The Electric Ballroom was already filling up nicely as Siamese took the stage, and they waste no time getting the crowd warmed up for the onslaught that lies ahead of them. The Danish quintet’s sound straddles devilishly low grooves and soaring angelic melody (the latter helped in part by a violin which slotted into the mix surprisingly well), sometimes jumping between them so fast it’s like flicking a switch, and those sudden shifts often startle the crowd. That shock translates into appreciation, mind you, with the crushing heavy parts of the set creating woo’s and eurgh’s in various pockets around the room. They’re an energetic bunch too, with vocalist Mirza Radonjica darting from side to side to ensure the entire crowd felt like a part of the set as the band laid down a very sturdy foundation for him to jump off of. They definitely managed to create a buzz in the room and, little did everyone know, that buzz was about to become a deafening roar.

We don’t need to introduce The Devil Wears Prada, do we? The legendary band have been going from strength to strength for their entire career, something that latest album ‘Color Decay’ has shown, and their set tonight proves that their live shows are getting better too. Within moments of coming in stage, TDWP raised the bar so high that if this evening was a rollercoaster ride, the openers wouldn’t have been allowed on. Bursting straight into action with a volatile performance of ‘Sacrifice’, they whipped the crowd into a frenzy almost immediately, with vocalist Mike Hranica and guitarist/vocalist Jeremy DePoyster ordering a pit for the opening track’s crushing breakdown that the crowd was more than happy to provide. 

Everything that followed was a wonderfully balanced tightrope walk through their back catalogue and their new album, with highlights being the iconic ‘Danger: Wildman’, the crushing ‘Born To Lose’, crowd favourite ‘Outnumbered’ and the adrenaline-surging ‘Salt’. We’ve never seen them so fired up and we’ve seen them a lot over the years, and that energy saw the spark that makes the band so special evolve into a terrifying blaze that we couldn’t take our eyes off of. The set felt like it was over far too soon, probably because it had the power and punch of a headline set, but their job was to prepare the crowd for the real headliner and the entire room was definitely ready for more. Ending their set on a delicate note with ‘Chemical’ was a genius move, gently bringing the room back down to Earth after a mad half-hour – hopefully the next time we see them, it will be for their own headline run.

The room already felt pretty full for TDWP, but as Wage War take the stage it feels as though the crowd has doubled in size. The band are currently riding a high after the huge success of 2021 album ‘Manic’, and as soon as the opening notes of ‘Relapse’ creep through the PA, the pit-hungry members of the crowd start their ceremonial pushing and shoving to kick the evening off the right way. The first thing that becomes immediately noticeable is the insane tightness of the band. The whole band launches into action at the exact same millisecond and the gut-punch it delivers leaves a lingering grimace on the faces of everyone in earshot. This is the final show of the run and they look far from tired; they’re well rehearsed, they’re energetic, perfectly in sync with one another, and they’re just getting started. This is going to be quite a show.

The band’s collective foot stays firmly on the gas as they continue to deliver smash after smash to the ravenous audience. The one-two punch of ‘Teeth’ and ‘Low’ keeps the electricity in the venue at peak levels, before the band dip into their 2017 ‘Deadweight’ record for a few songs, the highlight of this trio of tracks being a soaring rendition of ‘Gravity’. The crowd are loving what they’re hearing – something that’s clear to see from the size of the pit and the volume of their screaming – and the band visibly loving what they’re seeing, too. A good time to drop one of their latest ragers ‘High Horse’ into the set? The perfect time, in fact; every earth-shattering riff bounces through the venue like an unchained wrecking ball, reminding everyone it hits that the band have a lot of bangers in their arsenal.

One of the highlights of the entire set comes in the form of their latest album’s title track ‘Manic’, which sees a record number of phones leave pockets to record this clearly sought moment. From the haunting verse delivery to the catastrophic breakdown, it’s all played with fury and precision, and that fury spreads through the crowd as they all yell in unison for that iconic deafening scream. The band treats the room to so many faultless performances of some of their biggest and best, from early favourites ‘Alive’ and The River’ to more recent standouts ‘Death Roll’ and the epic ‘Circle The Drain’, and they’re clearly having the best time. Front man Briton Bond reminds the crowd several times throughout the set how grateful they are to be back in London and how good the tour has been – they even go as far as to say that tonight is their favourite show of the whole run. They probably say that every night, but you know what? Everyone in the room believes them, and that’s all that matters. The band ends the night with the brutally brilliant ‘Stitch’ which successfully summons all of the remaining energy left in the room to be expelled, and even after their 15 song set we’re all still wanting more. After 3 years away from touring on this side of the world, this is an incredibly powerful way to make a return. 

There’s something special about Wage War that’s not as straightforward as you’d think to put into words. Their live show is intense, but so many other bands have that too. Their music perfectly balances melody and heaviness, but so does the music that’s coming from a lot of the bands in their genre. That special something is almost like an aura – as soon as they took the stage tonight the room was hypnotised and they managed to hold their gaze without any gimmicks or trickery, just a few synchronised lights, next-level musicianship and pure, unfiltered ferocity. A lot of metalcore is done well, but it’s not always done this well, and that allows Wage War to stand out not only as a band that are really nailing their craft, but as a band to look up to and admire. 

Tonight proves that metalcore is not only thriving, but it’s growing. Legends of the genre and its future are pushing it to new heights, and we can’t wait to see how high they can go.

DAVE STEWART

If you’ve come here for a potent dose of classic Prada, then you won’t be disappointed. Tracks like the anthemic ‘Watchtower’, the devilishly heavy ‘Hallucinate’ and the rip-roaring ‘Sacrifice’ all scratch that itch; bludgeoning metalcore riffs and uplifting choruses locked in an endless ebb and flow as vocalist Mike Hranica recites dark and often harrowing poetry over it, often slipping into an almost spoken-word croon.

Album opener ‘Exhibition’ also has those moments but also allows the electronic side of the band to lead the charge, swerving in and out of the foreground around DePoyster’s lament of “welcome to the way down.” All the material is instantly recognisable as The Devil Wears Prada but moments like this are where the new album shines, and there’s plenty more where that came from.

‘Salt’ is one of the most commercial sounding tracks they’ve released, but that isn’t a bad thing at all. Taking influence from the aforementioned Bring Me The Horizon, the powerful guitars in the main motif launch the song into the stratosphere right from the off, with the dual vocal attack of Hranica and DePoyster working at its absolute finest from beginning to end. ‘Time’ is an expertly walked balancing act between calm and carnage, flicking a switch from haunting moody passages to razor-sharp distortion without it sounding uncomfortable or out of place. Energetic and moody giant ‘Noise’ is both infectiously catchy and deeply moving in its delivery, with some of Hranica’s most thought-provoking lyrics on show. The conveyance of the line “I’m existing as a ghost but I’m still afloat, dizzy drifting from left to right” and the way the music shifts with the honesty is, simply put, beautiful. That happens a lot on this album.

The soul-stirring and candid side of the band has always been one of the things that makes them special, and that characteristic has never been as prominent as it is throughout ‘Color Decay’. The pained ‘Trapped’ is a tidal wave of emotion that crashes over and over again, Hranica and DePoyster narrating two different sides of the same story on this towering epic. ‘Twenty Five’ is a solemn and gloomy slow burner, with the soft piano tones slowly ascending towards an explosion of ethereal guitars. There’s the ominous inner-turbulence on show in ‘Fire’, the honest and self-deprecating cries in ‘Broken’, the heart-breaking finale ‘Cancer’ – on the whole, this album represents one of the band’s most experimental efforts and it may just be one of their best, too.

There’s something so alluring about the way The Devil Wears Prada continue to evolve. The band have transformed themselves from screamo staple into metalcore bar raisers, and this album sees them push it even higher. They still manage to retain their core characteristics – Hranica’s unmistakable emotive voice, the crushing dense breakdowns, the glistening choruses – but there’s a maturity and attention to detail on show that makes it feel like hearing the band for the first time all over again. The fact that keyboardist Jonathan Gering took the reins to produce the record may have something to do with this, able to really transform the band’s collective ideas into a cohesive product, and it’s really worked. This album is confident, diverse and powerful, displaying them as a band that have far outgrown their roots.

‘Color Decay’ as a title may accurately represent the lyrical content, but the music contained within is some of the most colourful that they’ve ever made. They really have captured a special moment in their career and, if their new outlook on creating is anything to go by, this will be the first of many.

DAVE STEWART

For those unaware, ’ZII’ is a continuation of the band’s incredibly popular ‘Zombie’ EP narrative, first explored way back in 2010 when it quickly became one of their most loved works. Eleven years on and this new EP sees them reopen the door to that world, only to find that things have gotten far worse. The rich imagery and cinematic nature of the storytelling makes this streaming event the perfect accompaniment, and it becomes quickly clear that the band have pulled out all the stops to make its forty minutes as memorable and impactful as possible.

After a series of grainy VHS footage and Silent Hill-esque messages on screen, the picture fades into focus and the band get things immediately moving with ‘Dead Throne’ and ‘Born To Lose’, two big and bold bruisers from their 2011 album. A few things become clear straight away; lead vocalist Mike Hranica still has one of the most powerful and unique voices in the game, guitarist and singer Jeremy DePoyster is a note perfect angel and the immaculate audio mix highlighted how tight the band have become as a live unit in the last few years. Both songs have the weight of the album versions with the electricity of a live show coursing through them, and it perfectly set the tone for everything that followed.

They flow seamlessly into ‘Worldwide’, an energetic and upbeat anthem with one of the catchiest choruses in their catalogue that, in a normal setting, would’ve had the adoring crowd screaming back the words. Followed by their enormous radio single ‘Chemical’ that provides momentary serenity and an early breather from all the punishment, and rounded off by the beautifully balanced ‘To The Key of Evergreen’, these first five songs act as a brief whistle-stop tour of how the band have grown over the last decade. Only fitting, then, that this stream ends with their newest material, showcasing that their heavy roots are still burrowing deeper.

The majority of the new EP was unheard at the time of the stream, making it one hell of a way to debut the material. They fade the visuals to pitch black, briefly displaying the ‘ZII’ logo over unsettling tones and then ripped straight into ‘Nightfall’ to kick off the EP play through. Hranica channels his inner demons into some spine-tingling screams, the lights frantically pulsing behind him as they bring the apocalypse onto the stage with them. EP highlight ‘Forlorn’ sees them continue down the same path, the perfectly blended vocals of Hranica, DePoyster and keyboardist Jonathan Gering taking centre stage during the songs more solemn and desperate moments.

‘Termination’, an early fan favourite of the singles, sounds absolutely monstrous on the stream, Hranica’s cries of “the transfer begins” wrapping its fingers around your core while the intense musical landscape applies additional pressure. The light show is amazing, strobing and convulsing in all the right moments to immerse you in the chaos and panic of the narrative. ’Nora’ gives the rhythm section a chance to step forward, the unbelievably chunky bass tone of Mason Nagy cutting through the mix like a hot knife to butter whilst the thunderous drum work of Giuseppe Capolupo boosts its power.

Ending things on EP closer ‘Contagion’ highlights how perfect of a conclusion it is, both to the EP and the set. Lyrically it acts as a point of reflection for the events that preceded it and the music enhances that, highlighting the hopelessness and the sheer emotion encased within the narrative. The dramatic moments of the song translate so well into the live environment, every dynamic shift and surge of emotion connecting with absolute precision.

The attention to detail that has gone into putting this together makes it such an enjoyable watch. The transitions from song to song are so smooth and atmospheric, especially during the EP section of the stream. The light show is ever-changing and was almost like a seventh member of the band, adapting and shifting along with the music to enhance its cinematic elements. The sound is perfect too, delivering the adrenaline rush of a live show in all its raw and raucous glory with crisp and clear studio quality recording that makes every note connect with absolute precision.

The show stealer, though, is the pace of the setlist and the way the band perform it. The songs leading up to the play through of the EP warm up both the audience and the band, making the grand unveiling of the new material all the more exciting and punishing. The only thing missing from the stream is the audience itself, most noticeably missed when songs fade into complete silence with no appreciation or applause, but I hope the band know that there are thousands of people sitting at home with ear-to-ear grins, their eyes lovingly glued to their screens.

This streaming event is the closest I’ve felt to being at a gig since it was safe to attend one, and that feeling isn’t easy to replicate outside of its natural habitat. A powerful reminder of the rush of a live performance, and definitive proof that The Devil Wears Prada know how to put on one hell of a show. When they finally make their way back over to the UK, make sure you witness one for yourself.

DAVE STEWART

One of the most-loved releases of their back catalogue, widely adored by their fans and the metal community alike, is 2010’s ‘Zombie’ EP – a concept record about fighting and resisting the undead that set a perilously high bar for all their peers to leap over. Eleven years on, and taking everyone completely by surprise, they’re revisiting the concept with ‘ZII’ and tipping that bar even higher, picking up where they left off both musically and lyrically. This one isn’t about fighting back, though. This one is about hopelessness against the overwhelming presence of the horde, and you can feel the gloom from the moment that you press play.

‘Nightfall’ wastes no time thrusting you right into the apocalypse, with vocalist Mike Hranica leading the charge with a piercing scream as the crunch of the guitars methodically march forwards. The catchy riffs, bludgeoning breakdowns and overbearing darkness all wonderfully set the tone for what’s to follow – a bleak journey through a devastated landscape where hope and optimism is scarce. ‘Forlorn’ toys with that notion, featuring a stripped back chorus where Hranica and fellow vocalist and guitarist Jeremy DePoyster blend their vocals in a section that reeks of despair and defeat. It’s not all stripped back though. When you hear the line “we’ve lost control, like we ever had it,” make sure you’re sat down for what follows it. Trust me.

First single ‘Termination’ is a full frontal assault, the dual guitar assault of DePoyster and Kyle Sipress swings like a pendulum through a barren wasteland. Pained cries of “we all did our best” echo out over the landscape, highlighting the looming realisation that victory might not be possible. ‘Nora’ features a diverse spread of influences, including industrial synth and bass-led verses, and a hardcore middle eight that make the metallic verses sound even more distressed and urgent.

It all masterfully leads to the album closer ‘Contagion’, bringing proceedings to a grandiose and harrowing conclusion. Pulsing ominous verses, soaring shadowy choruses and the ultimate mosh call “upset the sickness” bringing in a gargantuan breakdown, it ends the EP on a heartbreaking note with the final flickers of hope being extinguished as the music comes to an immediate and impactful halt.

‘ZII’ is the heaviest collection of songs they’ve released in years, without a doubt. The sheer ferocity and ruthlessness is brutally persistent, posing as an aural representation of the undead horde itself. Their recent full length records showcase the band’s penchant for growth and experimentation, forever finding new territory to venture into and new ideas to explore, and revisiting the ‘Zombie’ concept sees them extend that to the darker side of their sound. Their brand of heaviness has never sounded more mature than it does here, and it is breathtaking.

The songwriting throughout this EP is masterful, toying with suspense and dynamics throughout so that you’re never really sure what’s coming next. It doesn’t need any additional gimmicks to set the scene for you – they paint a picture so you can see it. It lacks the cinematic characteristics that its predecessor possessed such as the frantic breathing, chainsaw-whirring and ambient thunderous weather, but this all feels far more immersive. It’s cinematic without needing to borrow soundbites, and it’s because they’ve spent the last eleven years honing their craft that they’re able to tell stories far more vividly. When Hranica screams “we’re in a panic,” you believe him.

For all the naysayers barking up the “they’ve gone soft” tree, this is an EP that will see them all proven very, very wrong. It’s a perfectly executed callback to one of their career favourites that’s on track to earn them the same accolade, showing their maturity as musicians to make something that’s so much more than simply a series of heavy songs. The Devil Wears Prada are the horde and there is nothing that you can do to stop them.

DAVE STEWART

As attendees began to pile themselves into the venue, hardcore giants Gideon took to the stage to launch their muscular riffs directly into peoples faces. Opening with the furious ‘Bite Down’ before quickly erupting straight into the heavy groove-laden gem ‘Cursed’, it didn’t take long for those faces to scrunch up in appreciation, enticing the first pit of the night to open up in record time. Their riffs are enormous, echoing through the venue like a sonic boom as they ensured everyone in the room had their attention fixated on them. Powering through newer jams ‘SLEEP’ and ‘2 CLOSE’ as well as older monsters ‘Champions’ and ‘Freedom’ gave those experiencing Gideon for the first time a well rounded offering of exactly what they’re capable of. For those that have already been to this party, it served as a potent dose of exactly what they expected. A hard hitting, bold and ballsy start to the evening.

Next to take the stage was Loathe, flying the flag for homegrown metal on this stellar line up. With a fan base quickly growing and an already impressive live reputation, it’s no surprise that the venue was packed in time for their performance. With the stage drenched in moody red light, they ripped straight into newest release ‘Aggressive Evolution’, and the crowd wasted no time bursting into action, opening the pit up wide and keeping it in motion for the entirety of the set. Every note that followed connected like a sledgehammer, from the mind-blowing riff-work of ‘Servant and Master’ and the sludgy punishment of ‘Gored’ to the pulsating mammoth ‘Dance On My Skin’ and the furious set closer and fan favourite ‘It’s Yours’. Every ounce of tone was delivered with real clarity and precision, which both added to the weight of their set and made it blatantly obvious why they’ve amassed this level of reputation and respect in the short time they’ve been a band. A powerful display from one of the UK’s finest modern exports.

The third band to take the stage was metalcore legends The Devil Wears Prada, and it’s safe to say the venue was hungry to devour their set. Sat atop one of the most adored back catalogues from what is widely regarded as the golden age of the genre, they had plenty of weaponry in their arsenal to choose from and managed to whittle it down to a solid assortment of some of its most impressive contents. The first portion of their set was pure aural onslaught, dominating the stage with new cut ‘Switchblade’ before causing absolute chaos with the surprise early inclusion of classic ‘Danger: Wildman’. Vocalist Mike Hranica darted across the stage and commanded the crowd into a frenzy, the band keeping the tornado in the centre of the room swirling with a soaring performance of ‘Worldwide’. They left no opportunity to catch your breath, no time to stand still – they took the stage and made it theirs, and by the end of the first three songs the entire room was enchanted.

The rest of their set was a turbulent ride, jumping from soul-crushing tremors to tranquil havens at a moments notice. ‘Assistant To The Regional Manager’ beckoned the crowd into a mass singalong, screaming the guitar melody back to stage amidst a sea of flailing limbs. New songs ‘Lines Of Your Hands’ and ‘Chemical’ surged through the crowd like a static explosion and demonstrated just how much the band have grown, able to paint a far more detailed emotional picture than they could a decade ago. That said, set closers ‘Anatomy’, ‘Planet A’ and the gut-wrenching powerhouse ‘Born To Lose’ also proved that, sometimes at least, brute force is all that’s required to make a lasting impact. An excellent set from a band that have helped pave the way for a lot of today’s metalcore acts.

The bar was set high for the evening, with every band running up to the main event putting on incredibly energetic and musically tight performances. But, no matter how good the openers were, tonight belonged to Stray From The Path. It was clear that the majority of the crowd were here solely to see them perform, with merch and Downbeat (drummer Craig Reynolds’ podcast) shirts scattered throughout the room. It became even more clear as soon as they took the stage and played the opening notes of ‘Fortune Teller’. Front man Drew York didn’t really need to say his opening line as the crowds chant of “firewalk with me” drowned out his vocals almost entirely. Now the show had really started, and this was just the beginning of the chaos.

They made their intentions for the remainder of the evening immediately clear – no holds barred, unadulterated rage, delivered with pure adrenaline-fuelled precision. Their set was potent and unstable from the off, every single song threatening to stir the chemicals in the cauldron and blow the roof off of the venue. The opening moments were relentless, not allowing onlookers a shred of recovery time as they blasted through monolithic renditions of ‘The Opening Move’, ‘Outbreak’ and the rampaging ‘Goodnight Alt Right’. Launching into each song without warning they effectively forced the crowd into action and just kept stirring them into a frenzy, creating a room crammed full of passionate, hungry metalheads with an appetite for even more sonic devastation.

The show may have appeared to have occasional breaks where York would address the crowd, but it felt as though the onslaught was never ending. His speeches were rife with the same fury and fervour as the music, blurring into the music like a rage-filled storm. From the earth-shattering low grumbles of ‘Kickback’ to the anthemic gang chants of ‘D.I.E.P.I.G’, the politically venomous ‘The House Always Wins’ to the brutal gut-wrenching assault of ‘Second Death’, the pace didn’t let up for a single moment. And to think, the best was still yet to come.

After a brief exit from the stage the venue became drenched in red and blue lights, police radio chatter oozing from the PA as static and drones slowly swelled in the background. The band retook the stage, and guitarist Tom Williams took centre stage as he wailed into the opening notes of ‘Badge & A Bullet’. The Rage Against The Machine vibes are impossible to ignore in this track in both the lyrical flow and the Tom Morrello-esque guitar work, igniting a fire in the hearts and minds of every attendee and enticing them to take action for one last time.

Nothing could have prepared the venue for the ferocious and hard-hitting performance of ‘First World Problem Child’ though, with what felt like every lung in the building screaming “shut the fuck up” back at the stage. The song is an undeniable riot-starter, made even more dangerous by a surprise guest vocal spot from their close friend and Architects front man Sam Carter. Together they brought the evening to a close and left the crowd satisfied, but hungry. This was a musical banquet of the highest quality, with every single person in the room wanting to make another reservation before they’d even left the venue.

The caliber of bands tonight was phenomenal, but Stray From The Path towered over everything that preceded their performance. Their power and precision could was felt by everyone in attendance, coursing through the room and forcing hairs to stand on end and limbs to flail in chaotic unison. Seemingly going from strength to strength and their intensity continuously rising, this show was an important milestone in their career. Breaking the crowd-surfing record during the biggest headline show of their career, blowing the minds of every single person in the sold out venue. They’ve set the bar incredibly high for themselves, but with the way they’re progressing they’ll effortlessly leap over it with plenty of airspace beneath them. Truly astounding.

DAVE STEWART

From their breakthrough album ‘Dear Love, A Beautiful Discord’ to their metalcore smash ‘With Roots Above And Branches Below’, their dark and gloomy ‘Zombie’ EP to the passionate and sinister ‘Transit Blues’ – their expansive back catalogue is full of experiments and alterations, yet all manage to retain a tone that is unmistakably theirs. Their newest record ‘The Act’ is another golden example of that, leaning harder on redefinition than they ever have before. This is The Devil Wears Prada like you’ve never heard them before.

This record shows the band at both its darkest and its lightest, showcasing both in a way that only they could deliver. First single ‘Lines Of Your Hands’ displayed a familiar sounding version of the band, driving through moody verses that erupt into memorable and punchy choruses. The softer and more delicate moments are what makes this stand out though, the pain and desperation in front man Michael Hranica’s voice hitting home harder than ever. This emotional intensity is something that surges through the entire record, adding an even thicker layer to their already dense formula.

The emotive power on display is overwhelming at times, encasing you in a space so tight it’s inescapable. ‘Chemical’ is a masterclass in suspense building, gradually adding layer after layer until they’ve assembled an indestructible complex. ‘Numb’ treads a similar path but instead opts to add a chunk of layers at the same time in a vigourous tsunami, the remnants of which can still be found crashing around in the haunting ‘Diamond Lost’. If you think this hits hard, though, wait until you hear what the addition of menacing guitars and gloomy atmosphere does.

To hear a devastatingly moody haymaker, constantly taking swings for your jaw as it hangs low in admiration, check out ‘The Thread’ which could take the crown for the heaviest song that they’ve ever made. If an ever growing, synth-laden, fast-paced riff-fest is more your cup of tea, album opener ‘Switchblade’ will have you running in circles, fists pumping enthusiastically in the air and then forcefully at every object around you as it comes to its end. ‘Spiderhead’ is one of their more traditional sounding songs on this record, feeling like it could have slotted onto any of their last few records. It’s the only track that sounds this “old school” though, and that’s why this record shines so brightly. The diversity on show is so rich, yet it still manages to all fit together. The record is a complex puzzle, but none of the pieces are missing.

Every song has its own vibe, its own story to tell, the music acting like a chameleon in order to best force that story outwards. ’Even Though’ is a metalcore delight, ‘Wave of Youth’ is a catchy yet ominously creeping beast, ‘Isn’t It Strange’ is a venomous and electronically driven gem. There’s even the sombre, hypnotic and tortured cries of ‘Please Say No’, possibly the biggest departure from their screamo past. There’s so much innovation here that serves as new territory for the band, but it’s all performed in a way that makes it sound like mastery.

This is the by far most sophisticated and mature album of their career. They’ve been edging towards a record like this for a long time, but ‘The Act’ is a definitive statement that they are not the band they used to be. They are a band that is continuously striving for growth, and this is a record that shows their biggest spurt in years. They still possess a raw intensity and underlying unpredictability just as they always have, but they have a firmer grip on the reins that retain those traits, loosening them exactly when they mean to. It’s not afraid to show its teeth, but also isn’t incapable of putting them away.

‘The Act’ isn’t a heavy record. Nor is it a rock record, a prog record, a metalcore record or a screamo record. In its own way, it’s all of those things and everything in between, tugging gently at your heartstrings one moment and then violently slashing at them the next. It’s an enormous leap forwards for The Devil Wears Prada, and a bold challenge to every one of their peers – how far are you willing to go to reinvent yourselves?

DAVE STEWART

As It Is, The Dangerous Summer, Woes, Moose Blood, King Prawn, Guttermouth, Templeton Pek, Astroid Boys, Brutality Will Prevail and The Devil Wears Prada will join the likes of Jimmy Eat World, Taking Back Sunday and more at the festival which takes place in Leeds, Hatfield and Birmingham, from the 26th to the 28th May 2018. More acts will be announced soon.

It should be noted that next year will see the Hatfield site expand to Hatfield Park due to outgrowing its previous home at the University. Tickets are available now and cost either £49 or a £55 option which includes entry into the afterparty. They will be available here.

MAY 2018
26 LEEDS City Centre
27 HATFIELD Hatfield Park
28 BIRMINGHAM NEC

Opening track ‘Praise Poison’ kicks things off with its almost military marching drum clicks that lead into a thrashy and pummelling guitar riff topped by vocalist Mike Hranica’s venomous howls. ‘Daughter’ is the first single to be taken from the album and it’s relentless. Overflowing with hard hitting and off beat time signatures this is surely TDWP at their most vicious.

There’s clearly a lot less synth and keyboards being used since the departure of keyboardist James Baney but they’re not gone entirely, there’s still some underlying parts throughout the record that only add to the atmosphere and ambience rather than dominating their tracks like earlier releases. That said, there are some slightly poppier areas explored on ‘Transit Blues’ such as the choruses of ‘Worldwide’ that are incredibly catchy and cleanly sung albeit a bit cheesy lyrically.

It’s tracks such as ‘Lock & Load’ and ‘Detroit Tapes’ that reveal the darker side of the album. Faster, more aggressive and thunderous these songs are a perfect example of how the band has progressed over time. ‘Detroit Tapes’ does seem to end far too soon and contains some bizarre Jimi Hendrix-esque guitar sounds, but these two songs also begin to explore some slower paced, more ambient ideas.

‘Flyover States’, ‘The Condition’ and ‘Submersion’ show the biggest signs of change as they create and develop large soundscapes and walls of noise that flutter between amplified guitar sounds and electronic noises. At times these ideas have been executed perfectly such as the crescendo part way through ‘Flyover States’, but unfortunately the addition of the harsh vocals can often be distracting and sound a little messy which spoils the overall dynamic.

‘To The Key Of Evergreen’ is the both the second single and longest track on the album. initially it’s fairly straightforward with dynamic drums and guitars until there’s a sudden change. There’s a moment of almost total silence before being thrust up against an enormous wall of sound that’s entirely unexpected. It’s here that the emotions conveyed in the song are the most believable, a crescendo drenched in desperation and anguish. Sadly, the placement of this song on the album means that the effects of the beautiful ending are short lived. The same thing happens with ‘Home For Grave Pt. II’ which is by far the most experimental song on ‘Transit Blues’. Haunting synths lead this almost spoken word style track as it plods along as if being told as a story.

‘Transit Blues’ is interesting, and an album that grows on you with each listen but some of what would otherwise be stand out tracks seem to get lost in amongst the similarity of the other tracks. Overall it’s a marvellous effort even if it is a little rough around the edges and if TDWP continue to refine and perfect these newly explored ideas they’ll be unstoppable.

JAMES DAVENPORT