Godsnake have managed to deliver a record that successfully overcomes its own branding (again this is a me thing – it will never impact you dear reader….). Inhale The Noise isn’t the sound of veterans playing it safe; it’s the sound of a band that still feels like they have everything to prove. By the time the final vibration of the closer eventually cuts out, you aren’t left with the 80s associations I feared; you’re left with the realization that German thrash still has a hell of a lot of life left in it.
It’s an honest, unvarnished bit of reality that proves the best discoveries are often the ones that force you to look past the packaging. If you’ve still got a pulse, this will find a way to rattle it. 8/10
Shadowlands – 004 (Seeing Red Records) [Spike]
There is a specific, rain-slicked tension that Portland’s Shadowlands has spent four albums trying to perfect, and with 004, they’ve finally hit the frequency. It’s a record that feels like it was recorded in the blue hour, that hazy, indeterminate space between the end of a long night and a very cold morning. By leaning into an “80s-inspired horror synth” aesthetic and draping it over a post-punk framework, the band has created a signature sound that is as much about the “shimmer” of shoegaze as it is about the “shove” of darkwave.
The experience begins with Burdens, a track built on a foundation of spine-tingling harmonies that feel almost mechanical in their precision. It’s a cold, clinical start that provides a rigid skeleton for the guitars to eventually swamp. This sets the stage for Clicks and the rhythmic, searing energy of R/AGE, where the band proves they can handle high-velocity friction without losing the melodic “infectiousness” that defines their vocal performances.
The absolute standout here, however, is Let’s Fall Apart. It’s a six-minute masterclass in the crossover from goth to shoegaze, a transition handled with a level of pained, cinematic elegance that demands a repeat listen. The track moves with a slow, tectonic momentum, building from an introspective dreamscape into a massive, skyward wall of sound. It’s the kind of songwriting that doesn’t just entertain you; it inhabits you, revealing new layers of fuzz and grief every time the needle drops.
The second half of the record, Nothing Has Changed, Wounds AndRelics, and Substance doubles down on the “kaleidoscopic” blend of styles. The riffs soar and sear in equal measure, backed by rhythms that feel urgent and essential. By the time we reach the finale, The Worst Light, the atmosphere has become total. It’s a brilliant, shimmering closer that refuses to offer a simple way out, instead leaving the listener suspended in that specific, hazy twilight where the band thrives.
Shadowlands haven’t just delivered another darkwave album; they’ve created a climate. 004 is a lush, sophisticated triumph of tone that prioritizes the feeling of the fall over the safety of the landing. It’s the sound of a band finally embracing the beautiful, shimmering mess of their own collapse, and it’s a necessary soundtrack for anyone who prefers their pop melodies with an dark edge. 9/10
Cnoc An Tursa – A Cry For The Slain (Apocalyptic Witchcraft) [Mark Young]
A change of pace and intent now, with a touch of Black Folk from Falkirk’s own Cnoc An Tursa, who focus on their Scottish heritage to act as a rich tableaux from which they craft their unique sound. Now, I am not always down with folk metal, I’ll be honest with you as I lean more into that aggressive/speedier side of things.
Putting my personal taste to one side, A Cry For The Slain is an album that is steeped in atmosphere. Its knows exactly what it wanted to sound like, and in mining that rich heritage makes them sound unique to themselves. Na Fir Ghorma introduces us to them, and then its full on with The Caoineag, whose combination of high intensity black metal with what I can only describe as a swinging slow measure comes next. In terms of setting out the album, their approach and what you can expect then its captured here in these two songs.
The Caoineag has all the hallmarks of an epic song, its expansive length and dense musicality that is built around that central melodic line, sees the song grow in a controlled manner whilst doing so off an emotional kick. They bring the speed and aggression but temper it with a soft hand where necessary and suddenly you have spent 10 minutes with them that has gone in a flash.
The use of a central theme runs through each song, and to an extent you can recognise it at the start of each track. Calleach And The Guardians Of The Seven Stones comes in with what you could expect to be a traditional Celtic melody, one that evokes the raising of glasses and raucous nights. It’s the way they build around those melodic line which sees them do something different each time whilst keeping each song in context.
Any fear on my part that the folk side of things would possibly take precedence over other aspects of the sound is kept to a minimum. Baobhan Sith picks up the mantle of taking us forward through the middle of the album and has a darker edge to it. The melodic touches are there, as is the atmosphere and they are supported by an emotive lead break that lifts the whole piece to another level. The command of their material is top notch, as is the way they can switch from the light to the dark and back again whilst dropping in some quality riffs.
Moving through each song, they constantly navigate a path that sees each track move in a certain way. The songs don’t repeat the same ideas, far from it they just use a certain methodology to start them off. Alba In My Heart explodes into life, pushing forward at every turn, using changes in tempo to add a layer to the sound. And that is something else, the album sounds fantastic. Heavy where it needs to be, pared back elsewhere.
This and Address To The Devil lean more into the black metal, which is always welcome from my perspective. There is something primal about the attack manifested on these two songs, and yet when they do slow things down to a pause, those mint harmonious touches are front and centre. Now for a constant listener of this music, it might be old news but to these ears it sounds vital and worthy of my time.
The closer, The Nine Maidens Of Dundee is a gentle instrumental which for me is probably in the right place. Had this been positioned earlier in the album, It would have lessened the impact of the songs before and after. Still, the strength of this album is there for all to hear. Everything about this album is quality, from start to finish (ignoring the instrumental – sorry) and for fans of this genre it is an essential purchase. 8/10
Psycho Crossover Thrash Metal! Essentially this is an easy review to do, because it ties in nicely with my Heavy Metal flow chart which in this instance would go like this:
Like Thrash Metal – Yes / No?
If you answered yes, than you will find an extremely worthwhile way to spend your time, listening to some new/old thrash metal that is delivered with focus and determination. Being honest, it’s a love letter to the time of white high tops, of energetic downpicking and what were simpler times. Maybe not better times, but I digress.
Extreme Paranoia kicks things off, and you could be back in 86 or 87, with early lead breaks, gang vocals and a mazy riff build. Throw in a suitably driven lead break and you have a traditional slice of thrash metal. No bells or whistles, just simple thrash. They aren’t attempting to change the world with this, nor are they thinking that it will make them the next big thing. Its just honest thrash. The songs follow the standard build you would expect and don’t really deviate from that approach. I mean, why would you?
I could go on and try to wax lyrical about each track, attempting to make it more than it is, which would be pointless from my perspective. The album unfolds exactly as you hope it Two quick fire songs into God Of Lies, which starts slowly, methodically until they bring the lead guitar fire and return. It’s a great collection of riffs, executed in the right way.
If you are a veteran (i.e. from the first time round) this is like the aural equivalent of putting on a comfortable pair of slippers and relaxing with friends. It should act as a reminder of why you got in to this music in the first place. The downpicking on Wasteland, the whammy abuse on Rat In A Cage, all of this should be welcomed with open arms.
This is the 4th full length release of their career, with their first demo coming in 2011 and the fact that they have managed to keep going is a testament to their talent. If you answered No earlier, then there isn’t anything for you here. For those who said Yes, I think you already know what they are all about, and exactly what you are going to get from them. 7/10
Godsnake – Inhale The Noise (Massacre Records) [Spike]
I’m going to start with a confession: the cover art for Godsnake’s Inhale The Noise nearly put me off the record before I’d even hit play. There is a specific visual language associated with snakes and hard rock that triggers a deeply buried, visceral aversion in me, specifically anything that reminds me of Whitesnake.
As a band, they’ve always occupied a space I’d rather not visit, and the serpentine branding here felt like an immediate warning of hair-metal posturing to come. But as all music-related triggers go, the only way through it is to shut your eyes and listen. Once you do, you realize that Hamburg’s Godsnake are far more interested in high-velocity thrash precision than they are in the spandex-clad ghosts of the 80s.
The record opens with Scream For A Bullet, and the shift in reality is immediate. This is modern melodic thrash with a heavy-set, mechanical heart. The production is sharp and professional, providing a clinical clarity that allows the riffs to breathe while maintaining a healthy amount of grit in the low-end. It’s followed by Lost & Forgotten, which showcases the band’s knack for a rhythmic “shove”, a sound that owes as much to the technical precision of early Trivium as it does to the classic German school of metal.
What gives Inhale The Noise its specific weight, however, is the collaboration with Jean Bormann of Rage. His presence on tracks like the title track, and Rotten To The Core adds a layer of veteran authority and a “Rage-esque” muscularity to the songwriting. It’s a sophisticated bit of genre-blending that keeps the record from ever settling into a “business as usual” thrash routine. The melodies are sinister yet catchy, cutting through the distortion with a surgical precision that feels properly dangerous.
The middle of the record features Digital Dumbass, a title that is admittedly a bit blunt, but the music is undeniable. It’s a biting, high-velocity jolt that targets the modern era’s digital anxieties with a level of vitriol that feels entirely earned. The guitars don’t just cycle through riffs; they construct a vast, shifting architecture of noise that feels like it’s vibrating in your bones, leading toward the more expansive moments of Fear Is The Key and the finality of The Price We Have To Pay.
Godsnake have managed to deliver a record that successfully overcomes its own branding (again this is a me thing – it will never impact you dear reader….). Inhale The Noise isn’t the sound of veterans playing it safe; it’s the sound of a band that still feels like they have everything to prove. By the time the final vibration of the closer eventually cuts out, you aren’t left with the 80s associations I feared; you’re left with the realization that German thrash still has a hell of a lot of life left in it.
It’s an honest, unvarnished bit of reality that proves the best discoveries are often the ones that force you to look past the packaging. If you’ve still got a pulse, this will find a way to rattle it. 8/10
Shadowlands – 004 (Seeing Red Records) [Spike]
There is a specific, rain-slicked tension that Portland’s Shadowlands has spent four albums trying to perfect, and with 004, they’ve finally hit the frequency. It’s a record that feels like it was recorded in the blue hour, that hazy, indeterminate space between the end of a long night and a very cold morning. By leaning into an “80s-inspired horror synth” aesthetic and draping it over a post-punk framework, the band has created a signature sound that is as much about the “shimmer” of shoegaze as it is about the “shove” of darkwave.
The experience begins with Burdens, a track built on a foundation of spine-tingling harmonies that feel almost mechanical in their precision. It’s a cold, clinical start that provides a rigid skeleton for the guitars to eventually swamp. This sets the stage for Clicks and the rhythmic, searing energy of R/AGE, where the band proves they can handle high-velocity friction without losing the melodic “infectiousness” that defines their vocal performances.
The absolute standout here, however, is Let’s Fall Apart. It’s a six-minute masterclass in the crossover from goth to shoegaze, a transition handled with a level of pained, cinematic elegance that demands a repeat listen. The track moves with a slow, tectonic momentum, building from an introspective dreamscape into a massive, skyward wall of sound. It’s the kind of songwriting that doesn’t just entertain you; it inhabits you, revealing new layers of fuzz and grief every time the needle drops.
The second half of the record, Nothing Has Changed, Wounds AndRelics, and Substance doubles down on the “kaleidoscopic” blend of styles. The riffs soar and sear in equal measure, backed by rhythms that feel urgent and essential. By the time we reach the finale, The Worst Light, the atmosphere has become total. It’s a brilliant, shimmering closer that refuses to offer a simple way out, instead leaving the listener suspended in that specific, hazy twilight where the band thrives.
Shadowlands haven’t just delivered another darkwave album; they’ve created a climate. 004 is a lush, sophisticated triumph of tone that prioritizes the feeling of the fall over the safety of the landing. It’s the sound of a band finally embracing the beautiful, shimmering mess of their own collapse, and it’s a necessary soundtrack for anyone who prefers their pop melodies with an dark edge. 9/10
Cnoc An Tursa – A Cry For The Slain (Apocalyptic Witchcraft) [Mark Young]
A change of pace and intent now, with a touch of Black Folk from Falkirk’s own Cnoc An Tursa, who focus on their Scottish heritage to act as a rich tableaux from which they craft their unique sound. Now, I am not always down with folk metal, I’ll be honest with you as I lean more into that aggressive/speedier side of things.
Putting my personal taste to one side, A Cry For The Slain is an album that is steeped in atmosphere. Its knows exactly what it wanted to sound like, and in mining that rich heritage makes them sound unique to themselves. Na Fir Ghorma introduces us to them, and then its full on with The Caoineag, whose combination of high intensity black metal with what I can only describe as a swinging slow measure comes next. In terms of setting out the album, their approach and what you can expect then its captured here in these two songs.
The Caoineag has all the hallmarks of an epic song, its expansive length and dense musicality that is built around that central melodic line, sees the song grow in a controlled manner whilst doing so off an emotional kick. They bring the speed and aggression but temper it with a soft hand where necessary and suddenly you have spent 10 minutes with them that has gone in a flash.
The use of a central theme runs through each song, and to an extent you can recognise it at the start of each track. Calleach And The Guardians Of The Seven Stones comes in with what you could expect to be a traditional Celtic melody, one that evokes the raising of glasses and raucous nights. It’s the way they build around those melodic line which sees them do something different each time whilst keeping each song in context.
Any fear on my part that the folk side of things would possibly take precedence over other aspects of the sound is kept to a minimum. Baobhan Sith picks up the mantle of taking us forward through the middle of the album and has a darker edge to it. The melodic touches are there, as is the atmosphere and they are supported by an emotive lead break that lifts the whole piece to another level. The command of their material is top notch, as is the way they can switch from the light to the dark and back again whilst dropping in some quality riffs.
Moving through each song, they constantly navigate a path that sees each track move in a certain way. The songs don’t repeat the same ideas, far from it they just use a certain methodology to start them off. Alba In My Heart explodes into life, pushing forward at every turn, using changes in tempo to add a layer to the sound. And that is something else, the album sounds fantastic. Heavy where it needs to be, pared back elsewhere.
This and Address To The Devil lean more into the black metal, which is always welcome from my perspective. There is something primal about the attack manifested on these two songs, and yet when they do slow things down to a pause, those mint harmonious touches are front and centre. Now for a constant listener of this music, it might be old news but to these ears it sounds vital and worthy of my time.
The closer, The Nine Maidens Of Dundee is a gentle instrumental which for me is probably in the right place. Had this been positioned earlier in the album, It would have lessened the impact of the songs before and after. Still, the strength of this album is there for all to hear. Everything about this album is quality, from start to finish (ignoring the instrumental – sorry) and for fans of this genre it is an essential purchase. 8/10
Psycho Crossover Thrash Metal! Essentially this is an easy review to do, because it ties in nicely with my Heavy Metal flow chart which in this instance would go like this:
Like Thrash Metal – Yes / No?
If you answered yes, than you will find an extremely worthwhile way to spend your time, listening to some new/old thrash metal that is delivered with focus and determination. Being honest, it’s a love letter to the time of white high tops, of energetic downpicking and what were simpler times. Maybe not better times, but I digress.
Extreme Paranoia kicks things off, and you could be back in 86 or 87, with early lead breaks, gang vocals and a mazy riff build. Throw in a suitably driven lead break and you have a traditional slice of thrash metal. No bells or whistles, just simple thrash. They aren’t attempting to change the world with this, nor are they thinking that it will make them the next big thing. Its just honest thrash. The songs follow the standard build you would expect and don’t really deviate from that approach. I mean, why would you?
I could go on and try to wax lyrical about each track, attempting to make it more than it is, which would be pointless from my perspective. The album unfolds exactly as you hope it Two quick fire songs into God Of Lies, which starts slowly, methodically until they bring the lead guitar fire and return. It’s a great collection of riffs, executed in the right way.
If you are a veteran (i.e. from the first time round) this is like the aural equivalent of putting on a comfortable pair of slippers and relaxing with friends. It should act as a reminder of why you got in to this music in the first place. The downpicking on Wasteland, the whammy abuse on Rat In A Cage, all of this should be welcomed with open arms.
This is the 4th full length release of their career, with their first demo coming in 2011 and the fact that they have managed to keep going is a testament to their talent. If you answered No earlier, then there isn’t anything for you here. For those who said Yes, I think you already know what they are all about, and exactly what you are going to get from them. 7/10
Tommy Lee has announced Tommyland Rides Again, a reimagined version of his 2005 solo album Tommyland: The Ride, set for digital release on 22 May 2026 via BMG. Physical formats arrive on 21 August.
The updated album has been remixed in Dolby Atmos by Tommy and Smiley Sean at Tommy’s own Dolby Atmos certified studio, offering a richer and more immersive listening experience than ever before. It will also be available on streaming platforms for the first time.
“The cover art invites you to take a ride inside my twisted musical world,” Tommy said, “and experience its new life after 20 years. And in Dolby Atmos.”
Tommy Lee / Tommyland Rides Again Reimagined In Dolby Atmos
The release is accompanied by the single Good Times featuring Butch Walker, alongside a new HD music video. This tracik was the original lead single for the album and was the theme song for Tommy Lee Goes to College. The album also includes collaborations with Chad Kroeger, Joel Madden and Nick Carter.
A brand-new bonus track, Stupid World featuring Chad Tepper, adds a fresh dimension to the project, bringing a modern alt-rock edge to the reissue.
Originally released alongside Tommy Lee’s book and TV series, the album showcased a cross-genre approach that remains influential today.
20th April 2025 Support: Knife Bride
Words & Photos: Tom Atkin
On a night that the vast majority of alternative people are heading to one of Norwich’s biggest venues, it is very heart warming to see people turn up for a more “underground” show at the Waterfront Studio.
There was a good hour between doors and the first performance of the evening, which gave everyone plenty enough time to get in, grab a drink and then relax for a little while until Knife Bride took to the stage. Hailing from Brighton, Knife Bride are a band that have moulded their own sound with a mix from a fair few different genres, and what a sound that is! With exceptionally heavy guitar riffs that somehow carry an almost cinematic sound whilst mixing metal core aggression with a somewhat progressive weight.
The stand out part of the performance is Mollie Clack’s vocals, these are unique, effortlessly moving between melodies and what feels like unfiltered power with out an ounce of hesitation. Then there was the noise that she makes on some notes, I can’t describe it well; not quite high pitched, but not dull, instantly drawing attention. Whatever that sound is called, it was amazing, andfelt so raw.
They performed like a headline band to a crowd that treated them as such. A decent length set meant that after two or three songs the crowd were dancing along to the music added to the die hard fans who knew every word.
Photo Credit: Tom Atkin
The main event; the London formed, multinational, Calva Louise. A band made up of members from France, New Zealand and Venezuala, all of which came to the UK separately for their love of the music scene here and formed this amazing sound scape when they met.
First impressions before the band even appear on stage are madeby an impressive amount of production on the back line, which is very unusual for the Waterfront Studio. We find out later in the set, much like all their released music and videos, this production is all made by the band. An incredible feat, the amount of effort that they have put in to put on this show is nothing short of impressive.
On to the music itself, that initial interest peaked by the production value does not stop. Starting the set with ‘Tunnel Vision’ which has a very gentle first few seconds before Jess Allanic’s vocals completely switch up the vibe followed by a brilliantly heavy riff with some technical licks thrown in for good measure. This is not a gentle introduction to them, this is full on in your face mix of post hardcore and alternative rock.
Photo Credit: Tom Atkin
This tour is primarily supporting their 2025 album ‘Edge of the Abyss’, so naturally the fans are treated to the vast majority of the album. ‘W.T.F.’ brings even more technical riffs and even more evidence that Jess’s vocal and musical talent are an absolute treat to hear, effortless switching between more traditional singing, an almost punky type shout/scream and just to add to it, quick fire rap type lyrical delivery. Mastering all of them.
They delve into their Spanish language songs as well, ‘El umbral’, ‘Con Corazon’ and ‘Lo Que Vale’ all completely sang in the language. Using the same vocal techniques as the English spoken songs just further adds to the show.
By the mid way point, the crowd really has come alive, whilst its not circle pits and hardcore dancing, it is very obvious that everyone in here is enjoying Calva Louise as much as the band appear to be.
Photo Credit: Tom Atkin
Going back to the production, considering it is all built in house, it would put a lot of other bands to shame, not all bands put this much effort in, especially in shows of this size. They want to give you the absolute best experience they can, and that hits the spot perfectly.
The band don’t slow down, even on songs like ‘Hate in Me’ that brings a slightly more brooding feeling, the energy and intensity is still there. Riffs don’t get any less technical, drums still hit just as hard, every single part of this show is about giving their all, the crowd are definitely much appreciative of this.
If this show did not clash with another big artist, this show would have been sold out. The amount of love that they put into this needs to be given bigger rewards; an original sound, stellar production and a performance that is completely dialled in.
You can expect many things in life. Showers in April, politicians to lie, and buses to be late. Perhaps the most reliable thing these days is that a Skindred show will be a huge expression of fun and joy that transports you away from the daily humdrum, and that is exactly what we got at Electric Bristol.
It has taken the Newport outfit a long time to get here. Quarter of a century to be precise. But nine albums in, and with thousands of shows in every flea pit in both the UK and Europe finished, Skindred is now comfortably easing into a size of venue which their popularity deserves.
Skindred – Electric Bristol – 21 April 2026. Photo: Paul Hutchings/MetalTalk
During the 75-minute set, singer Benji Webbe asks how many of the hundreds crushed like sardines in front of him had not seen Skindred before.
It is a surprisingly large show of hands, but you know, after this set, that they will be back as soon as they can. For this is a masterclass in crowd control, audience participation and overall delivery of the highest order.
Skindred – Electric Bristol – 21 April 2026. Photo: Paul Hutchings/MetalTalk
A celebration of the latest album, You Got This, Skindred has been doing a small run of shows across the country, balanced with in-store acoustics, and a full-on electric set tonight. The crowd are queuing over 40 minutes before doors, and by the time Skindred hit the stage to The Imperial March, there is space to pass a Rizla only.
It is incredible to watch this set. AC/DC’s It’s A Long Way To The Top could have been written about this band, though Thunderstruck has been their intro for years.
It segues into The Imperial March as the band arrive to a hero’s welcome. To be fair, Benji and his brothers could have farted into a tuba, and we would have loved it. Thankfully, it is a bit more traditional fare, even more enthralling in power and pace.
Skindred – Electric Bristol – 21 April 2026. Photo: Paul Hutchings/MetalTalk
It is an explosive start. This Is The Sound and Set Fazers ignite a raging mosh pit that rarely settles all evening. Crowd surfers begin their assault, and kudos to the pit crew, who deal with everything well.
An early casualty in the pit causes some concern as security piles over the barrier to get things sorted. Benji is fully aware, checking in before Rat Race throws more musical fuel on the fire, and the place erupts once more.
Skindred – Electric Bristol – 21 April 2026. Photo: Paul Hutchings/MetalTalk
Everyone should see Skindred at least once. This is music from the heart, formed and crafted from tough upbringings, challenging social circumstances and a drive to succeed.
Benji’s Newport twang cannot fail to bring a smile. His banter is rapid and quick-witted, and he is not afraid to call people out. It is brilliantly good, as underneath it all is a genuine sincerity. This is a band who have clawed their way to the top and now maybe cannot quite believe that they might have got there.
With the news that the band is currently holding the mid-week Number One spot on the UK Official Chart, it is understandable that Benji, Mikey Deemus and Ayra Goggin are in a head spin. Benji thanks the crowd and urges those “tight bastards” who have not bought it to go out and get it.
It would be some achievement for this humble and deserving band.
Skindred – Electric Bristol – 21 April 2026. Photo: Paul Hutchings/MetalTalk
Looking into the sea of faces as the band races through the Radio 01633 – Jump Interlude via Skindred Radio, and all you see are smiles. Mikey Deemus is the coolest dude in the place, some feat when you consider the sass of Benji, but Mikey is in total control, firing out spine-breaking riffs that form the basis of Pressure, Kill the Power and new song You Got This.
On stage left, Tommy Gleeson, Feeder’s touring guitarist, amongst other things, throws down the low-end and locks in with Goggins. It is a formidable team behind Benji.
Skindred – Electric Bristol – 21 April 2026. Photo: Paul Hutchings/MetalTalk
A bruising Nobody closes out the main set, but there is no way that this band is finished.
It is a killer finale too, with Give Me That Boom and a blast of War Pigs winding the tension up for one final burst. The first riff of Warning kicks in, and shirts are swinging in the air long before Benji gives the command.
Skindred – Electric Bristol – 21 April 2026. Photo: Paul Hutchings/MetalTalk
When we do get to the Newport Helicopter, the place is in meltdown, and the venue is in shadow from the vast numbers swinging their tops. This is something I thought would age, but once more, this band proves me wrong.
Phenomenal live, ever improving on record, the future looks brilliant.
You have until 23:59 tonight to pre‑order the album and be included in the Skindred stats for this week’s Number One album. Earache Records also have a competition to win a trip to Mallorca to see the band. Full details are at earache.com/collections/skindred.
Skindred – Electric Bristol – 21 April 2026. Photo: Paul Hutchings/MetalTalk
RXPTRS
I was not expecting a support band tonight, so it was a pleasant surprise to find RXPTRS on the bill. Hitting the stage at 8 pm to a packed room, this was a no-brainer move. Local to Bristol, RXPTRS are the ideal warm-up for Skindred.
Their cross section of Metal, rock, punk and Hardcore proves to be the ideal opener and with a large percentage of the crowd already familiar with the band, it is no surprise that surfers fly early on.
RXPTRS – Electric Bristol – 21 April 2026. Photo: Paul Hutchings/MetalTalk
My first chance to catch them, they do not disappoint, with snippets of Nu-Metal via Linkin Park’s One Step Closer and a raging segment of Audioslave’s Cochiese blended in with their own tunes.
In frontman Simon Roach, they have a powerful focus, although the rest of the band (Ian Chadderton and Harley Watson on guitar, Sam Leworthy on bass, and drummer Mat Capper) are tight and energetic. They may not have huge amounts of room, but they kick it hard.
RXPTRS – Electric Bristol – 21 April 2026. Photo: Paul Hutchings/MetalTalk
You, Me And The Devil Makes Three sees Roach dive into the audience, and there is a brief minute when you think his frame will disappear below the human waves that he sails. Thankfully, he emerges and returns to the front to finish the job.
Picking supports is not always easy. This was inspired.
