Blog

Madfish [Release date 16.10.26] Following 2020’s instrumental concept album The Red Planet, the keyboard wizard, for Yes man and raconteur returns to expand on this concept, this time with vocals. Rick Wakeman found fame initially with The Strawbs, and several … Continue reading →

The post Album review: RICK WAKEMAN – Return To The Red Planet appeared first on Get Ready to ROCK!.

Demon/Edsel [Release date 27.11.26] Earlier this year Demon did a wonderful job with the Rainbow box Temple Of The King, taking in Ritchie Blackmore’s Rainbow’s first two album from 1975 and 1976, bonus tracks, and the three live in Germany … Continue reading →

The post Album review: RAINBOW – Rarities appeared first on Get Ready to ROCK!.

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.

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.

“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.