Review & Photography by Manny Manson for MPM
The Kris Barras steam train reaches Nottingham for the penultimate show in this short run. Islington tomorrow has the honour of being the last night. This is my 13th Barras show, so to say I’m a little bit keen for this one is an understatement, the new album is an absolute banger, the production on it sounds so much bigger than the previous one, ‘Death Valley Paradise’, which in itself is a great long player.
Kris brings along fellow stable mates ‘The Nocturnal Affair’, who hail from Las Vegas, across the pond, so you know they are going to be half decent having travelled so far. They released their first album in 2022 entitled (Meta)Morphosis. Having listened to it briefly, it gets a decent thumbs up. They have a recent single release, a cover of the UK’s very own synth pop/rockers, Depeche Modes 1997 single ‘It’s No Good’, It’s been given a bit of a facelift and works well to what the band have done to it. I believe this to be the band’s first UK tour.
Along-side them we have another great Brit band, ‘South of Salem’ an 80’s inspired ‘cock rock’ metal band from Bournemouth, formed in 2018. The band features a horror element in its lyrics due to front man, Joey Drapers love of Horror Films, a look at his tattooed sleeves featuring horror legends Bela Lugosi and Chris Lee, you can see why. The band have been on the circuit a little while now and have garnered a great following, on seeing the band live it’s obvious why, they play from the heart, who’s, looking at their theme, is unsure but it damn well works.
Three bands mean its early doors due to the club curfew of 10pm. Doors are 18:30 the first band, Nocturnal Affair are on 18:45, so with a slight wait for the guest list, we are in and set up ready to rock just in time as the band walk on just as we walk into the pit.
Nocturnal Affair’s drummer, Kyle Cunningham, hits the stage and sets about thrashing out a melodic groove, he’s bathed in multiple yellow spot lights as he does so, standing for applause he’s warming the crowd up nicely as the rest of the band take up their places. There’s a good cheer from the crowd who have gathered here for the support bands, it’s nice to see early doors getting the support.
The lights are moody as they get straight into that single from 2023, ‘It’s No Good’. It’s a harder hitting version with a thundering bass line from Michael James, he’s feeling it, as he rocks out, guitarists Drucifer Lappin and Andy Ingraham are either side of the stage, their dark fuzzed riffs giving this old classic a nasty edge. Brendan Shane’s vocal is clean and clear as he delivers the same lines as Dave Gahan but it could be two totally different songs, the synth sound has been swopped for dirty guitars, a thundering bass line cuts through and the drums power this one along. The vocal is superb, a great show opener.
‘A Thousand Ways To Die’ from the debut album, (Meta)Morphosis, takes over. The stage is bathed in blood red light as Brendan Shane continues with his powerful lyric, the hair is flying from the guitars behind him as this melancholic anthem crashes out, the drums threatening as they get a good thrashing. Michael James, on bass, is providing the backing vocals prior to the guitars running away with a tight n tasty lick down the neck. Brendan has his eyes closed as he delivers the final lines to the song. We like this band a lot!
Brendan gives us a tinkle on the ivories, as the next one from the album, plays out. ‘Down’, the bands first single from (Mata)Morphosis, continues the dark message as the band deliver pinched harmonics and a thundering backline, its vocal delivery has a very familiar phrasing. The slow breakdown has Brendan on the keys while the guitars harmonise before a simple solo from Andy Ingraham runs away off into the stratosphere, the last note breaking down as the band drop in to a filthy section before Brendan picks up the vocal again. This is a well written piece and goes down well with the crowd.
A familiar bass line pumps out next, as we’re told to move about by Brendan. The band kick into N.I.B. by the mighty Black Sabbath. The crowd are fist punching and nodding their heads as this one ticks all the right boxes. The harmonised guitars give it extra grit, Cunningham, on the drums is working hard, marking great time as the guitar of Ingraham, yet again rips the solo as the song finally comes to and end. Has to be one of the better versions of the song I’ve heard in recent years. Nice one, Sabbath really kicked ass with this one from the first album.
A fast, rumbling bass line dives us headlong into ‘Unwound’ again, from the new album. The keys are played as Brendan once again delivers a faultless vocal. The band around him have hair flying, there’s a shampoo advert in there somewhere. The concussive wave of beats from the feet of Cunningham continue as Ingraham gives us some melodic neck play from his Jackson guitar, before he allows it to breathe again, letting rip another barrage of fast notes. This is a more melodic number but non the less enjoyable.
‘Backbiter’ a single from 2022, is a fast fuzzed up rocker with growled vocals and filthy guitars, it’s a proper head banger and has those amongst us who like more of the metalcore sound, in their element, enjoying a heavier song in the otherwise great set.
‘Interlude’ continues the set heading us towards the final song of the set, another cover, and one that sits oddly, it’s Trinidadian born, German Singer, Haddaway’s 1993 single ‘What Is Love (baby don’t hurt me)’. Back in the day, it went to No1 in 13 countries. Tonight, it’s given the treatment and is decidedly heavier, and in my book better for it, but it does seem a little out of place. However, Brendan’s voice is on point with it, as he encourages the crowd to sing along. The bouncing and head banging on stage encourage the crowd, there is a huge sing along from the crowd, yeah, they have ‘got it’, as a smiling Brendan thanks the crowd, the hair of Lappin and James is flying around as Ingraham once again rips a screaming solo to finish the set amidst a concussive flurry of drums and cymbals.
Well, what can I say, that was a great opening set from a band I’d not heard of before this evening. The Americans know how to put a band together that’s for sure, although the band haven’t been around for long, they have an obvious musical pedigree, and despite this being their first UK visit they have toured, and appeared with the likes of FOZZY, BEARTOOTH and Asking Alexandria, 3 Doors Down to name a few, so are used to delivering the goods, something they did in spades tonight.
The Rock City Crew set about dressing the stage, Cunningham has used James Clark, from South of Salem’s kit, this is good as there is only 15 minutes before the Bournemouth boys are due on stage.
Kreepy music heralds ‘South of Salem’s imminent arrival on stage. The lights have dimmed and the band have crept on stage. There is an almighty flurry of noise from the stage, as bathed in green and neon blue, the band kick off their set with ‘Vultures’ from the sophomore album ‘Death of The Party’. This is a hard-hitting number, Joey Drapers vocal cutting through as Kodi Kasper and Dennis Sheriff riff out, Kasper on the riser his guitar held high as Dee Aldwell takes the other riser and pounds out a seismic bassline. Sheriff takes over the solo from Kasper, before they both rock out centre stage. It’s a frantic opener and one that goes down great with the coven in tonight.
Red light takes over as the crowd are encouraged to jump. The dirty riff of ‘Static’, another from the new album, rocks out. The risers are being used a lot as the band takes it in turns to climb aboard them. The feet of Clarke, and the harmonised guitars, are keeping good time, as they double up, the heads are frantically nodding.
The crowd fill in the words as the song finishes. Another great track as we now go back to 2020 and the debut album which goes by the tongue in cheek name of ‘The Sinner Takes It All’. ‘Let Us Pray’ has the crowd light in the loafers again as the gritty guitars rip into this one. The seismic drum beat is thunderous as the fans join in with the singing once again. Fingers pointing skyward before pointing down as the song mentions going to hell. There is a call for hands in the air as the ‘We Prey’ – ‘No Way’ sing along thunders out.
The clapping starts as the tom toms are beaten hard for ‘Made to Be Mine’. Draper, on a riser, softly delivers the vocal. As the guitars strum out Sheriff is sticking his tongue out at the crowd. The bouncing beat has his hair swinging back n forth. This slower number shows a different side to the bands fast and furious antics. The Woah Woah’s start as the crowd join in. We have a good representation from the coven in, the cheer and clap as Kasper finishes the song with his guitar held high.
Hellbound Heart from the new album as the band switch it back up a gear, a line along the front has the band nodding along to the beat. Bathed in dark lighting they batter this one around the room, the ride bell clanging out, ya gotta love a rock n roll ‘ride’ as much as a cowbell! Aldwell is prowling the stage, his bass hanging that low its almost draggin’ on the floor. A smiling Kasper is on the riser pointing into the crowd as Sheriff takes the lead and runs with it. The song builds with thundering bass and slammin’ heads to finish with more cheers from the crowd. They could sing the Chinese take away menu and still go down a storm with the faithful in tonight.
The first single from the new album is up next, ‘Left For Dead’. Draper is moving around the stage as he delivers. The band, tight around him deliver a dirty wall of sound, the drums are, once again, powerful as the deliver an explosive crescendo that’s has the fans nodding in time. Many of the aforementioned fans are dressed in horror garb and wearing horror make up. Sheriff takes the lead and screams out a solo, at one point I think he’s using his tongue as he grins at the crowd.
‘Cold Day In Hell’ from 2020, continues the set. The guys bounce around the stage, the guitars forming up ala Quo style again. The crowd sing the chorus to this fan favourite. The breakdown is dirty as the guitars once again pose on the central riser, their heads down, nodding along.
The risers have been used well as Sheriff, yet again shreds like a demon possessed. With Clark marking time and Kasper smacking his strings, draper encourages the crowd to sing along, they don’t need encouraging. He finishes the song asking the crowd to scream.
The set finishes with ‘Jet Black Eyes’ from the latest offering. This is another that has the crowd singing every word. The band haven’t been around for long but they have built a faithful following by delivering a great live set. Kodi Kasper rips the solo to this one with so great tapping on the neck, Draper meanwhile continues the delivery of lyrics from on top of the bouncer step, leaning into the crowd as he climbs back thanking the crowd for being amazing.
Another great support band who are on it. Joey thanks everyone and says Rock City is a venue they have wanted to play for ages, it’s now a dream come true. They nailed their slot in warming the crowd for the Headliner, The Kris Barras Band. Once again, the Rock City crew clear the stage in double quick time, They have 20 minutes and do it with ease, the lads from ‘South’ help with clearing their own kit away. In double quick time we’re ready to go.
20:30 and the lights have dimmed, the smoke is flowing across the stage, as we listen to the taped intro, lights pulse Josiah, Billy and Frazer are already in place as Kris appears, jumps on the middle riser and asks for the crowd to make some noise, “No5 in the official album charts” he shouts. The set kicks off with one from the previous album, Death Valley Paradise. As the intro plays out Kris dons his silver glitter Baccus guitar and we’re off into ‘Who Needs Enemies’. Frazer Kerslake is bouncing around with his 6-string bass as Josiah J. Manning provides the BVs to Kris, strumming his blue Strat as he does so. The crowd are singing along already. Kris stamps his mark by shredding the solo to this one, he’s been practicing as that was some sweet run down the neck. The fast, thundering feet of Billy Hammett keep this one banging along as we get a flurry of sparks to finish.
‘Unbreakable’ from the latest offering, The Halo effect continues. The new album is a deafening addition to any album collection, it sounds massive and thank fully this has transferred to the live show. As the albums have come along Kris has slowly gotten heavier and more metal. This one has a great metallic edge to it, dirty, raucous and in your face. Fan Favourite ‘Dead Horses’ is up next and is another galloping number from the previous album, Death Valley Paradise. This is sounding rockier than ever; the mix is ballsy and concussive. The crowd are loving it, the scorching guitar rips through the melodic wall of sound provided by Hammett, Kerslake and Manning.
Kerslake is on the bass as he hits the intro to ‘Savages’ another from the Halo Effect, this, again, has the crowd singing along. Barras is atop the riser steering the song along as he belts out the vocal. The band are back lit from a pair of tall orange strobes. One either side of the drum riser. As the song takes off, we have a very enthusiastic crowd, who join in with the singing. Kris starts the song minus his guitar as he dances around the stage whilst belting out this anthem, foot on the riser he nods along to the beat. Kris then asks the crowd to make some noise as Josiah plays the solo. Kris is on form as he continues the song from off the bouncer’s step, pacing back and forth the lights dimming as the song winds up, the crowd are cheer loudly.
‘These Voices’ starts off with a tidy guitar riff from Kris and Josiah, this is another from the previous album and once again it seems to have been given a bit of oomph as the delivery is hard and heavy. It finishes with a rockin’ interplay from the front 3.
‘Hourglass’, from the new one, is next. Riffing guitar and Kris on the microphone, in his trademark sleeveless tee, before he jumps on the riser, giving it 100% as always, tonight his voice is showing a bit of wear and tear, although he’s managing it, it’s obvious, he’s got a few good shows under his belt so it’s to be expected. The band are crushing around him as he drags the silver glitter Baccus out and fingers another exquisite solo, his fingers aren’t showing any signs from knocking the hell out of his opponents when he was in the cage in his previous life.
Kris now asks the crowd to help him, he asks the crowd to be silent while he’s filming a video on his phone adding “please don’t be that dick”! He speaks at his phone about Halo Effect going in at number 5 in the official album chart, and then points to the crowd who go absolutely nuts, hats off Nottingham you killed that one. Kris adds “ it didn’t record, need to do it again, not really” “thanks, I didn’t think you’d do it, they said you were a bunch of dick heads, I’ll stick up for you next time”.
‘Secrets’ continues the run from the Halo Effect. It’s a sonic start which slowly builds as Kris softly sings this one. Kris asks the crowd if they’re ready to sing as we get the “whoas” back and forth then “we are not here to be forgiven” “we lay down in the fire below” The first four lines to ‘Devil You Know’ are shared back and forth. The crowd continue the clapping as Billy behind the kit starts pounding the kit, moving some serious air as he does so. There’s a call for the hands to be up as Kris joins the crowd on their side of the barrier. Josiah then shows he’s not just a number two as he lets rip a stunning solo, Kris is using this time to get back on the stage as he continues the song, swapping from riser to riser as the song plays out.
Billy and Frazer exit the stage as a piano for Josiah is put into place. Kris remarks on Josiah being his one-time keyboard player when they started out, and that he is very talented. At this point, Josiah starts playing as Kris tells us he wants to switch things about, he’s been playing a couple of personal songs, accompanied by Josiah on the piano, which mean a lot to him so wanted to add this one into the mix, he adds it’s been a mental week and says it’s easier to get kicked about in the fight cages than navigating the music industry. He swops out ‘Wake Me When It’s Over’ with ‘Landslide’ from the new album.
He explains about how tuff it is and whether it’s worth carrying on and then you get a week like this one and it makes it all worthwhile. This is just Kris’s voice and Josiah on piano. The song is from the heart, at the end Kris highlights Josiah and leaves the stage, Josiah carries on playing, bathed in blue lights. There are huge cheers from the crowd as this finishes out.
As the keyboard drones, Kris returns with a screaming guitar, it’s a nice, fat distorted howling sound as Kris pulls some nasty bends along with some blisteringly fast shredding, if you needed any proof of whether Kris can noodle, well this is it, delivered with a sledge hammer. The solo ends and Josiah picks up again with the piano and we’re straight into the intro to ‘Watching Over Me’ that emotional one he wrote about his dad.
With the piano playing softly the guitar screams out, the crowd is respectful as they all know what this one means to Kris. The crowd are like terracotta warriors watching that silver glitter Baccus pay homage to his dad. Standing on the riser he rips out the solo with meaning. Bathed in pink and magenta lighting he delivers the heartfelt lyric. The guitar screams the pain Kris feels, we in the crowd are feeling it too, the dust is in every one’s eyes.
The song takes on extra meaning as Kris breaks down telling us midway through, that tonight is an extra special one for two reasons. He says his dad bought him his first guitar at age 5, he played his first gig with his dad at age 9, and despite being proud of him in his fight career, his dad always wanted him to follow his love of music, sadly, his dad never saw him play in his own band, due to a short battle with cancer. Amidst tears he tells the crowd that today, the day he gets a top 5 album chart is the same day, that Kris tells us is the anniversary of his dads passing. Asking for lights he dedicates the song to everyone who has lost someone dear.
He finishes the song with the venue awash with phone lights. The outro solo is delivered with extra special feeling, he literally gives the guitar a good spanking, shaking it to get every inch of vibrato out of its soul, it’s a stunning tribute to his dad, and rightly, the cheers and applause are deafening, as the song finishes. This is my 13th Barras gig and that song still rips me apart, tonight was a very emotional rendition indeed.
As the piano section is over, Josiah is now back with the guitar as we go into ‘Fall To Fly’ from the latest long player. The lights are again, pulsing as the beat fills the room with a tsunami sized wall of bass. The guitars join in and Kris is back at the mic singing, engulfed in a wall of backlight. Frazer and Billy are locked in tight, the drums sound like they’re playing in an arena, they sound massive, the bass of Frazer is low and rumbling, pulverising your chest. The screaming solo takes off in all its nastiness, compressed to hell it leads into a round of “Whoas” whilst the drums thunder around it. The snare is sharp, the breakdown is heavy and neck jarring as the heads nod repeatedly, as this one finishes angrily.
There’s and almighty guitar solo as we go into an old one, as ‘Ignite(light it up)’ flies from the stage, the crowd join in with the chorus. There’s sparks and backlighting trying to blind everyone. Kris encourages a “light it up” sing along then rips a solo out as Billy thrashes the drums during the breakdown. Kris and Josiah share a bit of back and forth on the guitars, they’re head-to-head, locked in a trade of licks, superb, multi-talented, Josiah is proving to be the equal of Kris.
The Kris Barras logo behind the kit pulses as different colour lights bounce of it, as the percussive side have a go trading drum beats and bass licks, Kris is joining in, hitting an electronic pad, its bowel moving fierce, it’s that deep, everything is shaking in the venue. When he’s done Kris goes to throw the drum stick into the crowd but tells them if it twats anyone in the face, it’s there-own stupid fault, the crowd love it and the song continues with the pace slowly building, Kris has jumped onto the middle riser while Frazer and Josiah are leaning into each other as they speed this one along, Kris raises a hand and the pace changes again, there is a flurry of fast notes as Kris dances around the stage the song finishes amidst more fast picking and squealed notes.
Kris takes the time to thank Nocturnal Affair and South of Salem, and then thanks the crowd for coming out and celebrating their top 5 album. Kris says “let’s go out with a bang”.
Choral chanting from a tape plays out as the intro builds, Kris screams “lets fuckin’ hear you” as Josiah plays the intro to ‘My Parade’. More sparks fly as this one is delivered with the subtly of being hit in the jaw. Blue spots fill the stage as this version, which seems heavier, delivers the final blows of the night. Kris encourages arms in the air as the drums take on a ‘we will rock you’ groove. With a line divided down the middle of the crowd, Kris is in there coaching the sides in a sing off. Jumping back on stage he says “Rock City, you are fucking awesome tonight” the crowd cheer as the three go into a head bang with some filthy guitar, the dirty guitar finishes with yet more sparks flying from the front of the stage.
With the set over the chanting starts for more. The cymbal marks time as the harmony for the final song ‘Hail Mary’ is sung. Smoke rises as this dirty anthem crushes the encore spot. It’s a great finish to the night, the crowd are singing and punching the air as this one lifts the roof off. Before leaving the stage Kris produces a bottle of bubbly and proceeds to do an F1 podium with it, spraying the crowd before drinking, a fitting salute to the No5 spot in the charts. He salutes the crowd then hands it to Josiah, who quickly passes it on. The band clap the crowd as they slowly leave the stage, the crowd do the same and head out into the fresh night air of Nottingham.
It’s been an extraordinary night; three sensational bands have made this Friday night special.
Kris’s new album and label have given the band a boost to the next level. The Band have simply delivered an arena worthy show. The sound has been excellent, the choice of songs superb, it’s been everything a KB fan could want, and more.
I can recommend the new album, it’s a belter, the live show is next level, and if you get the chance to go and see them live, then you’d be wise not to miss out, It’s been one the best gigs this year.
