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There are gigs that feel like events, and then there are gigs that feel like the roof might actually lift off the building. When Massive Wagons juggernaut rolls into town,  you don’t just get a gig, you get a full-throttle, sweat-soaked event. And on April 19th at the legendary Holmfirth Picturedrome, that’s exactly what unfolded. Holmfirth Picturedrome was sold out, sweating, and buzzing  long before the headliners even appeared. But the night’s ignition came courtesy of Scarlet Rebels, a band who’ve quietly become one of the most reliable live forces in British rock.

Scarlet Rebels walked onstage to a crowd that already knew the words, thanks to the chart topping album Where The Colours Meet. What followed was a set that didn’t just translate well live it thrived. Secret Drug hit like a jolt of electricity, and from there the band barely paused for breath.

Take You Home and Streets of Fire turned the Picturedrome into a communal choir, while Grace and Declining brought a depth and emotional weight that only amplified the energy in the room. It was the kind of support slot that feels less like a warm‑up and more like a band staking their claim.

Scarlet Rebels Gallery

But Before the chaos of Massive Wagons it was touching that Andy’s Man Club were allowed the Mic to address the crowd about the great work they do,  a moment of sincerity that grounded the night in something bigger than rock ’n’ roll.

Then the house lights dipped. The Sex Pistols’ Pretty Vacant snarled through the PA, and the atmosphere shifted from excited to explosive. Every voice in the room joined in. Every foot stomped. The Picturedrome was primed for detonation.

Massive Wagons didn’t walk onstage  they erupted onto it. From the first blast of Everywhere We Go, the band were a blur of motion and noise, a runaway freight train of riffs and adrenaline. At the centre of it all was Baz Mills, a frontman who performs like he’s powered by a cocktail of caffeine, chaos, and pure joy. He sprinted, he leapt, he howled, he laughed and somehow never missed a beat. Watching him is like watching a man trying to outrun his own songs, and somehow winning.

Fuck the Haters became a cathartic roar shared by every throat in the room. Hero made a rare and welcome appearance, sounding as fresh as ever. Night Skies brought a moment of reflection as it was dedicated to Sarah, recently lost but clearly present in the hearts of many. And when Bangin’ in Your Stereo hit, the Picturedrome turned into a full‑blown party.

The encore of Back to the Stack  felt less like a final act and more like a victory lap. But when the dinghy came out for In It Together they were far from cruising. Holmfirth is one of the few venues in the UK that still lets Baz crowd‑surf in an inflatable boat, and the crowd treated it like a sacred ritual. Up he went, sailing across a sea of raised hands, grinning like a man who knows he’s living his best possible life.

 

A charming moment came when Baz acknowledged his parents in the audience with a tongue-in-cheek “see, I haven’t wasted my life… well, maybe some of it.” That mix of humour, humility, and connection sums up Massive Wagons perfectly. There’s a simplicity to what they do but don’t mistake that for lack of craft. This is big-hearted, high-energy rock done right, carrying a spirit not unlike Status Quo at their most infectious. No frills, no pretence—just songs built to be played loud and shared with a crowd.

It was a perfect Wagons moment, chaotic, heartfelt, and hilarious. By the time the lights came up, the room was a mess of sweat, smiles, and people who looked like they’d just survived a joyous natural disaster.

Massive Wagons don’t complicate rock ’n’ roll. They don’t dress it up or intellectualise it. They deliver it the way it’s meant to be delivered: loud, honest, sweaty, and full of heart. They’re the spiritual heirs to Status Quo  not because they sound the same, but because they understand the same truth: Good songs. Good times. No nonsense.

It may have been a Sunday night, but inside the Picturedrome it felt like the wildest Friday night imaginable. Massive Wagons don’t just play shows they send you home grinning, ears ringing, and already counting down to the next one.

With special thanks to Claire at Central Press for the media access.

GALLERY by David Pickles

The post LIVE REVIEW: MASSIVE WAGONS with special guests Scarlet Rebels appeared first on The Rockpit.

Breaking free from both the funderground and the hybridized emo-black subgenres, Kaeck returns to the years of later Darkthrone and Burzum with an ambient offering that happens to use guitars.

This will not appeal to the war metal fanatics, nor the slap-bass progressive jazz fusion black late hardcore emo metal types, but it offers a unique view of the black metal spirit taking new forms:

It’s a good day for California punks. First we got Ceremony’s first new song in four years, and now Death Lens joined forces with Militarie Gun’s Ian Shelton for a thoughtful banger called “Waiting To Know.” The track comes from the LA band’s upcoming album What’s Left Now?, from which we’ve also heard “Power,” “Monolith,”…

The post Death Lens – “Waiting To Know” (Feat. Militarie Gun’s Ian Shelton) appeared first on Stereogum.

It’s god’s work, but someone has to do it

On Friday (April 17), Sabrina Carpenter’s extravagant Coachella performance reached its apex with a surprise appearance from Madonna, with whom she sang a few hits. It happened only a few days after the pop veteran’s announcement of her new album Confessions II, and she even gave an astrology lesson to the audience. However, the vintage outfit she wore onstage has gone missing.

The post Madonna Offers Reward For Return Of Her Missing Coachella Outfit appeared first on Stereogum.

There’s something wonderfully in your face and authentic about ‘Ball Cap Blues’, the latest release from Mississippi native Davey Jones. It’s the sort of record you hope for but rarely find, one that doesn’t scream ‘look at me, look at me: or try to be too fancy, rather it earns your attention the deeper you get.

Rooted deep in Delta tradition but splashed with Southern rock swagger and a modern groove, this is blues that feels lived-in rather than just laid down. Jones’ ability to fuse gospel, country and contemporary influences into a cohesive sound gives the album a very distinctive identity—one that would feel equally at home in a juke joint or blasting out of a late-night highway drive.

Opening track “Banks Of The Blues” sets the tone with a nod to a rich heritage, before sliding into the funk-tinged bounce of “New Groove,” a song that immediately shows Jones isn’t afraid to stretch the genre’s boundaries. “Walking Easy” I love, a track that dials things back into a laid-back, sun-soaked groove, whilst “Ain’t No Good For Me” has a great ‘barroom energy’ that Blues in general and Davey in particular does so well. Across these first tracks, there’s a sense of movement: the sound of an artist shifting gears subconsciously between styles without ever losing the thread of what makes the Blues so timeless.

The mid-section of the album is where things really shine. “Mid Memphis Blues” brings a grittier, rock-edged punch, whilst “What You Gonna Do” strips things right back, letting the songwriting really breathe. Then there’s “Six Feet In The Ground,” all swagger and shade, a rea; standout that highlights Jones’ knack for marrying driving rhythms with darker storytelling. “Going Down In Mississippi” keeps that Southern imagery in teh spotlight, before closer “Woman I Love” rounds things out with a more reflective, almost soulful finish that lingers long after the final note fades.

What makes Ball Cap Blues so resonant is its simple honesty. Jones plays everything himself here, and you can feel it—this is a one-man vision that refuses to be shackled, blending styles while staying true to the South Mississippi roots at its centre. It’s not about reinventing the Blues; it’s about reminding you why it matters and why it always will. This is an album that is raw, and packed with real character, a record that proves the genre is alive, evolving, and still capable of hitting all the right notes. Check it out, you’ll love it.

The post ALBUM REVIEW: Davey Jones – Ball Cap Blues appeared first on The Rockpit.

On Episode 14 of 50 Shades Of Slaids we caught up with South African, Singer, songwriter, guitarist and looper Jeremy Loops. Jeremy is returning to Australia for the first time in six years for a headline tour and will bringing his incredible high energy show with him. His latest record ‘Feathers & Stone’ is simply stunning and needs to be checked out.

Not only do we talk about the album, but his connection to Australia and the similarities it shares with his part of South Africa. We talk music , inspiration and becoming a new father and what that brings to his life.

Jeremy Loops’ July 2026 Tour is a run of four shows that have to be seen and experienced to believe Sit back and enjoy The Rockpit’s chat with Jeremy Loops.

A huge thanks to Menard PR and TEG Live for arranging the interview.

JEREMY LOOPS – AUSTRALIAN TOUR DATES 2026:
 

Tickets on sale now via:  www.teglive.com.au

The post INTERVIEW: JEREMY LOOPS talks about his new album, his new tour & his life as a new dad appeared first on The Rockpit.

Here's your chance to grab copies of the updated edition, which features rarities and previously unreleased live recordings. Continue reading…

Drake has been teasing his ninth studio album called Iceman for almost a year. In July, the Canadian rapper released the single “What Did I Miss?” and cosplayed as an Iceman Toronto worker. Since then, he’s unveiled the Central Cee collab “Which One” and “Dog House” with Yeat and Julia Wolf. Now, he’s back with more rollout gimmicks.

The post Drake Spooks Torontonians With Explosion, Hides <em>Iceman</em> Release Date In Giant Block Of Ice appeared first on Stereogum.