Review by Pete Finn for MPM
As we take the lid off 2024’s Music Box, the first one out is an absolute gem. It’s a bitterly cold evening that brings together the two Old Muppets for their first gig together of the year.
Thankfully, it’s a local one to kick off with, it’s a short trip to Nottingham and The Rescue Rooms. On tonight’s agenda is a “Triple Header” of British Rock, with Wayward Sons being supported by MuddiBrooke and The Heavy Souls. There’s 5-dates on this tour, Wayward Sons have invited MuddiBrooke on all of them, however, they have invited one local (within 50 miles of the venue) band to open the evening’s show, which is a brilliant idea.
It’s an early start tonight, the excitement is building and it’s brisk business at the merch stall and the bar. Considering it’s 18:30 there is a good crowd in already.
The Heavy Souls are a 4-piece rock band from Sheffield, UK. Formed in 2015 the band originally started out under the name, Stand Amongst Giants, as they began crafting what has since become their signature blend of blues guitar-based music infused with modern heavy rock attitude. They released a self-titled debut album in 2018, the band received widespread radio airplay and rave reviews.
In 2023 the band changed their name to The Heavy Souls to better represent the maturing of their sound before beginning the release cycle for their debut album.
The band’s line-up consists of Ben Boswell (guitar), Clarke Vaughan (vocals), Ryan Jones (bass) and Charlie Morris (drums). They take to the stage to their backing track, all wearing different styles of hats. A nod to the receptive crowd, and they begin.
The riff laden start/stop intro brings in ‘Have You Got Soul’. It’s slow and hard Jones’ bass is growling as Vaughan belts out the lyrics. The Rescue Rooms are hooked. The blues vibe with a kick-ass rock mix works superbly. Boswell holds his guitar aloft as the band play to a big finish, then without pausing it’s ‘She Devil’, this is slower, more bluesy, but with a dirty stoner beat. Jones’ bass is shaking the foundations as he spanks the strings. Boswell eases into a squealing solo as the pace is kept steady and moody. The track closes with a snippet of Black Sabbath’s ‘War Pigs’.
Ben Boswell’s solo intro sets the tone for ‘Pressure and Time’. This is quicker and more up-beat a bit like The Black Crowes version of ‘Hard to Handle’, the crowd are nodding in time.
The solid chugging riff and Vaughan’s screams give a metal twist, the band jam to the outro. Clever stuff. It’s getting hot on stage as Morris removes his hat, Vaughan introduces a new track, it’s ‘Sleepwalking’. There’s a haunting introduction, it’s slow and full of fuzzy distortion, it’s sounding great. Jones’ bass is purring in the background. Boswell’s backing vocals adds depth.
Vaughan thanks Wayward Sons for having The Heavy Souls on tonight’s bill. Up next is another new track, the Sabbath sounding ‘Caught In Your Spell’, Vaughan adds a slow smoky vocal to a driving riff. The Heavy Souls are going down well in the now full Rescue Rooms. ‘Rise and Fall’ has a heavy intro, it’s slow and deliberate. The track picks up it’s feet as Morris pounds the skins, the heads are nodding, the track slows, it’s full of power, the rollercoaster of tempo continues as Ben Boswell is introduced for his solo.
The final track of a far too short set is ‘The River’ this is quick and hard; the chugging guitar riff and Vaughan’s clear lyrics drive the track on. Everyone is turned up to 11, the power is immense. Morris is up encouraging the crowd to clap and cheer. The band jam before leading the track to a big finish.
The Rescue Rooms have enjoyed The Heavy Souls, and show their appreciation as the band leave the stage.
This was my first time seeing The Heavy Souls, and it certainly won’t be the last. They delivered a hard, dirty blues sound that had a bite like a T-Rex. I for one will look forward to the release of the new album. A superb way to start tonight’s show.
Setlist: Have You Got Soul; She Devil; Pressure and Time; Sleepwalking; Caught In Your Spell; Rise and Fall; River.
MuddiBrooke were formed in Derby during 2020 and consist of lead vocalist and guitarist Brooke (Harriet McDonnell), bassist and vocalist Anna Melidone and drummer Morgan Pettigrew. The debut EP ‘Lunacy’ was released in October 2021, and they’ve followed that up with some single releases, their most recent being ‘ADHD’ during October 2023. The Alt Rock/Grunge trio have been likened to Wolf Alice and Skunk Anansie, they have last year’s Bloodstock Festival under their belts, and reading some reports and reviews suggests we’re in for a real treat.
The band take to the stage, acknowledging the crowd and open with ‘ADHD’ their most recent single. The bass snarl and guitar riff hits you in the face like a sledgehammer. Pettigrew announces his arrival with thumping drums as Brooke chants the lyrics, she sounds angry. This is raw energy. This is a great start.
Brooke thanks The Heavy Souls. Next up is ‘Liverpool Guy’ taken from the ‘Lunacy’ EP. Quick lyrics, hard beat and a punchy riff. Melidone is bouncing. In the middle there is a clever and unexpected vocal bridge that has great building harmony parts that support the tune really well. Melidone invites the crowd to singalong, we have burst of “Nah, Nah, Nah’s” which everyone enjoys.
Brooke tells us that the next song is about a “Knobhead”. Sticking with the ‘Lunacy’ release, it is ‘Devil’, a song about a previous bad relationship. It begins with Brooke’s gritty vocal and her guitar, it escalates as Pettigrew and Melidone join in adding power. This is slower and grungy and full of feeling.
Pettigrew provides a big drumroll and it’s straight into ‘Fake It’, a chugging start/stop track. Brooke’s vocal steady and controlled. The rhythm section push the track forward as the guitar starts to get heavier. Brooke moves to the stage edge as she plays the solo. The track concludes with feedback, the crowd are clapping and whistling.
‘Float’ is the new single due for release next month. The gentle start is soon destroyed by an explosion of sound, strobe lights add to the effect. This dissipates to reveal a clear and steady track. Brooke and Melidone combine producing a flowing harmony, then the latter produces a fine bass break. A popular track.
Brooke thanks The Rescue Rooms for coming in early. The first single MuddiBrooke released was ‘Turn To Dust’ and that’s next. Brooke is strumming the guitar and narrating a story. Pettigrew and Melidone join in quietly at first, then the tempo and volume builds along with a buzzing, distorted guitar. The crowd are captivated. Released in 2022 as a single ‘You Don’t Own Me’ is MuddiBrooke’s next track. A steady circular riff, with a driving beat has Brooke’s angry lyrics wrapped around it.
The final track from a very impressive set is ‘Cellar’ a single from last year. It’s quick beats are matched by Brooke’s rapid vocal. Anna Melidone is rocking out as she plays. There are heavy riffs and thumping beats a good rock song to close their set.
The band finish to rapturous applause and cheers, smiling and waving at the crowd, before crouching down to have their photo taken with The Rescue Rooms, who like me, have totally enjoyed MuddiBrooke’s performance.
Setlist: ADHD; Liverpool Guy; Devil; Fake It; Float; Turn To Dust; You Don’t Own Me; Cellar.
Wayward Sons were formed in 2017, known for their infectious hooks and energetic performances. The band was founded by Toby Jepson, a seasoned vocalist and songwriter, who assembled a group of like-minded musicians with impressive backgrounds. The lineup includes Nic Wastell on bass, Phil Martini on drums, and Sam Wood on guitar. Since their formation, Wayward Sons have released three acclaimed albums; their debut album ‘Ghosts of Yet to Come’ in 2017, followed by ‘The Truth Ain’t What It Used to Be’ in 2019, and the most recent ‘Even Up The Score’ in 2021, Wayward Sons did release ‘Score Settled’ in 2022, this was a seven track EP. These releases have solidified their reputation as an electrifying rock band with a distinct sound that blends classic and modern influences seamlessly.
A roadie at the rear of the stage flashes a torch, the house lights go out, The Rescue Rooms starts cheering and clapping, the band walk out onto the stage. Toby Jepson is sporting a Brian Johnson style cap. He starts clapping his hands above his head, the crowd copy.
The band open with ‘Big Day’ taken from 2021’s ‘Even Up The Score’ it has a brilliant Quo style, it’s quick and it’s very difficult not to nod and tap along. Wastell is duck walking and bouncing around the stage, the band finish with their guitars held high under the flashing red and blue lights.
It’s straight into ‘Feel Good Hit’ which is from ‘The Truth Ain’t What It Used to Be’ released in 2019. I remember them opening the Download Festival in 2022 with this one. High energy and quick, some excellent riffs and thunderous beats. Martini is smashing his cymbals. The lyrics refer to the summer, which feels so far away when outside, but inside The Rescue Rooms it seems very apt, as the atmosphere is “Scorchio”.
Jepson tells us that it’s great to be back out on the road. ‘Be Still’ is from the 2017 debut album ‘Ghosts Of Yet To Come’, the track has bounce, Jepson’s vocal is crystal clear. The animated crowd are soaking this up, they start clapping along. The band and The Rescue Rooms are sharing backing vocal duties. Wastell has his foot up on the monitor, “shooting” the crowd like Steve Harris.
We stay with ‘Ghosts Of Yet To Come’ for ‘Don’t Wanna Go’. Wastell’s burbling bass and Martini’s beat bring this in, Jepson is narrating the lyrics. Wood is waving the guitar above his head. The hard beat is felt everywhere throughout The Rescue Rooms. Subtle riffs and breaks are holding the reins tight on the rhythm section. The band pause and Toby cups his ear, the crowd cheers. We continue until Martini stands up behind his kit and cups his ears, we cheer again as he calls for claps. We finish on a big jam and Jepson is shouting with passion and purpose, all the guitars in a line pointing at the ceiling.
The title track from ‘Even Up The Score’ is next, with a fast tempo, Jepson shows the range in his vocal as he moves up the scale. This is a lot heavier than the record; the backing vocals are adding depth, the drums are relentless. Sam Wood launches his solo; his fingers are flying over the strings right down at the naughty end. The Rescue Rooms respond with s deafening cheer.
Toby Jepson tells the attentive crowd that they will start recording a new album next year, they are planning on playing the festivals over the summer. He continues, and says the next song is a “Lockdown Song”. ‘Bloody Typical’ follows on with tracks from ‘Even Up The Score’, slightly slower, a more balanced full sound along the lines of Stadium Rock, nice intricate sounds are scattered throughout.
We clap in the next track, it’s full of heavy riffs. ‘Small Talk’ is faster, Jepson leads the charge, Martini is eager to support, Jepson’s vocal is almost angry. Wastell is off around the stage again. Wood keeps the speed high. This is an obvious favourite amongst the crowd.
A laughing Jepson removes his cap “to prove I still have hair”. Wood starts the clapping, bringing in another from ‘Even Up The Score’ with ‘Fake’, a bit of a skater tempo, again a great demonstration of the ability within the band to ‘mix it up’, complete with a 70’s sounding power riff in the background, a bit Wheezer’s ‘Buddy Holly’ but, rockier. Clever.
The stage is glowing an eerie green, staying with ‘Even Up The Score’ it’s ‘Faith In Fools’, things are slowed down, Jepson is speaking the words, his voice strong and prominent, the track has an up-beat power ballad feel. The arms are swaying, the heads are nodding in time. A calm and measured track.
‘Radio Denial’ is from 2022’s mini-album ‘Score Settled’. Jepson’s riff starts it, this is rapid, the beats, the vocals, the solo. High pace and high energy. It could almost be a punk song, but the solo is classic rock, it’s great to hear the bass entwined the lead guitar. Martini’s drums finish the track in time with strobe lights. This is one I’m really pleased has been added to the live show, and looking at the reaction of the crowd, they are too.
Toby Jepson introduces the band, then invites Wood to start the next track. We’re back to the first album for ‘Crush’, a rich riff and melodic beat is accompanied by a smooth vocal from Jepson. Wood teases the solo out of his guitar, as the track develops the pace builds, Wastell’s bass is thumping your chest. There’s chance for the audience to sing a long, so with arms swaying ‘Wo-oah’ goes back and forth between us and Toby. It’s the turn of the band to applaud the audience for their endeavours.
‘Even Up The Score’ provides ‘Looking for a Reason’. It’s quick and has the crowd rocking. Jepson’s vocal is rapid and matched by Phil Martini’s stick-work. The rhythm section of Nic Wastell and Phil Martini are shaking everything and everyone.
It’s back to ‘The Truth…’ with, ‘Punchline’, Wastell is off jumping around the stage as Wood is smiling at the audience. A start/stop riff is trading blows with Martini’s measured beats. Jepson is hitting all the notes, supported with some great harmonies, briefly slowing the pace before a Wood solo, fires it towards the finish. The crowd haven’t stopped bouncing yet and let out huge cheers as the track closes.
Jepson tells us the next song is a protest song, a song about being human, and how we should be looking after each other. ‘Land Of The Blind’ is from ‘Even Up The Score’, a more complex sounding track, with harmonies and different layers of sound, it sounds like there’s more than four people playing, riffs and solo blending perfectly. Sam Wood is flicking his hair; Wastell is jumping and swaying. Jepson is rocking out like no-one is watching. The Rescue Rooms are loving this, they are leading the clapping. I really enjoyed this one too.
The backdrop behind the stage is of a figure with laser beam eyes, the stage lights are replicating this figure. The 2017 debut album gives us ‘Something Wrong’. It’s bluesy but with swagger. The sound is full, subtle tempo changes keep you hooked, most of those around me are singing or nodding along. Sam Wood leans back into his guitar solo. Jepson is hitting the high notes with ease.
Jepson calls out for ‘Jazz Hands’ then clapping for the final track is the aptly titled ‘Until The End’, from the first album. It’s “foot to the floor” classic rock. The Rescue Rooms are bouncing as one, they take on lead vocals for the chorus. The band are smiling, they’re enjoying this too as they line up across the stage. It’s a big finish, they thank the crowd and leave the stage waving,
We don’t have to wait too long before the band returns. Jepson gives an extravagant theatre style bow, then introduces “another protest song”. ‘Totally Screwed’ is from the 7” single of the same name. The hook at the start grabs your attention from the off. There’s another punk-esque undercurrent from Wastell’s bass, it encourages you to bounce. The fists are punching the air. Jepson’s lyrics are brisk and direct, as is Sam Wood’s solo. The chants of ‘Totally Screwed’ bring the track to a close.
Then, it’s ‘Ghost’, from 2017’s offering ‘Ghosts Of Yet To Come’ with Jepson shouting “Come on Nottingham!” a heavy and punchy riff start the track, Martini is controlled and deliberate as he strikes the kit orchestrating the others. Sam Wood’s squealing solo is matched by Wastell’s energy around the stage. The track builds to a crashing finale. The crowd are punching the air in time.
From ‘The Truth…’ the final track is ‘Joke’s On You’, a quick/slow track where Martini’s beat is the Ring Master. This is getting the crowd jumping again. Jepson easily encourages them to continue and calls for one last sea of claps. The band are in a line with their guitars in the air, as the song concludes. The set finishes. The band applaud the crowd and we raucously show our appreciation too.
Setlist: Big Day; Feel Good Hit; Be Still; Don’t Wanna Go; Even Up the Score; Bloody Typical; Small Talk; Fake; Faith in Fools; Radio Denial; Crush; Looking for a Reason; Punchline; Land of the Blind; Something Wrong; Until the End; Totally Screwed; Ghost; Joke’s on You.
It’s been a superb night at The Rescue Rooms, with three bands who wore their hearts on their sleeves and gave everything. They were ‘Loud and Proud’ and The Rescue Rooms loved it. If this is a taste of things to come in 2024, then it’s going to be an absolute monster of a year for live music. Thanks to all involved.
Photography by Manny Manson for MPM
