“Over the years, facing myself and the reflection that comes with the mirror isn’t always an easy one,” Bookie shares of the meaning behind Blame. “Accountability is the removal of ego and pride to see beyond your own nose, to allow yourself the room to grow via ownership of your actions. I’m around some of the best people who practise that in more ways than one.
“Corey and I have been working with each other for nearly a decade, but I feel this record is a coming of age, even for us. New territory, but familiar approach to make sure we embolden each other through music. This song is almost a therapy session for me, and not just via my own lyrics, but to how Corey has made me feel by exposing himself so bare in this record, truly an honour to keep pushing the envelope with someone who has just pushed it as far as it can go, but has completely revamped what the envelope fucking is.”
“Books is one of my favourite people, not just artists, and every time he comes to me with an opportunity to create with him, I’m always excited because I know I’m going to hear something I’ve never heard before,” adds the Slipknot legend. “Blame was so good the first time I heard it, I signed on without even knowing what I’d do! I’m proud of the song, and I’m proud of him, and grateful to be involved.”
Avenged Sevenfold, Good Charlotte and A Day To Remember have announced that they’ll be teaming up for a very special one-off stadium show this summer.
Photo credit: Brian Cattelle / Jen Rosenstein
With Avenged Sevenfold and Good Charlotte already set to head out on a full North American tour together, the massive Los Angeles show will take place at the end of their run.
They’ll be hitting up LA’s 24,000-capacity BMO Stadium on August 30, with A Day To Remember rounding out an already kick-ass line-up.
Tickets for the one-off show go on sale this Friday March 20 at 10am PT.
If you’re lucky enough to be stateside though, you can catch A7X and GC on their joint tour at the dates below:
JULY 25: RIDGEDALE, MO Thunder Ridge Nature Arena 27: SHAKOPEE, MN Mystic Lake Amphitheater 30: TINLEY PARK, IL Credit Union 1 Amphitheatre
AUGUST 1: ST. LOUIS, MO Hollywood Casino Amphitheater 4: CLARKSTON, MI Pine Knob Music Theatre 6: TORONTO, ON RBC Amphitheatre 8: MONTREAL, QC Bell Centre 10: BELMONT PARK, NY UBS Arena 12: MANSFIELD, MA Xfinity Center 14: CAMDEN, NJ Freedom Mortgage Pavilion 16: CHARLOTTE, NC PNC Music Pavilion 18: TAMPA, FL MIDFLORIDA Credit Union Amphitheatre 21: DALLAS, TX Dos Equis Pavilion 23: DENVER, CO Ball Arena 25: SALT LAKE CITY, UT Utah First Credit Union Amphitheatre 27: PHOENIX, AZ Talking Stick Resort Amphitheatre
Dewayne Bailey played with Bob Seger from 1983 to 1986 and was with Chicago for a decade after that, but he gives himself zero grace. “I’m very brutal about myself and my time with both bands,” he tells ClassicRockHistory.com. “But at the end of the day, I was incredibly humbled and grateful to be given the chance to play with both,” he says. “As they say, ‘Ya live and ya learn.’ The good thing is that you can correct the mistakes you made years ago… and have fun doing it.” It’s a good outlook to have, considering Bailey intends to
From an overpacked tent debut at Download Festival to sell-out shows across the Atlantic, President are quickly becoming one of metal’s biggest new bands
There is a specific, gritty satisfaction in seeing Epic Studios pushed toward its near-1,000 capacity limit on a school night. It’s a reminder that good music remains a primary pull, regardless of the temperature outside or the day of the week. Last Tuesday, the room wasn’t just “busy”, it was properly swamped, providing the perfect pressure-cooker environment for a bill that moved through three distinct tiers of heavy.
The night ignited with Baest (8). The Danish death metal machine doesn’t bother with the theatrical preamble; they delivered a blistering 30-minute set that functioned as a masterclass in engagement. Minimal chat. Maximum friction. Within minutes, an immediate circle pit had claimed the centre of the floor, a physical response to a sound that is as honest as it is brutal. They didn’t just open the show; they kickstarted the room’s pulse.
The weather shifted significantly with Disembodied Tyrant (9). If Baest was an invitation, Blake Mullens and his lot provided a confrontation. Mullens stalked the stage with a predatory intent, almost challenging the thousand-strong crowd to match the velocity coming from the PA. This is Deathcore for the high-IQ set, epic, super-fast, and possessing a level of technical dexterity that makes your eyes bleed.
The highlight was the skilfully integrated nod to Vivaldi’s Four Seasons, a moment of baroque insanity that proved this isn’t just about the breakdown; it’s about smart, sophisticated songwriting delivered at a heart-attack pace. The guitar work was needle-fine, cutting through the low-end churn with a surgical precision that left the audience both battered and genuinely impressed. It was an awesome, exhausting build-up for what was to come. I managed to catch up with Dominic Petrocelli, lead guitarist, for a quick chat after their set and it’s clear the band are loving this tour, getting to engage with a new crowd and truly seizing the opportunity.
By the time Bleed From Within (9) hit the stage, the venue was a powder keg. The Glasgow five-piece hit the ground running, ripping through the opening salvos of Sovereign and I Am Somewhere Else with the kind of arena-ready confidence that suggests they’ve outgrown these rooms, even as they clearly relish the intimacy of them.
Between the high-velocity riffs, there was a brief moment of reflection. The band noted the contrast between tonight’s massive turnout and the much smaller crowds of their previous visits to Norwich. Filling a room of this size on a Tuesday is a well-earned ascent and a testament to the pull of this specific triple-bill.
The setlist was a relentless march through their most potent material. Pathfinder and the massive, melodic soar of Levitate showed a band that has mastered the “shimmer and shove” of modern metal. They’ve found a way to maintain the raw, bruised-rib honesty of their early days while draping it over cinematic, towering structures. By the time they reached the final, feedback-saturated roar of The EndOf All We Know, the job was done, Metalcore Tuesday nights should be a thing. This was the perfect evening to get rid of start of the week annoyances.
It was a night of pure, unadulterated intent. Bleed From Within didn’t just headline; they provided the definitive proof that the UK metal scene is currently operating at a world-class level. For those of us who braved the cold to stand in the heat of a packed Epic Studios, it was the best kind of Tuesday night, loud, honest, and utterly essential.
I will fully admit this was a bit of a voyage into the unknown for me. Three bands, two of which I had not even heard of before, and headliners who have been kicking up the dust for the past decade with shows at huge Metal festivals, including Download and Hellfest, as well as earning appreciation at the likes of 2000Trees. By the end of the evening, I was fully invested in the high energy from not only the headliners, Nova Twins, but also the two support acts, Venus Grrrls and Bex.
The venue is not full, but there is not much room, and unlike the Crowbar gig a couple of weeks before, you can move without an armpit in your face.
There soon is a sweaty arm in the face when Nova Twins hit the stage, though, as the pit erupts when they bring their low-end induced Grime rap punk to Cardiff.
Nova Twins – Tramshed, Cardiff – 15 March 2026. Photo: Paul Hutchings/MetalTalk
Nova Twins
The energy in the room is palpable as Amy Love and Georgia South, accompanied by a drummer, take their place. From the opening bars of Antagonist, the room is bouncing as the bass lines thunder and growl.
You can feel your stomach lurch from the big bass rumble, Amy taking vocals and commanding the audience from the start. Georgia is a little less free, focusing on the huge banks of pedal boards spread in front of her to control the limitless effects that pepper the band’s sound.
But when she is freed, she is a bundle of high-voltage energy, her curls shaking as she pogos across the stage.
Nova Twins – Tramshed, Cardiff – 15 March 2026. Photo: Paul Hutchings/MetalTalk
It is evident that Nova Twins are going to make it big. Their confidence, born from tours with the likes of Hot Wax and Bring Me The Horizon have equipped them with stage smarts, and even when there are some technical difficulties early on, they turn it into a party, with the audience needing little encouragement to sing Penblwydd Hapus i Ti to the band’s tech as it is his birthday.
Once they have got that problem sorted, it is full bore on this final leg of their Parasites & Butterflies tour. For a two-person outfield unit, they cover some ground, with Amy particularly energetic.
Nova Twins – Tramshed, Cardiff – 15 March 2026. Photo: Paul Hutchings/MetalTalk
Her foray into the pit during Choose Your Fighter sparks rowdy scenes with some bruisers slamming hard into each other. Those nearest to Amy, who looks about four stone dripping wet, ensure that she is not battered before she retreats to the stage and a fiery Piranha.
They draw almost exclusively from the latest album, which is sung word-for-word back at them. There is no challenge to win the crowd over here. They are with the Twins from the start.
Nova Twins – Tramshed, Cardiff – 15 March 2026. Photo: Paul Hutchings/MetalTalk
An eclectic spread, youngsters next to those old enough to draw their pension, Metalheads, goths and alternative types. It is compelling even if the music is not really my bag. You cannot help but be drawn in by the high-energy fire on stage.
Nova Twins – Tramshed, Cardiff – 15 March 2026. Photo: Paul Hutchings/MetalTalk
Hummingbird, a song about grief, shows another side to the band as they gently close the main set before returning for a feisty conclusion. They may not be household names yet, but they will be. Well worth seeing if they are in a town near you, Nova Twins put in one of the shows of 2026 at this venue.
Nova Twins – Tramshed, Cardiff – 15 March 2026. Photo: Paul Hutchings/MetalTalk
Venus Grrrls
There’s a nice spread of styles on the bill, and Venus Grrrls pack both the punch and the gothic spellbinding talent to capture the attention of all in the venue.
Venus Grrrls- Tramshed, Cardiff – 15 March 2026. Photo: Paul Hutchings/MetalTalk
That is in part due to the vocals of singer Grace Kelly, whose voice blends Siouxsie with Kate Bush in a gloriously heady mix that is underpinned by the riffs of Eliza Lee and the concrete engine room of Hannah Barraclough (bass), Grace Stubbings (synths), and Gabby Cooke (drums).
Venus Grrrls- Tramshed, Cardiff – 15 March 2026. Photo: Paul Hutchings/MetalTalk
The Leeds natives bring a captivating 30 minutes of alternative gothic to the evening, opening with 3X3 and closing with their own homage to The Crow with the song Eighteen Crows.
Their image works well with the music, whilst Kelly’s theatrical enhancements craft the ideal imagery to match songs like Ivy Tree and Hex.
Venus Grrrls- Tramshed, Cardiff – 15 March 2026. Photo: Paul Hutchings/MetalTalk
Whilst there is not much movement apart from Kelly, there are moments when things do spice up. Kelly drops to her knees in front of Lee at one point, as if casting a spell.
It is great entertainment, and Venus Grrrls make a fine noise tonight. Plenty of interest in the audience, who provided a fabulous reception.
Venus Grrrls- Tramshed, Cardiff – 15 March 2026. Photo: Paul Hutchings/MetalTalk
BEX
It’s the livewire BEX who opens proceedings. She is a pocket dynamo, elfin in style and vocally very much in the Björk style, with an almost childlike quality to her spoken word.
BEX- Tramshed, Cardiff – 15 March 2026. Photo: Paul Hutchings/MetalTalk
A short set sees her race through songs which have an anarchic punky edge. She is a compelling watch, explosive across the stage in many ways, jumping with the music and cajouling the audience who are fully engaged.
The 30-minute time slot ends with Spyd 4King, and the huge cheers that greet BEX provide all the evidence you need that she is well-suited to this tour.
Live Review: Wolfbastard – Star & Garter, Manchester
14th March 2026 Support: Devastator, Skabs, Bloodsaw
Words: Matthew Williams
The day after releasing their turbo charged, belligerent new album “Satanic Scum Punks”, Dez, Si and Dave, collectively known as Wolfbastard, celebrated with an album release party at one of Manchester’s most iconic venues, The Star & Garter, and with sold out notices all over social media, it promised to be a raucous affair.
Leading off were another Manchester band who are building up quite a reputation. I’ve seen Bloodsaw a few times now, and each time, they get better live, as they have that youthful thrash energy both on and off stage. They keep the crowd engaged throughout, but what impresses me most is how composed and assured the foursome look on stage. However, it’s their songwriting and composition which is constantly improving, demonstrated by their last two songs, “Circle of Hatred” which was dedicated to Phil Campbell, and “Die by The Gun” as they are full of great solos and get the pit moving nicely.
I knew nothing about Skabs, except that they played blackened punk and hail from Bury. The four piece have a lot of feedback, and the guitarist plays a lot with a mixing board, to aid their cacophonous sound. The most impressive part was their bassist, as he has a big sound, demonstrated superbly on the slowed down sections. The drummer is rapid, and in sections they are fast and furious, but the vocals were barely audible. At one point the singer pulls the set list out of his back pocket, and they thank the new drummer who “only had two days to prepare” for the gig, before their short set, full of noisy mayhem came to an end.
I last saw Devastator across the city at Rebellion in November, a week after I’d seen them play at Damnation Festival, so was looking forward to seeing them again. They bring energy and oomph to their shows, and with scythe in hand, they are treated like returning heroes. When the brilliant “Black Witchery” kicks in, we get the first stage diver of the evening and they prove to be a slick outfit, with more chaos ensuing during “Worship the Goat” and “Spiritual Worship”.
With cries of “Devastator” ringing in their ear, they talk about their favourite band in the world, Motorhead, and how they and Phil Camplbell meant so much to them. “Liar in Wait” sees more melody and they ask for more “motherfuckers” to get on stage. With their heaviness unrelenting, it’s fast and furious, with intense solos on “Send Them to Hell” as they get a brilliant wall of death going. They dedicate “Death Forever” to their soon to be touring buddies Hellripper and end with an insanely fast cover of “Iron Fist” a suitable way to finish off.
Tonight was all about Manchester’s finest scum punks Wolfbastard, and with a sold-out crowd willing them on, the trio don’t mess about and head straight into opener “It’s Fucking Dark”. One thing it clear from the off, both Dez and Si have had a few drinks, obviously to calm their nerves, (ha, ha) as a bottle of Buckfast gets handed out to the crowds to share.
“We’ve got a new album out, so here’s a few songs off it” says Si as they treat us to the album title track “Satanic Scum Punks” and it’s even better live than on record. The crowd are loving it as the dual vocals bounce off each other, before there’s a huge scream from Dez, and they play the filthy “Can’t Escape The Grave”. The tempo is ramped up further with the frenzied “Hail Satan Kurwa” ahead of the thrashing speed of “Hail the Exxxekutioner” which ushers more stage divers.
Throughout their time on stage, I think Dez and Si must be having a contest to see who can say the most swear words as every song begins and ends with the words “fuck off” and “how the fuck are we Manchester” but they are entertaining to watch live. Dez informs us that this is being
recorded, so “we can swear as much as we want” before introducing “a song we’ve never played live before called Let the Bastard’s Burn” and it hails vocal support from the crowd who, amongst the chaos, shout the words back at the trio.
“Manic Street Creatures” is dedicated to anyone from Wales, and after a slight bass issue, the monstrous “B.I.F.F.O” is dedicated to anyone from Oldham. Another bottle of Buckfast gets handed to the crowd ahead of the wonderfully titled “Buckfast Blasphemies” which is damn good, displaying more fast and heavy musicianship, and leads into the boisterous “Drink For Hell”.
“We recorded a video here a few weeks ago, some of you might be in it” as the anthemic “F.O.T.D.” gets an airing. It’s a short and sweet battering ram, laced with fire and fury and as Dez pulls his last can out a carrier bag they end on a high, with the merciless and monstrous “Graveyard Slag” which sees a wild pit and heads banging all over the place. What. A. Night.
