Review by Gary Spiller for MPM
Since its inception in 2018 this festival has steadily evolved into the international sell-out event that it is nowadays. Pulling in bands, this year, from Sweden, Germany, Finland and from, even further afield, Canada and USA is no mean feat in itself. In fact, the six bands coming from beyond the shores of the UK equals last year’s record which gives an unspoken announcement that this is an event that isn’t going anywhere.
When one looks at this year’s lineup then it’s no wonder that the hard-earned, and deserved, success of Stonedead is ensured from year to year. Formulated of an expressed desire to buck the trends and make an asserted return to those halcyon days of the 80s and into the mid-90s when tens of thousands of metalheads would make their annual pilgrimage to Castle Donington’s Monsters of Rock.
Although awakening to a fair wind it’s a false dawn in meteorological terms as the forecast rain coincides with the opening of the gates. By the time opening act Aethoria treads the boardsthat scattering of raindrops is beginning to assert itself with a bit more seriousness. The winners of this year’s ticket holders’ poll are far from dissuaded as they kick-off proceedings, under battleship grey skies with a youthful exuberance.
The East Anglians are clearly determined to make the absolute most of their allotted 40 minutes. It’s quite the day for them celebrating the release of their debut long-player ‘Fool’s Gold’ by playing the biggest stage, thus far, of their relatively fledgling career. From the outset it’s immediately apparent that this isn’t a band that is looking to carbon copy what has preceded them; what they despatch is firmly 21st century melodious metal with vivid leanings towards symphonic, gothic and alternative territories.
From the crunching riffage of ‘More Time’ through to the set finale, and clear crowd-pleaser, ‘Popcorn’ the sole focal point of the band is the energetic vocalist Mecia-Jade Holden. Alongside her the rest of the band remain largely anonymous leaving the crowd engagement to their talented singer. Packing a powerhouse voice that blends the likes of Cristina Scabbia and Lzzy Hale into the mix with a dominant aspect that is reminiscent of Skarlett Riot’s Chloe Drinkwater Holden certainly grabs the attention.
Debut single ‘Tamed’, possessing a slight gothic twist, delivers a strengthy ebb and flow that lays the foundations for the tumbling avalanche of ‘Eden’. In the seven tracks there’s carefully considered balance between the brand-new album and a selection of singles that preceded its release. In the latter category are the impactful ‘Bring Me Home’ and shimmering ‘Stepping Stones’ that bracket the Sabbath underpinning of the lp’s title track neatly.
By the time the sonic energy of ‘Popcorn’ wraps up their set Aethoria are firmly in their stride. This is a band with much potential to overcome some of their shortcomings in areas such as stage presence and crowd engagement. Technically they’re a tight outfit and, no doubt of it, they’ll have benefitted much from this opportunity. It’s great to see festivals of Stonedead’s stature employing initiatives that support emerging talent in this way. It’s a win, win all around with the band gaining great exposure and experience whilst the festival gains brownie points for nurturing rock n’ roll’s future.
Stonedead gets a brief respite from the rain as Yorkshire heavy metallers Asomvel ready themselves to put the festival into a most firm neck hold and give it a damn good shaking. Stepping out to Bill Conti’s ‘Gonna Fly Now’ – otherwise known as the ‘Theme From Rocky’ – the quartet serve notice before a single note is uttered. It’s going to be as punchy as the hardest heavyweight bout on record coupled with a completely uncompromising attitude.
Being oft compared with the rugged grandeur of Motörhead is no bad thing in my book but there is a whole pile more to this quadrumvirate than this singular equating. Have a look, and listen, a bit closer and you’ll discover layers of pugnacious attitude that hark of Airbourne plus the hard-riffing and partying they’re renowned for.
With a barrage not even the Royal Artillery is able to match Asomvel strike hard with not one but a pair of tracks from their fifth album ‘Set Your World on Fire’ (due out 1st October). It’s a brave move that not many bands would attempt to pull off but this is Yorkshire grit we have here and they have Stonedead squarely in their sights. Airbourne meets Motörhead in a riotous collision in ‘Lone Wolf’ and ‘If It’s Too Loud, You’re Too Old’ is industriously hewn the rock that bore the likes of AC/DC.
The juggernaut continues without a moment to catch breath with the high-velocity devilish impact of ‘Born to Rock n’ Roll’. The arena is on point; putting it simply Asomvel’s no-fuss pulverisation is absolutely perfect for Stonedead. Further new material is dropped into the melting pot with the bone-crushing ‘Set Your World on Fire’ and the guts and glory of ‘Take You to Hell’ providing the seismic frame for the anarchic demolition wreaked by ‘Outside the Law’. This is a most salient lesson in how to put on one heck of a rock n’ roll show.
The brace of tracks from the forthcoming long-player flank something even newer. “[We] wrote this one last week!” exclaims frontman Ralph Robinson before rattling into the instantly accessible ‘Rock n’ Roll in Your Blood’. If you’re going to road-test a brand new one this is the ultimate way. The ferality doesn’t relent, Asomvel aren’t going to have it any other way. ‘Louder & Louder’ does precisely what it states on the tin’s outer transforming mighty boulders into inconsequential grains of sand in an instant.
The fire-breathing sentience of ‘Light ‘Em Up’ coupled with the screeching ‘The Nightmare Ain’t Over’ provide a sterling set-closing brace with the latter fittingly dedicated to the band’s co-founder Jay-Jay Winter. Surely he would be proud of the continuation of the band and its ethos of “We’re Asomvel and we play rock n’ roll!” They’re straight-shooting and readily fire from the hip never failing to hit their mark.
Stonedead heads into international realms for the first time today as the dirty Pennsylvanian groove machine Crobot hits the ground in full flight. The mood about the festival is steadfastly buoyant despite threatening clouds surrounding the Showground. The arena numbers have thinned a little as early afternoon sustenance, from the large number of vendors, is sought.
It would appear waterproofs and ponchos are de rigueur for the entirety of the day, but somehow enigmatic frontman Brandon Yeagley has either not received or has chosen to ignore this particular memo. Attired in a sparkly purple shirt – unbuttoned to his waistline (is there any other way?) and a pair of snug-fitting gold / black trousers he’s a hard-to-ignore character.
Though this outfit have being doing the business for 15 years or so they’re a completely unknown entity for myself. There’s a back catalogue of six albums that Yeagley and his ever-present co-founder Chris Bishop (guitar) have laid down with what can only be described as a revolving door of drummer and bassist pairings. The current incumbents in these roles are brothers Wille and Nico Jansen, who joined the ranks last year, the seventh such combination in what could be described as the unsteady 50% of the band.
The recently released ‘Supermoon’ forms the bulk of the band’s ten tracks with, in fact, the first six numbers are all selections from this offering. Tumbling violently into the snarl of ‘Battle Cry’ it’s clear from the beginning that this isn’t any ordinary band we have on our hands. With a Clutch underpinning the likes of Black Stone Cherry and Blackberry Smoke are slammed into a swampy broth. It’s hearty fare and it begins to successfully bring the ranks back into the thick of the action.
The driven energy of ‘Foot Off’ follows whilst the multi-faceted groove of ‘Bigger by the Pound’ is seemingly capable of keeping the moistness at bay at least temporarily. ‘Cold Blooded’ proves bad-arsed to the bone with its time-honoured story of boy meets girl. With a cool retro-funky groove ‘Me and Your Mother’ gets hips swaying and swaggering, even with gentle rain descending, before rolling into the doomy Clutch eclecticism of ‘Girl From Another World’.
Packing a 21st century Zeppelin infusion ‘Gasoline’ invigorates after Yeagley expresses gratitude to Stonedead for “coming out to support rock n’ roll!” ‘Lowlife’ transports Stonedead to the “wrong side of heaven” leading into the arenaceous expanses of ‘Trouble (Looking For You)’.
Ever wonder what Black Stone Cherry would sound like in a stone environment? Wonder no more as the set-concluding ‘Nowhere to Hide’ provides an insight into that particular enquiry’s answer. This has been a set that has warped in multiple directions whilst maintaining the necessary hook to ensure engagement. Just to place the cherry upon the Crobot-shaped cake Yeagley gets up on the shoulders of Bishop whilst the axeman, stepping out of the peripheries, delivers a particularly coruscant solo. Another bold move makes a hugely positive statement.
We remain across the Atlantic but from the USA the rock n’ roll heads northwards across the border into Canada with the ever popular The Damn Truth. With rain driving across the wide, open spaces of the former airfield the quartet announce their arrival in a multi-hued, vivid explosion. No fireworks or pyrotechnics are necessary as their greens, reds, whites along with a spicy dash of leopard skin provide a startling contrast to the utterly miserable weather.
Via the tried and tested age-old medium of tour, tour and then tour a whole pile more The Damn Truth have gained a reputation for top-quality rocking with a cool-as-you-like retro vibe as well as a loyal fanbase along the way. This is their eighth tour in the UK since their first venture across ‘the pond’ for a London show in April 2019.
Entering to the ethereal stoner atmospherics of Jefferson Airplane’s ‘White Rabbit’ ably demonstrates that gradually building up works just as well a sudden thunderflash entrance. Surely Grace Slick must have been blessed with foresight as there surely isn’t a tune more suited for The Damn Truth to intro to; it’s just sublimely perfect.
The band’s ever-graceful vocalist, and rhythm guitarist, Lee-la Baum conducts the ranks of Stonedeaders as they singalong. The only way this moment could get any better than it already is if a hookah-smoking caterpillar were to actually make an appearance. No caterpillars however but TDT kick-out with the highway rocking of latest single ‘Killer Whale’; it’s a sterling effort to bring some summery daubs to proceedings and one that succeeds with a dazzling Eagles infused groove illuminating.
For the next 45 minutes we leave soggy Nottinghamshire behind; taking leave for the open prairies and endless freeways. The lively bluesy rocker ‘Love Outta Luck’ continues the introspection of last year’s Bob Rock-produced eponymous album. This is a band that are adept at taking the mood one way and another and with the heartfelt delivery of ‘The Willow’ they veer off to jam serenely with Mother Nature. Even with its gentler missive it still packs a groove that will break the levee. The drizzle is beginning to show an armour piercing quality of its own; waterproofs will have their properties examined no doubt.
Rolling and tumbling ‘This Is Who We Are Now’ slickly keeps the show rolling and heads into the glorious twelve-bar rocker ‘All Night Long’. Baum declares “You people are the most beautiful!” ‘tween tracks. The southern delta blues of ‘Lonely’ follows kicking up dust as we’re led into a hash-smoke filled alleyway. There’s hypnosis afoot and the arena is under the contagion.
Striking lead guitarist Tom Schemer relates the band’s pride at being nominated at the Juno Awards (Canada’s version of The Grammys) earlier in the year prior to the clock being rewound over ten years for the heads-down jam ‘Get With You’. The roof is lowered and top-gear engaged for the head-nodding ‘Tomorrow’ as The Damn Truth take us out for one last highway soiree. Rain? What rain? The sun shines permanently with The Damn Truth.
Following a slew of festival dates across Europe Los Angeles quintet Armored Saint have, following a fortnight’s break, flown in for their last date of the summer. They’d be easily forgiven for wondering why one earth they had bothered by the time they stride out onto a soaked Stonedead stage nearly quarter of an hour late. It’s absolutely raining felines and canines but not that nor the over-running changeover seems to be bothering them.
To be fair they’re the one band of today’s nine that I know virtually nothing about. Somehow even with a career (including a couple of spells on the touchlines) stretching back to inception in 1982 and nine studio albums under their collective belt they completely slipped under my rock n’ roll radar. It’s high time that this erroneous situation is corrected.
Listening to their output throughout their truncated set it’s readily apparent why this band did descend through the gaps. They were too heavy for their home city’s glam / sleaze scene and fall a tad short of pace for being defined as thrash metal. It’s typical of American music that bands which fit neatly into a category are accepted more readily; whilst being hard and heavy Armored Saint seem to transcend defined boundaries.
Looking back through the annals this is a relatively rare opportunity to catch AS live in the UK though post-covid the visits have taken on an increased regularity. Opening with V8 velocity demon ‘Close to the Bone’ craned off their latest offering ‘Emotion Factory Reset’ AS provide evidence that they remain completely relevant to the modern scene. The opening gambit leans towards the realms of old school thrashing but with speed metal tendencies lobbed into the mix.
‘March of the Saint’ hits heavy with precision; there’s head apparel doffed towards the like of Accept. The opening triple salvo is completed with a NWOBHM-inspired ‘Long Before I Die’. Time for a brief pause then headlong into ‘End of the Attention Span’. Hard as nails it provides a full-frontal bludgeoning that goes down well with the slightly sodden ensemble. There’s railyard witchcraft afoot in the intro of ‘Last Train Home’ prior to the metaphorical accelerator being depressed. One moment the track wants to be Great White the very next it’s off a tangent heading in the direction of something far heavier.
There’s no fuss with Armored Saint, what you see is firmly what you get. Their no thrills, minimalistic approach resonates widely with a blistering ‘Win Hands Down’ searing into a rumbustious ‘Can U Deliver’. A solid, if not quite as spectacular, set is somewhat abruptly concluded with the end signalled following the loftiness of ‘Reign of Fire’. It’s not the ending that the band has envisioned but the festival’s stage management has a tight schedule to maintain and with a further four bands yet to play there’s no room for flexibility.
For the latter half of the day the focus shifts back across the Atlantic and into European spheres. Taking up the Stonedead baton are highly polished Finnish power metallers Battle Beast. Their appearance here at the Newark Showground is, without any question, the boldest of selections made, for 2026, by the festival’s booking team. It’s a sizeable shift from the more classic realms that the festival is renowned for. At this stage it’s a subtle manoeuvre but it’s one that will, if it’s followed up with similar, ensure the longevity of this excellent event.
Having caught the Finns at Bristol’s O2 Academy last October this was the set not to miss. Having replaced long-served powerhouse vocalist Noora Louhimo, shortly after the aforementioned tour, this afternoon’s slot is Marina La Torraca’s first UK appearance with her new band. The Brazilian singer, also of Exit Eden, undoubtably has large shoes to fill with Louhimo having forged an unrivalled stage character to complement her impressive vocals across her 13-year tenure with the band.
La Torraca is swiftly into her stride even with technical issues causing a slightly faltering commencement. The band’s heraldic intro ‘The Long Road’ sets the scene with voluminous amounts of billowing dry ice blowing out across the arena. However, the technical gremlins rear their heads creating a stuttering start to the fineries of ‘Straight to the Heart’. To their credit BB recover in a heartbeat and the melding of Vixen and Within Temptation quakes across the Showground with guitarist Joona Björkroth’s searing fretwork blazing a notable trail. A great reception affirms that Stonedead are right onside and ready for this change of tack; great news for any future bookings of this ilk.
A missed cue for their backing tape means a slightly delayed start for ‘Last Goodbye’ whilst the errant gremlin is dealt with. Torraca laughs the issues off before the first of several incursions into most recent album ‘Steelbound’ gets underway and registers on the Richter Scale. Proving a catchy Viking singalong ‘Riders of the Storm’ bounces along in its folk-metal regalia. Striking right into the symphonic glory of ‘Eye of the Storm’ Battle Beast are now regaining their footing and shaking off their earlier technical difficulties without a single backwards glance.
The thundering roar of ‘The Burning Within’ perseveres with a muddy sound mix but this is metal in a field after all, and the mix is sorted out for the following operatically infused ‘Master of Illusion’. It’s regally glorious even with the continuing rainfall; BB counter with the metalliferous shimmering of ‘Angel of Midnight’. Hands wave side to side in the crowd and there is one outcome in the ‘band versus weather’ stakes.
The cataclysm opens up wide for the 80s AOR of ‘Steelbound’ as matters escalate as the set reverberates towards a towering conclusion. Possessing touches of Visions of Atlantis the juggernauting ‘Eden’ showing why it’s considered widely as the band’s signature track. By itself it could easily close any set on a high but Battle Beast pack a fearsome back catalogue and it provides an impactful finale with the stunning ‘King For A Day’. Battle Beast have put in a devastatingly dazzling performance, making a bid for ‘Band of the Day’ with new vocalist Torraca shining brightly.
Over half a century since formation Magnum – the sole remaining British band in this year’s chapter of Stonedead – have rightfully anchored a place of much reverence in the upper echelons of all things orientated rockwards. Cruelly overlooked through much of their lengthy career and seemingly blighted with misfortune at crucial times this Brummie band have, to their eternal credit, have endured and prevailed. This is a band who have formed a sizeable chunk of my life and remain one of my all-time favourite outfits be it in recorded or live format.
The jagged peaks and glaciated valleys of the Snowdonia National Park (nowadays known by its Welsh name Eryri) where I first heard Magnum (some 40 years ago as a teenager) couldn’t be in more contrast to this evening’s wide-open expanses of eastern Nottinghamshire. The flatness which the intro of a blended instrumental version of ‘Days of No Trust’ rolls out across.
It’s this very track, the band’s very first top 40 UK single in 1988, that the respectful ranks of Magnum head into initially. The lyrics of this timeless anthem still ring true – climbing any mountain for a selfish career or headlines being courted by stretch limousines – in so many quarters especially the music industry. As ever Bob Catley is expressive of gesture even though his voice feels a little down in the sound mix. The sound does improve as the set progresses and, indeed, when we later switch to the rear of the arena, we discover it’s nigh on perfect.
The dignity that sole-remaining founding member Bob Catley, and those that flank him onstage, have demonstrated following the tragic passing of the masterful Tony Clarkin has to be noted with the highest levels of positivity. The continuation is not a cash-grab in the slightest but purely an opportunity for band and fans alike to come together in a communal celebration of his songcraft.
With Rick Benton’s delightfully coruscant keys prominent Magnum’s quality shines through in the swaying of ‘Lost on the Road to Eternity’ and, indeed, the bouncing ‘When We Were Younger’. The latter quite possibly one of my favourite Magnum tracks full-stop and a pleasant surprise to hear live once more. From a couple of incursions into the later chapters of the band, we are transported back to their pomp with the spine-tingling ‘How Far Jerusalem’, one of a quartet of tracks lifted from the epic ‘On A Storyteller’s Night’ opus.
Hooves thunder under the charge as ‘Soldier of the Line’ provides a triumph of the ages as does the energised revving of ‘Just Like An Arrow’. This thoroughbred stallion leads into the utterly epic ‘On A Storyteller’s Night’. If Tolkien ‘did’ hard rock, then this is precisely how I would imagine it would sound; the imagery remains as strong as ever even with four decades having passed since its writing. The night light keeps burning.
The arena willingly claps along to the captivation of the 1986 single ‘Midnight (You Won’t Be Sleeping)’. Its polish gleams and suddenly I’m that teenager listening to its parent album ‘Vigilante’ once again. That album’s title track, brim-full of resounding resonance, follows a particularly resounding ‘All England’s Eyes’.
Magnum has delivered and there’s one last opportunity, in the divine prog-chaos of ‘Kingdom of Madness’, to pay tribute to the impressive, and sorely missed, talents of the maestro Tony Clarkin. With every sincere respect to his replacement Brendon Riley the legacy of the collection of works that the always-humble Clarkin leaves behind is vast to say the least. Compressing those 23 albums into an hour-long set is frankly an impossible task, but the judicious curation of this evening’s selection will I’m sure have touched base with most here at Stonedead.
We’re heading into Stonedead’s latter chapters for 2026 and having witnessed the day’s two remaining outfits at Steelhouse in recent times I know we’re in for one almighty tussle between them. First up, in the black, red and gold corner, proudly flying the flag for Germany is the titanic volumes of Accept.
Accept are not regular visitors to these shores nowadays; in fact, the previous occasion was the aforementioned Steelhouse slot in 2024. That evening we were bathed in glorious sunshine but it’s not that pleasant in meteorological terms tonight. With the duskiness falling rapidly the gloom is intensifying by the moment but the stampeding intro that heralds the arrival of the Rhineland heavyweights distracts and we’re swiftly tanking along the heavy metal autobahn courtesy of lone founding member Wolf Hoffmann and his hard rocking charges.
Extra lighting – check. A truckload of pyros – check. Ultra-powerful riffs and plundering rhythms – check on both accounts. It’s a tried and tested formula, it always works. With a career spanning six decades and 17 albums since formation in 1976 Accept are regarded as being responsible for, in part, the emergence of speed and thrash metal.
The hugely metalliferous servings commence with the generous dimensions of ‘Metal Heart’ the mighty titular track from 1985’s follow up to ‘Balls to the Wall’. The leviathan marauding of ‘Teutonic Terror’ barrels headlong into the hard galloping of ‘Restless and Wild’. It’s as relentless as a mountain avalanche and equally as unstoppable; Accept would have it no other way but let’s not forget this is a band celebrating their 50th anniversary.
Armored Saint frontman John Bush is welcomed to the furnace for a scintillating ‘Up to the Limit’; it’s transparently evident that Accept have brought the utmost of their ‘A-game’ and are intent on placing the highest of bars for Europe to clear. An eagle flies high and free with the devil-chasing ‘Run If You Can’ applying dashes of Helloween in its shining metallic alloy.
The NWOBHM-inspired ‘Breaker’ leads into the tectonic uplifting of ‘Princess of the Dawn’. At Steelhouse this was the track that totally stole the show and once more it doesn’t fail. The red-hot lava flow keeps on rolling with the riff-orgy of a combined ‘Demon’s Night’, ‘Starlight’, ‘Losers and Winners’, and ‘Flash Rockin’ Man’.
With coruscant six-strings in beautiful harmony ‘Pandemic’ garners loud cheers of approval from the Stonedead ranks. Sodden but stoic these folks will not be denied the metal they crave by a drop of moisture. The aptly hyper-paced ‘Fast As A Shark’ ramps matters up even further; an inflatable shark is out of water but Accept stoke the fires with a magmatic delivery.
The much-anticipated ‘Balls to the Wall’ provides the requisite showstopper in more ways than one. Mid-track and there’s an audible click and the PA abruptly goes quiet. Drummer Chris Williams takes on the fronting with his percussive forces, the Stonedead ranks pick up the vocal duties and all proceeds until the errant speakers are reactivated. It’s the moment of the day and with a fiery output Accept have well and truly raised the rock n’ roll bar with a full-on production that is surely going to test the headliners.
Like Armored Saint earlier in the day today’s headliners Europe has flown in for this gig alone, such is the draw of playing Stonedead within the industry. That by itself is a merited designation; approval without any statement required. Relative ‘juveniles’ in historical terms, compared to Accept and Magnum, these Swedish ‘spring-chickens’ have stealthily accumulated, accounting for a couple of breaks, nigh on forty years in the business.
This is a band who achieved the very height of their mainstream commercial success in the mid-80s. Perhaps, had it not been for the undeniable success of a certain New Jersey band, one which shared a similar disposition of glam metal and derived their name from their charismatic frontman, their then burgeoning popularity might well have continue to grow. What’s truly amazing is that the quintet that graces the Stonedead stage tonight recorded the breakthrough long-player ‘The Final Countdown’ in 1986. Apart from guitarist John Norum’s hiatus between late 1986 though until the band’s reunification in 1999 this has been the core lineup from 1984 onwards.
Total darkness descends upon the stage, and a haunting, cathedral-like intro strikes up creating an ethereal cemetery atmosphere; piercing white spots shine out into the dark brightly catching the omni-present rainfall. Drummer Ian Haugland fires percussive volleys that give way to the slick fretwork of the ice-cool axeman John Norum. Evergreen vocalist Joey Tempest whirls his mic stand and Stonedead’s headliners draw first blood with the relative curveball of ‘On Broken Wings’. It’s not every band that gets the ball rolling with the b-side (for those of us of a ‘certain’ age that recall such things) of their most successful tracks but it proves a winner with its slick, well-oiled despatch that goes down an absolute storm.
As much of a nailed-on cert as ‘that song’ a storming ‘Rock The Night’ breathlessly rolls back the years to a time for more carefree than present-times. The escapism is electrifying as several thousand rockers party with abandon. If the atmosphere is a colour, then it would be fluorescent without a singular doubt in my mind; heck this is the 80s, right? Two tracks in and one can conclude that Europe have, with their A+ game cleared the ultra-high metaphorical bar left with consummate Swedish precision.
The clean racing lines of the earthquaking ‘Walk The Earth’ brings us into 2017 and the band’s last album that shares the same title. After a nine-year wait new material is on the way with the September release of ‘Come This Madness’. The avalanche of ‘Scream of Anger’ thunders down the mountainside and a packed arena – a crowd even larger than Accept drew – absorbs every last morsel on offer.
The purity of the Scandinavian rocker ‘Sign of the Times’ gleams, glittering like the first snowfall of the winter season. Nearly a decade in the coming we are feted by a pair of shiny new tracks. Dark in presence with a nod to Deep Purple, with Tempest’s vocals taking an Ian Gillan-esque direction, ‘One on One’ is a great pathway into chapters new. The second new one ‘The Cult of Ignorance’ is hewn from similar stuff; a touch more jaunting, its upbeat ethic drives hard. Can’t wait for the new album that has joined the likes of Green Lung, Dominum and Electric Callboy in my list of 2026’s eagerly awaited products.
Putting in a truly resplendent headliner’s stint the gentle keys of Mic Michaeli announce the instantly recognisable power-balladic anthem ‘Carrie’. Tempest’s effortless vocals soar as the eagle upon the wing. Timeless, purely timeless; is it truthfully 40 years since this track first ignited those lighters held aloft? Norum’s guitarwork is sumptuous and we’re all putty in the hand. One of several title tracks amongst the set the atramentous ‘War of Kings’ induces seismic activity with John Levén’s particularly sinuous bass at the very forefront of matters here in this corner of eastern Nottinghamshire.
There’s more than a touch of rampaging Vikings in ‘Stormwind’ before Tempest’s touching acoustic delivery of the stellar ‘Open Your Heart’. An emphatic ‘More Than Meets the Eye’ follows as the gears shift upwards once more. Into the shining melodics of ‘Last Look at Eden’ and Europe glide into the closing paragraphs of a distinctly celestial Stonedead; it’s going to take some effort to top this one. Somehow, I don’t think there’s going to be any applicants for the position of doubters from those gathered here today.
Launching into the late 80s infusion of the glam version of Whitesnake we’re served up ‘Ready or Not’ makes more sense in a reflective sense than it did to me back in the day. The Whitesnake comparisons are dialled back a bit into the blues-era as Europe evoke the spirit of Marsden and Moody with a glorious ‘Superstitious’ which most aptly veers off into an unfaltering cover of ‘Here I Go Again’.
All that remains is to head into the resonance of ‘Cherokee’ coupled with the mahoosive realms of ‘The Final Countdown’. It’s a bout-winning 1-2 that brings down the house. It’s a stunning finale to a set that registers well over the hour mark. Often criticised when things go awry but rarely praised when they’re on-point the closing remark must go to the crew on Europe’s sound-desk. They’ve been the band’s sixth member throughout tonight exhibiting total precision. Europe have risen to the mighty gauntlet laid down by Accept and deservedly ascended to take the day’s crown.
The very final applause must go to Stonedead’s directors Chris Sumby and Neil Maynell along with their hard-working legion of ever-smiling volunteers many of whom I’ve stood shoulder to shoulder watching bands up and down the country over the years. Without their tireless efforts and broad vision, we wouldn’t have such events to not only enjoy but importantly treasure. Please keep the spirit alive for years to come.
Photography by Kelly Spiller for MPM
