Review by Gary Spiller for MPM
A sapphire blue six and a flaming red three; Crowley’s spectre ethereally takes note of where the bone dice lie.
So it is to be a third consecutive day for his incantation; today will be the realisation of a lifetime’s ambitions. He wistfully rues of it being within his lifespan; however, this will be. The stars rarely align in such an astral manner.
His birthplace has served him well in the first two instalments of his adaptation of the conjuration lifted from his cherished therimoire. A few minor adjustments; a slight tweak in the overall power along with the constitution of the ensorceled components.
The seasons are in a point of flux; between the coming of meteorological and astronomical spring. Sagely it’s decreed, with the recent celebrations of St. David and St. Piran, that the remaining nine shall have a Celtic predominance. Terpsichore, upon the apex of The Assembly, steadies herself; today is for musical conviviality. Tomorrow we will recover!
Day 3 – Sunday 6th March 2022 – The Assembly, Royal Leamington Spa
From small acorns so do the might oaks flourish. Winter’s End has had it all and opening up the final segment of Planet Rock’s triple-serving is no finer example. Hailing from the South Devon Riveria progressive metalliferous three-piece Ethyrfield has been tearing up the circuit wherever they play for more years than their tender years belie. With a combined age totalling in at less than your average rock n’ roll legend they take to The Assembly stage with a quiet assuredness.
A savage Ben Cornish riff, a rumbling bassline from his brother Zach and a crashing percussive intro from Dan Ashton brings in set opener ‘Sunstroke’. The healthy-sized early-doors crowd are captivated from the off. Ben’s seemingly effortless lead entwines about Zach’s sinuously dynamic rhythms whilst both delightfully marry to Dan’s precision drumming. An inner Sabbath-esque beast is enshrouded in the gritty grunge of Soundgarden.
Gnashing and snarling ‘Free The Dog’ sets about stirring the good folks of Leamington from their slumbers with Ben nailing a magical euphonic solo. The darker granular prog-metal of ‘Hunter’ strikes firmly between the eyes as the solar system is warped into a brand-new dimension.
Zach and Ben’s sumptuous vocal harmonies delivered in ‘Serenity’ teleport us through a neoclassical metallic planar experience. A glorious half-hour is brought to a well-received conclusion with grungy ‘Bitter Wishbone’; appropriately the closing track from their highly acclaimed long-playing debut ‘In Delirium’. A fine tapestry that has woven the likes of Rush and Haken with Alice In Chains and Soundgarden in a seemingly unlikely but extremely palatable manner.
Scorching rockers The Howling Tides have come full-throttle across from Staffordshire to hit up Winter’s End next. They have grabbed the rock n’ roll baton with both hands and are hurtling along a 70s blues-laden rock highway swaggering with a Clutch-like groove. Since their 2018 self-titled EP (produced by bluesman Aynsley Lister) The Tides have been, most deservedly, grabbing attentions with coveted slots at last year’s Bloodstock and Steelhouse festivals significantly raising their rapidly ascending promising profile.
The raw chopping riffage of set-opener ‘Thalia’ showcase frontman Rob Baynes’ gravelly vocals to perfection whilst Deep Purple and Led Zeppelin rage ferociously through the divinely rocking ‘Cut Your Losses’.
‘Blue Moon’ doffs its metaphorical cap in the direction of the classic early 80s era Whitesnake. The soulful bluesy swagger of The Tides’ latest single the anthemic ‘White Crow’ reverberates about the finery of The Assembly’s art deco interior as the putti in the friezes above the segmental apses, to both sides of the floor, look down in knowing approval.
Following ‘Twelve Eight’ – “lazily” entitled after the track’s time signature according to Baynes – the Midlanders crank matters skywards with a brace off the aforementioned EP. A sweetly ascending six-string intro brings in ‘He Told Me’. Herein Coverdale.
Rodgers and Gillan cosily dwell; such is the richness on offer. All too soon it’s the final track of a consummate 30-minute offering with debut single ‘Crack My Soul’ proving to be a hands-down piledriving groover that is impossible to resist. One’s left wondering if this current crop of talented, young rock outfits are emerging from a seemingly bottomless pit; such is the sheer breadth and depth of the current underground scene.
This rock n’ roll pondering continues as hurricane-powered alternative rockers Tribeless storm through a breathless half-hour slot. The Welsh quartet has emerged from lockdown with an additional member in the form of bassist Morgan Price and a new guitarist, namely Matthew Alessandro, joining forces with the founding nucleus of supercharged vocalist Lydia McDonald and precision skinsman Max Rhead.
There’s a spiked approach to their rocking and it blends well with the ever-expressive Lydia’s expansive voice. Kicking off proceedings in style with recent single ‘Impulses’ Tribeless are right into their collective stride with this destructive silicate bullet; think Muse in a harmonious head-on collision with The Cranberries. The alternating shades of gentle light and bleeding edgy rawness of ‘Risen’ catenate with subtle accuracy.
The latest single release ‘Blossom’ unleashes Lydia’s inner Dolores O’Riordan ratcheted up to eleven; a 21st century take on the icons of the previous. Notes of definitude arc from Mathew’s fretboard in ‘Solitude’ as its catchy chorus sees Max more than ably backing Lydia out front. Ethereally piercing ‘Formed By Us’ is destined for arenas as Tribeless round off introducing themselves to the Winter’s End crowd.
Melodious five-piece Iconic Eye bring their anthemic perspective upon the rock arena to Leamington with new vocalist Janey Smith firmly at the helm.
The driving twin guitars of Greg Dean and Matt Mallery effortlessly surge forward whilst Janey’s slick dynamism redolent of 80s stadium rock. Vixen’s Janet Gardner and Heart’s Ann Wilson clear influences in a striking vocal performance that commands the full attention of the ever-growing Assembly crowd.
The sumptuous Vixen undercurrent is strong within ‘You Make It’ whilst scorching ‘Better Place’ is rocked right up with Matt’s light-up-the-skies six-stringing searing heavenwards.
‘Back From Behind The Sun’, the title track of 2020s EP, brightly illuminates matters with a curious faint underpinning of Police’s ‘Message In A Bottle’ weaving in and out. This experienced outfit is truly cohesive with clear empathy between one and all; the infectious ‘Black Heart’ soaring to new levels with Janey’s powerhouse delivery.
Leant right back Matt, defying the laws of gravity, shreds an equally crazy solo in ‘Am I The One’ before he slips into six-string harmonics with Greg in luxuriant set-closer ‘Ghost Town’.
Flying the Red Dragon proudly are silky smooth blues-soaked rock outfit Cardinal Black. Releasing their debut single back in May last year this Welsh quintet have hit the ground at a rapid pace. A special guest slot at Those Damn Crow’s September extravaganza at Cardiff Castle – their first live show – has been followed by a pair of sell-out shows at Crumlin’s legendary Patriot venue and a stellar tour slot on Alter Bridge’s Myles Kennedy solo UK jaunt just before Christmas.
It’s a seemingly rapid ascent but it hides a deeper back-story. The nucleus of the band – vocalist Tom Hollister, guitarist Chris Buck and drummer Adam Roberts – were garnering furnace-hot reviews over a decade ago. An abortive move to the US, sadly, didn’t reap the dividends and the talented trio went in separate directions. Through, according to their official website, a collective desire for new music they hunkered down to realise unfinished business.
There is much promise and last year’s critically-acclaimed EP release has given a window into what lies ahead. The four tracks from that EP form the nucleus of a memorable slot dripping with blues licks and soulful vocals at every turn. Blazing meteor-bright balladic ‘Jump In’ oozes pure quality whilst the rockier overtures of ‘Where Do You Go?’ steps up the tempo with its gritty blues edge.
Tom chuckles about the wardrobe selection he made with his velvet jacket before the mellow ‘Warm Love’ showcases the six-string talent of Chris as he nails a straight from the centre of his heart solo; inciting a loud cheer from the Winter’s End crowd.
Tom announces “We gotta go soon, I’ve run out of beer!” but there’s time sufficient for ‘Tell Me How It Feels’, with its hooks of early Kris Barras and King King, before Cardinal Black bring their set to a fitting finale with utterly sublime sensitivities of ‘Tied Up In Blue’. Tom’s vocals bare heart and soul simultaneously whilst all the while lovingly embracing Chris’ impassioned fretwork. Huge things surely await in 2022 with an eagerly awaited set to come at this summer’s Steelhouse Festival inked into the calendar. The levels of expectation run high.
There’s a definite buzz as bowler-hatted conflagrant rock n’ roll preacher Jack J. Hutchinson – golden Gibson Les Paul in hand – takes to The Assembly’s stage alongside his gritty compadres thundering bassist Lazurus Michaelides and ironman drummer Felipe Amorim.
Each knows their respective task as they set about delivering the sermon to end all sermons. Spectral apparitions swirl about the domed ceiling as the meaty riffage and rhythms as heavy as the earth’s core vibrate the foundations. It’s a little way off the hour Jack sings of but we’re all going ‘Straight To Hell’ anyhow.
The gavel strikes the lecturn and ‘The Hammer Falls’. Sparks fly and lights flicker outside on the street. The atmosphere crackles alive with magic. The V8 Led Zep riffs are alloyed with ZZ Top hot-rod rhythms in the bone-to-dust powerage. Laz furiously nods whilst, behind, Felipe batters his kit in an unforgiving manner.
Basement dwelling ‘Down By The River’ flows forcibly from its subterranean locale delivering one almighty sonorous concussive blow.
January saw Jack release his latest album ‘The Hammer Falls’ and with not even a quarter of the year elapsed it’s a serious contender for album of the year. After hitting the highway with the first three tracks off this fine long-player the triumvirate further dips into the album lifting the chugging ‘Call Of The Wild’ with its succulent stately notes sailing forth.
An emotionally charged ‘I Will Follow You’, with a slither of reflective Who, has the packed Winter’s End crowd in fine voice; a guaranteed earworm for days to come. A spontaneous photo – taken by the legendary Johnny Deller – precedes the rasping downright dirty blues of ‘Deal With The Devil’.
Lifting a further brace off the latest release Jack howls at the moon before bringing the entire house of cards crashing down with the incendiary ‘World On Fire’. Raising his right hand in a horned salute to the crowd Jack alongside Laz and Felipe power into set-closer ‘What Doesn’t Kill (Only Makes You Stronger)’. The blues-barbed rock is strong herein. The Hammer has truly fallen!
Ramping ever closer to the finale of Winter’s End 2022 Glaswegian hard rockers Mason Hill hit the stage with the battle cries of northern clansmen coursing through their veins. By the time the opening track ‘No Respect’ draws to a climactic close there isn’t a vacant square inch in the arena. The whole place is bouncing with an old-school gig feel about proceedings.
The success of the release of their much-awaited debut lp ‘Against The Wall’ – bulldozing into the top 20 of the Official UK Album Charts last year – along with the resulting headline-making UK tour coupled with a triumphant appearance up the mountain at Steelhouse has ensured that secure foundations have been lain down for 2022.
Eight of their nine-track set are uplifted from ‘Against The Wall’ with every number lifting an already high bar ever higher much to the absolute delight of the energetic throng. Vocalist Scott Taylor takes to the bass bins, afront the stage, to connect with the front rows during ‘DNA’; a powerful delivery from all quarters.
Blues-fringed rocker ‘Out Of Reach’ harks back to early Reef, in the mid-90s, with Scott noting, at song end, “Well that makes the 12-hour journey worth it!”. The band having made their Irish debut in Dublin the previous evening.
The growling beast that is ‘Hold On’ elicits a sonorous crowd response as does ‘Find My Way’; the entire Assembly is in raptures. There are sky-high levels of energy both onstage and out in the crowd; it’s a symbiotic relationship that looks secure for the long term.
The immediately accessible chorus of ‘Broken Son’ has the crowd engaging loudly with the anthemic ‘Where I Belong’ rising and soaring upon musical thermals as lead guitarist James Bird hits a magmatic solo. The eagle seeks its home. Winter’s End explodes with a hair-raising level of appreciation; the loudest of the weekend thus far.
Titular track ‘Against The Wall’ possesses a Nickelback resonance that has the entire Winter’s End crowd – front to back – unified as one. Obliging with one further track Scott dedicates the last song to one of his heroes Chris Cornell. They close a vanquishing set, befittingly, with a hammer of the gods’ strength rendition of Audioslave’s ‘Cochise’.
On the current UK festival circuit there are few finer bands than Mason Hill’s Scottish counterparts Gun to bring the party to the business end of matters. Ever since seeing them support Texas on their ‘Southside’ tour at the tail end of the 80s they have remained one of my favourite acts live. Over 30 years in the industry, three top 20 albums and 8 top 40 singles in the UK they possess a more than credible CV. As popular nowadays as they were right back in their early heyday Gun ply a contagious brand of rock n roll that is instantly recognisable.
Frontman Dante Gizzi leads the crowd in Lennon’s ‘Give Peace A Chance’ in solidarity with the Ukrainian population before injecting the fast and furious ‘She Knows’, off 2017s ‘Favourite Pleasures’ album, to kickstart the band’s engine. Dante’s brother Jools strikes the opening notes of ‘Don’t Say It’s Over’ with its Quo undertones as the quintet slows the tempo for the last chorus before constructing back up to a rousing outro.
Top 10 smash single ‘Word Up’ is as timeless as ever and has the entire venue bouncing along and waving their raised hands from side to side as if it’s still 1994. If anyone needed proof of Gun being a consummate party band then they need look no further than here. “W. O. R. D. Up!” Nothing more need be said.
Dante informs of the forthcoming studio release ‘The Calton Songs’ their eighth studio offering. Coming in the spring this will feature reworkings of classic Gun tracks such as ‘Taking On The World’; a 100% legit anthem.
Before Jools takes his Les Paul out front for the intro of ‘Money (Everybody Loves Her)’ Dante raises his pint and enthuses “It’s fucking great to be back! Here’s to live music!” It’s classic after classic as ‘Money’ segues seamlessly into ‘Welcome To The Real World’ as second guitarist Tommy Gentry hammers the track’s intro.
The heartfelt lyrics of ‘Inside Out’ brings waves of pleasure to Winter’s End as a Red Dragon flag draped over Phil Campbell & The Bastard Sons’ backline, cheekily, peers over Gun’s. No-one is going home yet as the chorus is rumbustiously sung right back.
Debut single ‘Better Days’ with its catchy chorus resonates loudly with its lyrics seeming highly appropriate in the current troubled climate. Heads down no-nonsense rocker ‘Steal Your Fire’ seals the deal drawing a slightly shorter than planned set to a fine conclusion.
With a lengthy musical rap sheet going back over four decades proud Welshman Phil Campbell has enjoyed a rock n’ roll career beyond compare. Best known for riffing for thirty plus years alongside Lemmy as Motorhead’s guitarist and, other than Lemmy himself, the longest-serving member of the heaviest rock n roll band agoing Phil is the epitome of a rock n’ roll legend.
Since Lemmy’s passing in 2015 Phil, in the fine company of his three sons Todd, Tyla and Dane, established Phil Campbell and the Bastard Sons. Fronted by new vocalist Joel Peters (Bootyard Bandits) Phil and his associates have the honour of bringing Winter’s End 2022 to a close.
After taking to the Assembly stage to Deep Purple’s ‘Highway Star’, they commence their set with the introductory ‘We’re The Bastards’ the quintet are quickly into their collative stride. Lead guitarist Todd gives someone down the front a jovial middle finger. Hammering into ‘Bite My Tongue’ Winter’s End is taken on a rampage for the next 90 minutes or so.
The set is littered, naturally, with classic Motorhead numbers of which the rumbling ‘Rock Out’ is the first. Vocalist Joel, now confirmed as a permanent member of The Bastard Sons, dedicates ‘Big Mouth’ to “everyone one in the room” before energising ‘Born To Raise Hell’ to new levels.
There’s time to dip into Phil’s solo album with the earth-shattering ‘These Old Boots’ prior to Winter’s End being instructed to ‘Get On Your Knees’; a thundering igneous monster that subjects Leamington to tectonic forces. Joel masterfully, midsong, leads the crowd – having split them into ‘Team Phil’ and ‘Team Todd’ – in a partython singalong.
The hard-edged blues of ‘Dark Days’ slows the tempo somewhat with Phil striking a scorching solo from his Les Paul as effortlessly as one would a match. Frontman Joel orders Winter’s End to “Raise your middle fingers” in readiness for the time-honoured chant of “Fuck you Tyla Campbell!” A polite “Thank you”, in reply from Todd, suffices before he batters the legendary basslines of ‘Ace of Spades’ sending the crowd into a frenzy.
Hawkwind’s ‘Silver Machine’ is given The Bastard Sons’ treatment as they turn the dial passed eleven. ‘Ringleader’ brings the main set to a volcanic eruption of a conclusion as one and all draw a much-required breath.
Heralded back for the encore by a wailing air-raid siren The Bastard Sons go for the proverbial jugular heading into a triple salvo with the iconic ‘Bomber’ before letting loose with the ultimate rock n’ roller ‘Going To Brazil’.
A set of gargantuan proportions, which has headed off the Richter Scale, is brought to a close, roaring a nod to Lemmy, with a sublime version of ‘Killed By Death’. No mercy given, none requested. The perfect ending to a phenomenal weekend.
In the shadows the spectral laird smiles; his work is done. Winter has ended and spring has arrived.
Photography by Kelly Spiller for MPM
