“The last time I played Bristol was at the Louisiana,” says Dan Byrne halfway through his set. “Now you guys are selling out an upgraded venue.” Byrne is incredibly appreciative. As he says several times, it means the world to him, but the proof is in the sold-out signs across the UK on this current run.
Dan Byrne – Exchange Bristol – 5 April 2026. Photo: Paul Hutchings/MetalTalk
You will not find a nicer person than Dan Byrne. His ascent has been a slow and steady one, but with the release of his debut solo album, This Is Where The Show Begins, coming for new label Frontiers on 22 May 2026, do not be surprised to hear his name a lot more over the next few months.
A staple at Steelhouse Festival, but with a wider portfolio which started several years ago with the now defunct Revival Black, Byrne is set to launch further into the stratosphere.
Dan Byrne – Exchange Bristol – 5 April 2026. Photo: Paul Hutchings/MetalTalk
He is always thankful, maybe almost to the point of irritation at times, but on Easter Sunday, this little community-run venue in Bristol is packed to the rafters by the time he hits the stage. Such is his appeal.
He has changed his image, too, and for the better. Less flamboyant, the frilly shirts and leather look trousers are replaced by dark trousers, black t-shirt and leather cut, complete with scorpion design on the rear. He looks more like a rock star and is starting to have the clout to support the revision to how he looks.
Dan Byrne – Exchange Bristol – 5 April 2026. Photo: Paul Hutchings/MetalTalk
Of course, part of the reason for that is his partners in crime who bring the noise. Colin Parkinson is renowned for his bass work with Inglorious, amongst many others, and provides the solid low-end anchor together with drummer for hire Max Rhead, son of the same-named promoter and Steelhouse head honcho, whilst Glenn Quinn adds the cutting guitar edge.
Dan Byrne – Exchange Bristol – 5 April 2026. Photo: Paul Hutchings/MetalTalk
New songs litter the set, eight of the ten on the new release to be precise, whilst ballad Easier sees the diminutive frontman take out an acoustic guitar for a reflective moment mid-set.
She’s The Devil, Praise Hell and opener Saviour have big, chunky riffs, and sound great, whilst older songs such as Like Animals and the anthemic Death Of Me ensure his early EP Beginnings is also represented.
Dan Byrne – Exchange Bristol – 5 April 2026. Photo: Paul Hutchings/MetalTalk
It is surprisingly crunchy, and with Parkinson’s heft throbbing through the slightly too loud PA, Quinn’s guitar is lost to those stage right. A move to the back towards the end allows more balance, and it is a pleasing sound.
Dan Byrne may be a bit of a poster boy for Planet Rock and the new wave of classic rock movement, but it is deserved based on his fantastic set of pipes, which once more provide the suggestion that he could go places.
If he had been born about 30 years earlier, I would have guaranteed it.
Dan Byrne – Exchange Bristol – 5 April 2026. Photo: Paul Hutchings/MetalTalk
The interesting inclusion of Audioslave’s Show Me How To Live sees the band intensify the Metal element, and whilst Byrne is not Cornell, he gives it a good go.
It is a singalong to finish, Hard To Breathe and Death Of Me firm fan favourites to end a fine night of music carefully curated by the Steelhouse team.
Dan Byrne – Exchange Bristol – 5 April 2026. Photo: Paul Hutchings/MetalTalk
Muddibrooke
Derby’s Muddibrooke had the unenviable job of following Jayler at Steelhouse in 2025, and tonight they come in after a rousing set from Kit Trigg. They give it a good go over 40-odd minutes. Their alternative rock laced with social commentary goes down well with most of the assembled crowd, who give enthusiastic support.
Muddibrooke – Exchange Bristol – 5 April 2026. Photo: Paul Hutchings/MetalTalk
Brooke, Anna and Morgan do not always seem fully in sync, and some of the endings to tracks like ADHD, Devil, and You Don’t Own Me are a little rudimentary.
The set clearly has a message, but with every song seemingly touching a different genre individually, from Punk to Grunge and Alt-Rock, combined with their still slightly awkward transitions between songs, it all feels a little disjointed, and I struggled to connect.
Muddibrooke – Exchange Bristol – 5 April 2026. Photo: Paul Hutchings/MetalTalk
Yet there is a little spark here and there that indicates why Luke Morely has agreed to produce their debut album. I am keen to hear how this translates to record, it may prove me wrong, I hope they do.
Brooke is kind of marooned behind the mic stage, although she does make a couple of forays to centre stage. It is to their detriment that she can’t really let rip with her vocals reminiscent at times of a smouldering Sheryl Crow with added rasp and bite.
Muddibrooke – Exchange Bristol – 5 April 2026. Photo: Paul Hutchings/MetalTalk
Anna is bouncing around like a toddler on Haribo and does at least provide a more focal point. A minor criticism, but one I have noted before.
Overall, the trio do level out, although they sit in bronze place for me on the night.
Kit Trigg
Solid at Steelhouse on the difficult Sunday morning slot, Kit Trigg and his band were a welcome addition to the bill and open the evening with a decent set that has everyone up and moving.
He is hamstrung by the small stage and his vocal/guitar duties, but the boy can shred and write a catchy pop/classic rock-tinged song.
Kit Trigg – Exchange Bristol – 5 April 2026. Photo: Paul Hutchings/MetalTalk
They are clearly enjoying their opening slot on this tour, full of vigour and bounce, and Kit Trigg is thankful of the large crowd who are in early. Later in the evening, they are witnessed jumping around during Dan Byrne’s set.
Kit Trigg – Exchange Bristol – 5 April 2026. Photo: Paul Hutchings/MetalTalk
Snake In The Grass and Bound For Glory get people nodding, whilst he is still hitting hard in the feels with his song for his much-missed friend Will, slowing the tempo before building it back up again.
Kit Trigg – Exchange Bristol – 5 April 2026. Photo: Paul Hutchings/MetalTalk
Shirts off for the final song, much to the delight of the ladies in the front row. Will we see Trigg at any level bigger than here? It is difficult to say, but for now, he is doing okay, and he is worth a watch at the various festivals, including Maid Of Stone, this summer.
The Maine are about to release their new album ‘Joy Next Door’, and have made their way onto national television as part of its promo.
The band have made an appearance on The Kelly Clarkson Show and delivered a stirring rendition of the album’s lead single ‘Die To Fall’. A reminder that, even 20 years in, there are still chances for you to do things that you never thought you would.
The performance itself is beautiful, showcasing the song’s layers of heart, soul and vigour, with vocalist John O’Callaghan putting in a rigorously bold display, and somehow standing still for the duration of the track. It’s a wonderful way of showing just how far the band have come, both musically and physically, and sets up the album’s release perfectly.
A band called The Maine, live and direct to your living room. It doesn’t get better than that. Have a watch for yourself.
‘Joy Next Door’ will be released on April 10 via Photo Finish Records.
Drummer Pat Kirch had this to say about the record as a whole, stating, “Every album of ours has a color that represents it, and Joy Next Door is the green era. The green grass on the album art feels like it matches perfectly with the organic instrumentation and imperfections left intact on the album.”
The band will be heading out on the road in support of the record on both sides of the Atlantic. Here are all of the tour dates.
MARCH
24 – LAS VEGAS Brooklyn Bowl 25 – PHOENIX The Van Buren 27 – SAN DIEGO The Observatory North Park 28 – LOS ANGELES The Novo 29. -SAN FRANCISCO Regency Ballroom 31 – SEATTLE The Showbox
APRIL
01 – PORTLAND Roseland Theater 03 – DENVER Ogden Theatre 09 – MINNEAPOLIS First Avenue 10 – CHICAGO The Salt Shed – The Shed 11 – DETROIT The Masonic – Jack White Theatre 12 – COLUMBUS Kemba Live! 14 – PITTSBURGH Stage AE 15 – TORONTO History 17 – PHILADELPHIA Franklin Music Hall 18 – BOSTON House of Blues Boston – Music Hall 19 – WASHINGTON 9:30 Club 21 – BROOKLYN Brooklyn Paramount 23 – CHARLOTTE The Fillmore Charlotte 24 – NASHVILLE Marathon Music Works 25 – ATLANTA The Masquerade – Heaven 26 – LAKE BUENA VISTA House of Blues 28 – ST. PETERSBURG Jannus Live 30 – HOUSTON House of Blues Houston – Music Hall
MAY
01 – AUSTIN Stubb’s Waller Creek Amphitheater 02 – DALLAS The Bomb Factory
SEPTEMBER
17 – COLOGNE Live Music Hall 18 – AMSTERDAM Paradiso 19 – BERLIN SO36 20 – LUXEMBOURG CITY den Atelier 23 – GLASGOW SWG3 TV Studio 24 – BIRMINGHAM O2 Institute 25 – LONDON Roundhouse 26 – MANCHESTER Academy
(8th April 2026) – A new official Pink Floyd compilation project titled 8-Tracks, featuring eight essential classics selected from the band’s 1971 – 1979 era, will be released on 5th June via Sony Music. The album is available to pre-order on vinyl, CD and digitally here.
The tracklist includes the instantly recognisable songs ‘Money’, ‘Wish You Were Here’, ‘Another Brick in the Wall, Part 2’, ‘Time’ and ‘Comfortably Numb’, alongside earlier cuts in ‘One Of These Days’ and ‘Wot’s… Uh The Deal’, as well as an exclusive full version of ‘Pigs On The Wing’, previously available on the 1977 Animals 8-track cartridge release. The track sequence has been edited by Steven Wilson using sound effects sourced from the original multitracks to make for a continuous listening experience in classic Floydian style.
8-Tracks documents the full measure of Pink Floyd’s transition into their breakthrough era, propelled into superstardom throughout the 1970s. The eight-year period this special release celebrates encompasses music from some of the band’s most successful and celebrated records ever. 1971’s Meddle, 1972’s Obscured by Clouds, 1973’s The Dark Side of the Moon, 1975’s Wish You Were Here, 1977’s Animals and 1979’s The Wall. Six monumental, classic albums in their own right. Collectively, it’s a body of work that sees Pink Floyd shifting far beyond the early psychedelic pop Syd Barrett era and their post-experimental output, cementing their global status as one of the greatest rock bands of all time.
8-Tracks offers a brilliant insight into this incredible period of creativity. A starting point for new listeners to discover the depth and breadth of Pink Floyd’s peerless album catalogue, as well as a carefully curated collection for longtime fans to appreciate.
The 2026 announcement of 8-Tracks follows a remarkable 12 months for Pink Floyd. The 50th anniversary release of Wish You Were Here became a Top 10 charting album across the world, signalling Pink Floyd’s second #1 release of 2025 in the UK, Germany, Italy and Switzerland, 50 years after it first topped the chart. Seven months prior, the cinematic release of Pink Floyd at Pompeii – MCMLXXII became a Top 10 Box Office hit, and the accompanying soundtrack album earned the band’s first UK #1 album since 2014’s The Endless River – their final studio LP.
Pink Floyd 8-Tracks will be released on vinyl, CD and digitally on 5th June. Pre-order is available here.
Tracklisting
Side A
1. One Of These Days
2. Wot’s… Uh The Deal
3. Money
4. Another Brick In The Wall, Part 2
Side B
1. Wish You Were Here
2. Time
2. Comfortably Numb
4. Pigs On The Wing (full version originally released on the Animals 8-track cartridge and exclusive to this compilation)
Is it possible to review one album of a trilogy, especially if that is the concluding volume? Well, that’s what I am trying to do here with the final chapter in the Opvs Noir trilogy by Lord Of The Lost.
My knowledge of this German band is limited. A name that has been around for nearly two decades, and who got to the final of the 2023 Eurovision Song Contest, their European pomp is not a genre I usually dive deeply into. I will be honest, anything with a Eurovision vibe usually gets the swerve. But in for a penny, in for a pound as the saying goes.
Lord Of The Lost – Opvs Noir Vol 3 – Out 10 April 2026 via Napalm Records
Volumes 1 and 2 were released in 2025, so this is a swift follow-up. Kill The Lights opens things up with dynamic bravado, a heavy edge lurking underneath the melody and over the top keys that drench the band in a dark electronica.
String sections flood I’m A Diamond, flashes of Modern Metal and the guest vocals of Saltatio Mortis from Alea, the German Medieval outfit. It is big, dramatic, and sets the pace.
Although the band has a distinctly European sound, they straddle many genres in their delivery. Despite the darkness that the band create, My Funeral echoes Sabaton with friendly riffs and a hook big enough to catch Moby Dick.
It is here that founder and band leader Chris ‘The Lord’ Harms comes into his own, with a dominant gothic vocal that adds to the overall atmosphere. The band’s combination of electronica and chunky riffs will not endear them to all, but when Wednesday 13 joins the band on the horror punk tinge of I Hate People, a song about equality, you are either singing along or reaching for the off button.
The album is littered with guests. Kissin Dynamite’s Hannes Braun joins in on La Vie Est Hell, a track drawn from the book of poetry Les Fleurs du mal by Charles Baudelaire. Sung partly in French, this is a big, bombastic, industrial-tinged track.
Later on, the arrival of Damien Edwards from Cats In Space adds quality to the duet Take Me Far Away and that is before we get to the ethereal singing of Ambre Vourvahis (Xandria), who provides the necessary female element to When Did The Love Break?
It is a right mix of styles, from operatic drama through to more crunching performances and capped off with a ballad The Days Of Our Lives.
Cinematic soundscapes are painted throughout, and I will be honest, although it is not my bag, I did enjoy many aspects of this release. The production is high-end, the songs are well-crafted and beautifully performed. The conclusion of the trilogy is complete, the next question is one which I assume Lord Of The Lost have already planned.
Lord Of The Lost release Opvs Noir Vol 3 on 10 April 2026 via Napalm Records. Pre-orders are available from lnk.to/LOTL-OPVSNOIR, with the early formats already sold out.
The underground was alive and kicking to start April as Saltbox Bar in Nottingham played host to a ferocious night of blackened thrash mayhem. With Scotland’s Hellripper headlining, and support from Belgian rising force Schizophrenia alongside the UK’s own Devastator, this was a bill stacked with aggression and old-school spirit.
Devastator wasted no time in igniting the night, launching into ‘Conjurers of Cruelty’ with a savage urgency that immediately grabbed the crowd by the throat. Their blend of blackened thrash hit hard in the compact room, with razor-sharp riffs and a filthy, snarling vocal delivery. There was no easing into things this was full throttle from the outset.
Songs like ‘Black Witchery’ and ‘Liar In Wait’ locking into tight rhythms while still maintaining that chaotic edge. The crowd responded in kind, with the first signs of movement as heads began to bang in unison and the circle pits form. Devastator’s confidence on stage was undeniable, commanding attention without unnecessary theatrics.
By the time ‘Worship the Goat’ rolled around, the room was fully warmed up. Closing with ‘Death Forever’ and ‘Baptised in Blasphemy’, they left the stage having set a high bar for the rest of the evening.
Photo Credit: Tim Finch Photography
Belgium’s Schizophrenia took things in a more technical direction, without sacrificing any of the night’s intensity. From the moment they kicked in, their tight, intricate riffing and rapid-fire drumming created a wall of sound that demanded attention, think erly Sepultura and you are not far off; you can see where the inspiration of the bands name came from.
There was a palpable energy driving every track, with the band feeding off the crowd’s growing enthusiasm. The interplay between guitars was particularly impressive, weaving leads and rhythms together seamlessly while maintaining relentless pace.
Despite the technicality, Schizophrenia never lost sight of what makes live metal work, the sheer weight of its impact. Each breakdown hit hard, each acceleration hit with purpose, and by the end of their set the crowd was fully locked in.
Photo Credit: Tim Finch Photography
The evening had started with rumours and worry, Hellripper’s tour bus had broken down (again!) although unlike Bloodstock Winter Gathering the expectation was they would still make the show. That worry dissipated shortly after Schizophrenia’s set as Hellrippers merch started getting set up, the queue went out the door, and it was assumed James and his cohort were in the building at last.
When Hellripper finally hit the stage, the atmosphere shifted from intense to outright explosive. Opening with ‘All Hail the Goat’, they immediately unleashed their signature black ‘n’ roll fury, with frontman James McBain commanding the room effortlessly. The sound was raw, every riff cutting through as the crowd surged forward.
Photo Credit: Tim Finch Photography
‘Hell’s Rock ‘n’ Roll’ and ‘Goat Vomit Nightmare’ kept the momentum surging, delivering the kind of breakneck speed that has made Hellripper such a standout in the modern scene. There’s a punk-like energy to their performance, unpolished in the best way, driven by attitude as much as musicianship.
Mid-set highlights like ‘The Hanging Tree’ and ‘The Affair of the Poisons’ showcased a darker side, adding depth without losing intensity. ‘Kinchyle (Goatkraft and Granite)’ in particular felt massive in the small venue, its riffs echoing off the walls as the crowd roared along.
Photo Credit: Tim Finch Photography
The latter half of the set was relentless. ‘Hunderprest’ and ‘The Nuckelavee’ hit with ferocity, while ‘Bastard of Hades’ pushed the energy levels even higher. There was no let-up, no chance to catch a breath, just a continuous barrage of blackened speed metal a fans in a whirlwind of circle pits in Nottingham’s small Saltbox venue.
Closing with ‘Demdike (In League with the Devil)’, Hellripper brought the night to a triumphant, chaotic end. It was the perfect closing number; anthemic, aggressive, and utterly commanding.
Photo Credit: Tim Finch Photography
Photo Credit: Tim Finch Photography
Photo Credit: Tim Finch Photography
Photo Credit: Tim Finch Photography
Photo Credit: Tim Finch Photography
Photo Credit: Tim Finch Photography
Photo Credit: Tim Finch Photography
Photo Credit: Tim Finch Photography
Photo Credit: Tim Finch Photography
Photo Credit: Tim Finch Photography
Photo Credit: Tim Finch Photography
Photo Credit: Tim Finch Photography
Photo Credit: Tim Finch Photography
Photo Credit: Tim Finch Photography
Photo Credit: Tim Finch Photography
Photo Credit: Tim Finch Photography
Photo Credit: Tim Finch Photography
Photo Credit: Tim Finch Photography
Photo Credit: Tim Finch Photography
Photo Credit: Tim Finch Photography
Photo Credit: Tim Finch Photography
Photo Credit: Tim Finch Photography
Photo Credit: Tim Finch Photography
Photo Credit: Tim Finch Photography
Photo Credit: Tim Finch Photography
