Review & Photography by Manny Manson for MPM
The name Cozy Powell resonates like the thunderous rolls of his own double bass drum across the annals of rock history.
Born Colin Trevor Powell on December 29, 1947, Cozy’s journey was one of sheer rhythm and relentless energy, marking him as one of the most influential drummers of all time. A larger-than-life personality with sticks in hand and power in his soul, Powell’s illustrious career saw him laying down beats for some of the biggest bands in the rock and heavy metal scene. From RAINBOW to BLACK SABBATH, WHITESNAKE to Emerson, Lake & Powell, Cozy’s powerful drumming became the backbone for countless legendary tracks.
His career began in the late ’60s with The Sorcerers before progressing to Jeff Beck’s group, where his explosive style first came to widespread attention. Cozy’s contributions weren’t just about volume; they were about precision, creativity, and an innate ability to elevate the music. He played with Michael Schenker and Robert Plant, among others, lending his signature intensity to every project. His collaborations even extended to QUEEN’s Brian May, contributing to the guitarist’s solo work and adding his unique touch to the music world’s elite. Powell’s unyielding spirit behind the kit left an indelible mark that transcended genres.
Sadly, Cozy’s life was cut short in a tragic car accident on April 5, 1998. Driving at high speeds in bad weather, he lost control of his Saab 9000 while allegedly speaking to his girlfriend on a mobile phone. Cozy was just 50 years old. The rock world mourned the loss of a true innovator, but his legacy lives on, celebrated not only in recordings but also in annual tributes like the Cozy Powell Birthday Bash, this year being held at KK’s Steel Mill in Wolverhampton for the first time.
The Birthday Bash has become a cherished tradition, bringing together an ensemble of musicians who gather to honour Cozy’s memory and support his favourite cause, ‘World Animal Protection UK’. This charity, close to Cozy’s heart, works tirelessly to improve the lives of animals worldwide, a fitting tribute to a man known for his humanity and passion beyond the music.
This year’s Bash was nothing short of extraordinary, a raucous celebration of life, rhythm, and legacy. KK’s Steel Mill, itself a haven for rock enthusiasts, had been transformed into a shrine for Cozy’s music. The stage, bathed in pulsating lights, was graced by a lineup of incredible talent—a revolving door of seasoned musicians and up-and-coming stars, all paying homage to the man whose beats still echo in their own work. From searing guitar solos to heartfelt vocals, the evening’s performances were proof positive to Cozy’s wide-reaching influence.
As the start of this epic night draws ever closer the screen behind Cozy’s synonymous silver kit springs to life with various videos of Cozy appearing on TOP OF THE POPS ‘HAMMERING’ his kit through the song “NA NA NA”, as well as alongside other early television appearance’s which included him playing a thunderous solo. From watching this early footage, you can see where Jim Henson got the idea for Animal, his much-loved beastial drummer in the Muppet Show. The videos continue through-out the night showing various photographs of Cozy posing with, girls, cars and motorbikes aside from his drum kit, and of various wild, live performances providing references and hints to each song’s album being played.
Once again, Andy Fox takes on the compere duties as he appears to get the night underway proper, he states that the night is a night of chronologically correct band sets that Cozy undoubtedly influenced over his playing career.
It starts off with a set dedicated to Cozy’s time in RAINBOW. “Kill The King” (from Long Live Rock ‘n’ Roll, 1978) gets us underway, sung by Carl Sentance with Ian R Wills on guitar, Chris Childs on bass, Russ Giltbrook on drums, and Neil Taylor on keys, with backing vocals throughout provided by Esther Rowley and Zoe Green.
The song’s intricate guitar riff and blistering solo were a highlight, and the rhythm section delivered a thunderous foundation. Following that, “Man on a Silver Mountain” (Ritchie Blackmore’s RAINBOW, 1975) led into the mighty “Stargazer” (Rising, 1976), which included a dramatic keyboard interlude by Neil Taylor and a soaring vocal performance from Carl.
Bob Richards now took over the throne for “Eyes of the World” (Down to Earth, 1979), which features the classic melodic keyboard outro, and “Lost in Hollywood” from the same album. Another lineup change, sees Jimi Anderson taking on vocals and Johnny Dee picking up the drumsticks.
This lineup started with “Tarot Woman” (Rising, 1976) during which Ian R Wills delivered an electrifying guitar solo that had the crowd roaring before transitioning into the mighty “Long Live Rock and Roll” (Long Live Rock ‘n’ Roll, 1978). “Night Games” (Line-Up, 1981) followed with Keith Atack now on guitar and Thunder’s Harry James taking his turn at Cozy’s kit.
This lineup finished the set with “All Night Long” and the classic “Since You Been Gone” (Down to Earth, 1979), where the audience, and myself got swept along and sang out loud quite passionately.
Each song is greeted with a wave of enthusiastic cheers and thunderous applause, a pure confirmation to the connection being felt between the performers and the fans who have ventured to the might KK’s. The interplay on stage was electric, with each band member feeding off the energy of the others, creating a cohesive and dynamic presence.
The lighting effects accentuated the mood of each track, from vivid strobes during high-energy moments to softer hues that wrapped the crowd in warmth during ballads. Smoke machines added an atmospheric touch, creating a dramatic backdrop as beams of light pierced through, amplifying the drama of the performances. Fans sang along passionately, no doubt some with tears in their eyes, as the collective love for Cozy and his music united everyone in the room.
After the RAINBOW set came a jaw-dropping tribute to Cozy Powell’s time with the MICHAEL SCHENKER GROUP—a sonic journey that set the Steel Mill ablaze.
Sam Wood, wielding his screaming white Flying Vee like a weapon forged for this very moment, led the charge with the instrumental powerhouse “Into the Arena” (The Michael Schenker Group, 1980).
The stage crackled with energy as Rocky Newton laid down thundering basslines, Bob Richards hammered out precision on the drums, and Nick Foley’s keys wove an atmospheric backdrop.
Glenn Quinn’s rhythm work perfectly complemented Sam’s fiery, searing lead, their dual-guitar harmony so impeccable it earned an eruption of applause.
The pace slowed but the intensity didn’t as Lee Small took the mic for “Cry for The Nations” (The Michael Schenker Group, 1980). Small’s soulful delivery carried the emotional weight of the track, while Sam’s melodic yet blistering solos cut through the air like lightning bolts. The rarely heard gem “On and On” (MSG, 1981) followed, balancing complexity and raw emotion. The intricacy of the harmonized guitars was pure magic, with the crowd transfixed by every soaring note.
Then came “Attack of the Mad Axe Man” (The Michael Schenker Group, 1980), where Bob Richards truly shone. His precise, thunderous drumming drove the track forward, especially during the intricate fills that punctuated the song’s chaos. Sam Wood unleashed another torrent of blistering guitar runs, his Flying Vee howling with ferocity. The band was in full flight, and the audience being swept away by the relentless power on display.
With yet another lineup change, as Johnny Dee grabbed the sticks, adding his own brand of flair and power. The pair led the charge into “Armed and Ready” (The Michael Schenker Group, 1980), a hard-hitting anthem that had the crowd chanting along with the soaring chorus. Ester and Zoe’s hauntingly powerful backing vocals added an extra layer of intensity.
The tight interplay between Glenn Quinn and Sam Wood added even more fire to the performance. The energy continued to build with the pounding “Sleeping Dogs,” Jimi Anderson took over vocal duties for this one, a track that hits like a freight train, setting the stage for the grand finale.
Enter Blaze Bayley—the powerhouse vocalist whose commanding presence brought the tribute to its climactic moment. With his unmistakable voice, Blaze tore into “Doctor Doctor” (UFO’s Phenomenon, 1974), transforming it into a communal experience. The crowd’s voices swelled to meet his as he conducted them through the iconic “Living Loving” section, pointing to the audience with a grin as they roared the lyrics back at him. Sam Wood’s Flying Vee screamed through the iconic solo, delivering a scorching display of guitar wizardry that would have made Schenker himself proud.
The set was a celebration of virtuosity, camaraderie, and the enduring power of rock. Each song was brought to life with an electrifying energy that paid the highest honor to Cozy Powell and his time with the MICHAEL SCHENKER GROUP.
As the final notes of “Doctor Doctor” echoed through the venue, the audience had already erupted into cheers, their applause, a demonstration to the unforgettable musical journey they had just experienced.
The evening then transitioned into a WHITESNAKE set, celebrating Cozy Powell’s iconic tenure with the band during the late ’70s and early ’80s, the energy in the Steel Mill hit stratospheric levels as front and center was the phenomenal Dan Byrne, whose vocals seemed custom-built for the WHITESNAKE classics.
His voice cut through the air with all the soul, grit, and fire that David Coverdale himself would have applauded.
Flanking him were the masterful Chris Buck and Glenn Quinn on guitars, their interplay sizzling with chemistry. Chris Childs’ basslines were rock-solid, Richard Bailey’s keys added that signature WHITESNAKE swagger, and Bob Richards kicked things off on drums.
Ester and Zoe, ever-dynamic on backing vocals, adding that final sheen to the wall of sound.
The set exploded into motion with Lovehunter’s “Walking in The Shadow of The Blues” (1979), Dan commanding the stage with a magnetic presence. Chris Buck’s effortless lead licks were nothing short of electrifying, earning a round of early applause as Glen Quinn locked in seamless harmonies with him. The groove transitioned effortlessly into the power-packed “Don’t Break My Heart Again” (Come an’ Get It, 1981), where Dan’s soaring vocals and Chris Childs’ thunderous bass filled the venue with raw emotion.
A quick drummer change brought Russ Giltbrook to the kit, and what a change it was—his double kick drum prowess ignited “Love Ain’t No Stranger” (Slide It In, 1984). The haunting intro, bolstered by Bailey’s subtle keys, led to an explosive chorus where Dan’s high notes pierced the heavens. The bluesy swagger of “Slow and Easy” (Slide It In, 1984) followed, with Chris Buck bending notes like his guitar was a living thing, dueling Glen in a solo-off that was met with raucous cheers.
Russ powered through the crushing groove of “Ready and Willing” (Ready an’ Willing, 1980), a song that had everyone in the audience chanting along. Then came another switch, as Johnny Dee stepped up to the kit to deliver an incredible dynamic pulse for “Gambler” (Slide It In, 1984). Dan leaned into the drama of the lyrics, his voice dripping with every ounce of conviction. “Crying in the Rain” (Saints & Sinners, 1982) was a masterclass in power balladry, with Bailey’s keys conjuring a stormy atmosphere before the guitars and drums roared like thunder.
The finale of this WHITESNAKE segment was nothing short of breathtaking. Harry James took the helm on drums for a blistering three-song run, starting with the arena-shaking “Here I Go Again” (Saints & Sinners, 1982).
The entire venue erupting into a sea of voices, singing along with Dan as he nailed every note with heart-stopping precision. “Slide It In” (Slide It In, 1984) brought the funk and fire, while the closing track, “Fool for Your Loving” (Ready an’ Willing, 1980), delivered a knockout punch. Chris Buck and Glenn Quinn traded fiery solos as Zoe’s and Esther’s vocals intertwined flawlessly with Dan’s powerhouse delivery.
Every moment of this set was a validation to the sheer skill and chemistry of the band and the absolute vocal mastery of Dan Byrne. WHITESNAKE’s legacy shone brighter than ever, with each note reminding the crowd of the legendary Cozy Powell’s contributions and the timelessness of these tracks.
The Black Sabbath set, which followed, was an undeniable highlight of the evening,we are in Wolverhampton after all, igniting KK’s Steel Mill with its fiery energy and sheer musical brilliance. Carl Sentance commanded the stage with his vocal power as the band launched into “Neon Knights” (Heaven and Hell, 1980).
The twin-guitar assault of Ian R Wills and Sam Wood roared to life, weaving intricate melodies over Chris Childs’ thunderous basslines and Bob Richards’ precision drumming.
The crowd erupting, their voices rising in unison to match Sentance’s soaring delivery as they sang along to this mighty anthem. The musicial collective on stage, created an electrifying atmosphere, each note a tribute to the timeless power of Black Sabbath.
As the haunting opening riff of “Heaven and Hell” (Heaven and Hell, 1980) rang out, the audience was, once again, fully onboard.
The interplay between the guitars and Nick Foley’s atmospheric keys built a sonic cathedral, while Sentance’s dynamic range brought the song’s narrative to life. The quiet, reflective middle section gave way to a blistering crescendo, sending seismic waves pulsing through the venue. The lighting rig exploded in a kaleidoscope of colour’s, synchronizing perfectly with the climactic moments, thereby amplifying the raw emotion of the performance as it took another dramatic turn as.
Jimi Anderson took the mic for the Tony Martin-era classics, who sadly couldn’t make this year’s show. “Headless Cross” (Headless Cross, 1989) was a masterclass in dark, brooding intensity. Anderson’s voice resonating with eerie depth, supported by Esther and Zoe’s haunting backing vocals that added a ghostly layer to the arrangement.
The band then delivered a powerful rendition of “Anno Mundi” (Tyr, 1990), in this, the interplay between Sam Wood’s scorching solos and Chris Childs’ relentless basslines drove the track forward with unrelenting force. The audience cheers, seemingly reaching a fever pitch as the final notes rang out.
It was a killer set, the standout musical moments were too many to count—the harmonic interplay of Ian R Wills and Sam Wood’s guitars during “Heaven and Hell,” Bob Richards’ thunderous drum fills that echoed Cozy’s signature style, and Nick Foley’s keys weaving a rich tapestry of sound. Each musician brought their A-game, channeling Cozy’s spirit into a performance that left the crowd spellbound.
As the Black Sabbath set concluded, the energy in the room was undeniable. The audience, light in their loafers were roaring with approval. After which the winner to the coveted framed red vinyl of Cozy’s ‘Theme One’ was read out to the jeering crowd, it was being held aloft by Charley Farley, only this time, his appearance on KK’s stage, he wasn’t dressed as a Unicorn
This was followed by a brief but equally electrifying set celebrating Cozy Powell’s time with QUEEN’s Brian May during the Resurrection (1993) album era and the Back to the Light (1992) tour. Dan Byrne once again took the mic, with Glen Quinn and Jim Kirkpatrick wielding matching Brian May Red Specials—well, almost matching, as Jim’s was green.
Neil Fairclough provided the bombastic bass grooves, Chris Allan commanded the big silver kit, and Nick Foley handled the keys. Esther and Zoe added their dynamic harmonies as backing vocalists.
The set opened with “Driven by You” (Back to the Light, 1992), a fantastic start that immediately drew the crowd into the QUEEN-inspired energy. The precise interplay between Glen Quinn and Jim Kirkpatrick on the iconic May-style harmonized leads was a standout moment, while Dan Byrne’s commanding vocals brought the song’s triumphant energy to life.
Next came a medley of “Tie Your Mother Down” (A Day at the Races, 1976), “Bohemian Rhapsody” (A Night at the Opera, 1975), and “Resurrection” (Resurrection, 1993). The medley was a seamless blend of styles and tempos, with Chris Allan’s thunderous drum fills driving the transitions. Nick Foley’s piano flourishes during “Bohemian Rhapsody” captured the majesty of the original, while the dual guitars erupted with searing precision during the climactic “Resurrection” finale. The chemistry on stage was electric, as the musicians played off each other with effortless skill, clearly reveling in the music.
The set concluded with the crushing “Hammer to Fall” (The Works, 1984), a rousing finale that had the audience on their feet. The guitar solos cut through the air with razor-sharp intensity, and the entire band came together for a powerful crescendo that left the crowd cheering for more. It was another cracking performance, lapped up by the very partisan crowd.
The finale of the night was a rousing cover of Cozy Powell’s iconic 1973 instrumental hit, “Dance with The Devil.” This track, which climbed to No. 3 on the UK singles chart, became the evening’s crowning moment and an unforgettable tribute to the man himself. Bob Richards, seated on the big silver kit, set the thunderous pace, but this performance was anything but a solo effort.
One by one, Johnny Dee, Chris Allan, Russ Giltbrook, and Harry James joined him on stage, each dragging a floor tom with them. Positioned together on the riser, the ensemble began to pound out the track’s unforgettable rhythm, a mesmerizing sight and sound that encapsulated the power and energy of Cozy’s legacy.
The addition of Ian R Wills on guitar brought the original’s fiery spirit to life, while Chris Childs’ basslines anchored the sonic explosion.
Nick Foley’s delicate work on the ivories added a dynamic flair, filling the Steel Mill with a blatant sense of awe and reverence.
The audience, many of whom are lifelong fans of Cozy Powell, erupted into cheers and applause, completely swept up in the moment. The raw power and precision of the drummers, combined with the unified rhythm and intensity, created an atmosphere that surpassed words. Every beat seemed to echo Cozy’s enduring influence on rock and metal music, as well as the deep admiration of everyone present. The tribute wasn’t just a performance; it was a communal celebration of a legend’s life and artistry.
To close the night, compere Andy Fox took to the stage to address the crowd. He expressed heartfelt thanks to all the performers, crew, and audience members for making the evening such a spectacular success. Fox also revealed a special announcement from Cozy Powell’s estate—an acknowledgment that the Birthday Bash could now officially add the term “OFFICIAL” to its title as a celebratory event, marking a significant milestone in the legacy of these tributes.
Before the night finished, the band members were individually introduced to the roaring crowd, their contributions warmly celebrated. Then, in a spontaneous and electrifying finale, all the musicians joined forces for a jammed-out reprise of RAINBOW’s “Since You Been Gone” (Down to Earth, 1979). The stage was a whirlwind of energy, with each musician—from the drummers to the vocalists and guitarists—pouring every last ounce of passion into the performance. The audience’s voices rose to meet theirs, creating a powerful chorus that echoed throughout KK’s Steel Mill.
And as the final notes hung, sustained, in the air, the crowd stood in unified applause, an ovation not just for the night’s performers but for the enduring spirit of Cozy Powell himself. The Cozy Powell Birthday Bash 2024 was not just a simple gig; it was a heartfelt homage, a communal celebration, and a resounding reminder of the timeless impact one man’s music can have on generations of fans and musicians alike. Here’s to 2025’s ‘OFFICIAL’ Cozy Powell Birthday Bash, it’s ‘HAMMER’ time!
