IAMOMEGA, The Packhorse, Leeds; 29th August 2014

I haven’t heard of IAMOMEGA before and struggled to find any info about them online. So this is quite unusual, to come at a band completely blind. It’s fun, actually. IAMOMEGA are a three piece comprising of a lead singer/guitarist on a gorgeous Washburn, a drummer and a bassist. We are surprised by powerful vocals, very clear and true. The drums are a bit loud in the mix, like they’ve been set up for a much fuller band. The guitar is lush and effect layered, lots of chorus, which helps full an emptiness in the mix which I feel is not their norm. There’s an unfortunate amount of lead crackling which spoils their opener. Otherwise a tight, progressive sound that errs initially on the side of mellow.

The second song takes care of that, launching lustily into a heavy guitar riff joined by a Tool style vocal harmonising with a simple yet melodic bass line. The groove moves from slow and sensuous to stomping and aggressive without any warning, then breaks down something that speaks of a Deftones influence. Very nice. Complex but enjoyable. This song ends on a metal roar; there’s quite a bit of diversity going on here.

We move into a groove that is reminiscent of Incubus; a funky but slow bass line that crashes into a soaring chorus. These guys blend a heavy thrash with gorgeous melodies that shouldn’t sound as full as they do with just the three of them but does. The regular changes on guitar sound keep it really interesting.

By this point the band have suffered two snapped guitar straps and some sort of dodgy lead issue, yet they continue undeterred. The atmosphere is tense and expectant; clearly a few folks have come out to see I Am Omega tonight and despite technical issues are so far not disappointed.

The front man is versatile; there’s no jumping around or crazy antics, just really good music. He sings in about four different styles, including a sweet almost falsetto that works well in the wind down of a song.

The next tune is mellower again, rooted in a solid, slow rhythm and soft, chorus guitar. The vocals ring out beautifully and I can’t hear a single duff note from the singer. Very unusual in a live setting. The melody continues but suddenly everything is very heavy! This is proper ‘swing your hair in a circle’ rock. Some people do. I’m genuinely impressed.

If there’s one downside to seeing these guys live it’s that they aren’t the most interesting band to watch. They’re quite self disparaging and thank the crowd for ‘not fucking off’, even call themselves ‘difficult to listen to’. I disagree. This is one of the best live sounds I have seen on the local scene for some time. Don’t be so down on yourself guys; we think you are very, very interesting to listen to! As do most of the room who are stood transfixed as yet another melodic yet stomping wonder washed across us.

The penultimate tune is pure summer in the ears; joyous, major melody and some of the crunchiest guitars I have ever heard from a 3 piece. Dynamic is the key word here; they use silence as much as sound to build the song and move effortlessly from gliding bass and gentle vocals to gut thumping guitar and drums.

The final song starts with a delayed guitar that sounds like a synth. The drums join in but leave space for a sweet and pure vocal line to shine through. This song builds gently, less shocking than the others with their sudden changes, but the melody and words are catchy ‘Do you feel like I do, do you feel?// I feel nothing show me something good.’ OK, not exactly massively original but it all works together to build a song folks will walk away humming.

If I don’t hear of this band doing big things in the next couple of years I will be very surprised. The influences are clear but their sound is their own and they have honed it to an incredible level of professionalism. A sheer joy to listen to.

Fat Henry, The Packhorse, Leeds; 29th August

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Fat Henry have the task of livening up this damp and dreary Friday night. It’s not too busy upstairs in The Packhorse, but these guys are not put off at all. A strong and confident start, slightly proggy and melodic, then kicking into pure punk style vocals with grungy guitars. Nice, sharp percussive stops interspersed with sludgy guitar and a gut rumbling bass line.

‘We’re Fa’ ‘Enry!’ Announces singer John ‘Ralph’ Hetherington proudly, whilst drummer Little John screams incoherently from behind his ‘Tubs of Death’.

The second tune is classic ‘boom ching'; more technically known as an allegro 2/4 beat with emphasis on the ‘2’ provided by a much abused snare. The vocals aren’t so much sung as hurled aggressively at the microphone. There’s a confident stage presence, from all members. They clearly love their tunes- every member knows all the words. The standard ‘boom ching’ is cleverly broken up by a neat little hook. There are quite a few nice touches like this. One of the stand out points for this song is Matt ‘Jazz Hands’ Thompson’s amazing bass face.

They flow nicely into the third song, bassist Matt leading the way. There’s elements of The Specials here, especially in the vocal. Some interesting off beats weave their way into the mix; I’m unsure if they are intentional or not. Again, there’s little singing as such, just shouting in harmony.

After a short break and some banter (is the song called Diablo Sex Machina? I’m not sure!) a 3 count from the drummer leads us into a more intricate tune which really allows said drummer to flex his rhythmic muscles. The mix of beats in this is reminiscent of a fusion of western rock and eastern percussive styles. A real counterpoint to the harsh vocals and relentless guitar.

The next song Signals tells us ‘we’re stuck in a rut, where no one gives a fuck’. Back to basics here; dark, heavy with punk overtones.

Moving from punk influence to ska, the drums go double time to start the next song which actually has vocal harmonies that are surprisingly tuneful. The band seem to lose a bit of pace in the faster double time bits, but this is compensated for with raw energy in the caustically catchy chorus. We get a drum break down that is as sweet and rich as chocolate; low and thumping, leading into some professionally stomping riffs layered with a smooth groove on the bass. By far my favourite so far.

We are informed that the next song is by guitarist Jimmy; this is followed up by a bit of a verbal scrap as drummer LJ disputes this! On stage band in-fighting: classic. This track is very punk, very sharp and quirky but also very dark.

Last song excellent, moving away from the punk inspiration and into groove based metal; off beats, melodic guitars and some interesting rhythm changes. The bass flows up and down effortlessly behind and over crunchy, tight guitar. The vocals almost become a percussive instrument leading to a climactic finish. Pure rock.

Sadly there’s a quiet atmosphere for these guys. It’s very early on a Friday night and many of us are still digesting our dinner. Which is a shame as this is real get up and kick your heels music. Still by the end of the night there’s a fair few folks standing to appreciate this energetic, rock out band. Not overly complex, not trying to be clever: just sheer, heavy fun. Recommended.

Thine, The Packhorse, Leeds; 29th August 2014

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Thine disappeared off the scene some years ago, but rocked back into our world this year with new album The Dead City Blue Print, which metalireland.com calls ‘a superb mix of dark accessible rock with amazing songwriting.’

Headlining at the Pack Horse this Friday night, expectations are high as the band have just come back from supporting the Devon Townsend Project at the Assemble in Leamington Spa.

Thine do not disappoint. Front man Alan wows us with effortless stage presence and easy confidence. There is much hair thrashing and monitor mounting. The crowd are singing along and the previously partly empty room is now packed.
‘Into the void’ starts with a beautifully melodic intertwining of guitars and bass with the drums building to some astonishing three part vocal harmonies in a crashing chorus. Thine are heavy in the same vein that Anathema are heavy; there is a bleakness to the words and a crunch and bite that is balanced by gorgeous, glowing melodies that make this band one of the most accessible without compromising their own unique style.

The band are tight and together, flowing with a practiced ease that belies the intricacy of the music. This gives Alan a firm base from which to fly; he knows his band has his back and he can engage the crowd with his slight flamboyance which draws you in.

It’s not just his stage style that impresses though; like every member of Thine, he is note perfect and dedicated to making this music sound good. Thine create a soundscape where although you can hear each individual instrument, none overbears and each contributes to a gorgeous wall of sound.

Running, from 2002 album In Therapy, kicks straight in and is more traditionally ‘rock’ than the newer offerings. The band prove without a doubt that these older songs have passed the test of time, and the test of having been put on the shelf and dusted off for a second outing.

The band are massively focused on their playing which leaves little room for ‘on stage banter'; of course Alan is the main focus so I wouldn’t expect the other members to be exactly jumping around! But they do give the impression of being there to do a job rather than doing what they love. It is mentioned though that they have been spoiled recently by playing on a much larger stage than the pack horse can offer! So perhaps it is the cramped conditions that give this impression.

New track Flame to the Oak carries a bleaker sound: crunchy, heavy and dark. Alan’s vocals step back a little to become one strand in the weave of this track which builds and builds then breaks down again with some enticing guitar melodies.

In Scars from Limbo, two guitars do a melody ‘play off’ before the vocals join in another dark and desperate sounding plea. When the drums kick in, this song is actually a bit generic; formulaic although very well executed. The song is saved from drudgery by Dan Mullins‘ expert touch on the drums with some interesting licks and the guitarist’s excellent feedback slide. Later on we can see this guitarist is doing some mental finger action which looks impressive but we can’t hear it! Bad times sound man, bad times…

The penultimate song has a lovely stomping start and a great melody; this is proper moshing music. The vocals are soaring and true as soon as they start. The three part harmonies make a welcome return- not many bands can pull this off live, but Thine excel at it.

Predictably an encore is demanded by a crowd frothing at the mouth. Thine don’t disappoint. The Rift has a hugely heavy start, dropping a touch lighter to let the vocals break through, then belts back in almost immediately. A relentless powerhouse of a tune.

All in all a triumphant return for Thine; it’s a small venue and a big departure from their recent gigs but they approach playing at The Pack Horse with the same energy and skill as they would any other venue. If you haven’t yet had the pleasure, so yourself a favour and check Thine out. Good on CD; amazing live.

Onslaught @ O2 Academy 2 Sheffield, 18/7/2014

On a very pleasant Friday night in the middle of July, at the invitation of Mike Exley of MEPR, who look after Onslaught in the UK, I trekked down the M1 to the O2 Academy 2 in Sheffield to see a band I’ve somehow managed to miss at every single opportunity: the mighty Onslaught!

The Academy2 is nice, intimate club-sized venue, so is something of a sweatbox, especially on the kind of day we’d just had.

Unfortunately, I missed seeing last minute substitution opening act, Demonic Resurrection since I was sat outside in the evening sun having a chat with Sy Keeler.  From what I overheard when a portion of the audience came outside, the reaction to the quintet from Mumbai was very favourable.  Having spoken to one of the band members, we’ll see if we can sort out a Skype interview over the coming weeks.

Next up were one of the very first exponents of European Thrash: Denmark’s very own Artillery, on their first ever tour of the UK.  This was a band that Sy was excited about bringing over, and it was fairly easy to see why.  The Danes are exponents of Proper Heavy Metal – fast riffs and solos coupled with gymnastic vocals in a fairly similar manner to Spreading The Disease-era Anthrax.  Admittedly, they aren’t offering anything new or particularly spectacular, but they deliver a very enjoyable brand of Old School Thrash of the kind you really don’t hear anymore, with the older material blending very well with the newer stuff from their current .  Frontman Michael Bastholm Dahl’s enthusiasm was hugely infectious and his charm coupled with the tightness of the band in general, as you’d expect from a Scandinavian outfit, won them some friends on the night.

Dad... can you play bass in my band, please?

Dad… can you play bass in my band, please?

Then came the main event: Bristol’s very own Onslaught.

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Nige Rockett

Sy Keeler

Sy Keeler

This is most assuredly a band whose name fits them perfectly.  From the very first note played by the quintet, it’s obvious they mean business.  Onslaught have been doing this in it’s current form since 2004 (when they reformed), and thanks to the crystal clear sound quality delivered by The Academy’s rig and the sheer proficiency of the band, they delivered a crushing performance.

The combination of Nige Rockett’s punk-fuelled Thrash riffing and soloing, working together with new boy Leigh Chambers, Sy Keeler’s snarling delivery and the sheer power thundering out of the rhythm section of Mick Hourihan (drums) and Jeff Williams (bass) mean calling them Onslaught really could be classed as a textbook case of nominative determinism.

The classics, such as In Search Of Sanity (“…one I wasn’t on!” said Sy as he introduced the song), Onslaught (Power From Hell) and Let There Be Death were there as you’d expect, as well as a sprinkling from post-reformation albums like Sounds Of Violence and newie, VI.  The musical box tinkling followed by brutal battering of 66Fucking6 generated the night’s first moshpit.  The musical highlights came thick and fast.  They say you can’t teach an old dog new tricks, but the Eastern influence on Children Of The Sand put the lie to that, showing that this band really are at their best when pushing the outside of the envelope.  Onslaught ain’t your Dad’s Thrash band, despite Sy (at least) being the Dad of a teenager!

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Jeff Walker and Sy Keeler

On the evidence of this show, long may it continue.

SONISPHERE FINAL ROUND UP – Cat A

1) Posessions Lost?

Do the tents count? I nearly lost my Headcharge hat again, but I went back for it!

2) Injuries?

Just a couple of bruises it seems, and I found some muscles I forgot I had, stupid hills!

3) Best Food/Vendor?

The Motley Brew. I love those guys so much, I am a tea addict.

4) Most Perfect Moment

Seeing Suzi’s face when she finally got to see Iron Maiden!

5) Worst Moment

It’s a toss up between when the press area ran out of Monster, and the horrendously disappointing sausage sarnie on Sunday morning. If I’m fed and caffeinated I’m happy…

6) Best unexpected band find?

Bleed From Within

7) Set you wish you’d missed?

Deftones

8) Set you wished you hadn’t missed?

Black Dogs

8) Credits-

My wonderful NotEvil Twinnie Suzi H, Mr Carl – the Wyrd Ways almighty overlord, the Noise Cartel for being brilliant all weekend, the bands I spoke to and their PRs and not to mention the Motley Brew for the amazing cups of tea!

 

SONISPHERE – DAY 3: SUNDAY (aka Metallica Day)

Cat: Sunday dawned to many a bangover and a sense of anticipation for some brilliant bands for the final day of Sonisphere 2014. Unfortunately for the Terror Twins, their list of ‘who to see today’ started at 11:30. In the morning. After a disappointing search for a sausage butty it was over to the Satellite Stage for an up and coming band that we were Very Excited About – The One Hundred. I’ll let Suzi take you through their set, but I will just say “omg wow!”

Suzi: I have rather liked The One Hundred since I listened to some promo or other and went ‘holy Ronnie James Dio this is EXCELLENT’. I’d lucked out and seen them in Oxford the weekend before Sonisphere when they were supporting my friends Salvage, but the chance to see their big UK festival debut was one I wasn’t going to miss. And friends don’t let friends miss out on great new music so I had to share them with Cat even if they were playing at an ungodly hour in the morning. At the start of their set there were maybe 40 people in the tent. By the end of the set the One Hundred had growled, hip-hopped, jumped, synthed and howled their way to a reasonably full Satellite Stage tent and they demonstrated exactly why I (amongst many others) am just so excited about them. Definitely worth getting up early for.

Next up on our radar was Devin Townsend Project. Devin is one of the few artists I’ll actually go a bit googly eyed for – I don’t think he’s produced a single musical project I haven’t thoroughly enjoyed and from the moment my mate Damon played me Strapping Young Lad almost a decade ago to the first time I listened to Casualties of Cool he’d always hit the mark. Plus he’s the funniest human I’ve ever interviewed so his set was one I rushed right down the front for!

The set didn’t disappoint – from his humorous introduction to the final note the set was by far one of the most sublime musical experiences I’ve ever had. Devin Townsend doesn’t just stand and play music at you, he engages the audience and riffs with them, and, takes the piss out of the sometimes too serious stagecraft of others (‘I know at this point I should be asking you to give me some kind of circle pit… but for all our sakes just please don’t do it. Let’s just remain calm shall we?’). It was a phenomenal addition to an already excellent Sunday and I will be making sure I can see his Ziltoid show at the Royal Albert Hall next year……..

C: Devin Townsend is someone I had been meaning to listen to for a long time but with one thing and another he slipped under my radar. How much of an idiot am I? I loved it! The man has an amazing stage presence and charisma and had everyone eating out of his hands. Plus he’s hilarious.

Then we had to go and do some work, so we heard Karnivool from very afar, and I can’t comment other than they sounded on top form, and I was quite jealous of everyone who could watch them but in all honesty, for us, Sunday was all about Alice in Chains. We had finally done our sensible press things and got to watch bands with some mates.

S:  Alice in Chains. 90’s grunge at it’s finest and again one of those bands I’ve been listening to for donkey’s years and always wanted to see live – a chance I never thought I’d get what with the sad death of Layne Staley and the inactive years. Anyway, this was my chance to see if William DuVall can fill those very big shoes and the answer is, yes, yes he can, 100 times over.

By this point it had got so hot I’d abandoned my customary black clothing for an actual honest to goodness dress. It’s brightly coloured and everything Cat you can put the picture in here but grooving away in the sunshine with only the lightest fluffy clouds in the sky it was… appropriate somehow. Alice in Chains took the festival from being excellent to being utterly transcendental. They had far to short a set in my opinion.

hippy dress

Suzi H – being a girl in a dress that isn’t black!

C: Not feeling particularly enamoured with staying staring at the empty stage, nor watching Dream Theater, so the only other thing for it was Raging Speedhorn on the Jagermeister Stage . They reformed for a tour to “see if they could get along” and there were a fair few old fans in the tent for a set comprised of material from their first two albums. They had sure regained some energy from when I spoke to them the day before, and hurtled across the stage like they had never really been away and their fans responded with the pits when they were asked to.

There is always something bittersweet for me about the final headliner of a festival weekend, even if that headliner happens to be Metallica. The final headliner means that it’s nearly time to go home, and if the set isn’t so great then it kind of puts a dampener on the atmosphere. The By Request nature of their set meant that the most important decision of exactly which songs to play from a massive back catalogue was largely taken away from them, and ensured that we heard all the favourites.

S: Back years ago, my ex-husband and I formed a relationship based on a mutual love of four things – Bikes, Beer, Maiden and Metallica. Iron Maiden on Saturday had set the bar really high for what a headliner at Sonisphere should be doing and I have happy memories of evenings spent watching my ex’s bootlegged videos of Monsters of Rock or whatever it was where Metallica were headlining and being absolutely desperate to see them.  Sonisphere was the culmination of 13 years of wistfully hoping my moment to see them would come.

Sadly, much like my first marriage Metallica were a complete let down. I know Team Rock have raved about their set, I know my very good friend Bernie was howling with pure unadulterated joy but I was disappointed. Where was the energy? Where was the rage?  Where was the pioneering Thrash band who’d excited my youth?  Wherever they were they weren’t playing at Sonisphere on Sunday night.  There were brief flashes – when they played The Unforgiven was the point I was excited but it quickly abated and then flared again when Nothing Else Matters and Enter Sandman was played.  Aside from that this was a set played by an old band who couldn’t hope to recapture the energy they had once brought.  I know there are many people who would disagree but for me the set was a timely reminder that sometimes, nostalgia should just be left as it is – a rose-tinted look back on the past.

The Terror Twins - a little bit broken but happy!

The Terror Twins – a little bit broken but happy!

Sonisphere UK 2014 – Day 2: Saturday (aka Maiden Day)

Cat: Day two of Sonisphere began with a downpour, the occasional blast of baking hot sunshine to lure you into taking your hoodie off before some more rain, and the Terror Twins being painfully reminded that it is not the year 2002 again, and ageing happens.  Still, a few cups of tea and a rather tasty bacon sarnie and it was time for another busy day!

I was stuck interviewing, so I’ll hand you over to the NotEvil Terror Twin for her thoughts on the day.

Suzi: Day two of my very first festival started off with me getting up FAR TOO EARLY and in a burst of enthusiasm I was up, showered(!) dressed and sitting in The Motley Brew with a cup of tea before half 8…

This, as it turns out, was much more enthusiastic than I should have been, but the nice chaps at TMB kept me in tea until my Evil Twin emerged a few hours later.  Saturday is the day we had most of our interviews booked, so after tromping into the press area and doing some work-type things, I wandered off to go and check out an up-and-coming band from New Zealand.

Rival State had nabbed us as we were wandering around aimlessly exploring the merch market and reviewing the site on Friday night and promised us a proper show at an ungodly hour of Saturday morning.  So because I promised them I would, I toodled off to the Satellite Stage and promptly had my socks blown off and the last bit of sleep well and truly blasted from my eyes. Rival State play very hard and you can expect to  hear them in a Shock of The New feature soon.

After that I went and did a bit more work and then it was time for Babymetal and Ghost.

I like novelty bands – probably far more than I should –  Babymetal are as novelty as it gets though and whilst it isn’t fair to call Ghost a novelty band they certainly are… unusual.

I was interested to see how Babymetal went down, but sadly because of schedule conflicts I didn’t catch their whole set.  However when I got there, there was a circle pit in progress and the the teeny (they are SO SMALL) J-pop Metallers put on a good show and brought some amusement to Lunchtime.

Ghost followed Babymetal on the main stage and they bring a good show and  are properly creepy.  They were certainly creepy enough to pull a decent crowd on Saturday lunch time in the main arena and I bopped along  quite  happily for their whole set.  I’m not sure they’re Metal because they are so – well – weird and unique but they are well worth a watch and I’d certainly add them to a “bands worth seeing live” list.

After Ghost there was more work scheduled, which included the funniest and most incoherent interview I’ve ever conducted. No, readers, I was not intoxicated, I was just meeting with Devin Townsend.  Listen out for the interview on the show in the future because it was possibly the most surreal 10 minutes of my entire life.

I did manage to finish up interviewing (thank you legendary punk band who re-scheduled) which meant I could go and see that troubadour of punk – the mighty Frank Turner. I might have had a little cry watching his set, when he played Long Live The Queen.  He had the crowd dancing and singing and frankly I think it’s a crying shame he was on so early and had such a short time slot. He should have been swapped with The Deftones. More on that later though.

C: Now while Suzi was having all that fun, I was locked away in the press barn with a big list of people to speak to, a lot of whom were still suffering from the past couple of days.  Keep an ear out on the show to hear them.

It was at 4:30 that I managed to escape, and I couldn’t resist going to see the incredibly funny Andrew O’Neill, and in the process I caught the end of a very politically incorrect yet utterly hilarious comedy act called The Noise Next Door who do a strange type of improv and sing songs that had me nearly crying with laughter.  Andrew O’Neill I had seen before, and he’s someone that you would remember – a long haired Metalhead transvestite who has a direct route to my funnybone, so it was a perfect way to ease myself in to the more relaxed part of the day. He has a show called The History of Heavy Metal, and I’m hoping to get to see it at some point.

The Deftones were someone I was quite looking forward to seeing as some of their songs have been part of my life soundtrack for a while, and every time I’ve attempted to watch their set at a festival before fate has conspired against me and I’ve missed them.  I quite wish I’d missed this one too.  I want to say that I enjoyed their set, and people I’ve spoken to have told me that they loved it, but for me they were just not on form, and when a band who rely on so many precise, off-beat rhythms are missing timing it really shows up.  We gave it three songs and then wandered off.

S: I had also looked forward to seeing The Deftones. They were an unmitigated disappointment.

C:I had promised Bleed From Within that I would see their set – so naturally I was there at the front.  They’re certainly one to watch, and having a lineup clash with Deftones and the period where people were finding their spot for Slayer was unfortunate because otherwise I think that they would have pulled far greater numbers.  Still, there were a decent number in the Jager tent to enjoy some ear-bleedingly heavy tunes from the Glasgow Metallers.  They are certainly one to watch; they’re angry and they want you to know it!  That’s not all there is to them though.  Beneath the rage there are well composed harmonies and tight as hell playing combined with Scott Kennedy leaping around on stage like a man possessed – well they’re a bit good!

SLAAAAAAAAAAAAAYYYYYYYYYYEEEEEEERRRRRRR!!!! \m/ *ahem* sorry, Slayer were, well, Slayer. They’re not very talkative but they make up for it by thrashing so hard I’m surprised no-one’s head came off their shoulders.  I’ve seen them before, and this was one of the best sets I’ve seen them do and while I wasn’t down in the circle pits of doom, I happily headbanged along to most of their set as they screamed through the likes of Disciple, War Ensemble, South of Heaven and Angel of Death.

S: Finally, finally the moment I had been waiting for was here.  Back in 2000 I discovered Heavy Metal when I (for a giggle) borrowed my housemate’s copy of Best of the Beast and played it to see what all the fuss was about.  I fell in love with Iron Maiden, and that album sparked me sidling into the local Metal pub and then discovering well, METAL! I saw Maiden in 2005 when they played Reading – I had a day ticket just to see them, and I’ve been waiting for the perfect time to see them again.

Watching them close out the three year long Maiden England tour at Knebworth will honest-to-gods go down as one of the best experiences of my entire life.  From the first note of Moonchild to the last note of Sanctuary, Maiden did not put a note wrong. They ran about the stage with a level of energy and abandon that bands half their age fail to manage and you wouldn’t have guessed at any point that two of the bands playing the Satellite Stage this weekend had members who are Maiden’s children.

There were three Eddies, there were multiple costume changes for Bruce, there was Seventh Son of a Seventh Son, there was pyrotechnics and through it all Iron Maiden demonstrated once again that they, above all others, are the undisputed kings of NWOBHM. They closed the show with Bruce promising us something new.  We may never see Seventh Son of a Seventh Son  live again but we might just see a new album!

C: Now I’m going to be a bit weird, and admit here that I am not a huge Maiden fan.  I don’t know all their songs, but wow those guys showed just exactly why they’re one of the biggest bands on the planet ever.  Yeah.  More please. 

S: It’s almost anti-climactic to say that after I’d screamed myself hoarse we went and saw Sisters of Mercy who created an appropriately eldritch atmosphere.  We enjoyed their set most thoroughly and then rounded out the night in the Jaegermeister stage for the Silent Disco.  The Silent Disco did allow us to answer the question – ‘what happens when you put a few thousand Metallers in a large tent and play the Backstreet Boys at them?  Specifically Everybody (Backstreet’s Back).  The answer is they all sing along and jump up and down.

After all that fun, we went to bed.

To prepare for METALLICA DAY.