Less Than Jake @ O2 Academy, Birmingham

Less Than Jake @ O2 Academy, Birmingham (Nick Allan)

Before a single note rang out, one thing was obvious: the Academy was absolutely rammed. In a day and age where the cost of living crisis continues to hit hard, it was genuinely heartening to see a venue packed to the rafters on a Saturday night, every balcony space filled, the floor heaving shoulder to shoulder. Ska-punk loyalty clearly runs deep in Birmingham.

Opening with Nervous In The Alley, the Florida veterans wasted no time whipping the crowd into a skanking frenzy. Frontman Chris DeMakes was all smiles and sharp hooks, trading vocals seamlessly with bassist Roger Lima, whose punchy delivery gave History Of A Boring Town and Automatic extra grit. The Winter Circus theme framed the night perfectly, bright visuals, playful energy, and a sense that anything could happen.

Lie to Me and Last One Out Of Liberty City kept the pace relentless, with drummer Matt Yonker driving the set with precision and power. Stage right, trombonist Buddy Schaub and saxophonist Peter “JR” Wasilewski were magnetic, their brass lines cutting through the room and elevating every chorus into something celebratory.

The first true eruption came with All My Best Friends Are Metalheads. The entire venue sang it back word for word, voices bouncing off the walls and up into the rafters. Walking Pipebomb and Johnny Quest Thinks We’re Sellouts followed in quick succession, equal parts tongue-in-cheek and razor tight, before The Science Of Selling Yourself Short became one of the night’s defining moments, strangers with arms around each other, shouting every lyric like it still means everything.

Newer cut Brand New Day slotted effortlessly into the set, proving the band aren’t just trading on nostalgia. Moments later, the gloriously frantic Help Save the Youth Of America From Exploding detonated the pit all over again, the tightly packed crowd somehow finding even more energy.

There was space for reflection too. The Rest Of My Life brought swaying arms and heartfelt singalongs, while Happyman and 9th At Pine balanced melody with momentum. Sunny Side shimmered, giving the brass section room to breathe before the politically charged bounce of Plastic Cup Politics reignited the chaos.

The closing stretch was flawless. The pairing of The Brightest Bulb Has Burned Out / Screws Fall Out blended introspection with punchy hooks, before Look What Happened sent crowd-surfers sailing toward the barrier in waves.

Ending on Gainesville Rock City felt less like a finale and more like a communal release — a love letter to their roots and a reminder of why Less Than Jake continues to thrive. Chris DeMakes and Roger Lima’s chemistry remains effortless, Matt Yonker’s drumming is commanding and explosive, and Buddy Schaub and Peter “JR” Wasilewski provide the brassy heartbeat that keeps everything bouncing.

Winter Circus might be the tour name, but at a sold-out O2 Academy Birmingham on a Saturday night, it felt like a celebration of longevity, community, and the enduring power of ska-punk done right.

Live review and photography of Less Than Jake at O2 Academy Birmingham on 28th February 2026 by Nick Allan.

Slaughter To Prevail Level Birmingham On The Grizzly Winter Tour

Avalanche @ O2 Academy, Birmingham

Avalanche @ O2 Academy, Birmingham (Nick Allan)

From the opening blast of Blondie, Avalanche made it clear they weren’t just filling time; they were claiming territory. The sound was pure, unfiltered Aussie pub rock: gritty, hook-laden and delivered with the kind of beer-soaked conviction that feels born in sticky-carpet venues and long-haul van rides. If AC/DC and The Wildhearts had a pub brawl and then Lemmy leaned over to offer a lit Marlboro in approval, it would probably sound a lot like this.

There’s a looseness to Avalanche’s performance that never tips into sloppiness — the swagger is controlled, the chaos carefully steered. Bottle Of Sin strutted and spat with sharp-edged confidence, frontman Steven Campbell working the crowd like a seasoned barroom preacher. Meanwhile, On The Bags Again felt like the soundtrack to last orders turning into regrettable decisions, its punchy chorus already sounding built for communal shouting.

The extended set allowed the band to stretch out rather than rush through a greatest-hits sprint. They took advantage of the breathing room, locking into thick, mid-tempo grooves before slamming the accelerator again. The rhythm section thundered with no-nonsense force, basslines rumbling beneath crunching guitars that swapped between bar-room boogie riffs and squealing, classic-rock leads. It was loud without being messy, tight without losing that edge-of-control thrill.

Midway through, Avalanche threw a curveball with a brilliantly rowdy cover of Men At Work classic Down Under. Forget polite nostalgia — this was less backyard barbecue, more back-alley bar fight. The famous flute melody was reimagined through overdriven guitars, the rhythm beefed up to near-hard rock stomp, and the chorus transformed into a mass, beer-sloshing shoutalong. It was a nod to home, sure, but delivered with steel-toe boots firmly on.

Get Back (To Fuckwit City) landed like a sledgehammer — fast, filthy-mouthed and gloriously unsubtle. Armed To The Teeth and Going For Broke kept the throttle jammed to the floor, the band visibly feeding off the growing pit movement at the front. There’s something refreshing about Avalanche’s refusal to overcomplicate things: big riffs, bigger hooks and lyrics that don’t hide their intentions behind metaphor. Lead guitarist Veronica “V” Campbell shreds like a mad (wo)man, jumping off stage and playing to the crowd at the barried, while drummer Bon Lowe hits harder.

Avalanche @ O2 Academy, Birmingham

Avalanche @ O2 Academy, Birmingham (Nick Allan)

One of the biggest hooks of the night came with Dad, I Joined A Rock ’N’ Roll Band — part tongue-in-cheek confession, part triumphant declaration. It’s catchy, loud and self-aware in all the right ways, and it drew one of the strongest responses of the set. By the time Down For The Count crashed in, the floor had turned into a sea of nodding heads, raised fists and grinning faces.

Closer Ride Or Die sealed it in emphatic fashion. What could have been a tricky situation — stepping up after another band’s cancellation — instead became a defining moment. Avalanche didn’t just plug a gap; they turned an extended support slot into a headline-worthy statement of intent.

Airbourne may have been the main event, but Avalanche proved that classic Aussie pub rock is still dangerous, still loud and still more than capable of turning a support slot into a full-blown riot.

Slaughter To Prevail Level Birmingham On The Grizzly Winter Tour

Slaughter To Prevail @ O2 Academy Birmingham

Slaughter To Prevail @ O2 Academy Birmingham (Nick Allan)

From the moment the lights dropped, the sense of anticipation was palpable. Opening with Bonebreaker, Slaughter To Prevail wasted absolutely no time in turning the room inside out. The pit erupted instantly as Alex Terrible took centre stage, his presence commanding from the very first guttural roar. Equal parts frontman and force of nature, Terrible stalked the stage with confidence, effortlessly switching between monstrous lows and barked calls that whipped the crowd into immediate frenzy.

Behind him, the production made its intentions clear. Towering visuals, dramatic lighting, and a giant inflatable grizzly bear looming over the drum kit reinforced the tour’s savage aesthetic. It was theatrical without feeling gimmicky, perfectly complementing the band’s brutal sound and giving the show a larger-than-life feel that matched the scale of the sold-out room.

Banditos and Russian Grizzly In America followed in quick succession, both landing with immense impact in a live setting. The latter, in particular, drew a huge response, with fans screaming along as the band locked into a groove that felt both crushing and infectious. Viking and Imdead kept the momentum relentless, the band sounding tight and precise despite the sheer physicality of the performance. Guitarist Jack Simmons and bassist Mikhail Petrov delivered punishing low-end heft, while drummer Evgeny Novikov was an absolute powerhouse, driving each track forward with unrelenting force.

The crowd response was constant and chaotic. From wall-to-wall movement on the floor to a steady stream of crowd surfers making their way over the barrier, Birmingham fully embraced the violence and energy of the set. There was no lull, no chance to catch breath, just pure sustained aggression.

The middle of the set delivered some of the night’s biggest reactions. Babayka and Bratva drew thunderous chants, with Babayka standing out as a clear highlight. The already overheated room was pushed into overdrive as the breakdowns hit, the pit expanding and colliding beneath the glare of red and white strobes. Moments like this showcased Slaughter To Prevail at their best, balancing sheer brutality with undeniable crowd connection.

As the set pushed on, Baba Yaga, Koschei and Conflict added further weight, leaning into darker atmospheres without sacrificing intensity. Kid Of Darkness and Behelit then drove the show towards its peak, each song delivered with ferocity and discipline. Even at their heaviest, Slaughter To Prevail remained impressively controlled, executing every track with precision and consistency that highlighted their growth as a live unit.

After a brief exit and relentless chants from the Birmingham crowd, the band returned for an encore that needed no introduction. Demolisher closed the night in explosive fashion, with the entire venue screaming along as the pit erupted one final time beneath the watchful glare of the grizzly. It was a perfectly chosen closer, chaotic, cathartic, and utterly dominant.

Slaughter To Prevail’s Birmingham date was a standout moment on the Grizzly Winter tour. With a sold-out crowd, heavyweight production, and a performance that balanced raw brutality with undeniable professionalism, the band proved once again that they’re operating at the very top tier of modern heavy music. Judging by the scale of this show, Slaughter To Prevail aren’t just getting heavier, they’re getting bigger.

Live review and photography of Slaughter To Prevail at O2 Academy Birmingham on 18th January 2026 by Nick Allan.

Here’s Another Cover: Spike And The Gimme Gimmes Turn Christmas Into A Punk Rock Singalong Riot

Spike And The Gimme Gimmes @ O2 Forum Kentish Town

Spike And The Gimme Gimmes @ O2 Forum Kentish Town (Nick Allan)

The stage told the story before a note was played. A rich red curtain backdrop glowed under warm amber lighting, with the Gimme Gimmes logo hanging proudly at centre stage like a festive seal of approval. On either side, large shimmering gold circular backdrops flanked by towering nutcracker figures. Multiple lit Christmas trees lined the edges of the stage, while tinsel was draped across gear and staging.It wasn’t subtle. It wasn’t minimal. It was full commitment – a tinsel-covered takeover designed for celebration.

Frontman Spike Slawson hit the stage grinning, ukulele in hand, instantly pulling the crowd in. He worked the room like a ringleader rather than a frontman, setting the tone early. Nearly three decades on, having been doing this since 1997, Spike And The Gimme Gimmes have long since earned their status as the covers band. Not novelty, not parody, but a band that understands how deeply these songs live in people and how powerful they become when delivered loud, fast, and without cynicism.

Behind Slawson stood a lineup loaded with punk history. Andrew “Pinch” Pinching of The Damned drove the set from behind the kit with relentless precision. CJ Ramone from The Ramones anchored the band on bass, cool and immovable, locking everything down with trademark simplicity. Jake Kiley from Strung Out brought speed and melodic fire, while Dan Goatham, best known as the bassist in Snuff, stepped in on guitar for the UK tour. Punk rock royalty across the stage, playing with joy rather than reverence.

The set tore across genres without hesitation. Santa Baby was glittery, cheeky, and knowingly over the top, Spike leaning into every second while the gold backdrops shimmered behind him. Jolene and Take Me Home, Country Roads triggered the first of many mass singalongs, the entire room shouting every word back at the band, arms around strangers, voices louder than the PA. From the pit, the stage looked like a glowing festive altar, framed by trees, nutcrackers, and raised fists. Riders In The Sky and On The Road Again rolled through with dusty Americana swagger before Changes cut straight through the party atmosphere. It landed heavy and sincere, proving again that the Gimmes treat every song with respect, no matter the genre.

The middle of the set pushed the room into full release. Love Will Keep Us Together and Karma Chameleon were rebuilt into full-body shout-alongs, while Wild World and Me and Julio Down by the Schoolyard landed warm and communal rather than ironic. By the time Dancing Queen and good 4 u hit, the venue was in total motion – bodies bouncing, hands in the air. The festive stretch was relentless. Feliz Navidad became a wall of voices, the chorus echoing back in huge waves beneath the red-and-gold glow of the stage. I Saw Mommy Kissing Santa Claus pushed things further into joyful chaos.

The encore sealed it. All I Want For Christmas Is You hit like a final sugar rush, followed by Merry Xmas Everybody with Spider Stacy joining the party, turning the room into pure seasonal defiance. Just when it felt like the night couldn’t twist again, Over The Rainbow and End Of The Road brought things down gently, leaving the crowd buzzing, emotional, and completely spent.

After nearly 30 years, Spike and the Gimme Gimmes remain untouchable. A covers band in the truest sense – not recycling songs, but reclaiming them and handing them back louder, faster, and full of life. No irony. No cynicism. Just songs, sweat, mass singalongs, and festive joy. At full volume.

Live review and photography of Spike And The Gimme Gimmes at O2 Forum Kentish Town, London on 20th December 2025 by Nick Allan.

Lambrini Girls Bring Controlled Chaos And Sharp-Edged Punk Energy To XOYO Birmingham

Wolf Alice @ The O2

Wolf Alice @ The O2 (Neil Lupin)

The North London four piece opened with Thorns, letting its atmospheric tension settle across the arena before easing into Bloom Baby Bloom and White Horses. The sound was immaculate, loud, clear, and vast, but still intimate enough to feel like a shared secret between the band and the thousands watching.

During Formidable Cool, frontwoman Ellie Rowsell took a misstep, “proper fell over, and immediately laughed it off with: Felt like I was falling for 10 seconds, pretty impressive really”. The crowd erupted, a moment that made the show feel even more alive, grounded, and human.

A major thread of the night was the band’s latest record, The Clearing. A bold and confident expansion of their sound. Where Visions Of A Life revelled in chaos and Blue Weekend glowed cinematic and melancholic, The Clearing leans into something warmer and more luminous. There’s a touch of Fleetwood Mac, yacht rock shimmer, clean melodic lines and breezy, sunlit textures, without losing the emotional spine that defines Wolf Alice.

The Sofa, a standout from the new album, was a highlight – its dreamy, reflective atmosphere blooming beautifully in the vastness of The O2. Alongside it, Safe In The World, Safe From Heartbreak (If You Never Fall in Love), Delicious Things, and Bread Butter Tea Sugar showcased the band’s newfound warmth and sonic clarity. These are songs built on space, harmony, and emotional openness, and they filled the arena with surprising ease. Bassist Theo Ellis as theatric as ever, guitarist Joff Oddie hiding behind a growing mop of hair while drummer Joel Amey kept the set’s pulse steady.

But the night wasn’t without the snarling, feral pulse that first put Wolf Alice on the map. You’re A Germ, Yuk Foo, and Play The Greatest Hits tore through the room with unfiltered energy, proof that the band’s evolution hasn’t meant abandoning the grit. New classics like Just Two Girls, Leaning Against The Wall, and Bros arrived with renewed force, lifted by a mix that captured every detail without losing any rawness.

The main set closed with the swaggering run of Play It Out, Giant Peach, and Smile, the band fully in command of their home city’s biggest stage.

For the encore, Wolf Alice shifted into something grand and emotional. The Last Man On Earth soared, almost spiritual in scale, before Don’t Delete the Kisses wrapped the night in a euphoric, heart-swelling haze.

Wolf Alice at The O2 Arena wasn’t just a gig. It was a triumph, a celebration of a band growing not just bigger, but deeper, braver, and more sonically adventurous. The Clearing marks a new era for them, and seeing those songs slot so confidently alongside old favourites made one thing very clear: This band not only deserves to be here, they’re built for it.

Live review of Wolf Alice at The O2, London on 3rd November 2025 by Nick Allan. Photography of Wolf Alice at The O2, London on 4th November 2025 by by Neil Lupin / neillupin.com .

Lzzy Hale And Her Bloody Good Mates Storm The O2 Arena