“It’s been a minute, and I thank you immensely for your patience.” A.A. Williams announces UK and European tour

A.A. Williams
(Image credit: Thomas Williams)

A.A. Williams has revealed details of a 28-date UK and European tour for 2026.

London’s dark post-rock queen will hit the road in January, kicking off her tour at Nottingham Bodega on January 29, and travelling throughout the UK and Europe before closing out the trek with her first ever show in Turkey, scheduled for March 7, at Istanbul’s Blind club.

Announcing the tour, Williams posted, “My dear UK and Europe, I’ll be playing some shows for you at the beginning of next year. I’ll be returning to some of my favourite cities, and ticking a few new experiences off the list too – I’m particularly excited to perform my first ever Turkish show.

“I know it’s been a minute, and I thank you immensely for your patience. I really look forward to seeing you soon. With love.”

A.A. Williams UK and European tour, 2026

Jan 29: Nottingham Bodega, UK
Jan 30: Manchester Deaf Institute, UK
Jan 31: Glasgow G2, UK

Feb 01: Leeds Brudenell Social Club, UK
Feb 03: Birmingham Hare & Hounds, UK
Feb 04: Bristol Strange Brew, UK
Feb 05: London Bush Hall, UK
Feb 06: Southampton Papillon, UK
Feb 07: Diksmuide 4AD, Belgium
Feb 08: Paris Nouveau Casino, France
Feb 10: Toulouse Le Rex, France
Feb 11: Barcelona La Nau, Spain
Feb 12: Madrid Villanos, Spain
Feb 13: Lisbon Musicbox, Portugal
Feb 14: Porto Mouco, Portugal
Feb 15: Donosti Dabadaba, Spain
Feb 17: Grenoble l’Ampérage, France
Feb 18: Milan Legend Club, Italy
Feb 19: Aarau KiFF, Switzerland
Feb 20: Munich Live / Evil, Germany
Feb 21: Vienna Chelsea, Austria
Feb 22: Prague SUBZERO, Czech Republic
Feb 24: Warsaw VooDoo, Poland
Feb 25: Berlin Neue Zukunft, Germany
Feb 26: Cologne Gebäude 9, Germany
Feb 27: Eindhoven Effenaar, Holland
Feb 28: Utrecht Tivoli Cloud Nine, Holland

Mar 07: Istanbul Blind, Turkey


Williams has also shared an Audiotree session that she recorded live on September 20, 2024 in Chicago.

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A.A. Williams on Audiotree Live (Full Session) – YouTube A.A. Williams on Audiotree Live (Full Session) - YouTube

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A music writer since 1993, formerly Editor of Kerrang! and Planet Rock magazine (RIP), Paul Brannigan is a Contributing Editor to Louder. Having previously written books on Lemmy, Dave Grohl (the Sunday Times best-seller This Is A Call) and Metallica (Birth School Metallica Death, co-authored with Ian Winwood), his Eddie Van Halen biography (Eruption in the UK, Unchained in the US) emerged in 2021. He has written for Rolling Stone, Mojo and Q, hung out with Fugazi at Dischord House, flown on Ozzy Osbourne’s private jet, played Angus Young’s Gibson SG, and interviewed everyone from Aerosmith and Beastie Boys to Young Gods and ZZ Top. Born in the North of Ireland, Brannigan lives in North London and supports The Arsenal.

“An Iron Maiden gig quite unlike any other we’ve seen.” The first night of Iron Maiden’s Run For Your Lives tour packs big surprises, lashings of nostalgia and a state-of-the-art new show

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Budapest is absolutely swarming with Iron Maiden shirts. Seriously, you can’t move for Eddies; a bemused American tourist even stops Hammer on our way to the Sports Arena to point at our Legacy Of The Beast tee and ask why he keeps seeing that grinning undead face everywhere. Maiden coming to town is always an event, but there’s something extra special in the air today. New tour, new setlist, new stage show and, for the first time in 35 years, even a brand new member (more on that later).

After the eras-mashing fun of the Future Past tour, which leaned heavily into Maiden’s 1986 sci fi epic Somewhere In Time and most recent studio album, 2021’s Senjutsu, this latest trek, titled Run For Your Lives, is all-guns-blazing nostalgia, promising cuts exclusively from the band’s first decade-and-a-bit. For old school fans, it’s pure heavy metal mana. For younger acolytes, it’s a chance to witness some songs they may well have resigned themselves to never seeing live.

Before all that, it falls to Halestorm to take on the famously unenviable task of warming up an Iron Maiden crowd – a task they ace pretty effortlessly, in fairness. Decades in and arena headliners themselves at this point, the Pennsylvania rockers also have the ace in the hole that is Lzzy Hale, whose screams, croons, cries and shrieks reaffirm her status as one of the best singers of her generation. Half of their support set is comprised of tracks from imminent album Everest, and you can understand why they’re feeling confident about it: the new material sounds excellent.

Following a Doctor Doctor that already has Budapest bouncing, the arena is bathed in a hazy yellow light as a big, fuck-off LCD screen sparks into life on stage, giving us a quick, immersive tour of the grimy backstreets of East London. It looks state-of-the-art; Maiden have flirted with screens before, but this is a whole different beast, reminiscent of the eye-singeing set-up that Ghost brought to arenas just last month.

And then, out of nowhere, metal’s favourite six-piece are on stage and launching into Murders In The Rue Morgue, a frenetic Killers cut not seen in twenty years, swiftly followed by Wrathchild (not played for almost a decade), Killers (first play since ’99) and Phantom Of The Opera (back after 11 years). A quartet of rare, Paul Di’Anno-era tracks backed by those sparkling new visuals is a real rug-pull. This already feels like a Maiden gig quite unlike any other we’ve seen (although we do get an early, Killers-era Eddie appearance, striding around on stage and threatening to swing his hatchet right at poor Janick Gers’ head.)

“The whole fucking world is watching this show,” beams Bruce Dickinson, hair pulled tightly back, donning a biker jacket. “You ain’t seen nothing yet!” He isn’t kidding. The Number Of The Beast is dished out early, flanked by Nosferatu-style black-and-white horror footage.

Then it’s a quick dip into the Seventh Son… era for a dusting off of The Clairvoyant, before Maiden’s snazzy new backdrop is transformed into a stunningly rendered take on their iconic Powerslave set. The reveal is goosebump-inducing, as is a rollocking run through the album’s title track, 2 Minutes To Midnight and fan favourite epic Rime Of The Ancient Mariner, backed by visuals every bit as grandiose as the song’s sea-faring, Coleridge-indebted subject matter.

At this point it becomes clear just how savvy a pick Simon Dawson was to step behind the drum kit and into the shoes of Nicko McBrain, who retired from touring last year. Passing your first test with flying colours is no mean feat when said test includes keeping the ship steady during a near-14-minute prog metal epic that your bandmates haven’t played in over 15 years, and the rave applause that greets him when Dickinson throws praise his way is well-earned.

As for Dickinson himself? He still sounds fantastic, but more pressingly, Hammer is certain that if we attempted whatever his cardio routine is, we’d shit ourselves. His stage attire is every bit as nostalgic as the setlist, a proper fancy dress greatest hits. Following the biker jacket, he moves through outfits including but not limited to: his classic Powerslave get-up (feathery mask, battle vest); Seventh Son… trenchcoat; The Trooper military gear (and flag, natch); Aces High Biggles cap; Fear Of The Dark victorian garb and accompanying lantern.

He’s even stuck in a cage for Hallowed Be Thy Name, a moment which leads to him utilising that giant screen for one of the best visual gimmicks this writer’s seen at a metal show, equal parts Hammer Horror and Monty Python and oh-so-very Iron Maiden. We won’t spoil it here, but it really is fun.

A revised way of doing the traditional Giant Eddie may sit oddly with some fans, but it undeniably looks impressive and certainly fits with this new-look stage show. As an anthemic Wasted Years brings us home courtesy of another banger of a digital set, it seems Iron Maiden have pulled off a rare trick: celebrating the past by stepping into a bold new future.

Iron Maiden’s Run For Your Lives tour continues through Europe and the UK this summer

Iron Maiden setlist: Papp László Sportaréna, Budapest, Hungary

Murders in the Rue Morgue
Wrathchild
Killers
Phantom of the Opera
The Number of the Beast
The Clairvoyant
Powerslave
2 Minutes to Midnight
Rime of the Ancient Mariner
Run to the Hills
Seventh Son of a Seventh Son
The Trooper
Hallowed Be Thy Name
Iron Maiden

Encore
Aces High
Fear of the Dark
Wasted Years

Merlin Alderslade

Merlin moved into his role as Executive Editor of Louder in early 2022, following over ten years working at Metal Hammer. While there, he served as Online Editor and Deputy Editor, before being promoted to Editor in 2016. Before joining Metal Hammer, Merlin worked as Associate Editor at Terrorizer Magazine and has previously written for the likes of Classic Rock, Rock Sound, eFestivals and others. Across his career he has interviewed legends including Ozzy Osbourne, Lemmy, Metallica, Iron Maiden (including getting a trip on Ed Force One courtesy of Bruce Dickinson), Guns N’ Roses, KISS, Slipknot, System Of A Down and Meat Loaf. He has also presented and produced the Metal Hammer Podcast, presented the Metal Hammer Radio Show and is probably responsible for 90% of all nu metal-related content making it onto the site. 

“Genuinely, I listen to the early stuff and I shudder when I hear my vocals”: How IQ singer Peter Nicholls learned to stop hating his voice, love songwriting and keep albums shorter

Peter Nicholls
(Image credit: Tony Lithgoe)

Ahead of their 45th anniversary, IQ are looking forwards with optimism. Vocalist and lyricist Peter Nicholls admits he’s in a more positive place than he was on 2019’s Resistance. He tells Prog how the work of poet Dylan Thomas and an online video ranking their releases informed their long-awaited 13th album, Dominion.


“We never consciously take time off,” says IQ vocalist Peter Nicholls, when the subject of the near six-year gap between albums is raised. The band play at annual weekenders and have frequently appeared onstage over the last few years – but to many, it still feels like they’ve been missing in action.

Objectively though, their last two albums have contained a substantial amount of fresh material. “We don’t set a timetable of recording one album every five years,” Nicholls says. “I guess each album takes a couple of years to get through. With the last two, Road Of Bones and Resistance, they were either a double or there was a bonus disc, with twice the volume of work to get through.

“Sometimes when you get to the end of it all there’s that feeling of exhaustion. At the moment, though, I really think the situation with the band is that we feel this is a renaissance for IQ.”

Latest album Dominion is another fine recording that continues their recent trend of creating lavish and inspired records. They’ve also pinpointed a methodology of working that’s aided the writing process – far removed from their occasionally embattled earlier creative sessions.

“The music comes from [guitarist] Mike Holmes, a astonishingly prolific and prodigious talent,” Nicholls says. “He just thinks of music all day long, so there’s never a shortage of potential new tracks. Mike essentially produces demos for everybody to listen to and we then have our input. Obviously, my contribution is to handle the vocals, but Mike will put a guide vocal idea down and I’ll use that as a basis.

IQ – No Dominion. Lyric Video – YouTube IQ - No Dominion. Lyric Video - YouTube

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“Once the lyrics are in place, the vocal tune will sometimes be amended to sit more comfortably within the music. But essentially, at the minute, Mike is responsible for coming up with the music.

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“In the olden days we’d get together in a damp and dingy rehearsal room and trade licks. We’d just be improvising, and that would lead to arguments – you know, ‘My idea’s better than yours!’ Thankfully, it’s a far smoother process now.”

Dominion is a relatively compact recording, with the band eschewing the temptation to cram the maximum amount of music onto a single disc. Nicholls says it was a deliberate ploy that was inspired by the random discovery of an online video which ranked IQ’s albums.

I had always thought that the more songs there are, surely that’s a great thing – but it’s not necessarily so

“These guys were putting them in order of preference,” he recalls. “One guy made the comment that he didn’t like Resistance because he thought it was too long. That was a revelation to me – it hadn’t occurred to me that somebody might think there was too much to absorb.

“On reflection, I thought it was fair comment. Not everybody has two hours to listen to one album. I had always thought that if someone likes the band, then the more the merrier. The more songs there are, surely that’s a great thing – but it’s not necessarily so. I think it’s definitely the right thing to do a single album this time around.”

IQ have always retained a welcoming, recognisable sound. Yet they’ve also managed to ensure that each release demonstrates progress compared to its predecessor, and Dominion possesses a distinctly contemporary edginess. Nicholls recognises that assessment, citing an overt desire to continually add the unexpected.

“The aim with any album is to surprise people. But you also can’t completely divorce yourself from your own personal history. There’s an IQ sound, with certain trademark elements, that we’ve worked for many years to establish. We’re not going to dispense with that. When I listen to a new album by a favourite artist, I want to hear them sounding the way I like them, but I also want them to show me something new – what haven’t I heard before from this person?

“The challenge is to come up with a new twist on what we do. We don’t want it to sound like we’re treading water. I’m also very aware that you’re only as good as your last album: if we were to put a clunker out, we’d do ourselves a lot of damage; but thankfully, we’ve never done that.”

Although Nicholls admits he attempts to disguise his most personal lyrics, he reveals there was a central darkness that infused the themes of Resistance, which has that’s been rectified for this current release. “The last album was happening at a difficult time in my life,” he says carefully. “Let’s just say I was climbing some existential mountains. My feeling about that album now is that it has quite a dark heart. For me, it was quite a hard album to connect with.

Death will get us in the end, but it’s not the master. We’re the masters of our worlds

“But where we are now with Dominion, I’m in a much more positive place, and that informs the lyrics. They’re never autobiographical as such; if I feel they’re getting too personal, I kind of put them behind a sheet of glass just to not give too much away.

“I approached this album with a more optimistic viewpoint, and it just seemed to me that coincidentally the music Mike was coming up with had a more melodic, optimistic feel as well. There was also a feeling that what people should do is make the best use of the time that we have. I was thinking in terms of the world that we create for ourselves, the personal world we live in. Our domain, if you like.”

There was also the influence of Dylan Thomas, with Nicholls reading the poem And Death Shall Have No Dominion, which neatly fed into his mindset of maximising the time we have on Earth. “My perception is that he’s saying death will not be the ultimate power that controls us. Obviously it’ll get us in the end, but it’s not the master. We’re the masters of our worlds, our destinies.

“From that I took the idea that the dominion is the world that we make for ourselves. And not just for ourselves, but for other people. The phrase ‘living your best life’ is very much prevalent in my mind. All of that, compounded with Mike’s melodic music, informed the mood of the album. It felt like a more positive experience – the result is I want to go back and do it again now!”

The contemplative nature of the lyrics and IQ’s upcoming 45th anniversary understandably causes a pause for reflection on their legacy. The singer has mixed thoughts, unjustifiably focusing on his own self-perceived shortcomings as a vocalist, but also remaining content over the quality of their music.

I know it sounds immodest, but I think there’s brilliant stuff on everything that we’ve done

“My views of the albums are always clouded by my dislike of the vocals – I think they all sound crap,” he says. “With the early albums, like Tales From The Lush Attic and The Wake, I was recording the live performance; it’s very different from the studio performance you want.

“Genuinely, I listen to the early stuff and I shudder when I hear the vocals. But a lot of singers are uncomfortable with the sound of their own voice. I now feel that on albums, the voice needs to be something that you believe in. It needs to convey the lyrics convincingly and credibly.

“Around the time of [2009’s] Frequency, I approached the vocals quite differently. This album is probably how I thought I’d sound then. So, 44 years later, I’m starting to get the hang of it!

“All our albums have great merit; to my ears, it’s all been very strong and purposeful. I think we’ve always believed in what we do and that’s always been hugely important. I know it sounds immodest, but I think there’s brilliant stuff on everything that we’ve done.”

Crucially, there are no suggestions that IQ will be succumbing to retirement any time soon. They recorded a raft of material that wasn’t made available with the current album, and there are plans for their next release to appear in a time frame rather quicker than six years.

“I want to do the next one as soon as we can,” he says enthusiastically. “My preoccupation right now is time. That and health are our most important commodities. The band have both of those and we should make the best use of those.

“Everybody is playing well; the relationships within the band are also very strong. We’ve been good friends for nearly 50 years. There will come a point where the band will finish, but that’s not for a good few years yet. We might have another 10 years left – who knows? I really want to make sure that these are really strong years. IQ are in no danger of fizzling out.”

The 12 best new metal songs you need to hear right now

Electric Callboy, Ithaca, Blackbraid and Death Pill in 2025
(Image credit: Christian Ripkens | Press | Wolf Mountain Productions | Kirsty Garland)

As spring continues and the weather only gets warmer and warmer, we can’t help but find ourselves in a sunny disposition. Summer’s about to come, the festivals are about to kick off – oh, and we have another week of magnificent metal songs to think about.

But first, let’s look at the results of last week’s poll. We got new tracks from Lorna Shore, Nova Twins, President and more, but the voting was an absolute landslide, with more than 50% of our readers saying that Sing Like A Siren from Within Temptation was the best new release of those seven days. Congrats to the Dutch symphonic metal masters!

Now, the cycle begins again, and we have new stuff from Electric Callboy, Blackbraid, Ithaca, Malevolence and many more for you to sink your teeth into. Listen to them all, then use the genius little widget below to name your fave.

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Electric Callboy – Revery

Electric Callboy have embraced the dark side! Since their 2022 album Tekkno, the German gang have been all-smiles and synths, up to and including January’s bounce-a-thon Elevator Operator. Revery, however, is a metalcore rager with keyboards that sound like they’re fresh from an 80s horror movie soundtrack. The band haven’t announced an album yet, but they’ll more than likely play this song on their European festival dates, which kick off at Slam Dunk in the UK this weekend.

Electric Callboy – REVERY (OFFICIAL VIDEO) – YouTube Electric Callboy - REVERY (OFFICIAL VIDEO) - YouTube

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Blackbraid – Wardrums At Dawn On The Day Of My Death

One of the most popular new names in all of black metal, Blackbraid are a Native American project screaming about the sanctity of nature and narrating parts of their Indigenous culture’s past. Wardrums… is their first new, original song in two years – a comparatively long turnaround for this prolific outfit – but more will soon come. Its sharp riffing, shrill vocals and thunderous drumming precede the arrival of new album Blackbraid III, coming out on August 8.

Blackbraid – Wardrums at Dawn on the Day of my Death (Official Music Video) – YouTube Blackbraid - Wardrums at Dawn on the Day of my Death (Official Music Video) - YouTube

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Sinsaenum – In Devastation

Almost a decade on from their debut, death metallers Sinsaenum are back and eyeing up an August 8 release for their third album, In Devastation. Their first without Joey Jordison behind the drums, the band have said the album will be a tribute to their fallen bandmate, recruiting Breed 77’s Andre Joyzi to clatter the kit. Lead single In Devastation continues the old school death metal vibes the band have traded in thus far, a raging, sweeping tide of malevolence.

Sinsaenum – In Devastation (Official Video) – YouTube Sinsaenum - In Devastation (Official Video) - YouTube

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Ithaca – Ithaca

RIP Ithaca. The British metalcore heroes have bowed out with a self-titled track ahead of their final performance at ArcTanGent festival in August. It’s a howling farewell to a brilliant and distinctive band, the guitars coming out like a distorted wail of the national anthem while the breakdowns and howls evoke a sense of apocalyptic finality. God, we’ll miss ’em. “Don’t cry because it’s over/smile because it happened” indeed.

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Ithaca ‘Ithaca’ (Official Audio) – YouTube Ithaca 'Ithaca' (Official Audio) - YouTube

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The Armed – Well Made Play

Hardcore might be blowing up in the mainstream, but some bands are keeping it avowedly underground. Aural terrorisers The Armed certainly fall into that latter camp, unyielding squeals and howls aplenty unleashed in a whirlwind of fury and anguish. The first single to be taken from their upcoming album The Future Is Here And Everything Needs To Be Destroyed, due August 1, it’s a punishing exercise in extremity complete with squalling, atonal sax. Ouch.

The Armed – Well Made Play (Official Video) – YouTube The Armed - Well Made Play (Official Video) - YouTube

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Malevolence – Salt The Wound

If The Armed represent hardcore’s most extreme tendencies, then Malevolence are representing metalcore’s ability to blend heaviness with anthemia. Salt The Wound treads a line between melodic serenity and vicious, powerful thunder. New album Where Only The Truth Is Spoken drops in just under a month – June 20 – and judging from this, it’s gonna be massive.

MALEVOLENCE – Salt The Wound (OFFICIAL MUSIC VIDEO) – YouTube MALEVOLENCE - Salt The Wound (OFFICIAL MUSIC VIDEO) - YouTube

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Unleashed – War Comes Again

One of Stockholm’s OG death metal bands, Unleashed have announced their first album in four years, Fire Upon Your Lands, will drop on August 15. War Comes Again doesn’t so much offer a taste of what’s to come as it does an unrepentant punch in the mouth. “I dream of your death!” singer/bassist Johnny Hedlund roars, backed up by blasts of chug-along riffing and scraping but melodic lead lines. Ready your neck for when the rest of the album comes.

UNLEASHED – War Comes Again (Official Video) | Napalm Records – YouTube UNLEASHED - War Comes Again (Official Video) | Napalm Records - YouTube

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The None – At Hope

Lurching basslines and grotesque imagery characterises the noisy new single from newcomers The None. A band featuring members of British alt underground acts like Cassels, Bloc Party and Youth Man, the band’s sound sits somewhere between the abrasive clang of Shellac or Jesus Lizard and the oppressive post-punk of The Fall. Menacing and magnificent, we can’t wait to hear more.


Igorrr – Blastbeat Falafel

When you’ve got a band as avowedly weird and experimental as Igorrr, you have to expect some left-turns. Even so, Blastbeat Falafel is all wild-eyed nerves and skittering energy, the recruitment of Mr. Bungle’s Trey Spruance feeling oh-so-right in a track which seems to meld Middle Eastern melody, surf rock, death metal and all-out prog. Taken from the band’s new album Amen, due September 19, it’s a tooth-gnashing beastie.

IGORRR – BLASTBEAT FALAFEL – YouTube IGORRR - BLASTBEAT FALAFEL - YouTube

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Death Pill – Phone Call

Scattered around the world by the Russian invasion right as they released their self-titled debut in 2023, Ukraine’s Death Pill have nonetheless continued to triumphantly and defiantly make joyful music. Phone Call reduces some of the spiky, Discharge energy of their debut in favour of something more melodic as they prepare for the release of Sologamy on June 20.

Death Pill: Phone Call – YouTube Death Pill: Phone Call - YouTube

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Vower – Deadweight

Composed of former members of Palm Reader, Toska and Black Peaks, Vower wowed the UK underground with their wonky alt-metal EP Apricity last year. Since then, they’ve played a number of fests in their native land and expanded internationally, touring across Germany earlier this year. Deadweight is set to continue their expansion, striking with their heaviest and most immediate strikes to date. Spin it and learn the words for when the band grace Donington’s legendary Download festival in the middle of June.

VOWER | DEADWEIGHT (Official Music Video) – YouTube VOWER | DEADWEIGHT (Official Music Video) - YouTube

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Taking cues from Bring Me The Horizon and Babymetal, Aussie newcomer RinRin shows a disregard for genre on latest single Gunmetal Black. There’s bouncy, nu metal like riffing and quickfire rap flows, bleeping electronica and thumping metalcore breakdowns, all blended into a massive, meaty package.

RinRin – Gunmetal Black (Official Music Video) – YouTube RinRin - Gunmetal Black (Official Music Video) - YouTube

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Staff writer for Metal Hammer, Rich has never met a feature he didn’t fancy, which is just as well when it comes to covering everything rock, punk and metal for both print and online, be it legendary events like Rock In Rio or Clash Of The Titans or seeking out exciting new bands like Nine Treasures, Jinjer and Sleep Token. 

With contributions from

“Nothing Else Matters exposed the vulnerability behind what previously seemed to be a bulletproof heavy metal machine”: The five least metal Metallica songs

Metallica in 1996
(Image credit: Niels van Iperen/Getty Images)

When your band name literally has the word “metal” in it, you’re setting up some major expectations in the heaviness stakes. However, Metallica quickly flourished beyond their snot-nosed thrash roots and showed no fear of other soundscapes, to the delight of many a fan and the chagrin of many a gatekeeper. From the youth-charged sprint of Kill ’Em All to Load’s moody introspection, there’s plenty of variety in the Four Horsemen’s canon.

So – while such bruising tracks as For Whom The Bell Tolls, Master Of Puppets and Enter Sandman have all played their part in pushing metal forwards – that’s not what we’re talking about today. Instead, below is a celebration of Metallica’s most sensitive and soft-hearted moments. These are the five times James Hetfield crooned, Lars Ulrich went easy on his kit and Kirk Hammett had the restraint not to lacerate the listener with solo after solo, listed in chronological order.

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The first pick on our timeline is probably the most obvious. Metallica had dabbled in a few ballads before Nothing Else Matters (see: Fade To Black, Welcome Home (Sanitarium) and One). But, never had these fire-breathing behemoths laid themselves as bare as they did on this Black Album single.

On a cut so tender that Hetfield questioned whether his band should actually even release it, the frontman softly sang for his then-girlfriend, expressing how much he missed her on the road. Though the song crescendoed with some metallic beats and a solo from Papa Het himself, it was largely pensive and clean, exposing the vulnerability behind what previously seemed to be a bulletproof heavy metal machine. The result was an instant crossover hit that played a serious part in making Metallica one of the most successful albums to ever come out.


Mama Said (Load, 1996)

After Nothing Else Matters offered a sneak peek into the window of Hetfield’s soul, the songs on Load saw him swing the door open. The lyrics throughout Metallica’s still-controversial blues rock dalliance let the singer/guitarist voice the pain of losing his Christian Scientist mother to cancer, shortly after his father had up and abandoned the family. And Mama Said was one of the most sincere bits out of the bunch.

Wielding an acoustic guitar, Hetfield told the autobiographical story of his time with his mum, hinting towards both a troubled relationship (“Let my heart go, let your son grow”) and a lack of gratitude for his departed parent (“I took your love for granted, all the things you said to me”). With the rest of the band as background figures, this cast their founding man’s complexities centre-stage then turned them into something beautiful.

Metallica: Mama Said (Official Music Video) – YouTube Metallica: Mama Said (Official Music Video) - YouTube

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Low Man’s Lyric (Reload, 1997)

Recorded simultaneously to Load, Reload was a sibling every bit as expansive, experimental and revealing as the album that preceded it just one year prior. Low Man’s Lyric was something of a shift, however, in that Hetfield didn’t voice his own struggles as much as those of others. The seven-and-a-half-minute journey cast him into the headspace of a homeless person, expressing the day-to-day tragedy of a ragged vagabond.

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Though this was more of a full-band effort than Nothing Else Matters and Mama Said, the music was suitably sombre throughout. A solemn “One, two, three…” heralds layers of undistorted guitar, joined by bare, stomping percussion. Strings and hurdy-gurdies later add to the drama and tragedy of the piece, but Metallica still resist the urge to go full-force, proving that sometimes quietness can be just as powerful and declarative as unfiltered noise.


Tuesday’s Gone (Lynyrd Skynyrd cover; Garage Inc., 1998)

Metallica have seldom been a collaborative group, often preferring to blaze their own trail through the metal wilderness and leave everyone else scrambling to catch up. The exception proving the rule was Tuesday’s Gone. It remains the one time heavy music’s masters turned to outside help on a studio album, and what they’ve otherwise lacked in the teamwork department was made up for in one fell swoop on this star-studded odyssey.

In a move that could have come across as a joke if it weren’t played so skilfully, Metallica corralled a who’s-who of contemporary riffage – including members of Alice In Chains, Corrosion Of Conformity, Faith No More and Primus – then asked them not to play metal at all. Instead, this Lynyrd Skynyrd cover was a constantly tobacco-spitting country jam, harmonica ’n’ all. A risky move, but immersive and moving in practice.


The Unforgiven III (symphonic version; S&M2, 2020)

From The Godfather to the Tobey Maguire Spider-Mans, the trope of the trilogy that couldn’t stick the landing is one of the longest-standing in media. For more than a decade, The Unforgiven had an unfortunate seat at the table, with the first two tracks being thematic and musical mirrors of each other, before the third needlessly tacked itself on and refused to say anything new. That was, until the Death Magnetic entry was re-modelled for S&M2.

For the sequel to their boundary-breaking symphony-orchestra-meets-metal effort, Metallica went even more transformative than before, with this being one of the boldest reinventions. Every conventional instrument was pulled away, turning this once-inessential entry into Hetfield hollering over grandiose strings. Instantly, new life was added, with the singer’s words feeling all the more rending thanks to their quasi-cinematic backing, and it paradoxically came after parts got taken away.

Metallica – The Unforgiven III (S&M2) [5.1 Surround / 4K Remastered] – YouTube Metallica - The Unforgiven III (S&M2) [5.1 Surround / 4K Remastered] - YouTube

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Louder’s resident Gojira obsessive was still at uni when he joined the team in 2017. Since then, Matt’s become a regular in Metal Hammer and Prog, at his happiest when interviewing the most forward-thinking artists heavy music can muster. He’s got bylines in The Guardian, The Telegraph, The Independent, NME and many others, too. When he’s not writing, you’ll probably find him skydiving, scuba diving or coasteering.

“In a recent moment when I was really struggling, I picked up my guitar and wrote a song”: Sheryl Crow releases new single in support of Mental Health Awareness Month

Sheryl Crow standing between two trucks
(Image credit: Will Scown)

Sheryl Crow has released a new single, I Know, in support of this year’s Mental Health Awareness Month, which has been observed in May since 1949.

“In a recent moment when I was really struggling, I picked up my guitar and wrote a song,” says Crow. “I sent it to some friends and got such a strong reaction that I’m going to put it out this week – it’s called I Know.

“Sometimes when we’re struggling, just knowing that another soul can relate to what we’re feeling makes things a little bit better. That’s what this song is about. At times, our challenges can seem so overwhelming that we need professional help, which for a lot of folks isn’t always easy to find or access.

“I recently came across a mental health charity that resonated with me called To Write Love On Her Arms – their mission statement is ‘presenting hope and finding help for people struggling with depression, addiction, self-injury, and suicide.’ When we’re struggling, we all need hope. And when you add help to hope, you can overcome huge challenges.

“Therapy is often not covered by insurance and is expensive. To Write Love On Her Arms provides resources so people in need of help can find affordable care. And this I really love: they have a ‘Disconnect to Reconnect’ challenge which encourages people to get off social media for two weeks and reconnect what matters most.

“Social media isn’t really great for anyone’s emotional well-being, so encouraging folks to put the phone down and enjoy nature, family and friends, music… I do that all the time, and I know how beneficial it is to take a break.

“I encourage you to check out To Write Love On Her Arms, check out the resources on their website and see if they might help you or someone you love. And if it does, please consider donating to them or any mental health charity that resonates with you.”

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Crow recently received multiple threats on social media after selling her Tesla in protest at Elon Musk’s involvement in politics. She gave the proceeds to public service broadcaster NPR, whose funding is threatened by Donald Trump’s controversial DOGE initiative to cut wasteful spending.

“There was a moment where I actually really felt very afraid,” Crow told Variety. “A man got on my property, in my barn, who was armed. It doesn’t feel safe when you’re dealing with people who are so committed.”

Crow’s latest album, Evolution, is out now.

Online Editor at Louder/Classic Rock magazine since 2014. 39 years in music industry, online for 26. Also bylines for: Metal Hammer, Prog Magazine, The Word Magazine, The Guardian, The New Statesman, Saga, Music365. Former Head of Music at Xfm Radio, A&R at Fiction Records, early blogger, ex-roadie, published author. Once appeared in a Cure video dressed as a cowboy, and thinks any situation can be improved by the introduction of cats. Favourite Serbian trumpeter: Dejan Petrović.

Steve Perry Will Sing Journey Songs, But Not With Journey

Steve Perry Will Sing Journey Songs, But Not With Journey
Mike Coppola, Getty Images

Steve Perry has shown a newfound willingness to revisit Journey‘s classic songs, issuing a surprise duet recording of “Faithfully” with Willie Nelson. But that doesn’t mean he’s considering a reunion with the band he fronted off and on from 1978 to 1998.

“I mean, we’re all good. We were great together,” Perry tells the Los Angeles Times. “I think the material and our accomplishments stand the test of time, which proves that we were good together. I’m really proud of what we accomplished together, because we were kind of like soldiers in the trenches trying to do something together. We knew we could do what we believed in.”

They had unprecedented multi-platinum success together, topped by 1981’s diamond-certified No. 1 smash Escape. Journey sold millions more with 1983’s Frontiers, home to the six-times-platinum “Faithfully.” “But I really love new music, and when I’m writing here in the studio, I try to remove myself so I can continually chase after these new ideas – and not be influenced by anything except these new ideas wherever they show up,” Perry added.

READ MORE: Ranking All 52 Journey Songs From the ’80s

Perry returned after a nearly 25-year hiatus with 2018’s Traces then issued The Season in 2021. He’s continued tinkering with both albums, releasing updated versions including 2020’s Traces (Alternate Versions & Sketches) and 2024’s The Season 3. Beyond the Nelson collaboration, Perry also completed his first-ever original holiday song, “Maybe This Year.”

No tour has followed. “You know, I really don’t have any plans for that at this moment,” Perry told the Times. “I’m really having so much fun recording, writing, mixing and mastering at this moment that I just don’t want to break up the flow I’m in right now.”

Perry’s only major solo trek dates back to 1995; his last tour with Journey ended in 1987.

“I think I really do enjoy the solitude and privacy that my life has right now. I enjoy my studio,” Perry added. “I’m staring at my speakers right now, and it’s an environment that is so creative and so fruitful with all these other ideas that I have coming that need to be finished. So, I don’t know. I think I really enjoy committing to this creative new buzz that I’m falling into with new music, new writing, new recordings.”

Rockers Whose Bands Tried to Erase Them

Their names never made it onto album covers and bands’ official websites – or, worse, they got deleted after some falling out. 

Gallery Credit: Nick DeRiso

You Think You Know Journey?

More From Ultimate Classic Rock

Complete List Of Lawrence Band Members

Complete List Of Lawrence Band Members

Feature Photo: Bruce Alan Bennett / Shutterstock.com

Eight musicians from New York City and Brown University transformed childhood friendships and collegiate connections into one of America’s most compelling soul-pop ensembles. Lawrence emerged from the creative partnership of siblings Clyde and Gracie Lawrence, who began performing together in childhood before expanding their sound through collaborations with college friends. The band has maintained consistent membership since its formation, with no departures from the core eight-piece lineup that crystallized during their university years.

Their musical catalog encompasses four studio albums alongside multiple live and acoustic recordings that showcase their evolution from a college band to major-label artists. Their discography includes Breakfast (2016), Living Room (2018), Hotel TV (2021), and Family Business (2024), with notable achievements including chart positions and streaming milestones. Their breakthrough single “Don’t Lose Sight” achieved significant commercial success, reaching the top 20 on USA Shazam Pop Charts and securing placement in a Microsoft commercial that elevated their profile internationally.

Lawrence’s rise to prominence includes major television appearances on shows like Jimmy Kimmel Live!, The Late Show with Stephen Colbert, and The Tonight Show Starring Jimmy Fallon. Their touring accomplishments encompass support slots with prominent acts including The Rolling Stones, Jonas Brothers, and appearances at major festivals such as Coachella, Bonnaroo, and Outside Lands. The band currently maintains 928.1K monthly listeners on Spotify while continuing to expand their international reach through extensive touring and strategic partnerships with producers like Jon Bellion.

Clyde Lawrence

Clyde Lawrence joined Lawrence as its founding member and principal creative force when the band formed during his time at Brown University. Born on July 21, 1994, he serves as co-lead vocalist, keyboardist, and primary songwriter, establishing the artistic direction that has guided the band throughout its existence. His involvement spans from the band’s earliest incarnation as The Clyde Lawrence Band through its evolution into the current eight-piece ensemble.

Clyde’s musical foundation began with piano instruction at age four, followed by early composition work that included writing the Miss United States anthem for the film Miss Congeniality when he was only five years old. This early achievement led him to become the youngest member of the Songwriters Guild of America. Throughout his education at the Dalton School and Brown University, he continued developing his skills while composing music for major motion pictures including Music & Lyrics and Did You Hear About the Morgans?.

His contributions to Lawrence’s albums demonstrate continuous artistic growth and expanding musical sophistication. On Breakfast, he established the band’s soul-pop foundation while working with Grammy winner Eric Krasno. Living Room showcased his maturing songwriting approach through themes exploring childhood and family relationships. Hotel TV marked his collaboration with Jon Bellion and Beautiful Mind Records, resulting in their most commercially successful material to date. Family Business represents his most accomplished work, incorporating diverse influences while maintaining the band’s signature sound.

Beyond Lawrence, Clyde has developed significant outside projects that complement his band activities. He formed production trio The Diner with bandmates Jordan Cohen and Jonny Koh, creating music for artists including Jonas Brothers, Tori Kelly, and Jon Batiste. His film composition work includes scores for Disney’s Noelle, HBO’s The Jinx, and Hulu’s Animaniacs. In January 2023, he testified before the U.S. Senate Judiciary Committee regarding live event ticketing practices, demonstrating his engagement with industry advocacy beyond musical performance.

Gracie Lawrence

Gracie Lawrence became Lawrence’s co-lead vocalist and creative partner when she transitioned from guest performer to full band member during her brother’s college years. Born on March 16, 1997, she serves as co-frontperson while pursuing a parallel career in acting that has earned her Tony Award recognition. Her dual focus on music and theater has created a unique artistic profile within the band’s dynamic.

Gracie’s artistic development began in childhood through performing in small venues around lower Manhattan with her brother. Her formal education at The Dalton School preceded her enrollment at Brown University, though she ultimately departed to pursue Lawrence and acting full-time. Her Broadway debut in Brighton Beach Memoirs at age twelve demonstrated early theatrical promise that has continued throughout her career.

Her musical contributions to Lawrence have evolved significantly across their four studio albums. Breakfast featured her emerging vocal presence alongside established acting credits. Living Room highlighted her growing confidence as a performer and songwriter. Hotel TV showcased her collaborative abilities working with Jon Bellion and the band’s production team. Family Business demonstrates her full artistic maturation as both vocalist and creative contributor to the band’s overall vision.

Gracie’s acting achievements outside Lawrence underscore her versatility as a performer. Her television work includes roles in The Sex Lives of College Girls, Billions, and appearances in films like Moxie and Did You Hear About the Morgans?. Her Broadway return in Just in Time opposite Tony winner Jonathan Groff has earned her a Tony Award nomination for Best Featured Actress in a Musical. This dual success in music and theater has positioned her as one of the most accomplished multi-disciplinary artists in contemporary entertainment.

Jordan Cohen

Jordan Cohen joined Lawrence during its formation at Brown University, bringing saxophone expertise and production skills that have shaped the band’s sonic identity. His role encompasses tenor and baritone saxophone performance while contributing significantly to the band’s musical arrangements and production processes. Since joining, he has remained integral to both the band’s live performances and studio recordings.

Cohen’s musical background includes extensive training in saxophone and production techniques that inform his contributions to Lawrence’s sound. His educational experience at Brown University connected him with fellow band members while providing opportunities to develop his skills in various musical contexts. His production abilities emerged through collaborative work on Living Room, where he co-produced alongside Jonny Koh and other contributors.

Throughout Lawrence’s discography, Cohen has provided essential harmonic and rhythmic elements that define their signature sound. Breakfast featured his saxophone work within the broader horn arrangements. Living Room showcased his production contributions alongside his instrumental performance. Hotel TV highlighted his collaborative relationship with Jon Bellion and his role in The Diner production trio. Family Business demonstrates his continued evolution as both performer and behind-the-scenes contributor.

Cohen’s work outside Lawrence through The Diner production collective has established him as a sought-after collaborator in contemporary pop music. His partnerships with Clyde Lawrence and Jonny Koh have produced music for major artists including Jonas Brothers and Tori Kelly. His Senate testimony alongside Clyde regarding ticketing practices demonstrates his involvement in industry advocacy beyond musical production. His Instagram presence as @saxmachine819 reflects his identity as both performer and social media personality.

Jonny Koh

Jonny Koh joined Lawrence as lead guitarist and technical specialist during the band’s formation at Brown University. Beyond his primary role as guitarist, he serves as the band’s technology coordinator and co-producer, managing sound systems and contributing to the production processes that define their recorded output. His technical expertise has proven essential to both live performances and studio work.

Koh’s background combines musical performance with software engineering skills that uniquely position him within the band structure. His guitar playing began at age ten, followed by self-taught drumming skills developed from age fourteen. His programming experience spans seven years, while his music production and recording expertise covers approximately ten years of active development.

His contributions to Lawrence’s albums showcase both his instrumental abilities and production sensibilities. Breakfast established his guitar voice within the ensemble context. Living Room featured his co-production work alongside Jordan Cohen and other collaborators. Hotel TV highlighted his role in The Diner production trio and his collaboration with Jon Bellion. Family Business represents his most sophisticated contribution as both guitarist and technical coordinator.

Koh’s minimalist philosophy and mindful approach to creativity inform his contributions beyond traditional guitar performance. His personal website jvkoh.com reflects his interests in design and technology that complement his musical activities. His role in The Diner production collective has resulted in work with major artists across multiple genres. His technical responsibilities ensure that Lawrence’s live performances maintain professional standards while incorporating complex elements like backing tracks and synchronized lighting.

Michael Karsh

Michael Karsh joined Lawrence as their bassist during the band’s formation at Brown University, providing the rhythmic foundation that anchors their soul-pop sound. His approach combines classic funk and soul influences with modern techniques, creating bass lines that complement Lawrence’s high-energy performances while maintaining musical sophistication. His background vocals add harmonic depth to their vocal arrangements.

Karsh’s musical development includes formal education at Brown University where he met his fellow band members. His studies encompassed both musical performance and music education, leading to his later work as a private instructor for guitar, bass, piano, and music theory. His teaching experience with students of all ages demonstrates his comprehensive understanding of musical fundamentals.

Throughout Lawrence’s albums, Karsh has provided consistent low-end support while adapting his style to each project’s requirements. Breakfast showcased his ability to anchor the band’s early sound within soul and R&B contexts. Living Room featured his growing confidence in more complex arrangements. Hotel TV highlighted his collaborative work on Jon Bellion-produced material. Family Business demonstrates his full integration into the band’s creative process as both performer and contributor.

Karsh’s equipment preferences reflect his commitment to achieving specific tonal qualities in live and studio settings. His endorsement of Orange amplifiers, particularly the 4-Stroke 500 Watt amplifier and OBC410 cabinet, stems from their ability to provide classic Motown-inspired sounds with modern clarity and punch. His approach seeks balance between vintage soul traditions and contemporary sonic requirements, achieving the touch and clarity he considers essential to Lawrence’s live impact.

Sam Askin

Sam Askin joined Lawrence as drummer during the band’s formation at Brown University, establishing the rhythmic foundation that drives their energetic live performances. His drumming style accommodates the band’s diverse musical influences while maintaining the pocket necessary for their soul and funk-oriented material. His contributions extend beyond basic timekeeping to include arrangement input and creative collaboration.

Askin’s educational background at Brown University connected him with the other band members during their formative years. His drumming approach developed through various musical contexts before crystallizing within Lawrence’s specific stylistic requirements. His understanding of different groove styles has proven essential to the band’s ability to navigate various musical territories within their soul-pop framework.

His work across Lawrence’s studio albums demonstrates consistent growth and adaptation to changing musical directions. Breakfast established his fundamental approach within the band’s developing sound. Living Room showcased his ability to support more complex arrangements and production techniques. Hotel TV featured his performance on Jon Bellion-produced material that incorporated electronic elements alongside acoustic drums. Family Business represents his most sophisticated drumming, balancing precision with creative expression.

Askin’s live performance approach emphasizes the energy and dynamism that characterizes Lawrence’s concert experience. His drumming provides the foundation for the band’s high-energy stage presence while maintaining the musical sophistication that defines their recorded output. His collaborative relationship with bassist Michael Karsh creates the rhythmic engine that propels Lawrence’s most compelling musical moments, whether in intimate venues or large festival settings.

Sumner Becker

Sumner Becker joined Lawrence as alto saxophonist during the band’s formation at Brown University, contributing to the horn arrangements that distinguish their sound from other contemporary pop acts. His role encompasses both written parts and improvised sections, adapting classical saxophone techniques to soul and pop contexts. His performance adds harmonic color and melodic counterpoint to the band’s vocal-driven material.

Becker’s musical background includes formal saxophone training that prepared him for Lawrence’s demanding performance requirements. His educational experience at Brown University provided opportunities to develop ensemble skills while connecting with future band members. His approach balances technical proficiency with musical sensitivity appropriate to various song contexts.

Throughout Lawrence’s discography, Becker has provided essential upper-register harmonic content that complements Jordan Cohen’s tenor and baritone saxophone work. Breakfast featured his integration into the band’s horn section arrangements. Living Room showcased his growing comfort with both composed and improvised elements. Hotel TV highlighted his adaptation to Jon Bellion’s production aesthetic. Family Business demonstrates his full musical maturity within the band context.

Becker’s responsibilities extend beyond performance to include merchandising and sustainability coordination, reflecting the collaborative nature of Lawrence’s operations. His commitment to environmental consciousness aligns with the band’s broader values while ensuring their touring practices maintain responsible standards. His co-chairmanship of the “Saxophone Committee” with Jordan Cohen demonstrates the democratic approach that characterizes Lawrence’s internal organization.

Marc Langer

Marc Langer joined Lawrence as lead trumpeter during the band’s formation at Brown University, providing the bright, cutting sound that tops their horn section arrangements. His performance combines technical precision with stylistic flexibility, adapting to the band’s diverse musical influences while maintaining consistent tonal quality. His occasional rapping adds textural variety to specific songs within their repertoire.

Langer’s trumpet background includes formal training that equipped him for Lawrence’s professional performance requirements. His educational experience at Brown University fostered connections with band members while providing opportunities to develop his ensemble skills. His approach emphasizes both melodic lead playing and supportive harmonic contributions as songs require.

His contributions across Lawrence’s albums have provided consistent high-register support while adapting to evolving production styles. Breakfast established his trumpet voice within the band’s horn arrangements. Living Room featured his performance on more sophisticated chart material. Hotel TV showcased his adaptation to Jon Bellion’s production approach and electronic integration. Family Business demonstrates his continued importance to the band’s signature sound.

Langer’s role as “Toppest of the Top Brass” reflects both his musical position and his personality within the band dynamic. His trumpet work provides the exclamation points that punctuate Lawrence’s most energetic moments while adding harmonic sophistication to their ballad material. His occasional rap contributions demonstrate the band’s willingness to incorporate diverse stylistic elements while maintaining their core identity as a soul-pop ensemble.

Read More: Artists’ Interviews Directory At ClassicRockHistory.com

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Black Sabbath – The Farewell Interview: Ozzy, Tony, Geezer and Bill, only in the new issue of Classic Rock

The cover of Classic Rock 341, featuring the Black Sabbath logo
(Image credit: Future)

Granted, we’re a fair few months away from our Best Of The Year issue, but if I was a betting girl I’d lay money now on knowing what the event of the year is going to be. Yes, you already know what I’m talking about… the reunion of the original line-up of Black Sabbath for their mighty last hurrah (with the esteemed company of rock and metal’s best in support to celebrate) in their home city of Birmingham.

To mark this momentous occasion, Classic Rock spoke with the four men who, let’s face it, invented heavy metal – Ozzy Osbourne, Tony Iommi, Geezer Butler and Bill Ward – ahead of what most definitely will be their final time on stage together. I have a suspicion July 5 is going to be a very emotional day for all involved.

This issue is a premium edition, which means that each copy comes with an official Black Sabbath Back to The Beginning gig poster and laptop sticker (subscribers, mail order and UK newsstand only).

Also available this month: A Skunk Anansie x Classic Rock bundle edition with an exclusive crystal and white splatter variant of their new album The Painful Truth (out today!), an art card signed by each member, and a limited-edition variant cover featuring Skin & Co on the cover.

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Features

Black Sabbath
We talk to all four original members about their final show.

Ghost
Tobias Forge, aka Papa V Perpetua, talks dark matters and working towards “newer, better, bigger”.

The Doobie Brothers
With vocalist Michael McDonald on board again and a new album, they’ve still got what it takes – just listen to the music.

Skunk Anansie
Their future in the balance, with the new album they “stood on top of the cliff, held hands and jumped into the clouds”.

Motörhead
Orgasmatron signalled a new start for Motörhead. We turn back the clock to 1986 with a classic interview.

Chris Goss
You can’t rush art. Mindfulness and spirituality matter… These are among the things that shape the Masters Of Reality mainman’s worldview.


The cover of Classic Rock 341, featuring the Black Sabbath logo

(Image credit: Future)


Regulars

The Dirt
Bad Company make it into the Hall Of Fame; new albums from Alice Cooper and Faces; Ritchie Blackmore grounded by doctors. Welcome back The Dead Daisies and Stan Lynch, say hello to Shuyler Jansen and Ally Venable, say goodbye to Clem Burke, Roy Thomas Baker, Les Binks and more.

The Stories Behind The Songs: The Stranglers
Driven by a gritty, hooky bass riff, Peaches was a UK Top 10 and is still a must-play by today’s Stranglers almost 50 years on.

John Lydon
The PiL frontman and former Sex Pistol on losing loved ones, living near the California fires, spoken-word gigs, underpants and more

Six Things You Need To Know About: When Rivers Meet
Lockdown helped them build a fan base, Aaron aspires to the silver screen, communication is key and more.

The Hot List
We look at some of the essential new tracks you need to hear and the artists to have on your radar. This month they include De’Wayne , Hollow Souls, Kadavar, Star Circus and more.

Reviews
New albums from Skunk Anansie, Doobie Brothers, Garbage, The Dead Daisies, Gary Moore, CJ Wildheart, Bernie Marsden and more. Reissues from Status Quo, Dire Straits, INXS, Black Stone Cherry, Don Henley, Sweet, Skid Row, Bruce Soord, Suede, Donnas and more. DVDs, films and books on Fleetwood Mac, Porcupine Tree, Jethro Tull, Genesis, Siouxsie And The Banshees, Yoko Ono and more. Live reviews of The Who, Ghost, Manic Street Preachers, Masters Of Reality, Eureka Machines and more.

Buyer’s Guide: Goo Goo Dolls
Although the strength of their songwriting has been frustratingly inconsistent, the band have shown moments of real class.

Lives
We preview tours by Bonnie Raitt, Zeal & Ardor and Chantel McGregor. Plus gig listings – who’s playing where and when.

The Soundtrack Of My Life: Robin Trower
Blues lifer Robin Trower picks his records, artists and gigs of lasting significance.

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* Copies of the new issue of Classic Rock can be purchased online from Magazines Direct

* Classic Rock is on sale in the UK in shops such as supermarkets and newsagents.

* In North America, Classic Rock is available in branches of Barnes & Noble and Books-A-Million, although new issues do not go on sale until a couple of weeks after they’re published in The UK.

* An easy option is to go digital. You can subscribe digitally from just £20.99 for six months. Individual issues and subscriptions are also from the Apple Store, Zinio, Readly, Press Reader and Pocketmags.

* Save money by buying a physical subscription. UK and overseas subscriptions are available.

Classic Rock editor Siân has worked on the magazine for longer than she cares to discuss, and prior to that was deputy editor of Total Guitar. During that time, she’s had the chance to interview artists such as Brian May, Slash, Jeff Beck, James Hetfield, Sammy Hagar, Alice Cooper, Manic Street Preachers and countless more. She has hosted The Classic Rock Magazine Show on both TotalRock and TeamRock radio, contributed to CR’s The 20 Million Club podcast and has also had bylines in Metal Hammer, Guitarist, Total Film, Cult TV and more. When not listening to, playing, thinking or writing about music, she can be found getting increasingly more depressed about the state of the Welsh national rugby team and her beloved Pittsburgh Steelers.

“Skunk Anansie’s most musically ambitious album yet”: Skin & Co’s The Painful Truth is their best work in decades

You can trust Louder Our experienced team has worked for some of the biggest brands in music. From testing headphones to reviewing albums, our experts aim to create reviews you can trust. Find out more about how we review.

A whole quarter century has passed since Skunk Anansie’s history-making show as the final band of the previous millennium to headline Glastonbury, which rounded off a blazing run of multi-platinum albums and monster hits. A lengthy sabbatical, solo albums and side projects followed before these trailblazing British “Clit Rock” icons reunited in 2009. Alas their ongoing second act has so far produced just two fairly patchy albums.

Skunk Anansie’s first album in nine years, The Painful Truth lands in the thick of an extended rough patch for the band. Following management shake-ups, plus bassist Cass Lewis and drummer Mark Richardson both undergoing cancer treatment, life has acquired a new urgency. And resting on their laurels would mean creative death

Skunk Anansie – An Artist Is An Artist (Lyric Video) – YouTube Skunk Anansie - An Artist Is An Artist (Lyric Video) - YouTube

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To this end, the Skunks brought in producer Dave Sitek (Yeah Yeah Yeahs, Weezer, Beyoncé and more). Sitek stripped away the band’s signature heavy guitar riffs and clobbering drums, and pushed a more electro-friendly post-punk sound, to mostly positive effect. Their alt.rock energy remains, but their overwrought nu-metal bombast is dialled down.

This gung-ho reboot attitude is evident instantly on fantastic opener An Artist Is An Artist, a declamatory spoken-word diatribe over propulsive Kraut-infused grooves and angular guitar. The lyric insists defiantly that true artists remain vital and engaged at any age, regardless of critical disdain and shifting fashions. ‘They ain’t here for your pleasure, changing like the British weather!’ Skin proclaims. If any veteran band needed a galvanising mid-career manifesto, it’s this one.

Skunk Anansie – Animal (Lyric Video) – YouTube Skunk Anansie - Animal (Lyric Video) - YouTube

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Elsewhere an impressive eclecticism rules. In the trip-hop power ballad Shame, Skin broods on lingering family wounds in a shredded vibrato before switching gear for the soaring, operatic chorus. On the deadpan disco-rocker Fell In Love With A Girl she unpacks the kinky delights of a bizarre love triangle with another woman and a ‘typical fuckboy’. Riffing on their shared love of Dennis Bovell’s production work for The Slits, Sitek and the Skunks also cook up a dub-infused punky reggae party on Shoulda Been You.

It’s occasionally shrill and clunky, but from proudly queer love songs to spine-tingling piano weepies to stadium-sized lust confessionals this is Skunk Anansie’s most musically ambitious album yet, and their best work for decades. It’s great to have these alternative national treasures back on such lively, adventurous, emotionally raw form.

Stephen Dalton

Stephen Dalton has been writing about all things rock for more than 30 years, starting in the late Eighties at the New Musical Express (RIP) when it was still an annoyingly pompous analogue weekly paper printed on dead trees and sold in actual physical shops. For the last decade or so he has been a regular contributor to Classic Rock magazine. He has also written about music and film for Uncut, Vox, Prog, The Quietus, Electronic Sound, Rolling Stone, The Times, The London Evening Standard, Wallpaper, The Film Verdict, Sight and Sound, The Hollywood Reporter and others, including some even more disreputable publications.