Review by Gary Spiller for MPM
A battleship-grey afternoon greeted the early-doors arrivals as the curtains were pulled wide open upon the second day of HRH NWOCR.
A pan-sizzling first day, in front of an highly energised sold out O2, chock-full of highlights had left lips being licked expectantly.
A high bar was been with the events of the previous day.
Even with merely a quick look at the day’s line-up it was plainly evident there was plenty for all; from new talent to home-city heroes through to one of the ultimate NWOCR flag-bearers.
Leicester City are playing at home and splashes of blue and white break through the gloomy daylight with Foxes supporters, making their way to the King Power Stadium, briefly crossing paths with denim and leatherclad festival-goers heading towards the University campus where the O2 is housed within the Percy Gee building building.
It’s an impressive venue and certainly justifies the expense and effort expended to completely reconfigure the old Students Union that holds personal memories of Uriah Heep, Texas, Dr. Feelgood, Gun, Engine and Dumpy’s Rusty Nuts gigs amongst others.
First upon the day’s menu are North-Eastern outfit Fires of Freya; a completely new-to-me quartet who caught my attention during their captivating acoustic set the previous afternoon. Opening the second stage they collectively bring something quite different to the banquet melding punk-fueled riffs with an oft-funky bass through to melodious rockers and keys-aplenty balladic overtones.
Set opener ‘Starless Sky’ gets the foot tapping with a good vibrant energy running throughout with the strong vocals of Cheryl Reynolds, reminiscent of a country-fringed Pat Benetar, perfectly entwining about the raw riffage and bouncing rhythms.
Flowing like a crystal-clear mountain river ‘Bullet’ sees Cheryl bring in some keys that complement the melodic enterprises of her cohorts. Sparks fly off the riffed frets during ‘To The Bone’ before the contagious licks and meaty power of set-closer ‘Take A Bow’ hit the gathering squarely between the eyes. Fires of Freya have been a veritable breath of fresh air and most certainly ones to watch closely in the coming months.
My attentions remain with stage two with The Darker My Horizon piquing my curiosity; several friends had recommended them so with Blind River following I held my spot. Receiving a phone-call on Friday their services were drafted in as a Covid-19 induced replacement and they didn’t disapoint.
Their hard hooves hit the ground thundering sending sparks flying; riffage larger than life itself coupled with the tried and tested strains of 80s classic rock make for an interesting and most compelling mixture.
Landing somewhere in the mid-ground between peers Kinstrife and King Kraken they possess a darkened, doomy swagger that, like the incendiary phoenix, rises aloft. Be afraid, be very ‘Afraid; TDMH hurtle along into the masses simultaneously reprising Metallica and Boston in a delirious alloy.
The slick lines of Cheap Trick are introduced to the damage-inducing Motorhead in the curiously punky ‘Perfect’ whilst with a tangible ‘Yee-Haw’ this afftable quartet launch into ‘Spit’ with a devilish foot-stomper of an intro. A thunderous salvo of punchy powerage is balanced to the almighty hook of the chorus which tips a nod towards Europe’s ‘Rock The Night’.
Ever pondered what would happen if Clutch were snared by the LA sleaze? Do so no more! Closing with ‘Still Alive’ a chugging behemoth it’s most certainly cause to celebrate; frontman Paul Stead, wielding his gleaming six-string in one hand, beats his heart with a clenched fist to acknowledge appreciation of the warm reception deservedly received.
The ten-legged hairy hard-as-nails rokcing groove machine that is collectively known as Blind River set about tearing down the walls and sending out a deafening full-blooded battle-cry to the neighbouring stage one arena with the detonative ‘Going Nowhere’ shuddering rafters and brickwork alike. This is exactly where we are heading for the entirety of their 40 minutes long set.
Now a fully-fledged Goblin amiable front-man Harry Armstrong possesses the strength of the Valkaries, atop the precipitous peak, carrying the fallen heroes to their glorious return to Valhalla. Alongside a deep resonating six-string groove is laid down with consumate precision by guitarists Chris Charles and Dan Edwards which embraces the rumbustious rhythms delivered by hyperactive four-stringer William Hughes and pryomaniac skinsman Andrew Esson. Make no bones about this, it’s an intense package no doubt.
From the southern-edged fringes of ‘Home’ through to the atrementous power of live favourite ‘Bonehouse’ this is a force to behold; solid rock is reduced to dust blown on the wind. Motorhead and Sabbath collide in spectacular fashion within ‘Horsehead’ as the twin Gibson Les Pauls bark out a low-slung growl.
The raw bluesy groove of ‘Acid Tongue’ snarls and wails ripping up the dark night and tearing the very planets asunder. Before catapulting into set-closer ‘Can’t Sleep Sober’ Harry offers apologies to the following band “I’ve spilt my pint but believe me it’s gonna hurt me more!”. It’s been a monumental structurally damaging deliverance that has been poured magmatically from the white-hot crucible of creativity labelled Blind River.
Trundling downstairs to the main arena for the first time today we are right royally treated to the fit-for-kings banquet that comes in the regal form of long-distance travellers Twister. Like their Off Yer Rocka labelmates Ryders Creeder technical gremlins beset the North-Eastern rockers.
Mercifully the bite inflicted isn’t as deep as yesterday’s inflictions and all is remedied by a swift cable swap and exchange of guitar. Since winning HRH’s Highway To Hell back in 2019 this instantly-likeable quartet have become a highly polished outfit despatching hook-laden arena-ready rockers. Presentation is key and the hard rock they’ve expended is paying dividends.
There’s new material which is hewn, with a few twists, from the very same rock that Twister carved their formative long-player ‘Cursed & Corrected’ from and an expanded visual expression to go along with the tried and tested favourites that are richly laden with ever-so-tasty baited hooks. Catches guarenteed every time!
Stage lights dim and then flash as lead guitarist Jake Grimes and bassist Ryan Lee stride on to the O2 stage to take their places by their respective timpanis as drummer Jack Corbett settles behind his kit. A low resonating intro before the trio herald the arrival of frontman Stevie Stoker with the tribal beat of ‘We Are The Cursed & Corrected’. Their ‘Wall of Death’ flashes images across it’s multi-screen display – Twister have landed!
Launching into ‘Save Us Yourself’ with slick-as-you-like six-string vibes from Jake one is drawn to the aesethically pleasing colour co-ordinated boots / guitar combination the lead guitarist sports. The golden pairing narrowly steals a march on the wickedly red boots that fellow axeman Chris Jones of Scarlet Rebels is noted for.
In amongst the likes of anthemic ‘Young & Affected’ with it’s rallying call chorus and infectious cadence and the Marillion-esque undercurrents of ‘Monroe’ the ever-growing O2 crowd are introduced to a pair of new tracks. Chock-full of infectious hooks, glorious harmonies and a dangerously contagious chorus ‘Don’t Play Nice’ is trademark Twister whilst ‘Own Worst Enemy’ gets heads nodding as its nitrous power ensures a rapid ascent into the stratosphere.
Without drawing breath Twister have provided an oh-so high bar for the remaining bands to aspire to. Wall to wall anthems are rounded off with the intricate, layered melodic rocker ’64 White Lies’. Bursting out on to the rock n’ roll freeway, after years of scurrying through darkened alleyways, Twister have created their identity.
It’s one that an audience has found and relates to with clear passion; Twister have their crowd and the numbers grow day on day.
Leicester’s very own Hell’s Addiction have a difficult task following Twister but it’s one that set about in their own indominatable uncompromising style. Taking to a stage bathed in red light the city quintet take no prisoners with the AC/DC riffing of opening track ‘Gimme Me A Sign’.
Formed back in 2010 Hell’s Addiction are all about no frills, no-nonsense rock n’ roll that packs a heavyweight pugilistic slug as perfectly demonstrated by the curiously entitled ‘Chicken With A Knife’.
The arena crowd has increased further and they’re lapping up the potent riffage barrage that is unleashed in ‘We’re on Fire’ before new track thumping metaller ‘Upside Down’ resoundingly reverberates. It’s an impressive force at work here but we succumb to the call of the food wagon so miss the rest of the set. We will certainly ensure we catch a full set from these chaps sometime real soon.
Following Hell’s Addiction are Skam, consecutive bands waving the banner for their home city Leicester, and it’s evident that this pairing have noticeably swelled the ranks gathered in the venue. It seems like half the crowd have donned a wide range of Skam t-shirts to celebrate this hard-grafting trio’s first show of 2022 and what a way to get the year underway!
Pre-gig Skam appeared most relaxed and with many gig-related miles on their clock they happily extolled the virtues of merely “having to travel down the road.” Lead guitarist and frontman Steve Hill, who has been known to hit a ripsnorting power chord or three, related to Leicester’s draw with Brighton whilst his younger brother, and piledriving skinsman, Neil ‘The Hammer’ upped the ante with a full Sunday roast much to the disgust of the most sinuous of bassists Matt Gilmore.
Looking rather trim and in fine shape Matt offered homemade tomato soup and crackers! Who said the spirit of rock is dead gents? Not any of us for sure!
It’s well over ten years since Skam’s first album release and tonight’s set dips into those misty-eyed archives but balances the scales with tracks from both of the recent EP releases ‘Intra’ and ‘Venous’.
A duo which serves, most appropriately, effectively as their fourth studio album release. With a good smattering of tracks from throughout their rock n’ roll tenure; it’s an office they have occupied with much pride and with hearts firmly upon their sleeves.
Lifted from the aforementioned ‘Intra’ EP set-opener ‘Green Eyes’ is a rapid buzzsaw balls-out rocker that shows this hard-slamming trio are not about to run out of steam at this juncture.
Skam-tastic crowd-pleasers ‘Iron Cross’ and ‘The Wire’ pay homage to the terrific back catalogue that has been laid down before Steve informs “This is the first time we’ve played this one” before careering into the heavy chuggage of ‘Fight The Fire’.
Rasping signature track ‘Holy City’ from 2014s ‘Peacemaker’ album is aired raucously as Judgement Day is brought to Leicester as Steve declares “It’s a fucking big stage for the three of us!” after nearly missing the mic following a mid-song ‘wander’. The pace of matters is most tidily brought down with ‘Going Away’ with its anthemic, melodious blues-edged licks effortlessly soaring like the hunting kestrel upon the wing.
‘One Track Mind’ is the second new live track for the set with Matt declaring sagely “That was a face-melter!” at song-end. A viscous, elastical bass coupled with doomy Sabbath riffing atop a penetrating beat can only mean ‘Massacre’ is unleashed to do precisely what it says on the proverbial tin. Phasing seamlessly into ‘War Pigs’ the entirety of the O2 is in word-perfect voice.
Skam have come and, indeed, conquered; a triumphant set in front of packed-to-the-rafters O2 crowd ensures their broad smiles are even wider than they were 70 minutes previously.
Rocking on to stage to the introductive strains of time-honoured anthem ‘For Those About to Rock’ one by one the Wagons ready themselves for rock n’ roll combat. There’s just one band to close the weekend’s festivities and it’s Lancashire’s finest Massive Wagons. The ultimate festival party band right? You betcha!
No muppetry this evening as the Wagons set about destroying Leicester brick by brick; the wrecking ball arcs in the sky as they pound right into ‘Pressure’. Twirling his mic stand enigmatic vocalist Baz Mills, with the energy of an over-caffinated gremlin, tears into those so-called ‘fans and critics’ who decry their ‘beloved Wagons’ selling out.
‘In It Together’ rallies the masses before the utterly riotous ‘Billy Balloonhead’ brings down the ceiling with it’s nitrous-fueled Quo crossed AC/DC riffs ensuring that the O2 crowd erupts; fists punch the air and much bouncing ensues as the northern quintet turn the dial to eleven. Utilised sparingly during 2021 it’s great to welcome this favourite back into the set.
Everywhere from the East to the Irish Sea they rock like it’s ’73 as The Wagons rip into ‘Banging In Your Stereo’ reducing solid brick to fine, crumbling dust as they add a bit of extra spice into proceedings working The Clash’s ‘I Fought The Law’ and Cheap Trick’s ‘Surrender’ into the mix. The air crackles with static as the bluesy AC/DC licks of ‘Hero’ echo mightily with guitarist Steve Roll wringing a slick solo from his Gibson SG.
With The Wagons due to enter the studio to record their fifth long-playing offering the gathering is given the very first live airing of frantically-paced rocker ‘Generation Prime’; all bodes well for the forthcoming release.
Taking a playful swipe at the self-indulgent culture of social media The Wagons take a rollickingly ride through the frenetic ‘China Plates’ as the classic MW anthems pour down in a rock n’ roll monsoon. The hyper-destructive ‘Nails’ is swiftly followed by its ‘Welcome To The World bedfellow ‘Tokyo’ as the party continues apace.
Photography by Manny Manson for MPM
Photography by Kelly Spiller for MPM to follow via Flickr shortly
Day 1 flickr – https://www.flickr.com/photos/193291329@N02/albums/72177720296544502
Day 2 flicker – https://www.flickr.com/photos/193291329@N02/albums/72177720296546660
