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Live Review: Soulfly – O2 Institute, Birmingham

5th September 2026
Support: Nailbomb, Dosed
Words: Cat Finch
Photos: Tim Finch

Soulfly’s return to Birmingham brought a suitably brutal package to the city, with an evening built around groove, industrial noise and outright aggression.

Dosed waste absolutely no time establishing their identity. With song titles such as ‘Chewing on the Entrails of a Dying Dickhead’ and ‘A Pitful Attempt At Life’, subtlety clearly isn’t high on the agenda. ‘Aquarius’ and ‘The Lost Art Of Gratitude’ keep the momentum building, while ‘Jaw Breaker’ and ‘Run Your Mouth’ demonstrate a raw, direct approach that translates particularly well to a live setting.

The second half of Dosed’s set becomes increasingly ferocious. ‘Soulcrusher’ and ‘Self Doubt Is For The Weak’ hit with considerable weight before ‘Knife at a Hammer Fight’ and ‘Fucked With A Pickaxe’ bring the set to an appropriately chaotic conclusion. As opening acts go, they leave the room suitably warmed up for what follows.

Nailbomb are a completely different proposition. The project, originally formed by Max Cavalera and Fudge Tunnel’s Alex Newport, has always occupied a particularly abrasive corner of the metal spectrum, combining industrial textures, hardcore aggression and a deliberately ugly sense of confrontation. There are two schools of thought for this revived run for the band. The bands original, fleeting lifespan built an aurora around the entity, making that album and show at Dynamo the pinnacle of metal folklore, and that any extension to that diminished the aura. Then there are those in the camp that this music is meant to be heard live and this run gives a generation of metal heads the chance to witness the project live for the first time.

Their appearance tonight feels less like a conventional support slot and more like an opportunity to unleash something genuinely hostile on an unsuspecting audience. ‘Wasting Away’ immediately establishes the mood, its grinding industrial attack cutting through the venue with little concern for comfort. The crowd show an intensity this venue has not seen before. This feels like 1995 Dynamo all over again!

‘Vi Toma No Cu’, ‘24 Hour Bullshit’ and ‘Guerrillas’ keep the pressure firmly applied, with the band’s stripped-back aggression making every song feel like a direct assault. There is very little polish here, Nailbomb’s appeal has always been rooted in the raw industrial attitude melded into these intense riffs.

The set continues its relentless march through ‘Blind and Lost’, ‘Sum of Your Achievements’ and ‘Cockroaches’, before ‘World of Shit’ and ‘Shit Piñata’ take things even further into the gutter. The songs retain the rawness of the original material while sounding perfectly at home in a packed Birmingham venue.

By the time ‘Religious Cancer’ and ‘Sick Life’ bring the set to a close, Nailbomb have delivered exactly what their reputation promised; abrasive, uncompromising and thoroughly pissed off. It’s a short, sharp reminder that sometimes allowing that rare, explosive outfit to relive its youth is actually a good thing.

After the chaos of Nailbomb, its time for Soulfly to follow. They take to the stage and launch straight into ‘Back to the Primitive’, immediately turning the venue into a sea of movement. Max Cavalera remains a formidable presence, commanding the stage with confidence. ‘Seek ‘n’ Strike’ and ‘No Hope = No Fear’ keep the intensity high before ‘Prophecy’ brings one of the evening’s biggest responses.

‘No Pain = No Power’ keeps the momentum going before the set takes a more tribal turn with ‘Berimbau / Tribe’. The combination highlights one of the defining characteristics of Soulfly, with Cavalera’s metal aggression sitting alongside Brazilian rhythms and percussion. ‘I and I’ and ‘Downstro’y bring the focus firmly back to the heavier side of the band’s sound, with the crowd responding to every breakdown and groove. The performance feels raw rather than overly polished, which suits the material perfectly.

The Brazilian influence becomes even more prominent during ‘Chama / Bumba’ and the fleet of drummers, then ‘Favela/Dystopia’, with the rhythmic elements adding another dimension to what is already a relentlessly physical performance.

For the finale, Soulfly unleash ‘Jumpdafuckup’ and ‘Eye for an Eye’, and the venue erupts accordingly. It’s a suitably explosive conclusion to a set that has delivered exactly what the Birmingham crowd came for… huge riffs, relentless grooves and Max Cavalera at the centre of it all.

Photo credits: Tim Finch

For all the latest news, reviews, interviews across the heavy metal spectrum follow THE RAZORS’S EDGE on facebook, twitter and instagram.

The post Live Review: Soulfly – Birmingham appeared first on The Razor's Edge.

Live Gallery: Soulfly – O2 Institute, Birmingham

5th September 2026
Support: Nailbomb, Dosed
Photos: Tim Finch

We look back at the epic Soulfly show through the eyes of our photographer Tim Finch!

Soulfly

Nailbomb

Dosed

Fans

Photo credits: Tim Finch

For all the latest news, reviews, interviews across the heavy metal spectrum follow THE RAZORS’S EDGE on facebook, twitter and instagram.

The post Live Gallery: Soulfly – Birmingham appeared first on The Razor's Edge.

See how the Red Rocker responded. Continue reading…

(written by Islander) I feel somewhat better today as compared to yesterday (thanks for asking), though the achiness produced by the inoculation hasn’t completely vanished. Once again, I looked forward to assembling the following column as a welcome distraction from the twinges of soreness. By way of overview, I’ll say that today’s collection leans into […]

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On Saturday, 29th August, the Royal Highland Showgrounds turned into a massive open-air rave. The last Summer Session was dedicated to electronic music – an ode to the genre’s history and its newest and brightest contributions. David Rodigan, one of the most recognised promoters of reggae and Jamaican music and culture, kicked off the party. … Continue reading Gig Review: The Prodigy / Carl Cox / Yosuke Yukimatsu / Scarlxrd / David Rodigan – Royal Highland Showgrounds, Edinburgh (29th August 2026)

Following the success of the singles “Checkmate” and “Flying Monkey,” BLUE MEDUSA, the band of metal icon Alissa White-Gluz, takes a step forward with “CROCODILE,” released on Friday, September 4th on all platforms.

Dark, tense, viscerally disturbing, “CROCODILE” explores that creeping feeling that danger is approaching, even when it remains invisible.

“‘CROCODILE’ speaks of that feeling of being watched… that instinctive fear when you know danger is lurking nearby, even without seeing it. The feeling that something is hiding just beneath the surface of what seems safe or familiar. It is in this tension, between what we perceive and what we sense, that the song lives.” – Alissa White-Gluz

“CROCODILE” MUSIC VIDEO: 
https://youtu.be/8DVwEt00MEY

The music video marks a new chapter in the visual collaboration between the singer and Vicente Cordero (Industrialism Films), with the two artists once again co-directing the video. It features the very first performance of Blue Medusa with the full band. Alissa plays a one-of-a-kind guitar, custom-made by Nik Huber Guitars as part of a three-way collaboration between Sea Shepherd, Doyle Wolfgang von Frankenstein and Blue Medusa. Equipped with Doyle-signed Von Frankenstein Monster Gear pickups and strings, and autographed by both artists, it will be auctioned to benefit Sea Shepherd’s marine conservation efforts.

Beatriz Mariano (Okkultist) also brings her creative touch: chilling visuals & saturated voice.

STREAM “CROCODILE”: 
https://onerpm.link/crocodile

Alissa White-Gluz, a multifaceted artist and activist, was at Hellfest this year, where fans enjoyed a special acoustic set with Savage Lands, followed by a surprise appearance alongside Sepultura on “Kaiowas” during one of the Brazilian band’s final concerts.

Elsewhere, the singer has been involved in numerous collaborations: three different stages at Wacken Open Air , including “Our Kingdom,” the festival’s official anthem composed with Bear McCreary, two vocal performances with Dragonforce at Sonic Temple and Welcome to Rockville, whom she will rejoin this fall for the Inhumane Rampage anniversary tour in North America. Also, several surprise appearances with Ice Nine Kills in Europe, notably at Rock am Ring and Rock im Park, as well as Heavy Week-End in France!

This autumn, Louder Than Life and Aftershock will host Blue Medusa ‘s first-ever festival appearances, ahead of the band’s arrival in Europe in 2027. More announcements to follow…

BLUE MEDUSA TOUR DATES:

2026
Sept 18 – Louisville, KY – Louder Than Life Festival
Oct 2 – Sacramento, CA – Aftershock Festival

2027
July 28-31 – Wacken, DE – Wacken Open Air
Aug 11-14 – Villena, ES – Leyendas Del Rock
Aug 18-21 – Dinkelsbühl, DE – Summer Breeze Open Air

BLUE MEDUSA online:
Website | Instagram | TikTok | Facebook | YouTube | Bandsintown

ALISSA WHITE-GLUZ online:
Website | Patreon | Instagram | TikTok | Facebook | YouTube | Bandsintown

Words by Annette Geneva Photos by Pete Mellows It is wonderfully strange walking into a Bodyjar show in 2026 and realising you have somehow entered a room containing two completely different generations of punk fans. The night kicked off with local supports Harrow, Backyard Business and Knife Hands, before Bodyjar took the stage for a […]

R.I.P. to the big man, gone way too soon.

The post Here’s This Week’s Top Ten Stories On Theprp.com (September 06th, 2026) appeared first on Theprp.com.

FLIGHT OF ODIN Discusses New Double Album ‘I Traveled The Crooked Path’, Old-School Metal Influences And Keeping Music Human

Washington, D.C.-Area Doom Metal Band Talks Songwriting, Recording Without Click Tracks, The Sanctuary And Plans For A Doom Metal Opera

Washington, D.C.-area doom metal outfit FLIGHT OF ODIN recently joined The Zach Moonshine Show on Metal Devastation Radio for an extensive conversation about the band’s new double album, I Traveled The Crooked Path , their evolution since forming in 2015, their approach to songwriting and recording, classic heavy metal influences, and what they have planned for the future.
Released through Riding The Dragonfly LTD , I Traveled The Crooked Path captures a band that refuses to stay inside a single musical box. Doom metal provides the foundation, but psychedelic rock, progressive music, classical influences and traditional heavy metal all find their way into the band’s sound.
During the interview, FLIGHT OF ODIN also discussed the decision to release a double album, the addition of guitarist Tyler Beddow , vocalist Xyra’s wide-ranging vocal abilities, the band’s Washington, D.C.-area underground scene, and their commitment to preserving the human element of heavy music.
WHY A DOUBLE ALBUM?

According to the band, the decision to release I Traveled The Crooked Path as a double album came down to having a large amount of material and wanting to properly document the band’s history.
The first disc features material representing FLIGHT OF ODIN’s current lineup, while the second disc revisits the band’s Goddess In Smoke EP material from a previous lineup.
The band explained that they wanted those earlier recordings to receive a physical release rather than remain available only digitally. The material represents an important chapter in the group’s history, and the musicians who created it deserved to have their work preserved.
The result is a release that effectively bridges two eras of FLIGHT OF ODIN while showcasing the band’s ongoing evolution.
SONGS THAT DEVELOP ORGANICALLY

One of the defining characteristics of FLIGHT OF ODIN’s songwriting process is the band’s willingness to let songs develop naturally.
Some tracks on the new album originated from older material that was reworked and reinvented, while others came together through spontaneous rehearsal-room sessions.
Instrumentals such as “Andromeda” and “Obsidian Cove” are prime examples.
“ Andromeda” developed from guitar ideas brought in by Tyler Beddow, with the other members adding their own parts until the piece evolved into something much larger.
“Obsidian Cove” began from a warm-up idea and eventually became a fully developed composition.
That collaborative approach is central to the band’s chemistry.
Rather than attempting to force every song into a predetermined structure, FLIGHT OF ODIN allows its members to respond to one another and see where the music takes them.
A DOOM METAL OPERA?

The band’s ambitions don’t stop with conventional albums and live performances.
During the interview, FLIGHT OF ODIN revealed that they have discussed creating a doom metal opera , potentially involving other bands and incorporating extensive visual and theatrical elements.
Considering the band’s emphasis on atmosphere and storytelling, the concept could be a natural extension of what they are already doing.
For now, however, the band has plenty of new music to work on.
Despite just releasing a double album, FLIGHT OF ODIN is already developing new material, with several songs taking shape that push the band’s sound in new directions while maintaining its core identity.
THE SANCTUARY: FLIGHT OF ODIN’S CREATIVE LABORATORY

The band’s rehearsal space, affectionately known as The Sanctuary , plays a major role in the creative process.
Located in the band’s basement, The Sanctuary is designed to be a comfortable environment where the musicians can experiment without worrying about whether an idea is immediately perfect.
Fairy lights, a solid sound system and a relaxed atmosphere turn the room into something more than a rehearsal space.
The band records rehearsals and listens back to the performances afterward, allowing them to identify ideas that might have been overlooked in the moment.
FLIGHT OF ODIN is also considering filming a live performance or playthrough featuring the current lineup inside The Sanctuary.
RECORDING WITHOUT A CLICK TRACK

The band’s commitment to keeping performances human carries directly into the recording studio.
FLIGHT OF ODIN records together in the same room and does not use click tracks.
Instead, the musicians allow the tempo to naturally speed up and slow down depending on the performance.
The band views those fluctuations as part of what makes a recording feel alive.
Their sessions take place at BIAS Recording Studios in Springfield, a professional facility with decades of history. The band typically records multiple songs during a session and returns later for mixing.
Mastering is handled by Mike Monseur at AXIS Audio in Nashville.
The result is a polished production without stripping away the natural interaction between the musicians.
“THE HUMAN ELEMENT” IN THE AGE OF AI

That recording philosophy led to a broader discussion about the growing use of artificial intelligence in music.
For FLIGHT OF ODIN, the imperfections are not necessarily problems that need to be fixed.
They are part of the performance.
A drummer pushing a tempo, a guitarist holding a note slightly longer, or musicians reacting to one another in real time can create moments that are impossible to completely manufacture.
The band believes that preserving that human interaction is especially important for underground music.
Technology can certainly be useful, but for FLIGHT OF ODIN, the reason to play in a band in the first place is the experience of musicians creating something together.
FROM CHOPIN TO BLACK SABBATH

FLIGHT OF ODIN’s influences cover a considerable amount of musical territory.
Classical music, including Chopin , has influenced the band’s approach, while rock and metal influences include Iron Maiden, Scorpions, Judas Priest, KISS, Black Sabbath’s Tony Iommi , and numerous other artists.
The band also cited Nico and The Velvet Underground , Roxy Music and Bryan Ferry among their broader influences.
Those influences help explain why FLIGHT OF ODIN can move from heavy doom passages into psychedelic, progressive or melodic territory without sounding like a straightforward genre exercise.
The musicians aren’t attempting to reproduce one particular era.
Instead, decades of music have become part of their collective vocabulary.
WRITING FROM THE VOCAL MELODY

Another interesting element of the band’s songwriting process is the role of vocalist Xyra .
Several FLIGHT OF ODIN songs begin with vocal melodies, lyrics or musical ideas developed before the full band arrangement exists.
One example is “You Can’t Stop Me Now,” which came to Xyra one morning and was reportedly written in roughly 20 minutes.
She recorded the initial idea on an iPhone before the rest of the band eventually built the full arrangement around it.
The band’s approach demonstrates how songs can originate from almost anywhere.
A guitar riff.
A vocal melody.
An acoustic recording.
A rehearsal-room jam.
Even a warm-up exercise.
The important part is recognizing the idea when it appears.
“SEANCE” AND THE BAND’S MORE EXPERIMENTAL SIDE

FLIGHT OF ODIN also discussed “Seance,” which they consider one of their most ambitious compositions.
The song developed through contributions from multiple members and took on an almost automatic-writing or channeling quality during the creative process.
That experimental attitude is one of the defining traits of the band.
FLIGHT OF ODIN isn’t afraid of long songs, instrumental passages, unconventional arrangements or allowing a piece to develop at its own pace.
For a doom metal band, that’s hardly surprising.
But the group combines that patience with an appreciation for the immediacy and energy of traditional heavy metal.
THE WASHINGTON, D.C. METAL SCENE

Although FLIGHT OF ODIN identifies with the Washington, D.C. area, the members actually come from Leesburg and the surrounding Northern Virginia region.
They discussed the challenges facing the local original-music scene, where cover bands, tribute acts, Americana and blues can often be more prominent than original rock and metal.
The band pointed to Baltimore and Richmond as areas with stronger rock and metal communities.
Rather than simply accepting the situation, however, FLIGHT OF ODIN wants to help build the local scene.
That DIY mentality has always been an important part of underground metal culture.
THE NAME FLIGHT OF ODIN

The band’s name dates back to its formation in 2015 and was inspired by Norse mythology.
Odin’s legendary eight-legged flying horse provided the initial inspiration, with the concept of music serving as a kind of flight.
Although the band’s lyrical and visual identity has expanded beyond its original Norse mythology focus, the name and imagery remain an important part of the group’s identity.
The band’s logo features Odin riding the flying horse, while the primary logo uses the band’s distinctive lettering.
TYLER BEDDOW JOINS THE LINEUP

Guitarist Tyler Beddow has also played an important role in the band’s current direction.
Beddow brings a technically capable and powerful approach to the guitar, including the use of a seven-string baritone on some of the band’s material.
His studio and live rig includes an ENGL Fireball , Mesa 4×12 , tape echo and a Marshall DSL 100 , contributing to the band’s substantial guitar sound.
The gear, however, is only part of the equation.
The band’s chemistry remains the foundation of the music.
WHAT’S NEXT FOR FLIGHT OF ODIN?

Even with I Traveled The Crooked Path now available, FLIGHT OF ODIN is already looking toward the next chapter.
The band is writing new material and expects to return to the studio in November .
They are also hoping to get back onstage, while continuing to explore new visual ideas and potentially developing their Sanctuary performance concept.
And somewhere further down the road, there is always the possibility of that doom metal opera.
For now, FLIGHT OF ODIN is continuing to follow its own path.
It may be crooked.
It may be unpredictable.
But judging by I Traveled The Crooked Path , that’s exactly how they like it.
LISTEN TO FLIGHT OF ODIN ON THE ZACH MOONSHINE SHOW

FLIGHT OF ODIN’s complete interview with Zach Moonshine covers I Traveled The Crooked Path , songwriting, recording, classic metal influences, the Washington, D.C. underground scene, The Sanctuary, AI and the future of human-made music, as well as the band’s plans for new material and live performances.
Listen to the full show on Mixcloud now:
Full Track List: 
Battle Of The Bands Top Six Winners:
1 – Another Demon – Reduced to Ash
2 – Soul Of Sheol – Paradise Is Not For Us
3 – Minstrel – Guardianes de la Noche y el Tiempo
4 – Sharp n’ Loud – Armored sexy girl
5 – Mistress – Terrified eyes
6 – PS:23 – The Angel They Call Evil
The Zach Moonshine Intro
7 – Ozzy Osbourne – Over The Mountain
8 – BEHEMOTH – In League with Satan
9 – CIRITH UNGOL – All The Shadows
10 – Smoulder – Shadow Of The Vulture
11 – Darren Michael Boyd – The Day Beneath Yesterday
12 – Rise From Your Grave – Stay Awake
13 – HELLUCINATION – Petrified
Flight of Odin – Interview featuring You Can’t Stop Me Now/The Ravens Eyes
14 – Riftpatrol – The Sky is Not the Limit
15 – Demon Christ – Curse You All
16 – Blind Illusion – Smash the Crystal
17 – Ministry – We Hate
18 – CREEPER – Big Bad Wolf
19 – Plusminuszero – Runner´s High
20 – THRONEHAMMER – Rise of Resistance
21 – Body Count – Last Breath

Iron Maiden's 50th anniversary tour has finally come to the United States. Continue reading…