Yes, I think it’s about time I redeem myself. I did criticise the production on the new Paul McCartney album but he is still the number one for me. Please forgive me Macca!

Of course I’m just being silly, but I did want to highlight a later Paul McCartney album that I think is absolutely fantastic – 2013’s New. It captures everything that makes him great, while still feeling playful, modern, and occasionally experimental without ever trying too hard to be relevant. Here’s a quick track-by-track run-through.

• Save Us – the album kicks off with this rocking track, reminiscent of Wings. Features fuzz guitar, trademark piano and the distinctive melodic approach of McCartney. Has an almost punk energy.
• Alligator – a track that introduces the more experimental tendencies of the album. It has those classic Beatles hallmarks; acoustic guitar, harpsichord and Ringo-style drums. However, there is also a subtle electronic presence, with synths bubbling in-and-out of the mix to create something thoroughly fresh.
• On My Way to Work – another interesting song. Features classic elements of Macca once again; lyrics about riding on a bus, a bouncy acoustic feel. However, the track also possesses weird modern sounding slide-guitar passages, with siren sounds in the background. The track weaves this tapestry well; going from bright Beatles sounds to slightly darker sonic landscapes, all the while sounding cohesive.
• Queenie Eye – a classic Beatles type track featuring McCartney’s effortless piano skills and mellotron. A really catchy tune showing how his gift for melody is evergreen.
• Early Days – a quieter acoustic number about McCartney’s early days with The Beatles.
• New – a jaunty, piano-led track that is akin to Beatles song “Penny Lane.” The chord changes and melodic choices are so creative on this song, something I really admire about McCartney. I always found Beatles songs deceptively simple, with strange chords used – McCartney still uses those old tricks in modern times.
• Appreciate – the most experimental song on the album, an electronic track featuring a drum machine, synths and all kinds of psychedelic loops. McCartney sings through a filter not dissimilar to what Lennon used on “Tomorrow Never Knows.” The track does contain similarities to the experimentation of the Revolver era. It explodes into a rocking chorus, with real instruments and an awesome drum pattern coming in.
• Everybody Out There – another track featuring a brilliant melody, this time on the acoustic guitar. I do love how McCartney favours these joint melodies on the acoustic and electric guitar.
• Hosanna – a slower psychedelic number. Not a favourite but not bad.
• I Can Bet – contains a ridiculously catchy chorus and nails that simultaneously vintage and modern sound.
• Looking At Her – pulsing synths meet a solid rock backbone. Another example of McCartney experimenting without losing his identity.
• Road – the final song on the album, the only one I dislike – the melody doesn’t quite land for me. The hidden track “Scared” is nice though.

Overall, this is an incredibly consistent album from Paul McCartney. It shows him adapting to the times somewhat, yet proving his trademark sound is timeless. Would recommend to any Beatles and McCartney fan.

I recently did an article on the monumental human that is my cousin Angus, and how he will be at the Scottish music festival TRNSMT on the Friday. The headliner on that day is Richard Ashcroft, frontman for The Verve. I showcased my Verve & Richard Ashcroft playlist in that article, displaying the evolution from shoegaze roots to modern day.

However, I also wanted to discuss an aspect of Ashcroft’s live shows before TRNSMT. Last year, I did a few posts in my “Glasto Through The Years” series, looking at Glastonbury headliners from 1995 to now. I was eventually going to resume this series, but have decided to go a bit out of order – looking at The Verve’s 2008 headline set before Ashcroft’s TRNSMT show.

The Verve headlined a landmark year for Glastonbury. Jay-Z was the first ever hip-hop artist to ever headline the festival, which caused a lot of controversy with the typically rock crowd and remarks from Noel Gallagher. However, I will look at that moment at a later time, just focusing on The Verve today. I will also review some hip-hop soon, a genre I haven’t discussed yet – and what could be considered the biggest genre in the world.

To me, The Verve are an interesting choice to headline Glastonbury. Headliners typically have many hit songs (I believe that should be the case anyway) that can fill up at least 90 minutes. The Verve really only have four hit songs, “Sonnet,” “Lucky Man,” “The Drugs Don’t Work” and of course, “Bitter Sweet Symphony,” which has over 1 billion streams.

I do believe the set starts off quite strong. “This Is Music” and “Space and Time” are great rockers to open with that showcase their songs that aren’t the hits! They then play new song at the time, “Sit and Wonder,” which I included on the playlist. It’s a groovy, psychedelic song with some truly otherworldly guitar work. I have no idea how Nick McCabe came up with the melodies and sounds used. Furthermore, they play the ballad “History.” I do believe, even though a bit long-winded, it could’ve worked as a chill/mysterious intro, before kicking into some rockers. Ashcroft could’ve started it off solo with the band crashing in near the end.

The set slightly falters for a while after this, in my opinion, but is still quite enjoyable. They include the famous “Rapper’s Delight” bassline and snippets of “Hard Knock Life” and “Oh What A Night” by The Four Seasons at the end of “Life’s An Ocean.”

To me, helping the set along with covers slightly diminishes your headliner status. You should be able to fill it with your own music. However it does make this set drag less – even if they could’ve used some tracks from their debut to showcase their shoegaze origins in my opinion. Having seen clips of Ashcroft’s recent concerts, he often extends his songs – quietening everything down before a big crescendo. Even though this makes his songs quite long, it works and is quite amusing/different doing it for multiple songs. I believe The Verve could’ve used his methods during these lesser-known songs to make the concert more engaging.

Nonetheless, after this the gig flys to the stratosphere. During “Velvet Morning” the stage starts to become engulfed by the smoke machine! This starts to bring a hazy, psychedelic atmosphere – a feeling that the gig is about to go somewhere else.

They then launch into (after playing “Sonnet” second) the hits the crowd were waiting for – “The Drugs Don’t Work,” “Lucky Man.” The singalong is glorious. By the time “Bitter Sweet Symphony” rolls around, preceded by a characteristically egotistical/rock n roll speech from Ashcroft, you can barely see the band on stage through the thick cloud. The singing from the crowd, the echoing guitar loop of McCabe – it feels like you’ve flown to the clouds!

You don’t think you can get any higher, until the band take the risky decision to close with new song “Love Is Noise.” However, as I said in the playlist, it is one of two fast-paced songs in their catalogue! With the smoke machines and guitar effects, it sounds absolutely colossal – like a religious rock n roll rave. Ashcroft jumps up and down, commanding the audience to go higher, with the guitar noise rising and rising. It keeps building and that is it – the song and gig are over, and the band leave the stage in a rock n roll haze.

It is often regarded as one of the greatest Glastonbury headline sets and I can totally see why. It shows that even a band with not that many hits can headline – if they have a good enough trick such as the simple power of a smoke machine! Those last two songs closing the festival are a legendary moment. The set is only 78 minutes, with no encore, but I’m sure another song (with Ashcroft’s solo extending tricks) could’ve been added in.

Who knows if Ashcroft will use the same simple smoke machine trick at TRNSMT (he doesn’t seem to in his recent sets from what I’ve seen) but there is always that possibility – and that’s why I wanted to cover this epic concert moment before reviewing TRNSMT. Come on, let’s see you on the TV Angus!

The world-famous rock & metal festival Download took place again this year, as it does every year at Donington Park in England. The motorsport circuit previously hosted the Monsters of Rock Festival in the ’80s and ’90s, with iconic headliners like AC/DC – a legacy that Download has proudly carried on.

Now, I’m not a big fan of heavy rock and metal. After checking out playlists from the 2026 lineup, there wasn’t much I enjoyed. However, there were still a handful of acts that caught my attention – either through their music or their live performances. And with everything else going on at festivals (I didn’t even get through half the activities at Latitude last year), I’m sure I could’ve filled my days somehow.

Friday – Party Starters

On the Friday, I would’ve headed to the main stage for the double bill of Cypress Hill and Limp Bizkit.

Download has been diversifying in recent years, and Cypress Hill are a good example of that. You wouldn’t immediately associate a classic hip-hop group with a heavy festival, but their hard-hitting, groove-based sound fits surprisingly well. Their set looked lively too, with added rock riffs and even a Rage Against The Machine cover.

That led into headliners Limp Bizkit – a band who were once the laughing stock of the rock world, but have had a huge resurgence. Younger audiences probably aren’t even aware of the backlash they faced in their prime.

A big part of that comeback seems to be their self-awareness. Fred Durst leans fully into the absurdity now – wigs, costumes, the lot – and Download was no exception.

Their set looked like pure chaos in the best way. Playing snippets of songs like “Careless Whisper” between tracks might sound like filler, but it adds to the ridiculous, party-like atmosphere. Even opening and closing with “Break Stuff” somehow felt more creative than lazy.

They’re not really an albums band for me – outside of Chocolate Starfish… – but as a live act, they just work. It’s heavy, yes, but also groovy and genuinely fun. Wes Borland’s guitar work is a big part of that too – his effects-heavy style reminds me a bit of The Edge.

I also would’ve checked out Feeder on the Avalanche stage. Their post-Britpop/alt-rock sound suits me much more, and I like that they adapted their set with a Nirvana cover. The only song I’m not keen on is “Feeling A Moment” – that chorus chord progression just doesn’t do it for me.

Saturday:

Saturday looked like a quieter day for me. That said, festivals are as much about the experience as the lineup – overpriced burgers included – and I’d probably still find something to enjoy.

The headliners, Guns N’ Roses, are obviously legendary, but a slightly odd booking in 2026. The main issue is Axl Rose’s voice – it just isn’t there anymore, especially on the higher songs. It sounds like a mix of Mickey Mouse and Herbert from Family Guy. His lower register still works, and if he leaned into that more, it would improve things massively.

The other problem is the length. A 2.5-hour set, especially at a festival, feels excessive – packed with deep cuts and extended solos that likely lose a lot of the crowd. Trim it down to a tighter 90-120 minutes and it would hit much harder.

Still, there’s entertainment value. Axl changing outfits about ten times is pretty hilarious, and if I was in the right spot (preferably near a toilet), I would’ve enjoyed the spectacle.

*Ash at Download 2026

Sunday: More My Thing

Sunday had a few more acts that appealed to me.

Dogstar – featuring Keanu Reeves on bass – were an interesting one. Their live set didn’t stand out massively, but their recent 2023 album that I checked out leans into a really nice melodic, power pop/alt-rock sound that I do enjoy.

Similarly, The Pretty Reckless have moments I like. Their sound seems split between angsty, heavier rock (not really my thing) and a more classic rock-inspired style, which I much prefer. That side of them – the bluesier, melodic approach – feels closer to bands like AC/DC or The Rolling Stones, which probably explains why they’ve supported both.

That, for me, highlights the difference between rock and rock n roll. AC/DC’s Malcolm Young once said it comes down to swing – that danceable rhythm a lot of modern rock lacks. I think that’s exactly why I struggle with some of the heavier Download acts: I need something I can move to!

Tom Morello was another highlight – his effects-driven guitar style is always impressive, and he just has that presence about him.

Then there’s Ash, who really stood out. They opened with the heavier “Fun People” (not one I enjoy, but it works in that setting), before moving into their melodic, major key power pop strengths. It’s that mix of hooks and energy that clicks for me. I’d maybe throw in a few cover snippets for fun, but overall, they fit the festival surprisingly well.

Finally, I am not a big fan of the Sunday headliner Linkin Park, which I know may upset some people! It’s for the reasons I listed – that very angsty ’00s rock sound. It was cool to see their new singer Emily Armstrong become the first female Download headliner though.

So there you go, the acts I would’ve enjoyed at Download! Not that many, but as I said there is so much to explore at festivals – I could’ve probably explored it all if I had gone. Rumours for headliners next year include Blink-182, Foo Fighters and AC/DC! I think that would be a knockout set of headliners, really not very heavy – although it may be a bit unrealistic! Download may not have the same amount of softer classic rock/hard rock of older times, but is diversifying in different ways. If bands like Ash keep turning up, I’m sure I would enjoy it to a certain degree! See you next time.

Paul McCartney remains, in my view, the greatest songwriter of all time. His gift for melody is second to none, and remarkably, that instinct hasn’t faded. I’ve thoroughly enjoyed relatively recent releases such as New from 2013 and Egypt Station from 2018, and on his new 2026 album, The Boys of Dungeon Lane, the melodies, chord choices and stylistic variety are as strong as ever.

However, the album has one glaring issue: its production.

Produced by Andrew Watt, there is noticeable pitch correction on McCartney’s voice throughout the record. While it’s true that he’s no longer the singer he once was, that hasn’t stopped previous albums from feeling natural. Here, though, the tuning is often so obvious that it distracts from the songs themselves.

That’s particularly frustrating because McCartney’s current voice can actually enhance his music. On softer tracks like “Days We Left Behind,” there’s a vulnerability and fragility that adds emotional weight. Yet even here, the pitch correction occasionally undercuts that intimacy, smoothing out the very imperfections that make the performance human.

It raises an interesting question. If artists like Johnny Cash had their later recordings smothered in pitch correction, would those performances feel as raw or impactful? There’s a difference between selecting the best take – as has always been standard practice – and digitally ironing out every imperfection.

What makes this even more intriguing is that Andrew Watt also produced the 2023 record Hackney Diamonds by The Rolling Stones – an album I think handles these issues far more effectively.

Some listeners criticised the tuning on Mick Jagger’s vocals, particularly on “Angry.” However, to my ears, the processing is far less distracting. The vocals are embedded within a mix that includes distortion, double-tracking and a more traditional rock aesthetic, allowing them to feel natural – even when they’re clearly polished.

More importantly, Hackney Diamonds sounds like a band playing together. It’s big and modern, but isn’t flooded with electronic beats and the like. I can understand why some long-time fans found it too clean, but for me, that balance works. It feels fresh without losing the essence of The Stones.

Tracks like “Bite My Head Off” (featuring McCartney on fuzz bass) bring a snarling punk energy, while “Whole Wide World, “Get Close,” “Live By the Sword” and “Driving Me Too Hard” update classic Stones sounds with a modern edge. “Depending On You,” “Dreamy Skies” and “Tell Me Straight” show their softer side, and “Sweet Sounds of Heaven,” featuring Lady Gaga, is a moving gospel-rock epic that could sit comfortably alongside their classic work.

Crucially, Jagger’s voice often sounds natural across the record. Even within a polished production, there’s enough grit and variation to maintain authenticity. The only track I would skip (although it is intriguing) is the disco of “Mess It Up.”

That’s where the key difference lies. On McCartney’s album, the pitch correction is exposed – particularly on piano-led, intimate tracks where there’s little else to mask it. On Hackney Diamonds, the same production tendencies are absorbed into a fuller, more textured sound, sounding less robotic.

More broadly, it reflects a growing trend in modern music. Heavy-handed pitch correction is becoming increasingly normalised, even for artists who don’t need it. Hearing it applied so noticeably to a voice as instantly recognisable as McCartney’s feels especially unnecessary.

To be clear, this isn’t about pitting The Beatles against The Stones. Both are among the most important acts in music history. However, it does highlight how production choices can affect music and is the reason I sadly won’t be buying The Boys of Dungeon Lane – unlike New, Egypt Station and Hackney Diamonds.

The World’s End is the debut EP by Belfast band Madams Last Discovery (affectionately called “Madams” by their fans), released back in March. Yes, I could’ve reviewed this sooner, but in a way it keeps local music alive, after the initial hype for the release has died down.

The band’s Spotify describes them as a tyrannical mix of the Happy Mondays “on a three-week Belfast bar crawl, having run into David Byrne, Grian Chatten and the devil along the way.” They are comprised of frontman Flinn O’Grady, Nathan Shawe on lead guitar, Guigsy on bass (no, not the mysterious Guigsy from Oasis) and Fiontan McAleavey on drums.

This colourful description is an apt summary of the psychedelic post-punk band. Frontman Flinn O’ Grady delivers a half-singing/speaking style modelled on these references, with heaps of attitude. Musically, the EP displays a similar gritty, bass driven sound to these artists listed. The EP was produced by Darragh Tibbs at the Analogue Catalogue Studio.

The EP title is taken from the movie in the famous Cornetto Trilogy. O’Grady explains: 
“The title comes from the iconic movie in the Cornetto Trilogy, which in true Edgar Wright fashion, centres heavily on music. Our own sound echoes a lot of artists from the late ’80s and ’90s, so the title choice really ties in all of our inspirations, both new and old. Within the movie, the music takes on so many styles and we felt it really encapsulated our EP, as each song holds its own stylistically. We also snuck in the sample that introduces “Orange Juice” back into the end of our closing song, “Molotov,” which brought the entire project to a circular close.”

The four-track EP kicks off with the aforementioned “Orange Juice.” That sample is from ’50s movie, “Plan 9 from Outer Space,” with the chorus also being based on the Pinocchio quote, “I’ve got no strings on me.” This relates to having the shackles removed and feeling truly free. The track stomps in and introduces the heavy yet danceable grooves of the EP. It has a monster guitar riff and infectious chorus.

The second track “The Message” has a quirky and more melodic sound that I appreciate. The acoustic and slide guitar gives it a slight Beatles vibe, if they were performing at the end of the world (hence the fitting title of the EP) with a post-punk sheen.

The forceful kick of the opener comes back in spades on third track “Out Of Fashion.” The song has a glam-rock stomp similar to “Shoot The Runner” by Kasabian, who I can certainly hear as an influence, especially on the swaggering vocals. Along with ’70s and more recent post-punk bands like the Talking Heads and Fontaines D.C., the group is definitely inspired by bands of Kasabian’s ilk. They even supported ’90s Madchester band Inspiral Carpets recently in the Limelight in Belfast, which is impressive. I also enjoy the refrain of this song – it’s smart and draws the listener in.

O’Grady says that the band wanted to “highlight the constant divide-and-conquer methods being pulled by people in power” through the lyrics, “I’m pulling out my hair, with this TV glare, showing me you’re accusing the wrong man of stealing your welfare.” It’s an anthemic track that will certainly go down a storm in the passionate live sets of the band, where they have really cut their teeth.

All roads lead to the final track “Molotov,” which is over seven minutes long. The song takes the psychedelic sound of the EP to new heights. It starts off as a droning yet still danceable track, with a widescreen and immersive production. The use of violin/fiddle is also a nice feature of the track. It is both a nod to Ireland and adds to the otherworldly feel of the track. After a second swaggering chorus, the song changes tempo to a mad freakout, with the violin and other instruments going wild. I feel that this section starts to go on a bit, until it pulls back and changes tempo again. I then think this new section starts to go on but the song ends just in time!

I do have one personal criticism of the EP. For example, Oasis (an inspiration for the band) always had very melodic and uplifting songs right out of the gate. “Live Forever” and “Slide Away” stood alongside tough rockers like “Rock ‘n’ Roll Star” and “Supersonic.” I think some songs like this would be nice to break up from the psychedelic riff-driven tracks. However, “The Message” does do this to an extent, with its more Beatles vibe and chord progression.

Overall, The World’s End is a promising start for this local band to me. It is full of swagger and groove, and the final track displays experimental psychedelic tendencies. Having seen them before, they are a force to be reckoned with live, and will only grow from here.

You may be wondering, what does that title even mean JW’s Music Musings?

I have mentioned some of my friends and family on this page before. There’s Lorcan (funk guitar master), who loves Red Hot Chili Peppers, funk obviously, Jimi Hendrix, French house style dance music and much more! There’s Holly Maguire, whose solo EP and band WINTER I have reviewed. There are many more interesting characters that will be mentioned on the page in the future, I’m sure!

One such legendary figure is my cousin Angus. A truly hilarious individual who has a rather eclectic music taste. He always sends me a song/playlist that makes me laugh with how random it is! You never know what to expect from the man in general.

He recently won tickets for the Scottish music festival TRNSMT, with tickets for one day of his choice. He is sadly busy on the Saturday, as he wanted to fly me over to see Kasabian together! We will definitely try and see them together, or a concert/festival in general, sometime in the future.

I do prefer a festival like Glastonbury, where special guests and random surprises are always around the corner – and Isle of Wight which has had some truly legendary and surprising headliners/acts over the years. You sort of know what will happen at TRNSMT (an offshoot of T in the Park, which was too dangerous to continue). However, I thought as Angus would be at the festival, I would make it my mission to spot him on the TV! He says he will make sure to get on the screen – probably making me cackle with a funny dance move.

Before I watch the festival (and also review the acts while I’m at it), I thought I would do this Verve playlist. The headliner on the day Angus is going, the Friday, is Richard Ashcroft – the frontman for The Verve.

They are a band most known for ’90s Britpop-era hits like “Bittersweet Symphony” and “Lucky Man.” However, they initially started out as a shoegaze/dream pop style group on their debut A Storm in Heaven, with the swirling and atmospheric sounds of guitar maestro Nick McCabe. Still, compared to their other bands of the genre, the vocals are quite clear and the guitar noise isn’t overwhelming. There is still a good sense of groove they would carry through their career.

Their next album A Northern Soul moved to the sound the band are known most for, while still containing the sonic wizardry of McCabe (like all of their material). This led to 1997’s Urban Hymns, which is home to their biggest hits.

One thing I do find bizarre about the band is that their music is almost all slow-paced and long. They only have two faster-paced songs in their discography, which are both on this playlist. However, I do enjoy some of Ashcroft’s solo albums. They don’t have the guitar magic of McCabe, and can be rather unfocused, but there is a greater variety in tempo.

That’s why I made this playlist. It is mostly of the Verve, with some solo Ashcroft sprinkled in to raise the tempo! I also included his recent track “Lovin’ You” which I think is absolutely class. It is a different track that features a plethora of samples and a hip-hip/trip hop beat. It reminds me of Gorillaz and the solo material of Stone Roses frontman Ian Brown.

Thus, I present this playlist. It charts the change from the early shoegaze Verve material through to later sounds. Ashcroft will perform a lot of these songs at his TRNSMT set I’m sure! Thanks for reading.

1. Star Sail
2. Slide Away
3. Already There
4. Blue
5. All in the Mind
6. This Is Music
7. Space and Time
8. Sonnet
9. Lucky Man (a few more chill songs in a row here with “Sonnet” and this one)
10. A Song For The Lovers
11. Bitter Sweet Symphony
12. The Drugs Don’t Work
13. Sit & Wonder
14. Love Is Noise
15. Lovin’ You

Going 3-for-3 again with the posts this week! I don’t want to bombard with content – I just have too much I want to write about! As Alan Partridge said in a hilarious 2011 Jonathan Ross interview, “I have so many ideas up my sleeve I can’t wear a t-shirt.”

Now you may be intrigued about this title, thinking it’s a playlist of mine, as James is my name. Now, technically it is, but if you look up James you will find there’s a band actually called James! I’ve done ones like “My Kasabian Playlist,” “My Specials Playlist” and this is my James playlist.

What is even more incredible about the band James is that their musical style is very much up my street. They are known for the big hits “Sit Down” and “Laid,” but have continued to create over the years, displaying a restless creative spirit. They started off with a very Smiths-inspired sound in the mid-80s, and have traversed through dance, Britpop etc – always managing to have some horns and a chunky bass guitar sound in their music.

They are at once anthemic/catchy and slightly experimental, which is hard to pull off. This is my playlist featuring big hits and some more recent tracks. See you next time.

1. Come Home
2. Sit Down
3. She’s a Star
4. Laid
5. Say Something
6. Tomorrow
7. Destiny Calling
8. Sometimes
9. Getting Away With It (All Messed Up)
10. It’s Hot
11. Crazy
12. Curse Curse (an almost Calvin Harris style dance track that still manages to sound indie with a typical rock band arrangement)
13. Gone Baby Gone
14. Moving On
15. Walk Like You
16. Hymn From A Village

Winter (WINTER on all music platforms) are an up-and-coming local band from Belfast. They are fronted by my great friend Holly Maguire, whose debut solo EP I reviewed back in February. However, this band is a much different proposition to her solo material…

The band began as a solo project from bassist Robbie Winter (where the name comes from), who then expanded into a live band: Holly on vocals with Alex Keatings and James Donnelly on guitar. Their motto is “Make Music Scene Again” – basically music that could fit in a ’00s Tony Hawk game.

Now this self-professed “emo” music isn’t a genre I have the greatest knowledge of. I suppose you could call Green Day (who I’ve recently reviewed) emo, with their look around the “American Idiot” era and some of the lyrics. However, I do believe they are a just a great rock n roll band, with a rooting in classic punk and a surprising “lemon” influence as I recently said! Some of the more overtly “emo” material from that time has never fully landed with me. But WINTER feel like something different.

From the opening track, there’s an immediacy to their sound – full-throttle, but surprisingly accessible. What stands out is the balance: despite the angsty, minor-key tendencies typical of the genre, much of the set leans into major-key progressions and genuinely danceable rhythms. It’s a combination that gives their music a lift that sets it apart.

A lot of that energy is driven by drummer for this gig Zak McConaghy, who delivers a relentless, high-impact performance throughout. There are moments that flirt with house-style 4/4 patterns alongside fast skate-punk beats, adding an unexpected rhythmic dimension.

Their second single, “bite your tongue,” is a clear highlight. It captures that duality perfectly – emotionally charged but still upbeat and fun. The band’s stage presence really comes into focus here too, with Maguire confidently leading crowd interaction. Calls to “jump” and “clap your hands” might sound simple, but they’re surprisingly rare at local gigs – and they work.

An unreleased track, “75,” talking about the friendship that comes with a band, reinforces how tight they are as a unit. There’s a sense of cohesion not just musically but in how they engage the room – something that can’t be faked.

Two covers in the set – Evanescence’s “Bring Me to Life” and Paramore’s “Decode” – highlight the band’s influences, even if they also underline some of my own reservations about the genre. Both songs lean heavily into a kind of heightened drama that I personally struggle to connect with. I don’t hear much of a groove and can’t really bop my head to these songs! That said, WINTER perform them with precision and conviction.

A full-band version of Maguire’s “Tides & Satellites” offers an interesting contrast, showcasing the group’s technical ability through more complex arrangements, while still fitting cohesively into the set.

*the band even have their own t-shirts. Blurry photos as they are from Instagram!

Their debut single, “WHAT DO YOU THINK I REACH FOR?”, continues the pattern – minor-key intensity paired with an underlying danceable sense. Even at their heaviest, there’s usually something to hold onto melodically. If I was to squint my eye and compare their music to a “lemon” band like with Green Day, I could honestly call it a heavier female-led Ash – and I can’t find that kind of influence in all music!

That’s what ultimately makes WINTER compelling. While there are elements I don’t naturally gravitate towards – particularly the occasional screamed sections and heavier breakdowns – they’re balanced by strong musicality and an instinct for melody that cuts through.

For a band with only a couple of official releases so far, this felt like a confident and fully realised live show. For a band called Winter, they definitely have a bright future!

I recently started a series called “Back in the Charts.” This is where I examined how even though rock n roll definitely isn’t the force it once was in the charts, with bands being much less prominent, there have still been more than you’d imagine that have cracked into the UK Top 40 (the Irish charts seem to have rather different rules interestingly). This trend is only starting to grow in the 2020s, compared to the 2010s.

Along with bands that debuted in the 2010s, some relatively older groups still managed to hang on to chart success (and being played on Radio 1) into this decade. One such band is Kings of Leon. Even though they are most remembered for “Sex on Fire” and “Use Somebody” in the late 2000s (probably two of the last monster hits before rock became less dominant), they still managed to have singles in the Top 40 until 2013. The Mechanical Bull tracks “Supersoaker” and “Wait For Me” managed to get in there and 2016’s “Waste A Moment” wasn’t far off either. They also headlined Radio 1’s Big Weekend in 2017 along with Katy Perry!

*it’s interesting how they still headlined with all the modern pop present. “Sex on Fire” and “Use Somebody” are guaranteed to get nearly any crowd in the world singing along!

Kings of Leon do have a rather mixed legacy at this point. Their first three albums are praised for their raucous Southern rock energy and they were seen as sellouts by the time “Sex on Fire” came along. I would agree with that assessment to some degree, yet would also beg to differ. Thus, I thought I would go through their discography, displaying my thoughts on their entire body of work. I will start with their first two albums.

Their debut album Youth & Young Manhood was released in 2003. The band had shaggy haircuts at the time and an energetic, bluesy sound. To me, it sounds like a mix of Creedence Clearwater Revival, AC/DC and The Strokes. The band were immediately embraced in the UK, compared to their home country of the US.

The album sounds different to anything they would do after, in my opinion. Even though they would carry on this rollicking spirit for the next few albums, the album has a much harder rock sound to me. Their work after this has been almost entirely based on major key chord progressions and a highly melodic sound, which I absolutely love. In contrast this album has a much dirtier sound, with crunchy yet fun guitar riffs.

This is seen on tracks like “Red Morning Light,” “Molly’s Chambers” and “Wasted Time,” which is so fast it sounds like hillbilly skate punk!

*the much different look of the band back then!

Nonetheless, there are still more melodic tracks on this album. “California Waiting” is the template for the rest of their career and hidden track “Talihina Sky” is a nice country ballad. There are also some tracks that are halfway between melodic indie rock and blues, with “Happy Alone” and “Joe’s Head.”

As a vocalist, Caleb Followill is quite divisive. My Dad certainly isn’t a fan! I suppose he could be seen as whiney (especially on a song like “Use Somebody”). Now I am no fan of modern singers with that Lewis Capaldi singing style (not to single him out, he seems like a great guy). These include staples like James Arthur, Alex Warren etc. I strongly dislike that overdramatic style of singing.

However, Caleb has never bothered me. Maybe because I enjoy the music underneath, but if you watch him live he has a relaxed demeanour and doesn’t look like he’s straining at all. He has a slight Southern twang to his voice (the band are from Nashville) which I greatly enjoy. His diction was poor, especially on this album, but has gotten much clearer over the years. He does sing in a much more accessible way now, to preserve his voice.

Their next album, Aha Shake Heartbreak, is probably my favourite Kings record. Apart from the hard-rocking “Pistol of Fire,” every song is greatly melodic and major-key. It features the trademarks of the band; creative basslines and the intertwined guitars of Caleb and Matthew. However, the album still does rock hard, as with the debut. I think it displays their early sound at its zenith and has heaps of energy.

I don’t have too much else to say about it, as I wouldn’t skip any tracks. Even Caleb’s voice is clearer on it. I thought I would leave it there, as I wanted to showcase their early style before some different sounds came in. However, I would change the tracklist on their debut around to make it more melodic like the rest of their discography. Here’s my tracklist below. Thanks for reading.

1. Red Morning Light
2. Wasted Time
3. Molly’s Chambers (a few hard rockers and one very fast-paced track to start)
4. Happy Alone
5. Joe’s Head (starting to introduce a more melodic side with these tracks)
6. Trani (first ballad – bluesy yet melodic)
7. California Waiting
8. Spiral Staircase (back to the hard rock of the early tracks)
9. Dusty (another bluesy yet melodic ballad)
10. Talihina Sky

The final of the UEFA Champions League took place once again this year, accompanied – as has become tradition – by a pre-match kick-off show from a major artist. The growing collision between music and sport is an interesting phenomenon, one that shows no signs of slowing down. Clearly inspired by the Super Bowl Halftime Show, these performances are becoming increasingly common, with even the World Cup final introducing a halftime show this year.

Whether this is a positive development remains up for debate. Broadcasters such as the BBC and ITV have reportedly opted not to air the World Cup halftime show, instead focusing on punditry and analysis. For some, these performances represent an unnecessary distraction – another sign of increasing commercialisation and Americanisation in the sport. It’s a fair point: football, at its core, doesn’t need spectacle to validate itself.

That said, The Killers felt like a near-perfect choice for this stage. Few bands align so naturally with the atmosphere of the “beautiful game.” Their music has long been embedded in football culture – soundtracking Match of the Day montages, FIFA games, and terraces around the world. “Mr. Brightside” in particular has taken on a life of its own in stadiums, with mass singalongs becoming a global phenomenon. The video of the Michigan Stadium crowd singing it remains a powerful example!

*it was also nice to see the original four members back together – something that has become more common again recently. A pre-show promotional appearance alongside David Beckham only reinforced the sense of occasion.

As with previous Champions League shows, time was limited. The band were given just six minutes – roughly half the length of a typical Super Bowl halftime set. That constraint meant one thing: efficiency. Rather than letting songs breathe, The Killers opted for a tightly packed medley, squeezing in “When You Were Young,” “Human,” “All These Things That I’ve Done,” and “Mr. Brightside.”

Ordinarily, I’m not a huge fan of medleys – I’d much rather hear songs played in full. But in this context, it worked. With such a short runtime, the band prioritised impact, and they delivered it. The performance was visually striking: sharp suits, dancers, fireworks, and the iconic neon “K” sign all contributed to a polished, Las Vegas-style spectacle that felt big without tipping into excess.

Transitions between songs were slick and well-executed, building momentum toward the inevitable climax of “Mr. Brightside.” Vocally, the performance felt largely live. While there were likely backing elements involved – as is standard at events like this – the band retained a sense of authenticity. Brandon Flowers, in particular, gave a solid showing. He isn’t always the most consistent live vocalist, sometimes drifting sharp or flat, but here he held things together well. More importantly, his charisma and command of the stage remain undeniable – he’s still one of the best rock frontmen of his generation.

If there was one slight disappointment, it was the crowd response. While “Mr. Brightside” landed as expected, the lack of a major singalong during “When You Were Young” or “All These Things That I’ve Done” was surprising.

Overall, though, this was a performance that matched the scale of the occasion. The slick production, rapid-fire hits, and visual flair combined to create something that felt genuinely Super Bowl-worthy. If anything, it served as a reminder that a rock band like The Killers could still thrive in that environment, although I don’t know if they have enough American hits to do it – if there was an English Super Bowl they would certainly go down a storm. I will also do more in-depth reviews on the band in the future, with album reviews etc.

Whatever happens, The Killers absolutely scored with this show. As Alan Partridge would say – “Back of the net.”