Bastille @ The O2

Bastille @ The O2 (Louise Phillips)

Bastille’s ascent was rapid. Having started as the solo project of Dan Smith writing and recording demos in his bedroom to having a number one debut album and a number of the catchiest hit singles of the 2010’s.

It’s a deliberately measured start to the show as the frontman begins by singing alone; with the spotlight on him, with just a piano accompaniment to the first verse of Things We Lost In The Fire. There’s a solid orange background with the houselights down leaving the rest of the band in shadow but as Chris Wood, more commonly known as Woody, comes in with a pulsating rhythm that’s present in so many well known Bastille tracks, the lights come up and the crowd screams along.

“We’re Bastille, tonight is the last night of the tour and we been excited about tonight for a long time. This is Day 10 of a 10-day tour and every night is a different set list. If you don’t like it, blame Kyle” to which the camera cuts to keyboardist Kyle Simmons who playfully gives the middle finger. What becomes apparent throughout the evening is just how robust their back catalogue is. Shut Off The Lights feels euphoric whilst 2016’s Good Grief got the limbs of everyone thrown into the air and it really felt like the party was starting.

The premise to Bastille’s third album, Doom Days, was to document the stages of a night at a wildly emotionally-charged party and Quarter Past Midnight, the opening song of that record, fits in to the start of the show and the band effortlessly move through these upbeat killer tracks. “This is one of our earliest songs and I’d like to introduce one of our favourite people to the stage, Myles Smith,” as the Stargazing singer joins the band and appeared to have a fantastic time exchanging verses on the groups first single.

Frontman Smith sat down at the edge of the stage and performed Oblivion with a single acoustic guitarist and an emotive violin accompaniment from AK Patterson, which was unequivocally haunting. This seamlessly moved into a brief excerpt of Sleepsong, which appears on disc 2 of the expanded debut All This Bad Blood.

Bastille @ The O2

Bastille @ The O2 (Louise Phillips)

“Now’s time for the most depressing part of the set” Smith says before heading into a Hope For The Future performed with Patterson. The foursome love drama and they do it well. There’s an innocence to them as individuals but they can stir up the most emotive narratives. There’s a push and pull to the set, modal shifts and interchanging tempo’s; songs that offer insights into dystopian worlds and songs that encourage optimism and faith in humanity.

Halfway through the evening, the LED screens that have projected lyrics and imagery throughout are shut off and replaced with bright colourful laser beams from the stage to the back of the arena as DJ decks are bought on to the stage and we are treated to a medley of tracks from the mixtape series Other People’s Heartache. Dan once described it as “to create a fictional film score or film soundtrack using cover versions of songs.” Think of it as the group’s moody dark side project where they can expand their way of making music to new and interesting takes on covers and mashups including En Vogue’s Don’t Let Go and Fleetwood Mac’s Dreams before the iconic Of The Night which turns The O2 into the biggest nightclub in town. The 2013 mash-up combines Snap!’s Rhythm Is A Dancer with Corona’s The Rhythm Of The Night.

With 5 top 20 singles, 3 number 1 albums, Bastille have been consistent in their output in quality and quantity over the last decade and a half. In fact there’s only been one year in the last 10 where they haven’t released any new music. If you were thinking you could add 2025 to that year, you’d be mistaken as they performed new song Save My Soul dueting with rising star Ruti. Smith split the arena down the middle with those on the right singing the melody and on the left singing the chorus line to yet another one of their arena sized anthems.

When some sort of medical emergency in the crowd is spotted by Dan midway through an acoustic rendition of Glory, he handles things brilliantly by asking for security’s attention and repeating for the rest of the audience to focus on him. How many old Bastille songs can I cram into this section?” he quips as he improvises snippets of Bad Blood, The Anchor, Weight Of Living, Pt. 1 and Another Place which despite a few forgotten lyrics along the way, goes down really well with the capacity crowd and buys time for the incident to be sorted.

Ending on Pompeii in which the band brings their extended entourage on to the stage as well as Myles Smith, Ruti and the two support acts, Bradley Simpson and Sofia Camara to sing what is probably the most successful song about a volcanic eruption in music history.

Fifteen years into their career, Bastille show no signs of slowing down. They’ve got a back catalogue that most artists would be envious of, they’re playing the biggest stages of their career, they collaborate and showcase upcoming talent and still have the ability to write arena-sized anthems. Tonight was a night of looking back, of reimagining past hits. Of connection and community and that is something that is needed now, more than ever.

Live Review of Bastille at The O2 Arena on 18th November 2025 by Chris Lambert. Photography by Louise Phillips.

Never Mind A Wet Night In Stoke, Bad Nerves Made The Best Of A Cold Tuesday Night At The O2 Institute Birmingham

The Kooks @ The O2

The Kooks @ The O2 (Kalpesh Patel)

One of the most exciting breakout British bands of 2024, The K’s have continued their upward trajectory into 2025 and took the lead support of The Kooks on their arena run. You can tell that this won’t be the last time they’ll be performing on this stage. Rockshot Magazine spoke to Ryan Breslin, guitarist of the Earlestown band earlier this year and he told us that their sights were set at the top. It’s great to see them continue to progress and tackle their biggest venue to date. The majority of the capacity crowd had gotten to their seats early to see the North West foursome played a breathless forty minute set containing songs from their two studio albums.

Drummer Nathan Peers was in the crowd tonight rather than on the stage with his bandmates as he had broken his hand pulling on a suitcase. Probably one of the least rock n roll injuries that could happen and at such an important time of the band’s journey but stand in Jake Hopkins who took the gig on 24 hours notice gives the band a continued driving energy throughout including the stand out Gravestone.

“We released our 2nd studio album 9 or 10 weeks ago, we’ve had a bit of time to sit with it & all agreed this is the best song on the album” singer Jamie Boyle says, as they go into The Bends (Here We Go Again). Crowd favourites Chancer and finale Sarajevo, the latter beginning with a short rendition of The Pogue’s Dirty Old Town, replacing “Old Town” with “Earlestown”, the hometown of Jamie, Ryan and Dexter from the band.

There was a real buzz about The Kooks in the lead up to their first record, which happened to be released on the same day as Arctic Monkeys iconic Whatever People Say I Am, That’s What I’m Not. Whilst the media and the charts focused on the Sheffield group, their debut Inside In / Inside Out stayed in the public consciousness throughout the year and hit the top 5 of the album charts nearly 6 months later throughout July and August, peaking at number 2. Founding members Luke Pritchard and Hugh Harris were just 20 and 18 respectively when their debut album came out and their youthful exuberance came through the words and the music. Now approaching middle age, the duo haven’t lost any allure, or any desire to entertain. Their music sounds as immediate and important as it did first time around and with a fresh generation of new followers thanks to social media, there were just as many people who weren’t born when the Brighton band released their debut album, as there were people who were playing it on iPods on the school bus or in University halls. I was in the latter category. On the floor of London’s O2 Arena however, in the midst of swathes of swaying bodies, none of that matters. You become one with those around you, reminiscing, creating new memories, forgetting struggles and the sorrows of the world, whilst singing at the top of your lungs.

The Kooks @ The O2

The Kooks @ The O2 (Kalpesh Patel)

Playing Sweet Caroline over the PA is a sure-fire way to gee up an already packed O2 Arena as the band took to the stage at 9pm. Kicking off with Sofa Song followed by personal favourite, 2008’s Always Where I Need to Be, singer Pritchard, dressed in a black sequined jacket, needed no time to whip up the adoring fans into a frenzy with singalongs galore. One thing I wrote down in my frenzied notes mid way through is rhythm. This band has rhythm, it’s upbeat and it’s infectious. Listening to She Moves In Her Own Way immediately took me back to the summer of 2006 and I couldn’t help but think it might be one of the best British pop songs of the last 20 years. Despite landing a decade after the peak of the Britpop movement, The Kooks seemed to hark back to 60’s influences like The Rolling Stones and The Kinks. Both their debut and their second album Konk were actually recorded at Ray Davies’ studio of the same name.

“It’s crazy times and there’s a lot of hurt and a lot of crazy going on. You know, music is the healer. Music is the thing that can heal us. It’s amazing we’re all here.” And Pritchard is right. It unites us, it distracts us, it motivates us, it can lead to inspiration, to protest, to live and to love.

The seventh studio album by The Kooks, Never/Know has landed at number 5 in the official UK music charts – their highest charting album in 17 years. The beautifully warm harmonies of Sunny Baby are a joy and the equally bright If They Could Only Know didn’t seem out of place in a largely nostalgic setlist with two thirds of songs from the bands first two records, 17+ years ago.

Whilst the night was immersed in positively, there was a sense of reflection on the poignant See Me Now from 2014’s Listen. A song whose lyrics came from a letter Pritchard had written to his late father. A sea of phone torches lit up the Arena as the frontman dedicated the song to his three-year old son, who is the same age as Pritchard was when he lost his dad. They balance their show with grace, charm and humour; immediately aiming to lighten the mood by moving onto Jackie Big Tits, being prefaced by the tongue-in-cheek “As you know, we’re very serious about songwriting.”

Pritchard now front of stage on his own with an acoustic guitar performed Seaside a beautifully delicate and oddly somber love song. Joyful synth singalong Westside and Bad Habit from their fourth album were both highlights where Hugh Harris got to flex his guitarist muscles. Do You Wanna showed that they can lean into a more classic rock sound with Harris effortlessly riffing throughout and drummer Alexis Nuñez drove forward with a pulsating beat.

“We went through social media to find songs we don’t play that often but our fans love, so most of you might not know this song but a few of you might love it,” Pritchard said introducing Gap from their sophmore album, of which they hadn’t played prior to this tour since 2016.

Ending their set with 2006’s You Don’t Love Me the energy in the room was palpable. After a brief flirt with leaving the stage, the band returned to perform two of their most iconic tracks; Ooh La and Naïve which ended with an explosion of red confetti raining down on the near 20,000 euphoric revellers.

Two decades into their career, The Kooks have asserted themselves as a great live act that are attracting more and more fans with every year that goes by. They can cast a spell over audiences on the biggest stage. As a band named after a David Bowie song, things are pretty hunky dory.

Live review of The Kooks’s @ The O2, London by Chris Lambert on 11th October 2025. Photography by Kalpesh Patel.

As The Lights Go Down, The K’s Got A Feeling At The Roundhouse

Sometimes you don’t realise the impact that someone has had in this world into they are gone. You only have to go back a couple of weeks to see the artists that flew from all across the world into Birmingham to perform, some just for 10 minutes to honour one of the true greats. So on Friday night in London with a stacked lineup, three day’s after his passing, Ozzy Osbourne’s presence was felt throughout. Each artist paying tribute, the songs through the speakers between sets belonged to him.

Alice Cooper @ The O2

Alice Cooper @ The O2 (Louise Phillips)

It was an early start with Phil Campbell And The Bastard Sons taking to the stage just before 7pm. “So London how the fuck are we? Are we ready for some old school rock and roll?” Yes, the crowd were. Opening with We’re The Bastards the first song of the 2020 album of the same name, old school rock and roll is what the crowd got.

Following Ian Fraser Kilmister’s – aka Lemmy – death in December 2015, which unsurprisingly led to the disbandment of Motörhead, guitarist of 30 years Phil Campbell started a new group full of people close to him. Very close to him in fact, three of his actual sons to be exact to carry the torch of performing rock and roll that, as Neil Young once sang, will never die. They move into their first Motörhead cover, 1991’s Going To Brazil. “A big fuck you to all the corrupt politicians out there” growls Joel Peters. I don’t think there were any in attendance tonight but it got a big roar, as the band went into High Rule.

“Before we do this next one everyone raise your middle fingers and point them at the bass player Tyler Campbell” the enigmatic frontman and only non-Campbell in the band demands. “And after three I need you to say fuck you Tyler Campbell.’ On the count of three, the crowd obliges into a giant and as if in response, Tyler starts that unforgettable baseline intro to Motörhead’s Ace Of Spades which the ever-increasing crowd scream along.

Due to the stacked lineup at London’s O2 Arena, it’s a shame that Phil Campbell And The Bastard Sons weren’t afforded more than the 25 minutes of their set as their short stint comes to an end, with Strike The Match the frontman points to the sky paying respects to those in the rock community that we’ve lost.

Cooper’s discernible silhouette appears through a giant newspaper front page that spans the full height of the stage. The headline reads “Banned In England! Alice Cooper, Trial Set: For Deeds Against Humanity.” He tears through the paper with his trusty sword and dives into Lock Me Up from 1987’s Raise Your First and Yell before showcasing superb cane-ography during Welcome To The Show.

It was one superbly crafted and intricately choreographed hour of entertainment. Between fake paparazzi coming on stage and being (fairly realistically) stabbed and a public execution where Cooper’s head is decapitated, a master of the shock-rock genre, he has the audience eating out of the palm of his hand. Despite nearing 80, his energy is unparalleled. Him and his band demand your attention, making it difficult to look away. Hits from a 50+ year career sound powerful in such a big space. I’m Eighteen the anthem about the confusion of youth is sandwiched between No More Mr Nice Guy and Hey Stoopid; the latter of which had backing vocals sung by the Prince of Darkness Ozzy on the 1990 recording, all sung in unison by the thousands in attendance.

The band manage to match the intensity of their band leader and is highlighted by a fantastic guitar solo by Nita Strauss. Standing atop one of two staircases placed at either end of the stage, Strauss seduces the audience with her intricate whilst fellow guitarists, Ryan Roxie and then Tommy Henriksen follow Strauss battling it out for killer solo of the night. 80’s glam metal pop Poison; one of Cooper’s biggest selling singles received a rapturous singalong.

Killer and I Love The Dead are performed with Cooper off-stage taking a well-deserved breather but also a costume change as he returns to the front of stage. The show which was non-stop action roaring through 16 songs, hit an emotional crescendo when fellow Hollywood Vampire and “some guy we found down an alleyway” Johnny Depp joined the band on stage for a cover of Black Sabbath’s Paranoid which sent the crowd into a frenzy. Cooper, now adorning an Ozzy Osbourne T Shirt, gave a powerful vocal performance to one of rock and metal’s most recognisable songs.

For the finale, original Alice Cooper band members Dennis Dunaway, Neal Smith, and Michael Bruce emerged on stage joining the tour band and Depp to perform a wild rendition of the ultimate requiem of youth: School’s Out. A song so visceral that 12,000+ people were transformed back to their teens screaming the words describing the end of term, which being the last Friday in July, ironically for a lot of schools, today was the end of the school year. A number of giant balloons were also released from the stage into the crowd, half of which were popped by Coopers’ sword. After introducing everyone who was now on stage, the band segued into a verse of an equally powerful education rebellion song Another Brick In The Wall, Part 2 before closing one on last chorus of School’ Out closing out an pulsating set. 

As soon as the band leave the stage, Osbourne’s Crazy Train plays over the PA and whilst hoards of crowds flock to use the facilities, everyone is singing with every fibre of their being.

For years, Judas Priest have entered the stage to Sabbath’s War Pigs. Tonight was no different. But also, it was different. Those in attendance sang every word, mimed every drum and air-guitared every riff. For Ozzy. Then, a cacophony of thunder and lights preceded Priest taking to the stage. They had a tough act to follow but the Birmingham rockers were more than up to the task.

Frontman Rob Halford sports a magnificent black leather jacket encrusted with silver jewels. He prowls round the stage during the opener All Guns Blazing from 1990’s Painkiller. In fact the whole band are clad in leather, a signature look they’ve rocked their whole career. “The Priest is back, are you ready?” the imitable frontman roars. 15 months on from their last London show which Rockshot Magazine covered at Wembley Arena. The stage has a back drop of screens where videos often of apocalyptic scenes appear and the main video screens are separated with the iconic Priest trident.

Hell Patrol and fan favourite You’ve Got Another Thing Coming whip the crowd up, with thousands belting out the famed 1981 single. Priest are a band that have continued to record new records across half a century and whilst the height of their fame came in a 10 year stretch through the mid 70’s-80s, they have continued to produce high quality records and maintained their popularity. In fact their latest album; 2024’s Invisible Shield reached number 2 in the album charts marking their highest charting album in their 50 year career.

Gates Of Hell from their latest record combines distinguishable Priest riffing with some terrific melodic guitar phrasing including that of Richie Faulkner with an iconic flying V guitar. Scott Travis’ kept momentum going with a pulsating display behind the drums as seen on Breaking The Law which felt a little quicker than on the record but added to an urgency of the performance whilst Halford let the crowd sing the illustrious refrain. 

The unique frontman, who had several jacket changes throughout the night – all leather and all jeweled – looks so focused. He sounds as good as ever, hitting the highest of high screams and never missing a note. Between The Hammer And The Anvil follows, a song about the court case in the late 80’s where Priest were accused of including subliminal messages in their songs. The title referencing the veritable rock and hard place they felt they were in at the time. If anything the case added to their lore and catapulted them to new heights.

The faces of Lemmy, Freddie Mercury, Taylor Hawkins, Christine McVie, Chris Cornell and Ozzy Osbourne among others who we’ve lost through the years were displayed on the screens as Halford delivered the last chorus to the poignant Giants In The Sky from their latest record. A touching tribute during a beautiful song.

After a short break, Halford comes roaring back on stage in a Harley Davidson before beginning the first encore of Hell Bent For Leather. No loss of energy, the 73 year old cracks a a leather whip at his guitarists as fans were still in a frenzy late into the night. Long-time guitarist Glenn Tipton who has been living with Parkinsons for many years joined the band on stage, culminating in Living After Midnight, in what capped off an evening of reflection, reunion and celebration.

In an emotional week for rock fans around the world, two legendary acts with over a 100 years in the business showed the lasting effect of music. Songs will live on forever, memories are cherished by so many of us. But if there’s an artist that has made an impact on you, do not hesitate and go and see them live. Because you never know when will be their last time.

Live review of Alice Cooper and Judas Priest @ The O2, London by Chris Lambert on 25h July 2025. Photography by Louise Phillips.

Iron Maiden Keep On Trooping At London Stadium And Celebrate 50 Years At ‘Homecoming’

In a landmark festival lineup the mystifying collective of Sault will play their second ever live show at the Victoria Park festival. Like their first show at London’s Drumsheds in December 2023, expect a high-production show that that will be one of the standout live performances of the summer. In April, they spontaneously released a new album titled 10 which was their 12 full length album since they began releasing music in 2019. A true musical force, unlike anything seen in the modern day music industry, this is for sure not something to be missed.

Sault

Sault (Press)

Headlining the first night of All Points East 2025, West London’s own Cleo Sol will perform in a solo capacity for the first time in two years. Having become one of the most distinctive and cherished voice in British music in recent years. Known for her deeply personal lyrics and timeless, soulful sound, she released two critically acclaimed albums in 2023, Heaven and Gold, that cemented her reputation as one of the UK’s most compelling artists. Headlining All Points East will mark her biggest headline moment to date.

Cleo Sol

Cleo Sol (Press)

Having collaborated with Yussef Dayes, Maverick Sabre, and The Free Nationals, renowned Reggae artist Chronixx will also be performing, including the first time hearing songs from his highly anticipated new album Exile. The record is produced by Inflo and will be the Jamaican’s first record in 8 years.

They join previously announced All Points East 2025 headliners Chase & Status (Saturday 16 August), Barry Can’t Swim (Friday 22 August), RAYE (Saturday 23 August) and The Maccabees on Sunday 24 August. Further All Points East headliners are still to be announced.

Chronixx

Chronixx (Press)

All Points East has become one of the most popular festivals in the capital, having consistently played host to a number of the most well-loved and important acts of the 21st Century as well as platforming new and important artists. Last year saw headliners Kaytranada, Loyle Carner, Mitski, LCD Soundsystem and The Postal Service & Death Cab For Cutie who led a

East London’s beautiful Victoria Park in Tower Hamlets also hosts a hugely popular community focused event each year. In The Neighbourhood, in collaboration with Tower Hamlets Council, hosts a vibrant programme of activities and entertainment, working with the local community, businesses, organisations and suppliers. Previous activities have seen something for everyone – eco-friendly creative workshops, free yoga sessions, street food, open air movie nights, themed drag shows and film panels.

Tickets on sale:

Amex® Cardmembers Presale – 10am, Monday 9th June
Artist + APE Presales – 10am, Wednesday 11th June
Ticket Agents (AXS / TM)  – Presales – 10am, Wednesday 11th June
General On Sale – 10am, Thursday 12th June

Day tickets, Multi day tickets, Group tickets & payment plans are available.

Dance Yrself Clean – LCD Soundsystem At All Points East 2024

The K's @ Roundhouse

The K's @ Roundhouse (Kalpesh Patel)

It’s 21:00 in the packed out Roundhouse and there’s a playlist going over the PA system. It’s got many of the usual suspects of well known rock songs of the 21st century. But as one song moved into the next, it struck me that not one of them was a song released in the last 10 years. The majority of the tracks were from the noughties and we seem to be obsessively nostalgic for a bygone era of rock anthems. From Ed Sheeran to Beyonce, The Weeknd to Taylor Swift, for the best part of a decade lone individuals have ruled the charts and the popular music discourse. Yet it feels like bands are having a resurgence. Leading the charge and on a meteoric rise are The K’s.

The North West foursome have been putting out singles and EP’s for nearly eight years but released their long awaited debut album I Wonder If The World Knows was only kept off the number one album spot by Beyoncé and The Libertines. It shows the connection they have and the community they’ve created with their fans. This has been brought about from their energetic live performances over years of extensive touring. Combine that with earnest songwriting and a tightly knit unit of talented musicians and you’ve got a recipe for success.

Aussie rockers Day We Ran kicked the evening off followed by East London band The Bracknall. The latter of which played a number of songs from their newly released second album Falling Out Of View. Highlights include Get Better, Higher You Fly, Sweeter The Fall and their most streamed song, 2021’s I Don’t Understand It showed their fresh take on a familiar britpop sound. It was a bit surreal to hear the crowd chant the band’s name, the same as the Berkshire town that I had travelled an hour and a half from to see them!

Rockshot Magazine spoke to lead guitarist of The K’s Ryan Breslin ahead of their tour who told us about their rapid ascent over the last 12 months and how they were aiming for the big boy leagues. Tonight’s display on this Tuesday evening in North London showed that they haven’t got far to go.

Opening with Gravestone, the second single from their soon to be released sophomore record Pretty On The Internet, the band started with an energy that was matched by the raucous spectators. Next was Icarus an anthem about the dangers of burning out after going out and getting on it. The irony being that early on in this song, singer Jamie – wearing a white short sleeve shirt – was drenched from a flying pint that went over him and his guitar.

The anthemic Chancer followed which fired up already impassioned onlookers and took them to another level. The connection between the band, with each member playing out of their skin and the crowd, the majority of which sang along to every word of every song was so special. It’s rare to be in a room with such vociferous positivity. A joyful catharsis that infectiously spread throughout the room. Dexter Baker on bass matches his bandmates as they make the stage seem small with their animated performance.

Whilst they may be better know for their guitar laden full throttle rock songs, Heart On My Sleeve and Lights Go Down were slower ballads that touched the hearts of those in attendance in North London. The former about the frontman and chief songwriter Jamie Boyle’s tendency to push those closest to him away when feeling insecure or vulnerable. His ability to write and convey the honest human experience and interpretations of everyday British life, alongside catchy hooks and singalong chorus’s is a reason why The K’s are gaining so much traction and appeal to the masses. That was made apparent by the sheer diversity of the audience; young, old, male. female, couples and singles.

The K's @ Roundhouse

The K's @ Roundhouse (Kalpesh Patel)

Jamie grabbed an acoustic guitar to accompany Hoping Maybe whilst lead guitarist Ryan really stood out – not just because of the red/orange cardie he donned, but being on top form, delivering powerful solo’s and showcasing his talents on the tour debut of 2019 single Aurora, a song about ‘a girl from London town.’ Breslin raises his guitar aloft to get every last decibel out of it.

Drummer Nathan Peers doesn’t stop and drives the band on through their nearly 80 minute set. Their biggest song to date Sarajevo, began with an short rendition of The Pogue’s Dirty Old Town, replacing Old Town with Earlestown, the hometown of Jamie, Ryan and Dexter. Using the metaphor of the origins of the First World War to describe a lover who decides on ending a relationship before things get out of hand. It might sound a little tenuous but the relationship breakdown of your first love is often the end of the world so the comparisons can be understood. People began heading to the exits assuming this would be the last song of the evening however they were to miss the show’s actual finale: Dacton & Wanderella, from the deluxe version of their debut album to bring to a close a triumphant night on one of their biggest headline shows in the middle of their biggest tour to date. The K’s don’t have a ceiling, they’re aiming for the big boy leagues and are coming for it all.

The K’s Pretty On The Internet tour continues and you can catch them on the following dates:

MAY
17th – O2 Academy, Bristol
22nd – O2 City Hall, Newcastle
24th – Neighbourhood Weekender, Victoria Park, Warrington

JUNE
6th – The Piece Hall, Halifax
7th – The Piece Hall, Halifax
14th – Lincoln Castle, Lincoln

Live review of The K’s @ The Roundhouse, London by Chris Lambert on 13h April 2025. Photography by Kalpesh Patel

Incubus Bring Morning View To Life At London’s O2 Arena