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I have never had the creamy head of a pint of  Guinness go shooting up my nostrils before. Well, that faux pas with Arthur’s goodness happened earlier when doing pre-show research in a nearby hotel bar. I discovered that Manic Street Preachers enormo-hit A Design For Life is already 30 years old.

Manic Street Preachers

3Olympia, Dublin – 22 October 2026

Words: Brian Boyle

Photography: Steven Maloney

Now that is not the kind of info you want to procure when you are on the downslope of the midlife piste. But there was comfort in knowing that three odd hours later, I would be hearing it in the flesh. And it is thanks to Dublin not having a three- to four-thousand-capacity concert venue that we got to enjoy the Welsh institution do it in the close confines of the historic 3Olympia Theatre.

Unusually, there was no support act tonight. Instead, the PA got rattled by a couple of mixtapes called Rock ‘N’ Roll Is Here To Stay, made by their former bandmate Richey Edwards.

As the punters sauntered in, they were greeted by a screened image of a handwritten cassette j-card, and an eclectic mix of indelible classics from The Cult, Sinéad O’Connor, Pearl Jam and Happy Mondays slowly started to set the tone. No doubt that was a blast of nostalgia for those of a well-corked vintage.

But it also acted as a poignant tribute to their brother, later echoed by bassist Nicky Wire declaring “we are three, but we will always be four”.

Although they are playing sprawling mega-domes like The O2 in London and Co-op Live in Manchester on this run, tonight’s intimate setting with 1,600 felt like the better deal.

The ornate lamps of this 147-year-old theatre dimming at showtime is a world away from mass arena hell. There were no Johnny-come-latelys scrambling to their seats with a bucket of popcorn here. Everybody was in place, and the mood in the room was absolutely perfect. 

Manic Street Preachers do not do over-elaborate productions. That said, the screen, which was firing out various images all night, did work a treat. But when they took to the stage, all eyes were firmly on the three Welshmen.

It is a testament to the strength of their catalogue that they can open with Motorcycle Emptiness, one of their true gargantuan anthems. And straight off the bat, it was easy to see why it is so revered. The reaction was beyond euphoric, with the band going straight for the heartstrings.

The always therapeutic Ocean Spray swiftly followed and did not lower the elation one bit. In fact, the song’s emotional tug just heightened it.

As usual, James Dean Bradfield was a ball of energy. His trademark spin is still an impressive feat, especially when you consider the chunky Gibson he is playing at the same time. His enthusiasm was infectious, and together, band and crowd blew a few bulbs out with a very loud You Stole The Sun.

When they turn on their hard rock afterburners, they are a breathless unit, and that is something they are not given enough credit for.

Despite being extensively covered in Classic Rock Magazine and a wealth of online rock sites, to some, Manic Street Preachers are just another Britpop outfit. But across their thirty-four-year recording career, the Manics were never afraid to dip their toes into different genres, and a lot of that was done with the Marshall dial turned up to Spinal Tap numbers.

And anybody foolishly questioning their rock credentials would have choked on a large lump of humble pie tonight watching them tear it asunder on Faster, and the Guns N’ Roses-influenced Slash ‘N’ Burn.

And such is Bradfield’s admiration for the top-hatted Stoke-on-Trent legend, it is no coincidence that the wonderful riff to Autumnsong bears his DNA.

On a personal level, this is my go-to Manic’s tune, and I had a sleepless night worrying about it not being played on the second night. I need not have worried, and when the barest crack of the opening chords were let out, inhibition flew out the side door as the old air guitar made a cameo appearance.

Being proud Welsh people, the tribute to Bonnie Tyler with a snippet of Total Eclipse Of The Heart was a genuine touch of class, and did give No Surface All Feeling an extra bit of ammo. It is obvious they are good skins. Bradfield on more than one occasion acknowledged every section of the theatre with a wave and a thumbs up. Even the poor unfortunates up in the gods were not forgotten.

And he has no problem letting the man to his left and oldest friend Nicky Wire steer the ship. His lead on the wonderful Hiding In Plain Sight was one of the highlights of the night, and doing it with an Elvis-inspired white acoustic and a pocket full of confetti was always going to be a winner.

How do you top that? You set loose one of the biggest and most iconic songs of the ’90s, their career-changing A Design For Life.

For many in the house tonight, this was their introduction to the Manic’s, and their passion for it showed no signs of fading. The chorus is still pristine, but it is always those orchestral tones that send you right back.

Bradfield’s acoustic spot with This Is Yesterday, and Sleepflower could have been perceived as a breather for drummer Sean Moore, who held everything together all evening high up on his riser. It was a bit of craic nonetheless, and did prompt a good old singalong. 

The final act with the acoustic reached a moving climax as the rest of the lads returned to light up the closing moments of The Everlasting. If ever you wondered why people keep returning to see this band live, this rendition would have given you the answer.

The home straight was an electrifying riot. We, of course, got the all-action Your Love Alone Is Not Enough, which has never lost any of its gusto when done without the co-vocal of The Cardigans’ Nina Persson. In fact, Bradfield seems to raise his game doing a dual role.

On the eve of the release of The Holy Bible Live, the much respected 1994 album got its second representation with the abrasive snarl of Die In The Summertime not giving anyone a chance to catch their breath.

Although the front pit area was not exactly a den of mosh abandon, the unique vibe within the 200-odd was that of channelled worship, even with the glam-punk wrecking ball of You Love Us.

But as they clocked out with If You Tolerate This Your Children Will Be Next, the whole place was unified. The song’s political undertone was completely lost in an explosion of confetti and choral glee.

Manic Street Preachers have been coming to the 3Olympia on and off for 30 years now, and I doubt there were many nights better than this one.

Stunning.

The post Manic Street Preachers Bring Rapture To A Spellbound Dublin first appeared on MetalTalk – Heavy Metal News, Reviews and Interviews.

Steven Wilson has weighed in on Angine de Poitrine, the Canadian math rock duo whose rapid rise to fame this year has been accompanied by an equal amount of naysaying.

The pair, who perform under the noms du rock Khn de Poitrine and Klek de Poitrine, went viral in February this year after filming a session for Seattle Radio station KEXP, and have since become one of the hottest properties in live music. Their current tour, which ends in mid-December, has sold out, and a world tour in 2027 takes them to more countries and into significantly bigger venues.

“I think it’s genius,” Wilson tells Classic Rock. “I think the guitar player particularly is unbelievable. I love it. I think they pulled off the magic trick, because they have become they’ve crossed over to a mainstream audience playing atonal math rock with… You know, he’s playing a microtonal guitar here. He’s bringing microtones to the masses. Fucking hell! No one’s ever done that before. What a Trojan horse. I think it’s amazing. I mean, they’re racking up millions of hits online.

“I think they’ve crossed over to an audience that don’t even like rock. Probably a lot of fans of electronic music and dance music are digging it, some sort of math rock, prog rock, post-rock fans really digging it. Again, for some of the old-school classic rock fans, it’s probably too dissonant, too angular, not melodic enough. And I get that. The people who like more pentatonic music and the blues scale, it won’t resonate with them.

“But I think one of the great things about really interesting music is it is divisive. By definition, it is divisive. I think that’s why people start hate campaigns against bands that are doing something different.”

Our interview with Wilson, whose upcoming album Requiem For A Village will be released on November 6, will appear in an upcoming issue of Classic Rock. He plays two shows with the Parallax Orchestra next week at the Royal Albert Hall in London. Limited tickets are available.

Steven Wilson: 2026 dates

Oct 28: London Royal Albert Hall, UK
Oct 29: London Royal Albert Hall, UK

Angine de Poitrine: Vol II 2026 tour (sold out)

Oct 22: Paris Élysée Montmartre, France
Oct 24: Lyon L’Épicerie Moderne, France
Oct 25: Antwerp Trix, Belgium
Oct 27: Berlin Astra, Germany
Oct 28: Hamburg Molotow, Germany
Oct 29: Heidelberg Metropolink, Germany
Oct 31: Amsterdam London Calling, Netherlands †
Nov 01: Groningen VERA, Netherlands

Nov 05: Toronto History, ON
Nov 06: Quebec City Impérial Bell , QC
Nov 14: Montreal Club Soda, QC
Nov 16: Brooklyn Brooklyn Steel, NY
Nov 17: Brooklyn Brooklyn Steel, NY
Nov 18: Brooklyn Brooklyn Steel, NY
Nov 19: Boston Roadrunner, MA
Nov 20: Philadelphia Franklin Music Hall, PA

Nov 22: Mexico City Corona Capital CDMX, Mexico †

Nov 25: Atlanta The Eastern, GA
Nov 27: Nashville Brooklyn Bowl, TN
Nov 29: Chicago The Salt Shed, IL
Nov 30: Chicago The Salt Shed, IL

Dec 01: Minneapolis First Avenue, MN
Dec 02: Minneapolis First Avenue, MN
Dec 04: Los Angeles The Wiltern, CA
Dec 05: Los Angeles The Wiltern, CA
Dec 07: San Francisco The Castro Theatre, CA
Dec 08: Oakland Fox Theater, CA
Dec 10: Portland McMenamins Crystal Ballroom, OR
Dec 11: Portland McMenamins Crystal Ballroom, OR
Dec 12: Seattle Showbox SoDo, WA
Dec 13: Seattle Paramount Theatre, WA

Angine de Poitrine: Concerts de Musique 2027 tour

Mar 04: Melbourne Forum, Australia
Mar 06: Meredith Golden Plains, Australia †
Mar 07: Adelaide WOMADelaide, Australia †
Mar 09: Sydney Enmore Theatre, Australia
Mar 13: Buenos Aires Lollapalooza, Argentina †
Mar 14: Santiago Lollapalooza, Chile †
Mar 19: São Paulo Lollapalooza, Brasil †
Mar 21: Bogota Estéreo Picnic, Colombia †

Mar 28: Calgary Grey Eagle Event Centre, AB
Mar 29: Calgary Grey Eagle Event Centre, AB
Mar 31: Ottawa History Ottawa, ON
Apr 01: Ottawa History Ottawa, ON
Mar 06: Winnipeg Burton Cummings Theatre, MB
Mar 07: Winnipeg Burton Cummings Theatre, MB

May 02: Washington The Anthem, DC
May 03: Boston MGM Music Hall at Fenway, MA
May 05: Pittsburgh Stage AE, PA
May 06: Detroit Royal Oak Music Theatre, MI
May 07: Columbus KEMBA Live!, OH
May 08: Nashville The Truth, TN
May 10: Dallas The Bomb Factory, TX
May 11: Austin Moody Amphitheater at Waterloo Park, TX
May 15: Denver Mission Ballroom, ES

Jun 3-5: Barcelona Primavera Sound, Spain †
Jun 05: Paris We Love Green, France †
Jun 12: Neuchâtel Festi’neuch, Czech Republic †
Jun 14: Milan Magnolia Estivo, Italy
Jun 18-20: Scheessel Hurricane Festival, Germany †
Jun 18-20: Neuhausen Ob Eck Southside Festival, Germany †
Jun 24: Halifax The Piece Hall, UK
Jun 28: London O2 Academy Brixton, UK
Jun 29: London O2 Academy Brixton, UK

Jul 18: Toronto RBC Amphitheatre, ON
Jul 30: Chicoutimi Zone Portuaire, QC

Find Angine de Poitrine tickets.

Coldplay’s “Yellow” is one of those songs that feels bigger than its individual parts. The guitar is not built around a flashy solo or a complicated sequence of changes, yet the track immediately creates a sense of scale and emotion. That balance helped the song become a defining moment for the band and also explains why guitarists continue returning to it. The arrangement shows how a relatively simple harmonic framework can become memorable when rhythm, dynamics, melody, and tone all support the same musical idea.

The Yellow Chords reveal just how much of the song’s identity comes from repetition and carefully controlled movement rather than constant harmonic change. The progression gives Chris Martin’s vocal melody space to carry the emotional weight, while the guitar creates a stable foundation underneath it. For players, this makes “Yellow” useful not only as a song to learn, but also as a lesson in how strong arrangements can be built from straightforward material.

Simplicity Gives the Song Room to Grow

One of the most effective choices in “Yellow” is the decision not to overload the harmony. The guitar part leaves space between musical ideas, allowing the vocal melody and the atmosphere of the recording to remain at the center.

For beginner guitarists, this makes the Coldplay Yellow chords approachable. For more experienced players, however, the challenge lies in making the progression sound expressive rather than repetitive.

That distinction matters. A simple sequence of chords can sound flat if every section is played with the same intensity. In “Yellow,” the arrangement grows because the performance changes around the harmony even when the basic structure remains familiar.

Repetition Creates Recognition

Many successful songs use repetition, but “Yellow” demonstrates how repeating chords can strengthen emotional impact instead of making a song predictable.

Once listeners hear the main progression several times, it becomes part of the song’s identity. The ear begins to anticipate where the harmony is heading, which allows the melody and dynamics to create tension and release.

When practicing the Yellow guitar chords, players can use this repetition to their advantage. Instead of constantly learning new chord shapes, they can focus on improving timing, cleaner transitions, and control over how each chord is struck.

This is why the song works so well as both a beginner piece and a rhythm guitar exercise.

The Rhythm Matters as Much as the Chords

Simply knowing the correct chord shapes does not automatically make “Yellow” sound convincing. The rhythm and the space between strokes are essential to the character of the song.

Beginners often try to fill every beat with constant strumming, especially when playing without a full band. In this song, allowing the chords to breathe can make the performance feel much closer to the original atmosphere.

A useful way to practice the Yellow Chords is to begin with a very simple rhythm and resist the temptation to add too much movement. Once the timing feels secure, subtle variations in strumming intensity can be introduced.

The result is a performance that feels more musical without becoming technically complicated.

Dynamics Turn a Progression Into an Arrangement

The difference between a chord progression and a finished song often comes down to dynamics.

“Yellow” does not remain at one emotional level from beginning to end. Some moments feel restrained while others feel wider and more powerful. The guitar contributes to that change by adjusting intensity rather than constantly changing harmonic material.

Guitarists can recreate this effect by playing certain sections with a lighter touch and allowing others to open up with fuller strumming.

The underlying chords may remain similar, but the listener experiences a clear sense of movement. That is one of the most important lessons hidden inside the Coldplay Yellow chord structure.

The Guitar Supports the Vocal Instead of Competing With It

Another reason the arrangement works is that the guitar never needs to dominate the song.

The vocal melody carries much of the emotional identity, while the guitar reinforces the harmony and creates texture underneath it. This relationship is important for any guitarist who wants to accompany a singer effectively.

When playing the Yellow Chords, it is worth listening to how the vocal line sits above the harmony. Rather than trying to make the guitar part more complicated, players can focus on making the rhythm stable and leaving enough space for the melody.

That approach applies far beyond Coldplay. Good accompaniment often depends on knowing when not to play too much.

Tone Adds Character Without Complexity

The emotional quality of “Yellow” also comes from the sound of the guitar itself. The tone feels open and spacious, helping relatively simple chords sound larger than they would in a dry practice room.

Players do not need an identical setup to make the song work. Even on an acoustic guitar, attention to how the strings are struck can create a similar sense of openness. Allowing notes to ring, avoiding excessive muting, and using a relaxed strumming hand can make the Yellow guitar progression feel fuller.

This is a useful reminder that tone does not come only from equipment. Much of it comes from touch, timing, and the way the player allows each chord to develop.

The Structure Makes the Song Easy to Remember

Another strength of the arrangement is that its repeating sections make the overall form easy to follow. Once players recognize the main harmonic pattern, they can begin thinking less about what chord comes next and more about where they are within the song. This makes it easier to concentrate on dynamics and phrasing.

The Yellow Chords therefore become a framework rather than a list of instructions. That is a major step in learning guitar. When the player stops thinking about every individual finger movement, the song begins to feel natural, and performance becomes much more expressive.

Why the Song Still Works on One Guitar

Some tracks depend heavily on studio production and lose much of their identity when stripped down. “Yellow” remains recognizable even when reduced to a voice and a single guitar.

That durability comes from the strength of the chord movement and melody.

The harmony provides enough information for listeners to recognize the song even without the full arrangement, while the repeated structure makes it easy to adapt for acoustic performances, solo playing, or small ensembles.

This is one reason the Coldplay Yellow chords continue to appeal to players at different levels. The song can be simplified without losing its identity, but it also leaves enough room for more experienced guitarists to add nuance.

A Career-Defining Song Built on Restraint

What makes “Yellow” especially interesting from a guitarist’s perspective is how little excess the arrangement needs.

The song became one of Coldplay’s defining early tracks without relying on technical complexity. Instead, it uses a clear harmonic foundation, memorable melody, controlled dynamics, and an arrangement that knows when to stay out of the way.

For guitarists studying the Yellow Chords, that may be the most valuable lesson of all. Strong playing is not always about adding more notes or more difficult techniques. Sometimes the most effective choice is to take a simple progression, play it with confidence, and let the structure of the song do the rest.

The post Yellow Chords: The Guitar Structure Behind The Song That Changed COLDPLAY’s Career appeared first on Sonic Perspectives.

Canadian hard rock and melodic metal outfit Boneyard is proud to announce the release of its sophomore album, ‘Black Static‘. Building upon the foundation established by their acclaimed debut ‘Oathbreaker‘, the new record showcases an evolved lineup, expanded songwriting chemistry, and a powerful blend of modern female-fronted hard rock and traditional heavy metal. Founded in […]

The post Canada’s Boneyard’s New Album ‘Black Static’, Out Now! appeared first on ROCKPOSER DOT COM.

A fellow concertgoer has called out the venue for allowing her admittance.

The post Sleeping With Sirens Fan Draws Criticism For Bringing 10-Month-Old Child To The Band’s Madison, WI show appeared first on Theprp.com.

Breed 77 are back with their new single Don’t Give Me Up, a powerful anthem for the outsiders, the misunderstood and anyone who has ever felt the pressure to conform. Tackling bullying, discrimination and the judgement that comes with modern life, the song, to be released on 30 October, carries a simple message. It is OK to be different, and nobody struggling with those pressures should feel alone.

In this edition of The MetalTalk Lowdown, Gibraltar-born frontman Paul Isola looks back on sharing stages with Black Sabbath, having breakfast with Megadeth and walking Ozzy Osbourne’s dog. There are also tales of disastrous gigs, questionable personal hygiene on tour and a few strong opinions about the future of music. And, as it turns out, sometimes the worst thing a fan can say after a show is that the lights were great.

What’s the most Metal thing you’ve ever done off stage?
Well, I’ve done a fair few rock n’ roll things off stage that are not fit for public consumption. But amongst the most Metal must be hanging out with Rudy Schenker of the Scorpions randomly in Tokyo, or having breakfast with Megadeth. I also got to hang out at Ozzy’s house and walk his dog.

What’s the worst gig you’ve ever played, and why?
There’s been plenty of crap gigs in our storied career. We’ve literally played to one man and his dog, and the dog left! But I do remember one time we played a show where the PA was so bad we had to turn the monitors to the audience and create our own PA. More importantly, the show must go on.

What’s the best gig you’ve ever played, and why?
I think the first few really big gigs we did early on in our career still stick in my memory because we were young, wide-eyed and up for it. Plus, we would have never believed in our wildest dreams that we would be doing the things we did. Paredes de Coura festival in Portugal, our first appearance at Download, being the sole support for the Black Sabbath reunion show. All these hold a special place in my heart.

Would you choose a platinum record or one perfect, legendary live show?
I reckon a platinum record, as recorded music lasts forever, and I think we’ve had a few legendary shows and there are plenty more to come.

What’s your greatest fear?
I’ll stay within the confines of me as an artist. I fear a future with music, and any other art for that matter, devoid of soul, of meaning. Content thinly veiled as art, controlled by corporations. Streaming, downloading, MP3, the advent of AI. All these things have diluted the soul of music. Let’s not kid ourselves. It’s been a slippery slope for the past few decades. Music is in a worse place than it was.

What’s the trait you most deplore in yourself?
I’ll bite. I’m crap at names. I forget someone’s name the second I meet them.

What’s the trait you most deplore in other musicians?
They don’t remember my name! [Joke]. I hate when musicians act like rockstars and think they are superior. Dude, we’re just regular people. There’s a time and a place for rockstars, and that’s on stage.

Describe yourself in three words.
Student. We’re always learning. I love to learn. Driven. You have got to have an aim in life. Artist. I have to create to breathe.

What’s your guiltiest pleasure?
Videogames.

What does a great riff feel like to write?
Like raw energy, fire in your hands and the excitement of how this riff will inspire the song. It’s all about the song.

What’s the worst thing a fan has ever said to you?
After a show, “The lights were great.”

What’s the worst thing a critic has ever said to you?
I remember once a critic mentioned something about our overreliance on backing tracks and effects. If anyone knows us, they would know we are the anti-technology band. We have never used tracks. Everything is played live! Nothing worse than an ignorant critic. I’ll take anyone’s opinion, but at least do your job properly and get your facts straight.

If you were not in music, what would you be doing?
Either working in Film/TV or building guitars .

What’s one album outside your genre you secretly love?
Millions! Damien Rice O. Radiohead OK Computer. Gomez Liquid Skin. The list goes on.

When did you last cry, and why?
Every time an animal gets hurt in a film/TV, because animals are better than people.

What keeps you awake at night?
Mosquitos

Riffs, royalties or recognition, if you had to choose?
Recognition. We do this for the connection. We are nothing in isolation, although royalties would be nice.

How do you want to be remembered?
As an artist that people connect with and as a person people loved.

What’s the most important lesson the road has taught you?
Personal hygiene. Some people have it. Some do not. Jokes aside, living in close proximity to other people for extended periods of time teaches you a lot about respect and cohabiting, and it has been very useful in other scenarios in my life.

What happens when the music stops?
When the music stops, we go home.

---

Breed 77 release their new single Don’t Give Me Up on 30 October. Pre-saves are available at breed-77.ffm.to/dontgivemeup.Their new album VII is set for release on 13 November 2026.

They also tour the UK in November, with King Kraken supporting the first four headline shows and Silo joining the final four. The band also supports Soil in Bradford and Margate. The Manchester date falls on the album’s release day.

Breed 77 will support Soil on their show at Dreamland, Margate, on 15 November. For more details, visit linktr.ee/breed77band.

Enjoyed this Lowdown? Explore more from the series, featuring Toby Jepson, Zorn of Zornheym, Vanessa Warwick, Baz Mills, BAEST, Krusher Joule and Howard H Smith, among others.

Same questions. Very different people. Read more MetalTalk Lowdowns here.

The post Paul Isola – “I Got To Walk Ozzy Osbourne’s Dog” | The MetalTalk Lowdown first appeared on MetalTalk – Heavy Metal News, Reviews and Interviews.

“Loud enough for the White House to hear it: Free Palestine! Free Sudan! Free Lebanon!”

The post Turnstile’s Palestine, Sudan, Etc. Benefit Concert At The Washington Monument Drew An Estimated 60,000 People & Raised Over $209,000 appeared first on Theprp.com.

Live Review: Walter Trout + Laura Evans Islington Assembly Hall, October 18th, 2026 Reviewer / Photographer – Paul Dubbelman Concluding a 14-day run of UK shows on his ‘Sign Of The Times‘ tour, Walter Trout delivered a stellar performance at a sold-out Islington Assembly Hall. Across eleven songs, Walter, and the band (Jon Trout – […]

The post Live Review: Walter Trout + Laura Evens – Islington Assembly Hall, October 18th appeared first on ROCKPOSER DOT COM.

In 2014 Prog explored former Cream member Jack Bruce’s third solo album, 1971’s Harmony Row, viewing it from the perspective of a concept album that took him far away from the blues rock he’d prevously been known for.

“I sat at my Blüthner piano and played the thing from top to bottom,” said Jack Bruce, explaining how his third solo album arrived almost fully formed one inspirational afternoon. “The songs just came tumbling out as a complete entity in pretty much the same order as they appear on the album.”

While his 1969 debut Songs For A Tailor had mopped up material originally intended for Cream, with 1971’s Harmony Row he wiped the slate clean and delivered a sequence of songs that took him out of the mainstream.

Several pieces traverse a jazz-rock undertow and utilise unorthodox chords which owed more to classical avant-garde composer Olivier Messiaen than the blues-based rock he helped pioneer, and which he remained associated with.

After working with Eric Clapton and Ginger Baker, and what he called their “big” sound, Bruce wanted something more intimate and personal in nature. He co-opted Chris Spedding (guitar) and John Marshall (drums) from British jazz-rock pioneers Nucleus to flesh out these poetic vignettes alongside his own bass, keyboards and vocals.

“Lyricist Pete Brown had this mad idea that the songs were kind of like a big show on ice – not exactly like an operetta, but a kind of concept album in a way,” said Bruce.

Not unlike an interlinking song cycle rooted in his working-class upbringing, the album title references a tenement block in his native Glasgow, describing drifters, early-morning commuters, grinding poverty, yearning love songs and the yawning possibility of death or rebirth at each sunset.

Harmony Row’s cinematic contrasts provide starkly lit close‑ups during the reflective prelude of Can You Follow?, before rushing into the wide-open vistas of Escape To The Royal Wood (On Ice), bustling with quick-fire time signatures, abrupt vocal jump cuts and layers of processed guitar glistening in spectral reverb.

Meanwhile, on Folk Song, Bruce multitracks his own voice into an ethereal choir to devastating, poignant effect. He recalled: “It was engineer Andy Johns who came up with that idea. It was the only way we could get the kind of texture we were after. We called those voices The Jackettes!”

Harmony Row’s willingness to go beyond expectations highlights Bruce’s interest in experimentation and his contrarian disposition. This is emphatically not the work of the blues bruiser some supposed him to be, but rather a sensitive and sophisticated composer who understands how to box clever, an expert in judging precisely when to hang back and when to hit hard.

Harmony Row is an album of which, understandably, Bruce remained very proud. “All of my early solo albums are really diaries of where I was at musically at the time,” he said. “Listening to it now, I think it still stands up.”

Rise Against and Alkaline Trio – Great Park Live – October 23, 2026

Two great bands were on dance card Friday night in Irvine, CA, but the early star of the show was Mother Nature.  The doors to the outdoor venue opened at 5:30pm, and those who arrived early were treated to an amazing sunset.  As day shifted to night, a massive black cloud could be seen to the east, seemingly moving at a snail’s pace towards the venue.  As showtime got closer, bright flashes of lightning could be seen on the horizon, and the entire sky became eerily dark.  Small drops of rain began to fall, and suddenly there was a warning broadcast over the PA system urging people to return to the safety of their cars due to incoming severe weather.   I asked a security member near the exit what this meant and he said that the concert had been cancelled.  I wasn’t sure if that was true, but others around me were bummed and took his words as gospel – walking to their cars and driving home.  I feared it might be true, but dragged my heels leaving the venue in case more information was provided or something changed to cause optimism.  Just then, the screens lit up with “Weather Alert!!  Due to lightning in the area, we are temporarily evacuating the venue for everyone’s safety.”  There was also a message over the PA system telling fans to go to their cars and await further instructions.  I wasn’t sure how anyone would be able to hear the further instructions from their cars, but I was happy there was still a possibility the show would happen

Rise Against

Irvine’s Great Park Live is a temporary concert venue in a large park that once housed fields of lima beans and oranges, before being converted to a Marine training base in the immediate aftermath of Pearl Harbor and the impending US involvement in World War 2.  It lies in a strange area of Orange County where it is flanked on one side by a large housing development, by industrial warehouses on another, the I-5 Freeway on another, and the remains of a landing strip from the decommissioned Marine base on the other.  The venue holds 10,000 people, and is essentially a massive park surrounded by a fence with a large stage at one end.  Inside it is very reminiscent of a large-scale music festival – food trucks and vendors surround the grounds in a horseshoe, and a massive, manicured grass lawn stretches from one end to the other – it reminded me of a scaled-down Aftershock Festival. 

As I sat in my car sheltered from the rain and lightning while awaiting news that the show might continue, I witnessed hundreds of cars driving past me on their way home.  Those that hung in there and didn’t listen to the bad information I’d been given by security, got to witness a fantastic show.  The rain was nowhere to be seen by the time Rise Against hit the stage at 10:00pm, but the memory of the storm fueled an amazing set, and the fans who had been through so much to be there fed off the performance – people were REALLY stoked to be there and participated fully. 

Prior to Alkaline Trio or Rise Against playing a note, the thousands of people who had been evacuated to their cars had to get back into the venue.  I had a great parking spot near the entrance and within visual range of the huge screens.  I could see when the evacuation notice was taken down, and I promptly stepped out of my car to try and ascertain if/when we would be allowed back in the venue.  Someone had heard that they’d be opening the doors at 8:30pm, so people started working their way to the gate.  Thousands upon thousands of people stood outside the venue awaiting a sign that we’d be allowed back in – the good news was that the rain had stopped by this point.  Someone in line had the good idea to shout, “Let us in!!”, and the entire crowd picked it up and started chanting it over and over.  Finally, the doors opened and we started inching forward – I was in the middle of the pack, and it took me 25 minutes to get back inside.

Rise Against were in Southern California on Friday night as part of the Ricochet 2026 Tour, in support of last year’s Ricochet album – their 10^th studio release.  They formed in 1999, and have delivered their own brand of rock since their inception – unflinchingly charged lyrics with socially conscious commentary, combined with aggressive but undeniable hooks.  There are lots of bands with passionate fan bases, but Rise Against seem to have some of the most ardent.  Everywhere you looked in the mass of humanity, people had huge smiles on their faces – people were genuinely excited to be there and sharing a night with their people and their band.  Crowd surfers were everywhere, and the mosh pits looked lively on the jumbo screens, but were too hard to get to with cameras wrapped around my neck to see in person.  People in the very front row up against the barricade held signs of support, and there were more children in attendance with their parents than any show I can remember.  Multiple people I’d talked to had driven for hours to watch their favorite band and revel in the atmosphere, and after the threat of the show being cancelled, the diehard fans had made it their mission to let loose.

Both Rise Against and Alkaline Trio’s sets were shortened to allow for the weather delay and a strict noise curfew due to the nearby housing development, but each band put out extra effort to ensure that things were right with their fans.  Tim pulled out the bullhorn for “Make It Stop (September’s Children)” and jumped off the stage during “Give It All”, and spent half the song standing on top of the security barricade to interact with fans and high-five crowd surfers.  Fans and band alike were happy to be there to share the evening with each other after the threat of cancellation, and both took full advantage of it.  What looked like a disastrous evening at 7:00pm had morphed into a euphoric experience by the time the gates opened at 8:30pm.

Rise Against is:

• Tim McIlrath – Vocals/Guitar
• Zach Blair – Guitar
• Joe Principe – Bass
• Brandon Barnes – Drums

Setlist:

1) Satellite

2) Make It Stop (September's Children)

3) Give It All

4) Help Is on the Way

5) Under the Knife

6) The Good Left Undone

7) Katy Bar the Door

8) Prayer of the Refugee

9) Swing Life Away (Acoustic)

10) Re-Education (Through Labor)

Encore:

11) Survive

12) Savior

Alkaline Trio

Like Rise Against, Alkaline Trio is from Chicago, forming 30 years ago in 1996.  Another similarity is their fanbase, which is also borderline fanatic.  Fans were beyond excited to be back inside the venue after the weather event and threat of cancellation…Alkaline Trio’s set was up first, and the fans, many of whom had driven hours to be there and risked missing it due to lightning were ready.  People were ecstatic about being there, and when the lights finally came up to reveal the three-piece on stage, the roar from the crowd was deafening.  The fact that the set was shortened didn’t matter – people were there to live in the moment, and Alkaline Trio put on an amazingly energized show. 

Vocalist/guitarist Matt Skiba is a founding member, and did double-duty on guitars and vocals in Blink 182 from 2015-2022 when Tom DeLonge left that band.  Dan Andrian, who alternates lead vocals with Matt and plays bass, joined just after they formed and has been featured on all ten studio albums. Newcommer Tosh Peterson on drums joined earlier this year after the departure of Atom Willard.  Despite being in the band less than a year, Tosh was captivating to watch, bringing an Animal from the Muppets aesthetic to the kit, while keeping the train rolling down the tracks.  Alkaline Trio was incredibly tight, and delivered a short but passionate set that was exactly what their fans hoped for. 

Alkaline Trio is:

• Matt Skiba – Vocals/Guitar
• Dan Andriano – Vocals/Bass
• Tosh Peterson – Drums

Setlist:

1) We've Had Enough

2) Calling All Skeletons

3) Private Eye

4) Is This Thing Cursed?

5) Cringe

6) Oblivion

7) Every Thug Needs a Lady

8) Warbrain

9) Mercy Me

10) Radio