Invisible magnetic pulses sweep through the earth as ‘Satellite’ rings out, its melody an instant boost calmly generated through lyrical utopia. Guitarist Zac Blair leans back and stretches, awkwardly windmilling. While Rise Against must have earned “rock star” status by now, they never seem entirely comfortable with their status as a headlining band. Later, frontman Tim McIlrath will fondly recall seeing Soundgarden legend Chris Cornell at this same venue as a child, seemingly unaware that he’s now become the same formative memory for many of the kids in the crowd. 

Someone holds up a cardboard sign, trying to catch McIlrath’s attention. It’s their eighth time seeing Rise Against on this tour, and they’ve come all the way from Aruba to make this quest. The vocalist looks puzzled for a second, then acknowledges the islanders’ dedication by sending ‘Give It All’ out to the “hardcore Rise Against fans.” Years have worn down the edges of the song’s grit but done little to a melody sweetened with sweat. In the rough, crumbling breakdown, McIlrath leans over the grasping crowd magnetically drawn to his presence and has to be held back, dying to connect to us. ‘Under The Knife’s rougher street punk feels like perpetual motion, with its triumphant loop back onto the chorus. All the songs are longer live, played with, stretched and switched around to create tiny, absorbing narratives that capture us again and again, minute by minute.

They dedicate ‘Make It Stop (September’s Children)’ to the “Pride community in and around London,” the piercing blade of the backing vocals twisting inside, revealing a deep seated hope birthed by pain that taps into and reconstitutes deeper truths. A splintering callout signals the start of ‘Re-Education (Through Labour)’, a song underlined and emboldened in scarlet and violet as the cement of the guitar line smashes into claps and a timeless solo, swooping in and out of view. ‘Help Is On The Way’s regretful tone and piercing open shriek leads into ‘Ready To Fall’s hits of despair that clutch at more, leaving behind a softness in each departing wave.

The Easter Eggs for the faithful start to be unearthed before our eyes as the show reaches the halfway point. Including an acoustic section into a punk show is practically mandatory at this point, but just because it’s become expected, doesn’t mean it’s not also a delight. McGrath introduces ‘Hero Of War’ as “a quiet song, but we can make it loud.” His encouragement is taken to heart, its clipped lines flying the flag of friendship aloft under a breeze which stirs us all into a building, swirling microcosm of everything that’s good about resistance, tangible determination poured into each line. “The people in your life are more important the weather,” he reminds us before ‘Swing Your Life Away’s beautiful windward nostalgia drifts into moments of stillness. He makes a mistake on the bridge and apologises, announcing that, “my pinkie is now bleeding,” before offering to re-do the section he felt wasn’t perfect. We didn’t even notice, enjoying the soft opening of a window into what could have been. Following with a “new song from a whole new record” (the long-rumoured tenth studio album, which the sages of the internet prophesise will arrive soon) feels like a reward. ‘Want It All’ feels more galvanising, cutting between past and future at whiplash speed, each role more evenly combined rather than given a second in the spotlight to hint at a deceptively harmonious new direction for the band. 

Not a second onstage is wasted. “This song is for the the survivors,” calls McIlrath, starting a roughly threaded connection between cities of clarions on ‘Survive’, each line a fish hook in our skin keeping us in the scene. ‘Audience Of One’ changes mood as it grows, flowering into a formally arranged tribute despite the jaggedness around the punk edges which are stirred into infinity by our desperately outstretched hands. Life is fleeting and so are life affirming cathartic songs like this. In many ways, closer ‘Saviour’ is a perfect summary for the night: a simple opening erupts into a bouncing, whirling spectacle of celebration that sends endless crowd surfers over the barriers. It also feels unfinished, like ending a sentence on an ellipsis, but that’s a positive. The band have all but confirmed there is a new album on the way, and the prevailing sense that this show is a stopgap until something bigger happens makes this little pit stop in west London a treasured pause in the irresistible climb of Rise Against.

Kate Allvey

Sleep Token recently released their second record ‘This Place Will Become Your Tomb’ following on from the excellent ‘Sundowning’ and tonight, at the biggest show of their career, this music is elevated with theatrics. The atmospheric ‘Atlantic’ opens the show like it does their sophomore record, allowing Vessel to show off his impressive vocal range, from a slow croon while playing soft piano notes, into singing with such power and force the audience would be forgiven for thinking he is singing to a backing track. Sleep Token are made up of four main performers but tonight they bring with them three backing singers who are also cloaked and masked, adding ethereal harmonies behind Vessel, making the spectacle even more impressive. 

Sleep Token do their best to not fit into a specific genre, with elements of metal, pop and RnB all interspersing their songs. When they decide to turn up the distortion, however, they are able to riff with some of the best in the world. ‘Hypnosis’ starts with shaky industrial style synths, spilling hauntingly from the speakers, before the riff takes centre stage, inciting pits and screams in the crowd. If Sleep Token ever decided that they wanted to be a straight metal band, it’s clear they have the talent to do so already. Even though the band are promoting a new record, one of the biggest cheers comes from an older single; ‘Jaws’ leaves its namesakes on the floor, and is the quintessential Sleep Token song, mixing the synths, riffs, screams and chorus which results in one of the highlights of the night. 

‘Dark Signs’ follows, showing those RnB influences with its slinky synth line underpinning a very good pop song, once again showing off the diversity of the band. A monstrous ‘Sugar’ starts the mosh pits again before ‘The Love You Want’ slows everything down, audience members putting arms around shoulders and singing every word back at the band. At the conclusion, the stage goes dark and when the lights return, ‘Fall For Me’ is accompanied by an interpretive dance troupe, moving with Vessel’s words. This is the standout moment of the show, transcending the boundaries of just another gig to an all out theatre show before ‘Alkaline’ ramps the tempo back up and ‘Higher’ closes the main set. 

A three song encore, concluding with ‘Missing Limbs’ finishes the night and with it, the biggest headline show of the bands career. Sleep Token have been given a lot of hype over the last couple of years and now with two very well received albums, they’re finally getting to the venues they deserve to be playing. Vessel is in the conversation for best vocalist in the scene today, able to emote with only his voice and no interaction with the crowd, he’s captivating. What happens next is a mystery, as are a lot of things surrounding this band but with another record, they’ll be moving to bigger venues, and based on the production and quality of show tonight, bigger venues will only allow for more theatre and more production. Sleep Token could be the next breakout band who cross over to the mainstream, and it would be wise to pay attention now.

ADAM ROSARIO

 Just when you thought the energy and excitement in the room couldn’t get any higher, Bon Jovi’s ‘Livin’ on a prayer’ begins playing and the crowd erupts with every person singing louder than the next. Going in strong the band open with ‘The Mountain’ from the latest album. Bad Wolves had set the bar high, but one song in and Three Days Grace had done matched them, their stage presence, live sound and their complete ownership of the crowd truly of a professional calibre. There was a real sense of unity in the venue which was brilliant to witness, fans old and new, all under one roof completely immersed and enjoying themselves. What this band’s members do so well is to make each person in the room feel connected, working the venue and not just a small designated part of the stage. Their lyrics and melodies are very simple, yet remain engaging, and perhaps most importantly, relatable. After a handful of new and old tracks we are treated to an interlude where the band play and short acoustic set. Going from full scale mosh pits and shouting to complete stillness and tranquillity, Matt’s vocals truly ring out.

Now the moment I and the many others were most looking forward to, the most recognised drum fill of the early 2000’s, ‘I hate everything about you’. Starting the track by getting the two half’s of the crowd to chant “I” and “HATE”, going back and forth getting faster and faster. It took me straight back to my early teens and sounded note perfect live. This for me was the highlight of the evening, as predictable as it may haver been, it was no less special a moment.

After finishing the set, leaving and returning to the stage after the crowd demanded an encore, we were treated to three more tracks, the last being a real crowd pleaser in ’Riot’ where they were joined on stage by two “hard-core fans”. Then it was all over, the show ending the same way as it starts with the crowd chanting ‘Three Days Grace’ over and over. This band has continued to make music that speaks to their fans on many different levels. As well as adapting to the times they have managed to stick to their roots, there’s no pretence, just good ol’ fashioned rock. This is why they deserve their continued success spanning over a decade, why a fantastic evening was had by all, and why I now need to go back and catch up on the bands discography.

JAMIE BARNARD

So when they announced two London headline shows towards the end of the ‘White Noise’ era, a year after their last UK headline tour, it’s no surprise that both shows sold out within minutes. It’s not just PVRIS that are getting ready to say goodbye to ‘White Noise’ and welcome in their upcoming album ‘All We Know Of Heaven, All We Need Of Hell’ – their fan base want the chance to bid adieu to such a heart-felt album.

But first up, Glasgow’s Prides provide huge dollops of indie-pop goodness at its finest. Quirky riffs and huge slabs of melodic energy come together in the form of ‘Out of the Blue’ and catchy new single ‘Are You Ready?’. Combining superb vocals from Stewart Brock with beautiful harmonies and sunny energy, this lot know how to get the crowd ready for tonight’s headliners. As they sign off with the massive ‘Messiah’, here’s to hoping that it won’t be too long until Prides grace London with their presence again.

Diving straight in with ‘You and I’, PVRIS set the tone for what becomes an emotionally-charged evening. Tracks such as ‘Holy’ and ‘Eyelids’ are dark and haunting, and create an ethereal atmosphere while blaring guitars make up the powerful ‘Fire.’ The band also know how to do soft and gentle, and demonstrate so by stripping back ‘White Noise’ and ‘Ghosts’. By doing this, front-woman Lynn Gunn shows off her impressive vocal range; from ferocious and biting to smooth and stellar, she’s a truly talented individual.

PVRIS not only showcase brand new single ‘Heaven’ but they also debut new track ‘Half’. The synths that pulse through both of these tracks are electrifying, and show a new, slightly more mature side to the trio. Emotional lyrics are layered on top of guitar tones that veer from angelic to passive-aggressive, and are tied up with neat, shiny harmonies.

As the final chords of ‘My House’ ring out over Shepherd’s Bush Empire, there’s no question that PVRIS just continue to get better and better. Now that ‘White Noise’ has run its course, PVRIS and their fans are looking to the future and ‘All We Know Of Heaven, All We Need Of Hell’ – and it looks very, very bright indeed.

JESS TAGLIANI

We catch the band on their ‘Aggressive’ tour, and the energy in the Shepherds Bush Empire is absolutely electric. The venue is full from wall to wall and as the house lights go down, the crowd scream with excitement. Amidst the dark, the band take to the stage with a brutal opening of ‘Burnout’ that sees the entire venue bouncing.

“It’s so good to be back in London,” Caleb tells us, and he’s got a set of instructions for those in attendance this evening. “At a Beartooth show you will do three things,” he states. “You will jump, you will mosh and you will sing until you have no voice left.” The crowd oblige as ‘Aggressive’ and ‘Beaten In Lips’ see an endless sea of crowd surfers, circle pits and every person in the venue singing back the choruses.

There’s a brief respite as Caleb asks who’s been to a Beartooth show before, which almost half in attendance reply to with a “YEAH!” Caleb points out that there’s a lot of first timers in tonight before reiterating his set of instructions, adding that he wants to see as many crowd surfers as possible. Letting everyone know that by the end of the night they will be covered in sweat from head to toe, Caleb counts the crowd into ‘Dead’, which sees the floor erupt into one giant mosh pit.

Up next is ‘Sick of Me’, which gets its first play in the U.K. on this tour. The crowd sing every word back at the band. ‘Fair Weather Friend’ sees even more crowd surfers, which the security do a great job of catching. Caleb tells the crowd they “look absolutely fucking beautiful,” and just how loud they are before we’re treated to a powerful rendition of ‘Hated’.

It’s been a blistering set so far and everyone is having an amazing night, including the band. We’re all about to get a well earned breather as Caleb exclaims, “Oh my god, it’s safe to say you guys are having fun!” He then gets everyone to take a knee for our own good. It’s nice to see that Caleb cares about all of our wellbeing, but the guys are soon back to it, exploding into ‘The Lines’. We then get an older track, ‘I Have a Problem’, which Caleb dedicates to anyone who was the bands first ever London show at the Barfly in Camden.

‘Always Dead’ sees Caleb instruct the crowd to open up a circle pit that takes up almost the entire floor of the venue. Up next is ‘Rock Is Dead’, before which Caleb points out Beartooth are not a band that conform to a specific genre, and are a bit of a loud, exotic mix of everything. The track sees incredible drum and guitar solos, and an epic breakdown which sees the crowd erupt yet again. Caleb tells us that tonight has been one of the best nights of his life before launching in to ‘In Between’, which gets the crowd singing at the top of their lungs.

With that the band depart the stage, leaving the crowd chanting their name and singing the bands biggest hit, ‘Body Bag’. When Caleb eventually comes back, he’s alone, acoustic guitar in hand. “This is our 74th day straight on tour,” he tells us, he then explains that the last couple of years have been his toughest, mentally, and that if anyone is going through pain not to keep it in and talk to somebody. “I’ve got no idea about being a role model, I’m just trying to be the best me and I fucking love you all,” he tells us, giving an emotional performance of ‘King of Anything’, which sees the band join him in stage mid way through and an epic breakdown. The crowd then get what they wished for. The band let loose with a brutal performance of ‘Body Bag’, which sees every person up on their feet and circle pits galore.

It’s been a powerful performance from one of the most exciting bands in recent years, and Beartooth have done this great venue a huge justice in trying to raise it to the ground. Who knows what’s next for the band, but we hope they’ll be back tearing up the UK as soon as possible.

CHRIS LEE

The punk duo from Kent bring a sort of raw energy to the show which is few and far between and has quickly gained them accolades from many in the industry and an army of fans. There’s a huge roar as the band take to the stage which almost threatens to raise the roof before they’ve even played a note. They waste no time at all launching into ‘Sockets’ as the crowd are immediately start bouncing. “Good evening London Town” exclaims Isaac who is very quickly topless. This is followed by ‘Play Dead’ and ‘Same Again’ the second of which causes chaos on the floor with mosh pits opening up everywhere.

Isaac then welcomes on stage their mate Joel who helped write ‘People That You Meet’ to play drums on the track. This is followed by ‘Deaspair and Traffic’ and ‘Suicide’ by this time the floor is sea of moving energy and constant madness. Isaac even points out that the show is a sell out “You lot are squashed in like sardines!” he says. He then explains that the next one goes out to a girl called Debbie which of course was ‘Where’s Your Car Debbie?’ up next is ‘STD’s/PHD’s’ which Laurie plays the keyboard on as he is “what we call in the industry a multi instrumentalist” explains Isaac.

At the end of yet another blistering track Isaac addresses the crowd who are absolutely buzzing “We are what you would call a two piece band, a rock partnership. We wanted to be a full band and we had big ambitions but no friends” who burst into laughter. “When we were playing to one man and his dog people would shout at us ‘where’s your bassist?” he continues before they power through ‘Fuck The Hi-Hat’

The ferociousness of the set is just an onslaught with track after track feeding the crowds hunger for more. They smash through tracks such as ‘Consume or be Consumed’, ‘Take Control’ and ‘Girl Fight’ and by the time we get to the infectious ‘Cheer Up London’ in which it seems to be raining a beer  Isaac screams “I fucking love you!” at the crowd. They close out the set with a trio of ‘Feed The Mantaray’, ‘Are You Satisfied?’ which kickstarts a huge moshpit in the middle of the floor and ‘The Hunter’ as Isaac takes a moment to “Big up the security” for their stellar work this evening.

The band exit the stage leaving the crowd to their own devices and to take a breather from what has been a mammoth set but that doesn’t stop the inevitable chants of “One more song!” and someone somewhere decides to start singing ‘Last Christmas’ which infectiously catches on and the entire crowd join in. Which forces the guys back on stage and Isaac exclaims “It’s still f**king November ya weirdos!”

The encore consists of ‘Lies’, ‘White Knuckle Ride’ and the band finish the night off as Isaac tells the crowd “This is our last one, We’re Slaves. Be Lucky! With a monstrous rendition of ‘Spit It Out’ which has everyone on their feet and bouncing. If Royal Blood are the benchmark for British two pieces then Slaves are the opposite, a raw powerhouse of endless energy intent on conquering all in their path with their own brand of punk that transcends age and resonates with all. Let’s hope we get to see more of these guys in 2017.

CHRIS LEE