Author Archives: Jason Miller

Body Count tore through the Kentish Town Forum last week in London, leaving a moshpit-ravaged landscape in their wake. Their Merciless Tour stop was a potent display of the band’s enduring power, effortlessly weaving together crossover thrash anthems, blistering social commentary, and a taste of upcoming brutality.

The night erupted with the pulverizing one-two punch of “Body Count’s in the House” and straight into a surprising, but very much welcomed Slayer medley of “Raining Blood” and “Postmortem.” Ice-T, a towering figure of stoic charisma, strutted the stage with swagger, his vocals cutting through the surging guitars with razor-sharp precision. Even at 66, his presence remains as intimidating as ever. The crowd, a diverse mix of generations united by their love for heavy music and hard-hitting lyrics, roared their approval.

Body Count unleashed classics like “Bowels of the Devil” and “There Goes the Neighborhood” with relentless ferocity. The mosh pit was a maelstrom of chaos, bodies colliding and thrashing in unison, creating one of the most brutal scenes ever witnessed at the O2 Forum in Kentish Town. “Necessary Evil” and “Manslaughter” hit with the force of a sledgehammer, proving the band hasn’t lost a step, their signature blend of thrash and groove metal sounding more potent than ever.

One of the highlights of the night was the relentless energy brought by Ice-T’s son, Little Ice. Stage diving and flying around the stage, Little Ice kept the energy at an atomic level, ensuring the mosh pit was fierce and never seemed to stop. It was one of the heaviest shows I’ve ever seen, full of surprises, including two new songs, “Psychopath,” which is old-school metal at its finest, and “The Purge.”

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Last Wednesday at the O2 Kentish Town Forum, Underoath delivered a show that was more than just a nostalgia trip for fans clinging to their teenage angst. It was a defiant middle finger to the critics who once pigeonholed metalcore as a genre of fleeting trends and guttural screams. This wasn’t your typical mosh pit fueled by mindless aggression. This was a celebration of a band that dared to evolve, pushing the boundaries of the genre they helped define.

Some may miss the wild, chaotic mosh pits of the past where bodies once flew through the air like missiles. Yet, for longtime fans of Underoath, the change in energy wasn’t a watering down but a refining process. This show resonated with those who’ve grown alongside the band, where emotions have evolved beyond raw intensity to something deeper. Don’t get me wrong, there was a pretty consistent wave of crowd surfers and a whirlpool of a pit here and there, but the majority were there to sing along and remember the impact this album had on them.

Playing their iconic They’re Only Chasing Safety record in its entirety wasn’t just a nostalgic pandering, it was a testament to the album’s enduring strength. This is the one that divided both critics and fans alike as the band evolved their sound and accepted that you can’t please everyone, nor should you be trying to. These weren’t relics of a bygone era, these were songs that still resonated with a raw and powerful honesty. It was a reminder that Underoath was at the top of the heap of bands of the overcrowded metal core scene, and one that still matters today.

The acoustic interlude with “Some Will Seek Forgiveness, Others Escape” offered a welcome shift in gears. This stripped-down performance, featuring just Aaron Gillespie and Tim on guitars, showcased the emotional core of Underoath’s music. It was a special treat to see Aaron, the band’s last original member, step out from behind the drums and deliver such a raw and powerful vocal performance. This intimate moment highlighted the depth of his songwriting and the vulnerability often overshadowed by the band’s heavier sounds.

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James, born from the industrial pulse of Manchester in 1982, took the stage at The O2 in London and transformed it into a living, breathing work of art. Led by the ever-magnetic Tim Booth, the band’s ability to evolve while retaining their essence was on full display. This wasn’t just another night of music; it was a kaleidoscope of sound and emotion, a journey through decades of musical evolution.

Touring in support of their landmark eighteenth studio album, Yummy, James is back with a collection that’s resonating deeply with critics and fans alike. Yummy showcases the band’s enduring creativity, with the songwriting hailed as some of their best. James tackles complex themes of love, loss, and the environment, offering fresh perspectives that both challenge and inspire.

Musically, the album is a delightful exploration, seamlessly blending their classic sound with new sonic textures, creating a diverse and engaging listening experience. But James isn’t afraid to get real either, with socially conscious lyrics that urge listeners to embrace inclusivity and take action to protect our planet. This potent combination of insightful lyrics, genre-bending music, and a message of hope makes Yummy a must-hear for longtime James fans and new listeners discovering the band’s brilliance.

With the anticipation built around their new album, the stage was set for a memorable night. The energy at the O2 was electric, filling the vast arena with nearly 20,000 people. As the lights dimmed and the first notes of “Johnny Yen” reverberated through the space, the audience was immediately transported. Booth moved with a hypnotic elegance, looking completely at home with the confidence and swagger that originally got him this gig many years ago. The seamless transition into “Waltzing Along” felt like a natural progression, leading Booth to the front of the barricade. Standing on the edge, with the fans in the front row literally holding him up as he serenaded them up close and personal, he let go and the crowd lifted him high, gliding him across the arena floor.

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Liam Gallagher’s final night at the O2 Arena was a cacophony of nostalgia, bravado, and pure rock ‘n’ roll bliss. Let’s be honest; in the pantheon of rock icons, few can swagger like Liam. He’s the last of a dying breed—a rock star who doesn’t just walk the walk but struts it with a perpetual sneer and a parka that looks like it’s survived the Gallagher brothers’ infamous rows.

The Definitely Maybe tour is a celebration of an album that, for many, defined the ’90s. For those of us who grew up in the Britpop era, this tour is less about music and more about reclaiming our youth. And Gallagher knows this. He’s not just singing songs; he’s resurrecting an era. Every chord of “Supersonic” and every lyric of “Live Forever” is a time machine back to a decade when our biggest worry was which Gallagher brother would storm off stage next.

The O2 Arena, that monolithic testament to modern entertainment, was packed to the rafters with fans eager to relive the glory days of Britpop. The discomfort of standing for hours was worth it for a setlist that reads like a greatest hits album. Gallagher, never one to mince words, kicked off with “Rock ‘n’ Roll Star,” a song that’s less about rock and roll and more about Gallagher’s personal brand of cosmic ego. And we loved it.

The highlight, of course, was the full performance of Definitely Maybe. Let’s not kid ourselves, this album is the Holy Grail for Oasis fans. Tracks like “Up in the Sky” and “Cigarettes & Alcohol” were played with an intensity that felt both nostalgic and refreshingly raw. Gallagher’s voice, that iconic nasal drawl, was as sharp as ever. If anything, age has added a layer of gravel that suits the music’s anthemic quality.

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Ever found yourself wondering if you’ve been missing out on something epic? Well, seeing Thirty Seconds to Mars live for the first time made me realize I’ve been obliviously orbiting outside a musical cosmos that’s nothing short of extraordinary. Jared Leto, whom I’ve always revered for his Oscar-winning performance in Dallas Buyers Club (among other outstanding roles), showed that his rock star chops are not just good—they’re stratospheric.

Originally delayed due to the SAG strikes impacting Leto’s filming schedule, the rescheduled The Seasons Tour celebrated their sixth studio album, It’s The End Of The World But It’s A Beautiful Day, with interstellar flair. And let’s talk about their penchant for the extraordinary: Thirty Seconds to Mars don’t just release albums—they release experiences.

How about the first commercial album launched into space? Check. Debuting a song from the Space Station? Check. With thousands of fans contributing variations of cover art, backing vocals, and percussion to their recordings over the years, and holding the record for the number of shows during a release cycle (literally in the Guinness Book of World Records), it’s clear that Leto wants to bring his fans as close as possible to the experience and the music. The show at the O2 Arena was a testament to their innovation.

From the moment the band launched into the thunderous opening of “Up in the Air” with a massive explosion of confetti, it was clear that this would be a huge show. Ripping straight into “Kings and Queens” and “Walk on Water” kept the momentum soaring, proving that Leto’s knack for massive hooks is undeniable. But it’s not just the music that’s out of this world—Leto brings a level of creativity that’s light years ahead. Picture this: lasers, fire, neon lights, dramatic leaps, and costumes so elaborate they’d make a Broadway wardrobe jealous and have Pink Floyd fans reminiscing.

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Last night, Jane’s Addiction kicked off their tour with an intimate, electrifying performance at London’s iconic Bush Hall, marking the first time in over 14 years that the classic lineup played together. With a capacity of just 400, the venue was packed to the rafters, creating a sense of exclusivity and anticipation that filled the air. Tickets were nearly impossible to get, making this an extraordinary event for those fortunate enough to shuffle through the door of this more than one-hundred-year-old dance hall. 

The classic lineup of Perry Farrell, Dave Navarro, Eric Avery, and Stephen Perkins brought undeniable star power to the stage. Each member showcased their talents while melding together seamlessly to deliver a nostalgic and forward-thinking performance. It was a night that evoked the spirit of the ’90s, a decade where Jane’s Addiction helped shape the alternative rock landscape with their raw and eclectic sound.

Jane’s Addiction’s early days were marked by explosive energy and boundary-pushing performances that helped define the alternative rock movement. Their shows were chaotic, vibrant, and unpredictable, with each member contributing to the wild, rebellious spirit that set them apart from their contemporaries. Last night, that spirit was very much alive, but it was clear that the band had evolved. Their performances are now polished yet powerful, seamlessly blending their classic hits with a matured, sophisticated sound that continues to captivate.

Perry Farrell embodied the essence of sophistication, juxtaposing his early days of psychedelic flair and rebellious energy with a more refined, eclectic style. His stage presence remains magnetic, effortlessly commanding the audience’s attention. Still distinctive and assertive, Farrell’s voice highlighted his growth as a multifaceted artist. He is a master showman, weaving the old with the new and entrancing the audience throughout the set.

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Twenty years on, Hopes and Fears remains a masterpiece, untouched by time. Few bands will have a moment like this, and even fewer will stick around to celebrate it at this magnitude. I saw this original tour in Houston, Texas in 2005 and now nearly two decades later, I’m amid 20,000 fans at a sold-out night two at the famed O2 Arena in London. The energy is electric, the music transcendent, and Keane’s timeless sound isn’t just enduring—it’s thriving, with the crowd’s roaring approval as proof.

Tim Rice-Oxley hammers on the keyboards like a heavy metal guitarist shreds during a face-melting guitar solo. You really can’t take your eyes off this guy as he’s clearly having the time of his life, pouring his heart and soul into every smash of the ivories. Tom Chaplin’s voice was the best I’ve ever heard it. Maybe it was made for arenas? It was just next level, and I’ve seen him perform Queen songs where I thought he was peaking. Add to that his signature charismatic leaps, swirls, and fist pumps, and you’ve got that 2004 magic refined and elevated.

The rhythm section of Richard Hughes and Jesse Quin keep it simple but elegant while locking in that signature Keane groove that lays the foundation for their biggest hits. It’s easy to forget that there’s no guitar in this band, something that was a bit of a talk trigger twenty years ago but Keane proved that it’s just not needed for what they do best. The songs, it’s all about the songs. And on this night it was hard to argue with the setlist.

The star of the night was of course Hopes and Fears played in its entirety, and let me tell you, this record still holds up like it was released yesterday. It’s not only one of the all-time best-selling albums in the UK, clocking up more than 3.5 million sales in the UK alone, but it’s a damn near perfect album. You could call it the Hysteria of brit pop with five singles dominating the chart as the hits just kept coming.

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Entering the Eventim Apollo on a brisk Tuesday evening in London felt like stepping into a chapter of my personal soundtrack.

My first encounter with Mika’s music was a chance stumble upon “Grace Kelly” while living in San Francisco. As someone deeply appreciative of bands like Jellyfish, Queen, and Badfinger, Mika’s sound struck a chord with me—bold, inventive, and refreshingly unique. That track alone was a game-changer, and diving into his album was akin to discovering a pop music gem, brimming with disco, funk, and those falsettos and harmonies that instantly pull you in. It was as if the energy of the Scissor Sisters’ debut had been reborn.

Mika’s 2024 tour kicks off on the heels of a spectacular year. His French-language album not only snagged the “French-language Album of the Year” at the Pure Charts Awards, but he’s also made waves on television, earning critical acclaim for his roles on The Voice in France and The Piano in the UK—the latter winning Best Original Programme at the 2024 Broadcast Awards. His venture into film scoring also earned him a nomination for Breakthrough Composer of the Year by the International Film Music Critics Association, showcasing his remarkable versatility as an artist. To say he’s at the peak of his powers would be an understatement.

Seeing Mika live again was like reuniting with an old friend. His Apocalypse Calypso Tour might have featured just one song from his latest album Que ta tête fleurisse toujours, but it didn’t matter—the energy was through the roof. The crowd was pumped, eager for a night packed with Mika’s greatest hits. He delivered big time, diving into the songs that first hooked us, making sure the evening was filled with those signature Mika moments we all came for.

To fully grasp Mika’s unique artistry, you really had to be there. The show kicked off with an unforgettable spectacle—Mika, decked out in massive red wings and enclosed in a symbolic cage, delivering “Bougez.” His performance swung from beautiful to intense, capturing the full spectrum of human emotion. From that first song, it was full steam ahead. Mika was on a mission to energize every person in the crowd, keeping us grinning from ear to ear for the next two hours.

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Tuesday night at the Troxy in London, Liam Gallagher and John Squire delivered a performance that could only be described as a serendipitous collision of rock ‘n’ roll giants. When the news of their collaboration first broke, skepticism and excitement swirled in equal measure. Gallagher’s unmistakable vocal presence, combined with Squire’s masterful guitar work, sounded too good to be true. Yet, there we were, witnessing a partnership that seemed destined by the rock gods themselves.

The crowd at the Troxy was a testament to the magnetic pull of Gallagher, a figure whose fans exhibit devotion that borders on the spiritual. The scene could easily be mistaken for a political rally, if not for the oceans of beer and the electrifying anticipation of music rather than rhetoric. The mood was intense, a heady mix of throwback vibes and the buzz for something novel, as the crowd geared up knowing they were about to witness something far from the ordinary.

What truly set the evening apart was the duo’s bold decision to eschew the expected Oasis and Stone Roses hits in favor of their new collaborative material. The gamble paid off spectacularly, with tracks like “Just Another Rainbow,” “I’m So Bored,” and “Mars to Liverpool” proving that this partnership was not just a novelty but a potent new force in music. Their cover of “Jumping Jack Flash” was a nod to their influences while firmly establishing their own identity. I was standing there in complete awe of how well it worked, Gallagher’s snarl over the psychedelic ’70s sonic landscapes from Squire; it really was something special, something I never thought I’d see.

The origins of this unique collaboration, as Gallagher revealed, were as unconventional as the show itself, beginning with a simple gift of Portuguese moccasins from Gallagher to Squire. This gesture, emblematic of their mutual respect and friendship, sparked a creative partnership that has since captivated the UK music scene. It’s a reminder that sometimes the most extraordinary projects arise from the simplest acts of thoughtfulness and connection. Who would have thought that Gallagher was such a good gift-giver?

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Strap in and brace yourself for a metal odyssey that breaks the mold, where Dragonforce, Amaranthe, and Infected Rain come together in a lineup that’s a rarity in today’s landscape—a trio where no band is the weak link, each elevating the bar for what a metal tour can be. Gone are the days of filler acts; this tour is all killer, no filler, channelling the spirit of the late ’90s and early 2000s when lineups were so impeccably curated, you’d swear the stars had aligned.

Amaranthe, with their unparalleled trio of vocalists, elevates the metal scene into an electrifying spectacle. Elize Ryd’s enchanting melodies, Henrik Englund Wilhelmsson’s raw growls, and Nils Molin’s robust cleans interweave, creating a vibrant tapestry of sound that’s both aggressive and melodious. This vocal dynamism sets the stage for performances that blur the lines between genres, cementing their place in what some affectionately term “dance metal.”

Their latest endeavour, The Catalyst, is a testament to this evolution, showcasing a blend of razor-sharp precision and boundless energy. However, as someone who holds Helix as their favourite album, its absence from the setlist strikes a personal chord. Despite this, the overall brilliance of Amaranthe’s performance remains undiminished, offering a glimpse into a future where metal is not just heard but felt in all its multifaceted glory.

Dragonforce orchestrates a journey that’s a high-octane blend of nostalgia and spectacle, weaving an adrenaline-charged realm where power metal is sovereign, arcade games cast their luminous allure across the stage, and pop classics undergo a metamorphosis into power metal masterpieces. Their renditions of Taylor Swift’s “Wildest Dreams” and Celine Dion’s “My Heart Will Go On” exemplify their knack for blending the unexpected with sheer technical brilliance.

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When Filter unleashed their first record nearly 30 years ago, it was like a sonic sledgehammer smashing through the music scene’s norms—unadulterated industrial metal at its purest. Yet, as they evolved, shredding the playbook for a sound that melds gut-punching riffs with a denser, more organic metal, their creative trajectory has only ascended.

Their London gig on Saturday was no mere concert; it was a tempest of sound, helmed by the indomitable Richard Patrick, whose genius has only intensified over the years. The Algorithm marks a zenith in their journey, marrying the ferocious energy of their early days with a sharp modern edge that cuts through today’s musical clutter.

Having seen Filter live a dozen times over the years, I can assert without a hint of hyperbole that now is the ultimate time to experience them. The setlist—a seamless blend of their immense catalogue with the blistering tracks from the new album—showcases a band at the peak of its powers.

Onstage, the atmosphere was electric, a visual spectacle of deep purples, blues, and enveloping smoke, making for a photographer’s nightmare but a fan’s dream. Patrick, in his signature Ray Bans, was a force of nature. His voice, commanding and potent, anchored the night, drawing us into a shared journey through Filter’s evolving soundscape.

The setlist was a masterful raid on Filter’s arsenal, zeroing in on the raw power of their first three albums while snatching some gems from soundtracks and their more underrated works. “Jurasitol” and “Trip Like I Do” detonated with epic force, while “You Walk Away” and “American Cliché” hit harder than ever, each riff a sledgehammer to the senses.

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Back in 2016, when the UK’s damp air first wrapped itself around me, I stumbled upon a sound so ferocious, it felt like a sonic uppercut. “Juggernaut” by Frank Carter & the Rattlesnakes was a revelation—imagine Quicksand’s grit, Lamb of God’s fury, and Fugazi’s defiant edge all mashed into one. It was more than music; it was a call to arms. Carter’s live performances elevated this fury, with a presence so intense it could ignite a fire in the rain. The man was angry, and his music was the storm.

Fast forward to the embrace of 2024, and Frank Carter has done what few dare—he’s swung the pendulum from fury to finesse, embodying a transformation akin to the Arctic Monkeys’ genre-defying leaps. Donning the mantle of a big band leader, Carter croons with a finesse that belies his punk roots, showcasing a creative evolution that is as unexpected as it is captivating. The latest record, Dark Rainbows, is nothing short of brilliant, a testament to Carter’s unyielding drive to explore and expand his musical landscape.

Dark Rainbows marks a significant shift in Frank Carter’s musical direction, showcasing his vocal talents amid broader, more experimental soundscapes. This departure from the intense, raw energy of his past work is evident in standout tracks like “Honey,” which combines catchy melodies with a depth of emotion and a distinctive ’80s new wave feel, and “Man of the Hour” which introduces a ’70s AM radio vibe, adding a slow jam feel to the album.

These tracks speak to a more refined artistic vision, highlighting the band’s willingness to explore different musical eras. However, this change has not been universally praised. While some listeners appreciate the experimentation, others miss the direct, aggressive edge that characterized the Rattlesnakes’ earlier music, criticizing the album’s slow start and its focus on atmosphere over guitar-driven rock.

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In a world where the theatricality of power metal reigns supreme, the recent Gloryhammer and Beast in Black show at the O2 Kentish Town Forum in London stands as a testament to the enduring allure of a genre that marries the epic to the electric. Dubbed “Glory and the Beast,” this tour has become a sold-out sensation, a gathering of metal aficionados eager to partake in the high-octane energy, massive guitar solos, and over-the-top theatrics that define this corner of the musical universe. 

The Kentish Town Forum, one of London’s most iconic venues, became the epicentre of a power metal odyssey, offering an ideal backdrop for the sweeping soundscapes of the evening. This venue, nestled perfectly for acts bridging the gap between the intimacy of smaller stages and the grandeur of places like Hammersmith, became the crucible for a sold-out show that highlighted the unique appeal of both bands. Their ability to master the genre’s essential elements—catchiness, heaviness, and theatricality—while fostering a communal experience, has consistently drawn large crowds. Their music transcends the bounds of mere performance to become a shared adventure through fantastical lands crafted by their imagination.

Gloryhammer, a band that has carved its niche within the metal scene with a laser-sharp focus on fantasy and science fiction narratives, brings more than just music to the table; they bring stories. Founded in 2010 by Alestorm’s Christopher Bowes, the band’s discography is a rollicking ride through an invented universe of intergalactic battles and legendary heroes, all served with a side of tongue-in-cheek humour. Their significance lies not just in their sound, which is as potent and catchy as any power metal ought to be, but in their ability to create a world within their albums, inviting listeners to partake in an ongoing saga that is as immersive as it is musical.

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The View’s gig in London last week wasn’t just a throwback to the mid-2000s music craze, it was a full-blown resurrection. Back in those days, I was knee-deep in the music biz stateside, witnessing UK bands like The Zutons, Kasabian, and of course The View, trying to strike gold in the US. It was a hit-and-miss game, mostly misses, if we’re being honest. The View, with their Scottish roots and Libertines-esque sound, caught everyone’s attention with “Same Jeans” and their debut Hats Off to the Buskers. But like many others, they were just a blip on the American radar.

Fast forward to the present, and a chance encounter with an article about The View reignited that old spark. Learning of their onstage “brotherly bust up,” I knew I had to catch them live before any potential split. Scala in London was the perfect setting, a sold-out show pulsating with energy and anticipation. From the first note to the last, it quickly became apparent that this was one of those cases where the record Hats off to the Buskers didn’t capture the magic and energy of the live show. It’s night and day to me, maybe it was the major label polish or maybe it was digital trumping analogue. 

Seeing The View in 2023 is like watching a band reborn. On stage, they radiate a confidence that teeters on the edge of cocky, yet somehow, it suits them perfectly. Gone are the days of leaning on their past hits. Instead, they’re dishing out fresh tracks from their latest album Exorcism of the Youth. Among these, “Dixie” is a standout. Kyle Falconer has morphed into a master of pop anthems, crafting songs that grab you by the collar and demand your attention.

This wasn’t one of those gigs where everyone was waiting for that one hit song. The audience was there for the ride, start to finish. Every new song built on the last, and by three-quarters in, the place was electric. The jam-packed crowd looked to be on the verge of a full-blown pit at every second. They ended without an encore, and honestly, they didn’t need one. They’d already proved their point.

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