Halestorm returned to Glasgow ten years after their first headline appearance in the city’s Garage venue but this time, they have proven their status in music with an ever-so-much bigger arena show.
The first support of the night were California’s New Years Day who opened with the power of ‘Come For Me’ which is also the opening track on their new album.
Singer Ash Costello worked the stage well, engaging the Glasgow crowd and it was nice to see her be genuinely surprised at the response when she asked if the crowd had heard of the band. 
The band have a healthy suite of work to draw from and the highlight for me was another track from the new album – ‘Skeletons’.
With dedications to Dimebag Darrell and Vinnie Paul, the band nailed the support of the crowd and warmed the room up well for the second of the support acts.
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In This Moment chose the apt Bohemian Rhapsody track to build the tension on the anniversary of legend Freddie Mercury’s death to kick start their theatrical entrance. Those who haven’t witnessed the phenomenon if ITM were visibly awe-struck at the performance. 
Opening track ‘Fly Like an Eagle’ featured singer Maria Brink in white gown with crown atop a raised platform, flanked by two white ghost-like figures. 
Those of a certain vintage would have recognised the production similarities to UK TV’s ‘Stars In Their Eyes’ with dry ice and a curtain centre stage but this was top quality theatre with polished metal to boot. Some prolonged breaks between songs prompted an apology from Brink over technical issues but the quality of the show was undiminished.
A particular highlight was new song ‘Legacy’ which celebrates the memory of Brink’s grandfather who brought her up as a child. Closing with ‘Whore’, the visual extravaganza continued to a powerful close prompting an equally powerful response from the audience. Impressive.
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Halestorm stepped onstage to what could only be described as adulation. The band continue to enjoy the spoils of a long journey of hard work and their material is both musically accomplished and entertaining as well. 
Opening track ‘Do Not Disturb’ set the scene for a show that had light and dark, pace and space. Lizzy Hale is an A class singer but what struck me was the bond between the band who engaged each other throughout the night, with a fun moment seeing Josh and Joe throwing drumsticks back and forth. 
Hale made a point of highlighting women in rock music, crediting her support acts on the night and their quality as front women. ‘I Am the Fire’ brought the main set to a close before Hale returned to the stage to play piano and sing unaccompanied.
Her rendition of Whitney Houston’s ‘I Will Always Love You’ was a surprise which worked perfectly despite its lack of rock credentials. 
Closing tracks ‘Here’s To Us’ and ‘I Miss the Misery’ stuck a flag in the new arena territory and it was clear that the Garage days of ten years ago are long gone.
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Review by Chris Stones
Photography by Gavin Ross
