Review & Photography by Manny Manson for MPM
The anticipation was electric as fans gathered at Rock City, Nottingham for a night of extreme heavy metal, the type that promised to deliver high energy and raw emotion along with a bucket full of blood sweat and terror.
The venue was buzzing with excitement, the eager fans chatting about their favourite tracks and what they hoped to hear. As the lights dimmed and the stage was set, the crowd were ready for a night filled with powerful performances. Before the main event we have an undercard, the excitement was not only for Dani Filth and his crew but also Heidi Shepherd the remaining front person for BUTCHER BABIES, alongside HIGH PARASITE and newcomers to the UK shores in BLACK SATELLITE a band hailing from NYC, who would be up first with their heavy industrial sound, ready to quake the fans in their very boots – and some of those were big!
Rock City is buzzing. There was that undeniable electric hum in the air as everyone waited for CRADLE OF FILTH, but as soon as BLACK SATELLITE hit the stage, it was clear they had our attention. New York City’s BLACK SATELLITE isn’t exactly a household name yet, but after tonight, I wouldn’t be surprised if that changed. The duo, fronted by the fierce Larissa Vale and backed by the powerhouse guitarist Kyle Hawken, dropped a set that was raw, heavy, and haunting in all the right ways. Tonight, they had Mark Czmil Alexander on bass and Rom Gov on drums, forgive if this isn’t correct but it’s all I could find about the session muso’s touring with them. It’s no wonder they’ve been building a serious following since their debut, “Endless”, in 2017.
From the first notes of “Dead Eye,” they set a moody, intense atmosphere that rippled through the crowd. Vale had this commanding presence, decked out in striking face paint that gave her an almost ghostly look under the stage lights. Her voice was something else, part spellbinding, part savage. She prowled across the stage, owning every second as if she was channelling the room’s energy right back at us. Behind her, Hawken’s guitar growled and snarled, giving “Dead Eye” a heavy, industrial edge that you could feel in your chest.
“Broken” from “Endless” was next, and it was clear from the first chord that this wasn’t going to be a set for the faint, hearted. Kyle leaned hard into each riff, slicing through the room with precision, while Larissa’s voice brought a haunting intensity. There was no gimmick here, just a band of four putting everything they had into every note, and it worked. The crowd was locked in, as they followed the energy of this opening band.
When they moved into “Far Away,” they showed a different side, dialling down the aggression a notch to reveal a more melancholic, even tender edge. Larissa’s voice here was almost ghostly, floating over Hawken’s deep, resonant chords. There was a hush in the crowd, everyone swaying along, totally immersed. It felt like a rare moment of stillness before they launched us back into the deep end.
Then came something unreleased: “Here It Ends.” This track hit like a wrecking ball. The bass and drums were thick, chugging, and raw, and Vale’s vocals went full throttle, shifting into a growl that brought a searing energy to the room. The crowd was right there with her, nodding and shouting along. It was heavy, it was fresh, and honestly, it was the kind of song you hope to hear again soon on an album.
Next, they rolled out “VOID”, another unreleased track, and it was pure darkness. This song felt like a soundtrack to some twisted dream. Larissa’s face paint caught the light, giving her this unearthly look, and her voice hit hard in the sinister chorus. The crowd, now fully committed, was raising fists, shouting along, and you could feel the collective energy intensify as Hawken’s guitar twisted between brutal riffs and eerie, spaced, out interludes.
“Don’t Remember Me” brought a slight breather, though it kept that edge. You could tell this song resonated with a lot of people; Vale’s vocals took on a more vulnerable tone that balanced beautifully with the roughness of the music. She held the crowd captive with every note, her voice soaring, cracking, and falling as if it was barely contained.
Then came “Decay,” another crowd, pleaser that hit like a punch to the gut. This one had all the hallmarks of classic BLACK SATELLITE but with an added grit tonight. Rock City was alive, heads banging in time with Hawken’s relentless riffs, while Larissa’s voice shifted seamlessly from snarls to powerful, clean lines. Their chemistry onstage was intense, and there was this feeling that the band and crowd were feeding off each other’s energy, like a shared catharsis.
And just when we thought they’d hit their peak, they closed with a cover that took everyone by surprise, Rammstein’s “Sonne.” They absolutely owned it. Larissa’s vocals gave the song a haunting twist, blending seamlessly with the pounding, industrial beats of the original. As the familiar rhythms washed over us, the crowd roared in approval, singing along with raised fists. It was the perfect end to a set that had all the drama, intensity, and darkness you could ask for.
By the time they wrapped up, BLACK SATELLITE had left a serious mark on Rock City. They brought an undeniable edge, and the heavy, almost theatrical feel of their set was the perfect way to warm us up for the spectacle CRADLE OF FILTH would bring.
But make no mistake—BLACK SATELLITE proved they’re a force to be reckoned with all on their own, and they’re a band I’d see again in a heartbeat.
Following on from the night’s curtain, raiser, HIGH PARASITE, waste no time in making their mark. Hailing from the underground depths of the metal scene, HIGH PARASITE has been carving out a brutal, nihilistic sound that’s as relentless as it is darkly poetic. Their debut album, “Forever We Burn” (2024), threw down the gauntlet with crushing riffs and lyrics steeped in existential dread, and tonight’s set reflected every bit of that heaviness.
Opening with “Parasite,” a track that naturally features on the debut album ‘Forever we Burn’ released in September this year. With that aside, they come in hard and fast, wasting no time on pleasantries. Aaron Stainthorpe, the striking frontman, dressed head, to, toe in a pristine white suit that was equal parts eerie and striking, was an unsettling presence from the start. His appearance was in stark contrast to the grim, unforgiving sound spilling out from the stage. His vocals were visceral and raw, cutting through the air like a serrated blade, while the band behind him, Tombs on bass, Dan Brown on Drums, Jonny Hunter and Sam Hill on guitars, unleashed a wave of relentless, grinding riffs. The crowd were seemingly caught off guard but quickly got swept up in the ferocity, heads banging in time as the first waves of feedback settled over us.
As they launched into “Concentric Nightmares,” a deep cut from “Forever We Burn”, the band’s chemistry became undeniable. The guitarists fed off each other’s energy, churning out riffs that spiralled and collided like some chaotic storm. The white, suited frontman paced the stage with an almost predatory calm, his expression intense and unwavering. His voice took on a harsher, more tormented quality here, perfectly matching the unsettling atmosphere. Rock City’s crowd responded with enthusiasm, there were shouts of approval, and the mosh pit started to bubble just as the first breakdown hit, sending a ripple of excitement through the floor.
“Grave Intentions” continued the assault, a familiar song to fans of their album, and it only deepened the sense of controlled chaos they’d built. This track felt more rhythmic and focused, with the drums pounding in tight, insistent patterns, and the bass adding a thick, almost suffocating undertone. You would have thought that the white suit, by this point, would have started to pick up sweat and smudges, making him look like some dishevelled figure straight out of a nightmare, but it remained pristine an effect that seemed phantastic. His voice carried a desperate edge, each scream resonating as if he was purging something from deep within.
The highlight, though, came with “Wasn’t Human,” another track from their debut album. This song took a slower, more methodical approach, and it was here that the band’s dynamic really shone. The frontman dropped to his knees during the chorus, gripping the mic with both hands, his voice slipping into a tortured, almost pleading tone. The crowd was entranced, heads swaying in rhythm, as if pulled by some dark current. It felt like a shared experience, everyone drawn into the same intense, unsettling atmosphere HIGH PARASITE was creating.
As the set barrelled on with “Hate Springs Eternal,” they picked up the pace again, returning to an all, out attack. This one had a thrashier edge, with rapid, fire drums and relentless riffing that had the mosh pit in full swing. The frontman moved with a new, wild energy, his voice an unrelenting barrage that matched the intensity of the band’s playing.
There was a palpable sense of abandon among the crowd now, a kind of collective catharsis that only a band like HIGH PARASITE can deliver.
“Let It Fail” kept up the ferocity. The band’s energy seemed inexhaustible, and by now, the white suit was almost symbolic—no longer pristine, it was marked and dirtied, mirroring the rawness of the performance.
The crowd, too, was showing signs of exhaustion, yet they kept surging forward, captivated by the energy radiating from the stage. The frontman’s screams reached a fever pitch, and his intense gaze met those in the crowd, like he was channelling something dark and fierce directly into their bones.
For the finale, they unleashed “Forever We Burn,” a fitting closer and the title track from the band’s debut album, now released as a single. The song began with a slow, menacing build, the guitarists trading haunting, echoing riffs that sent chills down spines. The frontman was in full command, delivering each line with a theatrical edge that added to the song’s foreboding tone. As the tempo picked up, the band threw themselves fully into the performance, playing like it was their last night on Earth. The crowd surged one last time, responding to the apocalyptic energy of the song with raised fists and roars of approval.
By the time they walked off stage, HIGH PARASITE had left Rock City transformed, the air thick with sweat and adrenaline. Their intense, unfiltered sound had prepared us perfectly for the darkness CRADLE OF FILTH would bring. Yet it was clear they’d made their own mark, HIGH PARASITE had proven themselves to be a band unafraid t’ dig deep into the bleakest corners of heavy music, and they’d pulled everyone right along with them. For a crowd waiting for CRADLE OF FILTH, they were another perfect, brutal appetizer.
As the crew went about tidying the stage ready for our third band on this epic treat of a bath night, let’s have a look at who’s on next (who’s on first I hear the Abbott and Costello fans cry)
Formed in 2010 in Los Angeles, California, BUTCHER BABIES emerged with a fierce determination to shake up the heavy metal scene. The band, originally consisting of vocalists Carla Harvey and Heidi Shepherd, guitarists Henry Flury and Jason Klein, bassist Johnny A. and drummer Chris Warner, quickly made a name for themselves with their provocative image and high, energy performances. Their debut album, “Goliath” (2013), introduced their blend of aggressive vocals and heavy instrumentation, featuring tracks like “I Smell a Massacre” and “Magnolia Blvd.”
With a bold and unapologetic approach, BUTCHER BABIES carved out their niche in a genre often dominated by male bands. Their live shows became infamous for their intensity, with Harvey and Shepherd engaging the crowd with their dynamic stage presence and shared vocals. Following “Goliath”, the band released “Take It Like a Man” in 2015, further solidifying their place in the metal world with singles such as “Monsters Ball” and “Headspin.”
Over the years, the lineup saw changes, including the departure of founding member Carla Harvey, leaving Heidi Shepherd as the sole frontwoman. Despite this shift, the band continued to thrive, embracing new musical directions while remaining true to their roots. Their latest work, “Ladies and Gentlemen,” shows their growth as artists while still retaining the raw energy that fans have come to love.
Once again, the anticipation in Rock City, was noticeable, as fans eagerly awaited BUTCHER BABIES to hit the stage. The venue has continued to hum with excitement, having been warmed up by a solid performance from the opening turns. When the lights dimmed and the first notes rang out, the crowd erupted.
BUTCHER BABIES launched into “Backstreets of Tennessee” (“..’Til the World’s Blind”, 2023) setting a fierce tone for their set. Heidi Shepherd’s vocals were commanding, driving the energy as she connected with the crowd. The interplay between Henry Flury’s guitars and Ricky Bonazza’s bass creating a heavy sound that slammed hard throughout the venue, drawing everyone into the performance.
Next was “Red Thunder” (“..’Til the World’s Blind”, 2023) where the band continued to deliver their relentless energy. Heidi’s vocal delivery was fierce as she bounded across the stage bathed in red light, her powerful screams punctuating the heavy riffs. Devin Nickles’ drumming provided an explosive foundation, allowing the guitarist to unleash intricate solos that demonstrated their technical prowess. The dynamic between the members was electric, each musician feeding off the audience’s energy.
They continued with “Monsters Ball” (“Take It Like a Man”, 2015), a track that features haunting melodies alongside brutal instrumentation. Heidi’s duality of clean singing and aggressive growls capturing the essence of the song’s dark themes. The band’s chemistry was evident here, with the guitars and drums locking in tight grooves that made it impossible for the crowd to stand still, if you hadn’t seen the BUTCHER BABIES prior to tonight, you wouldn’t have guessed that their used to be another vocalist alongside Heidi, she’s killing it…
Following that, “Sleeping with the Enemy” (“Eye For An Eye”, 2023) brought an anthemic quality to the set. Heidi’s vocal delivery was both melodic and aggressive, demonstrating her range as she navigated the song’s ups and downs. The interplay between the guitars was particularly noteworthy, as they harmonized beautifully during the chorus, enhancing the song’s impact. “Sincerity” the bands new single released in November features a more reflective side of the band. Heidi delivered the vocals with raw emotion, emphasising the song’s themes of vulnerability and honesty. The instrumentation supported her beautifully, once again creating a moment of connection between the band and the audience.
When they hit “It’s Killing Time Baby” (“Eye For An Eye”, 2023), the energy ramped up again. Heidi’s vocals were once again fierce and on point, the band matched her intensity with aggressive riffs and pounding drums. The co, operation among the band members was evident, as they moved in sync with the music, creating a visual spectacle as well as an auditory one. “Beaver Cage” another from (“..’Til the World’s Blind”, 2023) continued with their playful yet heavy approach. The vocal delivery, once again, was dynamic, with Heidi alternating between fierce screams and melodic lines. The interplay between the guitarists was impressive, as they created a wall of sound that enveloped the audience.
They followed with “Spittin” Teef” (“..’Til the World’s Blind”, 2023), where the driving rhythms pushed the crowd into a frenzy. Heidi’s performance was raw and unfiltered, embodying the song’s aggressive spirit. The band’s cohesion was strong here, with each member contributing to the intensity of the performance.
“Last December” (“Goliath”, 2013) took the energy down a notch, allowing for a moment of reflection. Heidi’s clean vocal delivery was hauntingly beautiful, as she stood stage centre, on the riser, looking vulnerable, this number contrasting with the heavier tracks earlier in the set. The band were softer yet still impactful, creating an atmosphere that resonated with the audience.
They closed out their set with “Magnolia Blvd” (“Goliath”, 2013), a song that perfectly encapsulates their signature sound. The vocal dynamics were stunning; Heidi’s voice soared above the instrumentation, with the band creating a powerful wall of sound behind her. The final moments of the song left the crowd buzzing, solidifying BUTCHER BABIES” reputation as still a force to be reckoned with.
There’s a good half an hour now as the crew set the stage for Mr. Filths grand Finale set of the evening. As we wait eagerly, Heidi from the BUTCHER BABIES walks past with her crew heading for the swamped merch table, it’s clear that the bands” ability to deliver a high, energy performance has been unwavering, even with the changes in their lineup.
The absence of Carla Harvey may have affected the vocal interplay, but Heidi Shepherd led the charge with confidence, ensuring that the spirit of BUTCHER BABIES was very much alive.
Hailing from Suffolk, England, CRADLE OF FILTH formed in 1991 and quickly rose to prominence within the gothic metal scene. Their early work, notably “The Principle of Evil Made Flesh” (1994), established their signature sound, characterised by a blend of black metal, gothic influences, and rich orchestral elements. Over the years, CRADLE OF FILTH has released numerous albums, with notable titles including “Dusk and Her Embrace” (1996), “Cruelty and the Beast” (1998), and “Damnation and a Day” (2003), each an evolution in their sound and lyrical depth.
Fronted by the charismatic Dani Filth, known for his distinctive vocal style and theatrical stage presence, the band became synonymous with dark themes and elaborate performances. Their 2015 album, “Hammer of the Witches”, marked a resurgence, while “Existence Is Futile” (2021) further solidified their place in the metal pantheon.
In recent years, lineup changes have seen the addition of guitarist Donny Burbage and keyboardist Zoe Marie Federoff, replacing Richard Shaw and Lindsay Schoolcraft, respectively. Despite these shifts, CRADLE OF FILTH has remained a key player in the gothic metal genre, captivating audiences with their intense live shows and complex compositions. The early doors queue would underline the fact that the costumed and face painted fans wanted to get as close to Dani and the band as possible.
As the crew transform the stage for CRADLE OF FILTH, the energy in the room is buzzing, like bees hurrying around a hive, the vibe is both manic but orderly. As “The Fate of The World on Our Shoulders” plays over the house PA Martin Marthus Škaroopka makes his way to his kit, hidden behind fake foliage and Plexi, glass, that’s the last we’ll see of him until the show finishes., Zoe Marie Federoff’s head appears above the keyboard riser across from “Marthus”, her keys are again draped in fake foliage, her bouncing head will be all we get to see of her during the show. Pin head “Ashok”, as cool as a cucumber wafts onto the stage along with Donny Burbage, also on guitar, a tribal slathering of warpaint adorns his middle face, and Daniel Firth on Bass completes the band minus the man himself, who appears on stage to massive cheers. He is wearing a hood as he makes his way back between the risers.
The band kicked things off with “Existential Terror” (“Existence Is Futile”, 2021), a track that blends philosophical musings with a relentless musical backdrop. Dani Filth’s piercing high, pitched screams and guttural growls immediately set the tone, instantly demonstrating his unique vocal range. The back and forth between Dani and the keyboards, of Zoe Marie Federoff, created an atmospheric depth that drew fans in from the very start.
They followed with “Saffron’s Curse” (“Midian”, 2000), a song inspired by the complexities of love and loss. The vocal delivery was once again very dynamic, with Dani alternating between melodic phrases and intense growls, creating a dramatic tension that matched the song’s themes perfectly. The guitar work from Donny Burbage and Ashok added a haunting layer, with both guitarists trading riffs that interwove with the orchestral elements, enhancing the song’s dark romanticism that the fans have come to love. Next up was “The Forest Whispers My Name” (“The Principle of Evil made Flesh”, 1994), a classic that displays their signature gothic style. Dani’s delivery was ethereal yet fierce, perfectly capturing the eerie essence of the lyrics. The band’s chemistry shone here, with Martin “Marthus” Škaroupka’s drumming driving the tempo while the guitars created a layered, haunting soundscape that kept the audience light in their loafers.
Moving into “She Is Fire” (“Trouble and Their Double Lives”, 2023), the band once again showcased a powerful anthem filled with aggressive instrumentation and passionate vocals. Dani’s delivery as always is commanding, with soaring highs and deep lows, and the dynamic between him and the backing vocals from Zoe adding an extra dimension to the performance, as both guitarists executed a tight harmony that accentuated the song’s driving energy.
“Summer Dying Fast” (“The Principle Of Evil Made Flesh”, 1994) brought back a wave of nostalgia. Dani’s vocal delivery here was more melodic, contrasting with the heavier instrumentation, creating an emotional pull. The interplay between the guitars and keyboards was particularly strong, as they complemented each other in building a lush backdrop that supported Dani’s haunting lyrics. The band continued with the single, released just in time for Halloween, “Malignant Perfection” here the vocal delivery is both powerful and vulnerable. Dani’s high, pitched screams contrasting beautifully with the deep, menacing growls, illustrating the song’s themes of inner turmoil. The dynamic between the guitarists was sweet, with intricate solos that highlighted their technical skills while enhancing the overall atmosphere.
“Heartbreak and Séance” (“Cryptoriana – The Seductiveness of Decay”, 2017) saw Dani delivering his lines with a mix of sorrow and rage, embodying the lyrical themes of longing and loss. The band’s interplay was evident here, with Marthus’s drums driving the rhythm while the guitars layered harmonies that built to an emotional climax that flowed into. “Nymphetamine (Fix)” (“Nymphetamine”, 2004), and with this fan favourite, the crowd’s energy went up another level. The vocal dynamics were stunning; Dani’s seductive melodies contrasted sharply with the intense instrumentals, underlining his ability to convey deep emotion. The chemistry between him and the band was electric, as they played off each other’s energy, creating a hypnotic experience that had the fans screaming for more.
As the set progressed, “Born in a Burial Gown” (“Bitter Suites To Succubi”, 2001) allowed Dani to explore a more melodic approach, delivering lines that rang out with both clarity and weight. The band’s dynamic was tight, with each member locking into a groove that highlighted the song’s haunting nature. The rhythm section laid a solid foundation, allowing the guitars to soar over the top. “Malice Through the Looking Glass” (“Cruelty and the Beast”, 1998) added further theatricality to the performance, with Dani’s varied vocal delivery, from melodic to fierce, captivating the already seduced audience. The dynamic between the guitars further creating a tapestry of sound that parallelled the lyrical exploration of dark themes, once again emphasising the band’s gothic aesthetic.
As Cradle of Filth’s main set thundered to a close, the haunting strains of “Creatures That Kissed in Cold Mirrors” began to seep through the house PA. Its ghostly, gothic piano and dark, cinematic layers swirled through Rock City, casting a chilling lull over the crowd. Fans stood in a mesmerized daze, savouring this haunting interlude, until it ended, and the silence broke with a sudden eruption of cheers and chants. The crowd’s energy swelled with an almost ritualistic fervour, calling Cradle back to the stage for one final descent into the abyss. It was a perfectly eerie cliffhanger, bridging the night’s intense atmosphere to the eagerly awaited encore.
As the crowd waited for Cradle of Filth’s encore, the air grew thick with anticipation, punctuated by the ominous sounds of “The Monstrous Sabbat” droning through the PA. The track, steeped in dark ambiance and spine-chilling whispers, set a perfectly eerie atmosphere, adding an extra layer of tension before the band returned. Fans, engrossed in the ritualistic sounds of Dani’s growls and ghostly moans echoing through the venue, knew the wait was part of the experience, heightening the anticipation for the final act. When the band finally stormed back onstage, the energy was through the roof, as if the track had summoned them back, ready to unleash the dark magic of their three-song encore.
The band kicked off with “Cruelty Brought Thee Orchids” (“Cruelty and the Beast”, 1998), a track that once again truly encapsulates the bands essence: dark themes, melodic beauty, and fierce intensity. Dani’s vocal delivery was powerful and commanding, while the band’s interplay was seamless, highlighting their musical prowess. The drumming provided a relentless pulse that pushed the song forward, while the guitars harmonized in a way that was both intricate and powerful and lead into
“Scorched Earth Erotica” this was like a bolt of pure, dark energy ripping through the crowd. This track, a standout from their 2001 album “Bitter Suites to Succubi’, is a masterclass in symphonic black metal, and live, it’s even more intense. The sinister orchestration and thunderous drums hit with unrelenting force, while Dani Filth’s signature shrieks sent chills through across the room. The haunting melodies underscored by blistering riffs create an atmosphere of chaos and grandeur that completely engulfed the audience. This is Cradle at their best, dark, theatrical, and utterly hypnotic.
Finally, they closed the night with “Her Ghost in the Fog” (“Midian”, 2000), a hauntingly beautiful finale that left the crowd desperate for even more. The mix of orchestral elements and crushing guitar work created a memorable end to a fantastic performance. Dani’s emotional delivery combined with the atmospheric instrumentation allowed the audience to feel the weight of the song’s narrative, leaving them all entranced until the final note faded. And as we stand shellshocked, the security start herding every on towards the door, The house lights are up and they’re burning into us like we are suffering with Photophobia, we make our way out, many of us squinting in the bright lights, the chatter and banter is about a cracking night we’ve all just been a part of.
