Long before Black Label Society turned him into the leader of one of heavy metal’s most devoted fan communities, Wylde had already established himself as a guitarist whose aggressive playing style, fast vibrato, and deep knowledge of classic hard rock made him impossible to ignore. Raised in Bayonne, New Jersey, Wylde was born Jeffrey Phillip Wielandt on January 14, 1967. He began playing guitar as a teenager and developed a relentless practice routine that often stretched for hours every day. His love for Black Sabbath, Led Zeppelin, Elton John, and southern rock helped shape a style that blended crushing riffs
Deaf Havana have shared a new version of reflective single ‘Car Crash’, featuring guest vocals from Sierra Annie.
Originally released on the band’s 2025 album ‘We’re Never Getting Out’, the new take on the track features some stunning vocal contributions from Sierra, the partner of frontman James Veck-Gilodi.
Speaking on the collaboration, James has shared:
“Since the first time I ever heard Sierra sing, I knew I wanted her to collaborate on a Deaf Havana song with us in some way, shape or form. We talked about it for a long time and then finally decided ‘Car Crash’ would be the perfect song for it. She sang it onstage with us every night on our recent UK & German tours and it went down so well we decided to record it. I truly think it elevates the song to such a different level, luckily our voices seem to blend perfectly together and I cannot wait for everyone to hear what we did with the track. For me, it is honestly an amazing and pretty humbling feeling to have such a talented partner who I get to create and perform music with. It brings so much light to a song that I wrote when I was at my lowest point.”
Take a listen below.
Sierra has also spoken about working on the track:
“’Car Crash’ was the first song that James ever sent me back when we first met in January of 2025. My phone quickly filled up with more and more demos from the album, and I found myself always coming back to ‘Car Crash’. It carved its place in my heart as I grew more familiar with its backstory and continued to build a relationship with James. Lyrically, it moved me to tears, sonically, it felt sincere yet powerful. Since then, I have been fortunate to come along on a couple of tours with DH, and performing this song live as a duet has been one of the coolest experiences of my entire career. Being able to record and perform music with the person I love is nothing short of a dream come true, and I am so honored to have been asked to add a small piece of me to a song that already means so much to so many people, myself included.”
Deaf Havana are set to perform at Slam Dunk Festival later this month, where they will be celebrating 15 years of ‘Fools And Worthless Liars’.
The 20th anniversary edition of the event will take place at Hatfield Park on May 23 and Temple Newsam in Leeds on May 24.
Foo Fighters are the latest band to perform as part of NPR’s Tiny Desk Concert series, unleashing tracks from latest album ‘Your Favorite Toy’ alongside some classics.
As part of the first appearance on the iconic series, the band rattled through a stripped-down set that included two tracks from their latest album – ‘Spit Shine’ and ‘Child Actor’.
They also dipped into their back catalogue for some of their hardest hitters, playing through ‘Learn To Fly’, ‘My Hero’ and ‘Everlong’.
Dave arrived with bandmate Pat Smear just as the fan was tearing into the classic single on stage, cheering him on as he charged through the rest of the song.
Rock Sound captured it as it happened. Check out our footage below:
Guitarist’s mid-70s juggling act proved his previous band’s worth via their LP Mainstream, assembled in a rush while he was tracking solo debut Diamond Head
Seahaven have given us another taste of their upcoming self-titled album, and it’s equal parts emotional and infectious.
Photo credit: Alex Bemis
With their latest full-length set to be released on June 05 via Pure Noise Records, it follows the arrival of ‘Midnight Hour’ and ‘February Flowers’ earlier this year.
‘Infinite Blue’ is one of the most beautifully soaring cuts on the album, serving up Seahaven’s signature emotional rawness alongside some stunning alt.rock melodies.
Take a listen.
On the release of the band’s self-titled album, vocalist and guitarist Kyle Soto has shared:
“Clearly, there’s been a lot going on in my life over the past couple of years that I’m sorting through… I wasn’t consciously trying to put it all into songs, but I’d sit down with a guitar to see what would happen, and I’d end up writing.
“This album takes elements from all of our previous releases and rolls them into one. It accurately represents our sound, so it felt fitting to have it serve as a statement that says, ‘This is the sound of the band.’”
Check out the album’s artwork and full tracklisting below.
Under Wraps, Jethro Tull’s opinion-splitting 1984 album becomes the latest from Tull’s back catalogue to have the metaphorical kitchen sink thrown at it with the now familiar multi-disc big hard backed book box set thingy released. This album continued the increasing use of electronica which had become a feature of Tull’s early 1980s output with […]
Metal bands usually know how to put on a show. It is one of the biggest appeals of the genre. Some of the best groups can deliver stellar live performances, becoming a lot more interesting to newcomers in the process. Moreover, some of the best bands know how to perform their songs live even better than the studio version.
In that regard, here are some of the best metal bands in 2026 when it comes to live performances. So, if you have the chance to see their shows, take it.
1. Helloween
The band in 2026.
Helloween is one of the greatest German metal bands and for good reason. The band has been going strong since the early 80s, adapting to the times, and going through several strong eras. And in 2017, the group reunited with legendary singer Michael Kiske and guitarist Kai Hansen, marking another new era for them. However, current vocalist Andi Deris, who was singing for Helloween since 1994, remained, so they now have three voices.
This combination of events led to arguably the band’s strongest lineup to date. Moreover, this has been reflected in Hellowen‘s live performances. All three vocalists can sing tunes from their respective eras while also teaming up, depending on the track. It is something that allows fans to enjoy songs from their entire history.
2. Sabaton
The band in 2026.
If there is a word to describe a Sabaton show, that is “energy”. These Swedish musicians have been working their way to the top since the mid-2000s and have gone from strength to strength. Nowadays, they have proven themselves as a consistent and impressive live act. All of that is fitting when considering the group’s war thematic across their body of work.
Be that as it may, the band’s shows excel when it comes to intensity. From the moment the first note is played, Sabaton doesn’t stop until the end. Moreover, most of their songs have a strong melodic element, making them perfect for people to sing along with. Therefore, it is a great experience for those who want to have a great time at a metal show.
3. Beast in Black
The band in 2026.
Speaking of Helloween, let’s talk about the group that opened for them on their 40th anniversary tour. Beast in Black hail from Finland and made waves as one of those metal bands that combine the genre with 80s synthwave. It was a very notorious style that got a lot of people’s attention, and the band continues to deliver the goods since their debut, 2017’s “Berserker“.
Beast in Black‘s live shows are stellar, with a clean sound, and living up to the quality of their studio displays. Furthermore, vocalist Yannis Papadopoulos, who also has a successful YouTube channel doing covers, is a great frontman and can hit his high notes with excellence. The band’s shows with Helloween prove how professional they can be against a demanding audience.
While this band has already built an audience, there are a lot of people who haven’t given them the time of day. A live show is going to change their minds.
4. Testament
The band in 2026.
Testament has always been one of the most underrated metal bands out there. When considering the quality of their output, their consistency, and the evolution of their music, it is surprising they don’t get much more recognition. On top of that, they are also an amazing live band.
In that regard, one of the most surprising aspects of Testament as a live act is how well they have aged. Vocalist Chuck Billy even overcame cancer and is still performing very well live. The band as a whole is as tight as they ever were and have even gotten more technical as the years went by.
There is also the fact that Testament‘s new records are amazing as well. Therefore, they have a repertoire that can be quite enjoyable from beginning to end. If you have a chance to see them live, take it.
5. Megadeth
Mustaine on stage.
This is a very special case when compared to other metal bands on this list. While it is fair to say that Megadeth are not in their prime anymore, band leader Dave Mustaine announced that this is going to be the group’s last tour. And when considering that they recently released their final record, everything is set for this legendary musical entity to retire.
What else can be said? This is something that happens once in a lifetime. A lot of bands tend to fake their farewell tours, but Mustaine seems to be 100% sure of it. Moreover, it is a great opportunity to see the band and celebrate the legacy of one of metal’s all-time greats.
Therefore, the show has a big chance of being a phenomenal experience. And the last chance to have a great time with a legendary group.
6. Avatar
The band in 2026.
Among metal bands, a long way to the top is a common journey. Most groups have had to work extremely hard to get recognition and attention and Avatar are no different. Even though these Swedish gentlemen have been gaining notoriety in recent years, they have been performing and recording since the early 2000s. That goes to show how much they have worked to become a much more popular band.
Moreover, there is also the fact that Avatar are an extremely capable act. Whether it’s performing in football stadiums across Europe when opening for bigger bands or playing in clubs, these guys can play even better than their studio counterparts. Add to that the fact that vocalist Johannes Eckerström is a very capable showman, taking inspiration from the likes of King Diamond, Alice Cooper, and also the 1994 “The Crow” movie, based on his makeup.
A good example of the band’s quality when performing live was when they opened for Iron Maiden during the latter’s 2025 tour. Being the opening band for such a big group, let alone Maiden, is always a challenge. And yet, Avatar managed to win over a lot of people who weren’t familiar with their music. That is something that only a great live act can achieve.
7. Godsmack
The band in 2026.
Now, this is a curveball. When discussing metal bands to see live, you’re not going to see Godsmack being mentioned very often. Their heyday was a very long time ago and they are from the alternative scene, which, let’s face it, is not the most notorious these days. However, if you go to a Godsmack show, you are going to have a great time.
This is not only because of the sheer intensity of their shows, but also their professionalism. Godsmack shows have a very clean, clear sound that is a joy to listen to. Furthermore, the band’s stage presence is phenomenal and they always get the crowd going, regardless of the context. They can be at a festival or at a venue, and they will still perform extremely well.
Even if you don’t know a single song from them, their shows are worth your time. An older band from the 90s that is still alive and kicking quite well.
8. Gojira
The band in 2026.
It is fair to say that Gojira is one of those metal bands that have been on the rise lately. Their performance during the 2024 Olympics was a major moment for the genre as a whole. Moreover, they have been releasing quality material for a long time, but their live performances still reign supreme.
The element that defines Gojira‘s show is their technicality. They are a very precise band that maintains a clean sound throughout their concerts. Furthermore, when considering the many ups and downs and ebs and flows that their music has, their shows can be a very fun experience.
9. Iron Maiden
The band in 2026.
Well, you can’t have a complete list of metal bands to see live without these guys. Iron Maiden‘s concerts are the stuff of legends and have remained consistent since their debut in 1980. This is how they became a sensation even back during their club day. And so many decades later, having achieved so much, they still managed to give their fans a lot of great shows.
The key to a great Iron Maiden concert is their mix of intensity and precision. Their shows can be loud and fast, but there is a precision to their sound that only experience and dedication can give you. Guitarists such as Adrian Smith and Dave Murray have done it all and seen it all and it is shown through their performances, which are almost surgical.
Singer Bruce Dickinson‘s stage presence is the stuff of legends at this point. Even in his sixties and having dealt with cancer, the legendary vocalist is still running around across the stage. The same can be said about bassist Steve Harris, who is still displaying his commanding presence. Add to that the stage show, the different versions of Eddie, and you have a phenomenal concert.
When it comes to metal bands and live shows, Iron Maiden is still the pinnacle. And there is no denying that it is going to be a sad day when they retire.
Rush is my all-time favorite band, so their 2015 hiatus, brought on by Neil Peart’s declining health hit me hard. Peart’s passing in 2020 made it permanent, slamming the door on the Rush I grew up loving. That’s why stumbling across Crown Lands’ 2023 sophomore album Fearless—courtesy of this very blog—felt like a hemispherian void had been filled. The dynamic duo from Oshawa, Ontario, tapped into the essence of prime ’70s Rush better than anyone I’ve heard, much like Greta Van Fleet’s revival of the mighty Led Zeppelin. Naturally, when I learned their third LP, Apocalypse, was on the way, I rushed to the promo sump to claim dibs faster than you can say 2112.
Apocalypse expands the Fearless Chronology that began with “The Oracle” from 2022’s White Buffalo with the same sonic and aesthetic bombast longtime fans expect, while stretching Crown Lands’ sound into territory occupied by other classic rock titans. Taking place a century before the events of Fearless and once again rooted in the spirit of Rush’s “Cygnus X-1” series, Apocalypse often feels like a natural progression of its predecessor even if it doesn’t quite reach the same heights. Through straightforward, radio-friendly anthems, as well as the mammoth self-titled closer, the album’s narrative charts a manipulative, oppressive force that weaponizes fear (“Foot Soldiers of the Syndicate”), then spirals outward into dragons, warriors and interstellar tyrants plunging the world into chaos (“Blackstar”). Amid the destruction, more intimate threads of loss and longing surface in crestfallen ballads (“The Revenant,” “Through the Looking Glass”). Where Fearless opened with its longest track, Apocalypse flips the script, saving its epic for the finale. The 19-minute cut matches the ambition and scope of “The Oracle” and “Starlifter: Fearless Pt. II,” though the record’s bottom-heavy makeup leaves less to uncover in the tracks leading up to it.
It’s unusual to devote an entire paragraph to a single track, but “Apocalypse” earns the word count as its reach accounts for nearly half of the record’s runtime. The piece opens in classic Rush fashion as celestial synths, cascading tom rolls, and shifting syncopation give way to shimmering arpeggios and warm, fluid vocal lines. At first, the track feels poised to deliver on its promise, and as it unfolds, Crown Lands weaves in a myriad of compelling touches, including Pink Floyd’s patented stoner-rock solos and a gorgeous arpeggiated, space-drifting movement with a flute-laden motif that nods to the duo’s Indigenous roots. But the track’s momentum falters at several points, and the songwriting begins to feel choppy as the track progresses. The choral bridge at the six-minute mark is a great idea, yet it’s followed by an overly hectic section where Crown Lands’ instrumental prowess shines but the vocals grate, undercutting what could have become a more transcendent phase. Similarly, the astral section at eleven minutes, with its galactic, vocal harmonies and tribal tom flourishes, is another moment that is abrasive. Although it ends on a high note, “Apocalypse” feels like it needed more time to bake to fully come together.
The unevenness of the self-titled epic would be forgivable if Apocalypse’s remaining tracks consistently picked up the slack. But they don’t. Stronger songs like “Through the Looking Glass” and “The Revenant” rely on Led Zeppelin-esque refrains to cohere into some of their best material to date, while Bowles’ vocal approach primarily hampers “Foot Soldiers of the Syndicate”, “Blackstar,” and “The Fall.” Bowles’ high-register singing—which will no doubt remain as divisive as Geddy Lee’s—can feel forced or strained at times, pulling me out of the otherwise strong songwriting rather than deepening the immersion. Across several key moments, Bowles doesn’t feel fully locked in, leaning instead on playful, almost taunting huffs and puffs (“The Fall”) or siren-like shrills (“Apocalypse”) that never quite find their place. Still, while Crown Lands’ execution isn’t as consistently sharp as Fearless, Apocalypse still offers plenty of quality material for fans to latch onto.
I’ve enjoyed my time with Apocalypse, yet I can’t help but feel somewhat disappointed. Maybe it speaks to the consistency and appeal of Fearless, but this record simply doesn’t resonate in the same way its predecessor did. To their credit, Crown Lands takes risks and pushes into some new territory here, and some of those choices pay off. Nevertheless, Apocalypse lacks the cohesion to keep me coming back, outside of a couple tracks that have burrowed their way into my psyche. It’s a letdown, but one I’m inclined to chalk up to growing pains for now.
Names are important. To name something is to define it. Doing so gives you power. And for years it felt like Dead Pony’s name was all too fitting. They were going nowhere, not fulfilling their potential, never catching a break; flogging, as the saying goes, a Dead Pony. That all changed however with their debut album. Designed specifically to catch attention, its title dared listeners to ‘Ignore This’, with a sound that was inventive and arresting. The gambit worked, so the follow-up uses that same strategy. It’s called ‘Eat My Dust!’. They know how good it is.
Dead Pony are a rock band whose music mixes swaying, swaggery riffs with repeating vocal patterns, but not just that. There’s a thrilling sense of adventure to their music. You’re never quite sure what to expect.
‘What If?’ begins with a repeating piano part, like an evil version of Madonna’s ‘Frozen’. It threatens to head towards pop music territory before descending into buzzing, technical riffing and distorted screams. In doing so, it raises a middle finger to expectations while setting the stage for what comes next. Essentially, each song features a brilliant setup before plunging headfirst into new ideas. It can be heard as the boisterous ‘BOOM!’ shifts gears or in the nest of electronic spiders that replaces a guitar solo on ‘Eat My Dust!’. It’s all slick and never feels unwarranted. Imagine a magician pulling a rabbit from a hat; you know what’s coming but can’t help but be impressed by the flourish.
As the name suggests, ‘Freak Like Me’ is a delightfully weird song that uses soundscapes and an interesting sonic palette alongside chainsaw-like guitars that push Dead Pony into the same sonic spaces as Nine Inch Nails.
The EP is again produced by guitarist Blair Crichton. This is the key. While affording one person such creative control can be risky, here, his wild ideas are expressed with confidence. He also captures an indefinable sense of glee. It’s hard to listen to ‘Freak Like Me‘ or ‘BOOM!‘ without imagining Crichton in the control room, grinning like a torturer as the music contorts into some striking shapes. Even the relatively straightforward ‘Fury’ has every drop of excitement squeezed from it.
Returning to the piano sound that opens the EP, the final song ‘Lost Inside Of Me’ slowly reveals itself to be something of a masterpiece. Drifting on an easy chorus, it uses the phrase ‘Inside me’ as a soft hook. Then, it folds in on itself, internalising that message, resulting in a massive guitar-based nervous breakdown. It’s a superb expression of idea and a great song.
This is Dead Pony with all the dials set to eleven. Their new EP sees them evolving into one of the most exciting rock bands on the scene. It’s the sound of them accelerating away from their peers. ‘Eat My Dust!’ indeed.
Rush is my all-time favorite band, so their 2015 hiatus, brought on by Neil Peart’s declining health hit me hard. Peart’s passing in 2020 made it permanent, slamming the door on the Rush I grew up loving. That’s why stumbling across Crown Lands’ 2023 sophomore album Fearless—courtesy of this very blog—felt like a hemispherian void had been filled. The dynamic duo from Oshawa, Ontario, tapped into the essence of prime ’70s Rush better than anyone I’ve heard, much like Greta Van Fleet’s revival of the mighty Led Zeppelin. Naturally, when I learned their third LP, Apocalypse, was on the way, I rushed to the promo sump to claim dibs faster than you can say 2112.
The unevenness of the self-titled epic would be forgivable if Apocalypse’s remaining tracks consistently picked up the slack. But they don’t. Stronger songs like “Through the Looking Glass” and “The Revenant” rely on Led Zeppelin-esque refrains to cohere into some of their best material to date, while Bowles’ vocal approach primarily hampers “Foot Soldiers of the Syndicate”, “Blackstar,” and “The Fall.” Bowles’ high-register singing—which will no doubt remain as divisive as Geddy Lee’s—can feel forced or strained at times, pulling me out of the otherwise strong songwriting rather than deepening the immersion. Across several key moments, Bowles doesn’t feel fully locked in, leaning instead on playful, almost taunting huffs and puffs (“The Fall”) or siren-like shrills (“Apocalypse”) that never quite find their place. Still, while Crown Lands’ execution isn’t as consistently sharp as Fearless, Apocalypse still offers plenty of quality material for fans to latch onto.