Gary Numan @ Hammersmith Apollo

Gary Numan @ Hammersmith Apollo (Louise Phillips)

Before the main event, the Apollo witnessed the passing of the torch or perhaps more accurately, the igniting of a new, darker flame. Raven Numan, Gary’s daughter, took the support slot and commanded the stage with a poise that betrayed her years. Dressed in a striking gothic aesthetic that felt like a high-fashion nod to her father’s early industrial roots, she delivered a stunning set of brooding, electronic noir.

Opening with Children Of The Bad Revolution, Raven immediately established her sonic territory, a landscape where the cinematic scope of Lana Del Rey meets the industrial grind of Nine Inch Nails. Tracks like Magnolia and Inside Of You showcased a vocal delivery that was both ethereal and commanding, floating over thick, synthesized basslines. Just A Number and Pretty When I’m Hurt brought a sharper, more biting energy, proving she can snarl just as effectively as she can soothe.

The set reached its emotional and sonic zenith with In This Twilight, her brand-new single and a cover of the Nine Inch Nails closer from Year Zero. Released just weeks ago on 7th November and produced by long-time Numan collaborator Ade Fenton, the track is a masterclass in reinterpretation. Where Trent Reznor’s original is buried in serrated, caustic static, Raven strips the song back to reveal its haunting, melodic core. It was a moment of perfect circularity Reznor, the student of Numan, now being reinterpreted by Numan’s own blood. Live, it transformed the Apollo into a cathedral of shadow, her voice floating over the music with a feminine, ethereal vulnerability that felt painfully relevant to the week’s events. She closed with Here For Me, leaving the stage not as a novelty act, but as a formidable artist in her own right.

When the lights fell for the headliner, the roar from the 5,000-strong crowd was deafening, a wave of protective solidarity. Numan appeared, flanked by his band, and launched into This Wreckage. The song’s opening drone has always sounded like a warning, but tonight, lyrics like “I’ll leave if you go” hit with a devastating new weight.

The Telekon album is known for its dark, claustrophobic textures, and the production leaned into this perfectly. The stage was often bathed in the album’s signature red and black livery, save for a striking deviation during Sleep By Windows, where the band was washed in a sickly, jaundice yellow. It was a rare moment of Numan picking up the guitar for a track that felt disorientating and beautiful.

Technical gremlins tried to derail Remind Me To Smile, but Numan handled the glitch with a rare, human grin, a crack in the “android” armour that only endeared him further to his beloved fans. Deep cuts like Remember I Was Vapour and the driving I Dream of Wires were played with a muscular intensity that belied their age and thrilled the crowd.

However, the emotional epicenter of the evening was undeniably Please Push No More. A song written about the suffocating pressure of fame, it was transformed into a eulogy. Numan’s voice cracked, his composure fracturing as he fought back tears. It was here that the beautiful, symbiotic bond between Gary and his “Numanoids” truly shone. This fanbase, many of whom have grown up alongside him, didn’t just watch; they held him. Every time his voice wavered, the crowd swelled to fill the silence, a collective safety net woven from forty-five years of devotion. It wasn’t just applause; it was a thousand people saying, “We have you.”

The support on stage was equally beautiful. His band, longtime guitarist Steve Harris and bassist Tim Slade formed a protective phalanx around their frontman. Throughout the heavier numbers, there were subtle glances exchanged, moments where they seemed to play just a fraction louder or stand a little closer, anchoring Numan when the grief threatened to pull him under. It was a touching display of musical brotherhood, a silent promise that he wouldn’t have to carry the weight alone.

The setlist offered no respite from the intensity. The Aircrash Bureau and a trio-of-keys performance for the B-side Photograph kept the mood somber, while the rarity Like A B-Film surprised die-hards with its inclusion. I’m An Agent saw Numan attacking his guitar with visceral anger, channeling his grief into six strings, before the main set concluded with the one-two punch of I Die: You Die and We Are Glass. The former, with its chaotic double-cymbal crashes, felt less like a pop song and more like a riot.

Returning for the encore, Numan dipped back into the Tubeway Army catalogue, stripping away the Telekon polish for the punkier grit of My Shadow In Vain, Friends, and Listen To The Sirens.

But it was the finale, Down In The Park, that lingered longest. Opening with a stark piano intro that emphasized the song’s inherent loneliness, it built into that colossal, towering wall of synth noise. As the final notes decayed, Numan stood at the edge of the stage, looking drained but bolstered. This wasn’t the polished, robotic Gary Numan of 1980. This was a man grieving in real-time, using the music he created 45 years ago to navigate the worst week of his life. A local boy, a brother, a father, and a legend home at last. In the ringing silence that followed, the applause felt less like an ovation and more like a collective embrace, proving that even in the darkest darkness, the music still guides us home.

Live review and photography of Gary Numan @ Hammersmith Apollo, London by Louise Phillips Music Photography on 21st November 2025.

Blackie Lawless Reigns Supreme: W.A.S.P. Ignite Eventim Apollo With Shock-Rock Fury

W.A.S.P. @ Hammersmith Apollo

W.A.S.P. @ Hammersmith Apollo (Louise Phillips)

From the moment the lights dropped, it was clear whose stage this was. Despite having a stellar band of incredible musicians by his side, all performing with razor-sharp precision and undeniable power, it is Blackie Lawless who unequivocally owns the show. His voice is ageless, ripping through the classic anthems with the same venom and power that first captivated fans decades ago. You’d be hard-pressed to name another frontman from the era whose vocal cords have defied the passage of time so completely. He embodies the rock god persona, a theatrical, unshakable force, moving with an edgy, timeless stage presence that instantly elevates the performance from a concert to a spectacle. He’s a natural-born, killa showman—a master of the dramatic pause, the snarling delivery, and the commanding gaze that makes even the largest arena feel like an intimate venue.

Support Act: Armored Saint Fights the Sound Gods

The stage was first warmed up by the legendary Armored Saint, a band whose pedigree and catalogue deserve a flawless sonic presentation. Sadly, the sound gremlins seemed to have taken up residence on their side of the stage. Despite the immense energy and enthusiasm poured out by frontman John Bush and the band, the mix was plagued by severe issues for the majority of their set. Bush’s powerful, gritty vocals were often swallowed whole by a muddy low-end, and the normally crisp, dual-guitar attack struggled to cut through the mix, reducing complex riffs to a muffled roar. The drums, too, lacked the necessary punch and clarity, making it a struggle to truly appreciate the sheer force of their classic material like Can U Deliver and Reign Of Fire. It was a frustrating experience for both the band and the audience, as you could see Armored Saint delivering a world-class performance, but the technical constraints hampered their ability to fully connect. Despite the sonic adversity, their professionalism shone through, and they battled on like true metal veterans, earning a deserved ovation from the crowd who appreciated their grit in the face of poor engineering.

A Legacy Forged in Blood and Iron

I still remember the first time I saw W.A.S.P. It was at The Marquee Club for their first UK appearance back in 1992, and they were, without exaggeration, the most thrilling band I had ever seen. For a 16-year-old me who thought I had this rock thing all sorted, it felt dangerous and exhilarating! Their performance back then was raw, uncensored, and utterly thrilling—a savage spectacle of blood, circular saws, phenomenal music, blood and gore and the kind of performance that made rock run through your veins.

The great triumph of this current tour is that Blackie Lawless, all these decades later, still channels that primal, exhilarating energy. The massive venue was absolutely packed, shoulder-to-shoulder, with a congregation of the dedicated faithful from the very front of the barrier to the back bar. This was a night for the proud, lifelong fans, and the collective roar of affirmation with every song felt less like applause and more like a declaration of loyalty. The crowd’s spirit from the very anarchic note was unbreakable.

Adding to the timeless spectacle was Lawless’s iconic attire. This is a man who still rocks his signature black leather and his classic white fringed boots. He wears the uniform of a rock legend because he is one; every stitch of leather, every swish of the fringe is a statement. He was born to rock, and every movement on stage, from the swaggering walk to the commanding microphone stand and rock star poses, reinforces that truth.

A Setlist for the Ages

And what a way to kick things off! The band exploded onto the stage with a furious I Wanna Be Somebody, a bold declaration that immediately set the tone for the entire evening. It wasn’t just an opening track; it was a gauntlet thrown down, demanding attention and receiving it in spades.

The energy from that first chord never truly dipped, as the band powered through fan favourites like L.O.V.E. Machine, The Flame, and Hellion, creating a relentless torrent of classic W.A.S.P. fury. Every riff, every drum hit, every soaring vocal was delivered with the kind of conviction that reminds you why these songs became anthems in the first place. But, this is more than just a nostalgic run-through of their much loved hits; it is a vital, ferocious display that proves Blackie Lawless is still clearly at the very top of his game. His commitment to the raw, visceral spirit of heavy metal is absolute, and his performance is a definitive statement: The legacy of W.A.S.P. is not just being preserved, it’s still being forged, night after powerful night. He doesn’t just play the classics; he inhabits them, delivering an electrifying masterclass in shock-rock showmanship.

The Encore: Legendary Finale

But if the main set was a masterclass, the encore was nothing short of legendary. After a brief tease, the band returned for The Big Welcome and launched into a series of blistering medleys. The seamless transition from Inside The Electric Circus into I Don’t Need No Doctor and Scream Until You Like It was a stroke of genius, keeping the crowd’s adrenaline at fever pitch. Then, to follow that with The Real Me / Forever Free / The Headless Children was a testament to the depth of their catalogue.

And just when you thought it couldn’t get any better, they brought it home with the iconic Wild Child and the absolutely anthemic Blind In Texas. That final double-punch left the crowd hoarse and buzzing, a perfect crescendo to an already incredible night. The encore wasn’t just a bonus; it was a perfectly crafted journey through some of their most iconic tracks, proving that W.A.S.P. knows exactly how to leave an audience begging for more. It truly was the best part of an already stellar show, cementing Blackie Lawless and his band as an unstoppable force in rock.

The Next Chapter: Album ONE Alive!

With the roar of Blind In Texas still echoing, the question now shifts to what comes next for this relentless heavy metal machine. The immediate future is clear: W.A.S.P. is following this run with their massive Album ONE Alive! Tour, an extensive world trek that sees Blackie and the band celebrating the 40th anniversary of their self-titled debut by performing the entire album in sequence. While that tour promises a definitive, immersive look back at the band’s savagely primal origins, the greater anticipation among the faithful is for new blood. For years, fans have been eagerly awaiting the next original studio album, hoping to see what the unshakeable Rock God has left to say after a lifetime of redefining metal. Judging by the sheer, undiminished power of this performance, Blackie Lawless still has more than enough venom and raw energy to shock and thrill. The legacy is solid, the history is being celebrated, and the world is waiting to see where he decides to lead the W.A.S.P. Nation next.

Live review and photography of  W.A.S.P. @ Eventim Apollo, London by Louise Phillips Music Photography on 28th September 2025.

School’s Out But The Priest Are In Session! Alice Cooper And Judas Priest Live At The O2 Arena

The Pale White @ Oslo

The Pale White @ Oslo (Louise Phillips)

First to the stage were Hot Stamp. Fronted by sisters Jasmine and Poppy, the dynamic duo had a catchy punk sound and tore their way through a kick arse set of power punk pop. Certainly one to watch.

Next on the bill was the incredible Newcastle based singer-songwriter Lizzie Esau. Lizzie’s voice was absolutely stunning and she captivated the crowd with her hypnotic performance and stunning vocals. Her beautifully crafted lyrics spoke from the heart and mesmerised the audience. Her voice had raw punk energy that left the audience spellbound. Her opening track Wait Too Late, with its pulsating beats and Lizzie’s rage fuelled vocals was incredible, she is a true original, with a sound that’s refreshingly authentic and unapologetically real. Impossible + Strange was haunting and showcased the singer\s beautiful voice before opening up to a catchy chorus, another killer track. Her final track of the night had more of an electro beat and a hedonistic feel to it. Lizzie is a star in making and surely on the way to very big things.

By the time The Pale White took to the stage, the audience were well and truly up warmed up and to say the venue was packed was an understatement. It was absolutely heaving! The moment they took to the stage with their opening track Validate Me the crowd erupted into excited applause, The Pale White take cool to a whole new level, with their pulsating melodic raw sound evocative of late 90s indie rock, the sort of music that will still be a timeless classic twenty years from now. But even though the Newcastle trio’s music is top notch on every level, what puts them head and shoulders above the rest is the incredible dynamic that they have with their audience, they somehow have this incredible ability to make them feel like they’re the only one in the room, a kind of magnetism that draws the crowd in.

Medicine, with Jack’s driving drums and Adam’s mesmerising vocals and guitar, is sheer perfection on every level. It’s no surprise that Pixies man Frank Black chose them to support him at his recent sell out show at The London Palladium, they are on the cutting edge of the new wave of indie rock. The dynamic within this incredible band is hardly surprising considering that it consists of two brothers – Jack and Adam Hope – and their best friend Dave Barrow. When a band love to play together this really bleeds through into their performance and this was never move clear than when they played their latest single, the breathtaking Lost In The Moment.

Adam’s vocals were absolutely captivating and Jack’s pounding drums elevated this track to a whole new level. Absolutely superb! A special mention has to go to Jack. Not only is he an incredible drummer whose quirky antics were loved by the crowd, whether it was the end of set stage diving or appearing to play pretty much horizontal, but his personality and cheeky persona made this band even more likeable if that’s even possible.

Nostradamus was pinch yourself fabulous and just about as radio friendly as it gets, with enormous singalong potential. It was first rate, catchy as hell and just brilliant. Pure musical escapism, the kind of track that would make any sunny afternoon just perfect.

So, in conclusion, The Pale White won’t be playing in venues of this size for much longer, so catch them while you can because the trio are on the way to very big things!

The Pale White’s new album The Big Sad is due for release on 18th April and I for one can’t wait to hear it, because if tonight’s stunning performance is anything to go by, it’s going to be mind-blowingly good!

Live review and photography of Hot Stamp, Lizzie Esau & The Pale White at Oslo, London on 14th March 2025 by  Louise Phillips.

Frank Black Celebrates 30 Years Of ‘Teenager Of The Year’ At The London Palladium

The Red Rooster Festival

The Red Rooster Festival (Louise Phillips)

Despite its huge success, the festival has managed to maintain an intimate feel, a hedonistic bubble where the cool, the kids and the music lovers can enjoy three days of pure escapism together with a stunning line-up!
This years headliners are blues, rock and country legends JD McPherson, Samantha Fish andThe Sheepdogs! And of course, rocker Jim Jones will be gracing the stage with his band The All Stars! Jim has recently toured with his friends and fellow rockers, The Black Crowes and is currently recording a new album at Euston Hall with the legendary Crowes frontman Chris Robinson.

Harry is passionate about new music and since the festivals creation, has been travelling the word seeking out lesser-known artists to bring to the festival and this year, never one to disappoint, on bill are iconic artists such as Dewolf, Danny & The Champions Of The World, The Vegaband, Ghostly Hounds, Twinnie, The Zip Heads, Thee Sinseers and Bonner Black to name just a few!

CMT Next Women of Country @ Islington Academy

Twinnie - CMT Next Women of Country @ Islington Academy (Kalpesh Patel)

Back in November, Red  Rooster festival shared the first wave of 15 incredible artists set to take our stages, and the response has been phenomenal. If you missed that announcement, you can catch up on all the details HERE. Some of the bands to watch and information about tickets are below:

Blending Southern country rock, psychedelia, and bluesy swagger, Canada’s Juno Award-winning Sheepdogs have built a rock & roll revival on rich harmonies and dual guitar leads. Since breaking through with their platinum-selling Learn & Burn (2010), they’ve topped the Canadian charts with albums like The Sheepdogs (2012), Future Nostalgia (2015), and Outta Sight (2022).

The Sheepdogs @ Roundhouse

The Sheepdogs @ The Roundhous, London, UK on 21st October 2023 (Abigail Shii)

Hailing from Saskatoon, the band—Ewan Currie, Ryan Gullen, Sam Corbett, Shamus Currie, and Rick Paquette—has toured relentlessly, earning Platinum hits with I Don’t Know and Feeling Good. Their singles from Outta Sight spent 90 weeks in the Canadian Rock radio top 20, further cementing their status as one of Canada’s premier rock acts.

For country folk singer Willi Carlisle, singing is a form of healing, and through shared song, he believes we can confront suffering and grow in love. His latest album, Critterland, builds on the spirit of his live shows and his previous album, Peculiar, Missouri, transforming its big tent into a vibrant menagerie of eccentric characters and raw truths. A wild, heartfelt journey through the backroads of America and the complexities of human nature, Critterland embraces the beauty, pain, and peculiarities of life with unflinching honesty and communal spirit.

The Red Rooster Festival

The Red Rooster Festival (Louise Phillips)

GRAMMY®-nominated bluesman Jontavious Willis is on a mission to revive the spirit of classic Blues, blending his Georgia roots with the rich traditions of Delta, Piedmont, and Texas Blues. With soulful vocals, masterful technique, and a playful energy, he channels the lively juke joints and rent parties of the past, bringing the Blues to new audiences. Raised in rural Georgia, he honed his craft singing Gospel with his grandfather before catching the attention of Taj Mahal, who dubbed him his “Wonderboy.” Since then, Jontavious has toured nationally, captivating crowds with his timeless sound and infectious rhythm.

Early James is an eccentric troubadour who weaves country storytelling with blues, soul, and rock, creating a sound that’s both familiar and fresh. His 2020 debut, Singing For My Supper, produced by Dan Auerbach, introduced his unique style, which he refined further on 2022’s Strange Time to Be Alive. His latest release, Medium Raw (2024), finds James and bassist Adrian Marmolejo stripping things back for a soulful, intimate collection of songs.

Gill Landry, a two-time GRAMMY®-winning singer-songwriter, multi-instrumentalist, and visual artist, began his journey as a busker living out of Volkswagens between New Orleans and the Pacific Northwest. His deep immersion in American folk music led him to join Old Crow Medicine Show, where he played through their rise from van tours to GRAMMY® wins and Grand Ole Opry induction. In 2015, he stepped away to focus on his solo career, crafting music that reflects his rich storytelling and artistic vision.

Alan Tyler is the godfather of the underground UK country scene who first broke through with The Rockingbirds in the early ’90s

New Additions Also Include: Bloodshot Bill – Rockshot Magazine favourite Toby Lee – Nat Myers – Emily Zeck – Savannah Gardner – The Vagaband – Alan Power – The Future Shape Of Sound – The Swamp Stomp String Band – Dom Glynn & His Sunday Best – Camille Ruz – Bonner Black – Georgie Hume & The Pity Party – The Ghostly Hounds – Lucy Kitt – Brooke Law – Ella Spencer – Iris Farrer.

Toby Lee @ Glastonbury Festival 2024

Toby Lee @ Glastonbury Festival 2024 (Kalpesh Patel)

As music lovers first, here is a chance to hear some of the best Country, Blues, Rock & Roll and Americana acts from both sides of the Atlantic – all set against the beautiful backdrop of Euston Hall.

One of Red Rooster’s main missions is to keep the festival affordable despite rising costs. It remains one of the most affordable around, with Weekend Tickets priced at just £149.50 plus a booking fee. This includes three nights of camping and free parking. Kids aged 12 and under go free, and teen weekend tickets are only £50 plus a booking fee.

Toby Lee’s Got The Blues At The Gibson Guitar Garage

Frank is well known for his passion and support for this incredible charity and tonight he’s playing an intimate acoustic gig to a very lucky few who have managed to get their hands on the hottest ticket around. And what’s even more incredible is that Frank is playing this very intimate gig the day before his sell-out show at the vast Ally Pally. It doesn’t get more special than this!

Frank Turner @ 93 Feet East

Frank Turner performing at 93 Feet East, London on 21 February 2025 (Patrick Gunning)

War Child has built a reputation for hosting the coolest gigs at the most intimate venues, showcasing up and coming artists and accomplished artists alike. They carefully select those with a conscience who want to make a difference. As a charity, they have never been more needed or more relevant with the current situation in the world where one in five children is affected by war. And if you’re lucky enough to get a ticket to one of these gigs, as tonight shows, you’re going to have one of those pinch me nights that will stay with you forever and give you maximum bragging rights too.

It all starts with a very passionate lady from War Child who pays tribute to late, great The Jam drummer Rick Buckler and then, turning to tonight’s line-up, jokes that “It’s a good sign when the support band carry your stuff”. From the onset, it’s clear that there are no egos on the stage tonight as the damn right hilarious and lovable Ben Brown steps up.

Ben, who has the incredible and unusual ability to use his mouth like some sort of kazoo, goes down an absolute storm with a great set of both light hearted and slightly more serious tracks. Obviously thrilled to be on the stage tonight, he tells the packed venue how Frank had seen him play at a barbeque and had invited him over, made him pasta, and suggested they record some music together. I think the audience could all agree that pretty much sums Frank up.

Ben Brown @ 93 Feet East

Ben Brown performning at 93 Feet East, London on 21 February 2025 (Patrick Gunning)

When Ben sings about feeling blue, the audience are anything but. He even jokes that he does weddings and vow renewal ceremonies, adding that the audience can renew their vows as many times as they like.

After Ben’s incredibly enjoyable set, it’s time for the legend that is Frank Turner to be welcomed to the stage by none other than Radio X DJ John Kennedy. John shares that War Child has made an incredible £7-million to support children living in conflict since its inception in 2009, which is a sobering thought indeed.

When Frank comes onto the stage, the audience erupt into ecstatic applause, and Frank, who is undoubtedly one of the nicest guys in music, thanks them and reveals that this was where he played his first ever solo gig (also a benefit show) in September 2004. He then goes on to play all seven songs from that show. His warmth and gratitude are clear to see as he begins his set with the beautiful The Real Damage. The power in his voice is absolutely stunning and the audience are definitely in their happy place. As he sings about cigarettes and shame, there’s no shame here tonight. His voice is raw and gritty and the audience are captivated.

Frank Turner @ 93 Feet East

Frank Turner performing at 93 Feet East, London on 21 February 2025 (Patrick Gunning)

Next up is Mittens, a heart wrenching yet beautiful love song of sorts. The crowd sing along and another beautiful moment is born. Absolutely magnificent! Then it’s straight onto Wessex Boy with Frank taking the audience on a journey through his teenage years as a Wessex boy. Another superb track!

Whilst the set tonight features more amazing tracks than you could shake a very big stick at, two of the absolute best are the wonderful Substitute and Romantic Fatigue, which, Frank shares, is the first song he wrote after deciding to go solo. What a song it is!

As the evening continues and the crowd pleasers just keep coming, it’s blatantly clear how grateful Frank is to be on the stage tonight. He even tells the crowd: “I’m so fucking honoured to be here this evening” before giving a shout out to his crew. You don’t get more humble than that.

Frank with his acoustic guitar in hand makes it feel like a very special and intimate performance. When he sings about spending the night with all his friends, it couldn’t be more fitting as it feels like we’re all chilling at Frank’s house. His ability to speak so candidly and openly makes the evening feel even more special. He shares that it is 21 years since he played his first solo show and that at the time he did a fair amount of asking himself what the fuck was he thinking. Proof if you ever needed it that even the most accomplished musicians doubt themselves sometimes. He adds that the first song he played as a solo artist is the Propagandhi cover The State-Lottery, which he then performs for the first time since 2013, much to the thrill of the crowd.

Frank Turner @ 93 Feet East

Frank Turner performing at 93 Feet East, London on 21 February 2025 (Patrick Gunning)

At one point Frank plays Smudge cover The Outdoor Type, declaring that this is the song that changed his life. The audience are absolutely mesmerised, while a stunning cover of the ABBA classic Dancing Queen sends them into an excited frenzy. Just incredible!

Frank goes on to play the Million Dead song Smiling At Strangers On Trains, which was a game changer for him: it’s the track John Peel played on his show that took Frank from near obscurity to the big time. He then shares that a Million Dead reunion is on the cards, much to the audience’s absolute delight.

Throughout this incredible evening Frank constantly chats with the crowd and talks passionately about raising money for War Child. At one point he even asks for the house lights to go back on as he tells everyone in the room: “We’re all in this together.” Indeed we are.

There are so many phrases to describe this remarkable evening and Frank’s stunning performance, but the two that come to mind are “life-affirming” and “heart-warming”. A shared night that will stay with me forever and an incredible evening which has raised much needed funds for a great cause. And I, for one, will be keeping my eyes peeled for Frank’s next War Child show as it might just be the highlight of my year!

Live review by Louise Phillips of Frank Turner at 93 Feet East, London on 21st February 2025 as part of BRITs Week 25, delivered by DHL for War Child. Photos by Patrick Gunning.

For more information on the invaluable work that War Child do or to make a donation to this incredible charity, please visit warchild.org.uk.

Inhaler Breathe In The Open Wide Of London’s O2 Academy Brixton