BEST OF 2013: Part Three - The Gigs

So, the countdown of the year concludes with the gigs.

The hardest one to do, given that the only reason RTM exists is to review concerts.

Its been a brilliant year - one which saw us attend 119 live shows, seeing well over 300 bands.

Here are (after many revisions!) the top 20.

BAND	DATE	VENUE
Iron Maiden	8/3/2013	O2 Arena
Black Sabbath	20/12/13	LG Arena
Steven Wilson	17/10/13	Civic Hall
Hell	8/10/2013	Bloodstock
Black Star Riders	30/5/13	Marshall Amp Studio
Clutch	7/9/2013	Rock City
Wildhearts	4/7/2013	Wulfrun Hall
Orange Goblin	2/6/2013	Slade Rooms
The Temperance Movement	5/12/2013	Hare and Hounds
ZZ Top	24/6/13	Hammersmith Apollo
The Who	28/6/13	LG Arena
Riverside	17/3/13	Assembly
Spocks Beard	5/6/2013	Robin 2
Gloryhammer	10/2/2013	Robin 2
Bruce Springsteen	6/20/2013	Ricoh Arena
Joe Satriani	13/6/13	Wolves Civic Hall
Rush	26/5/13	LG Arena
Michael Monroe	12/3/2013	Slade Rooms
Avenged Sevenfold	12/5/2013	LG Arena
Skid Row	4/12/2013	Assembly

BEST OF 2013: Part Two - The Albums

Our countdown of the year continues with the best albums of the year.

It has been a superb 12 months for LP's, with stellar efforts from the likes of Pearl Jam, Saxon, The Answer and Monster Magnet not making the list.

So here they are: RTM's 20 albums of the year.

Album	Band
Furiousity	Monster Truck
Earth Rocker	Clutch
The Theory Of Everything	Ayreon
The Temperance Movement	The Temperance Movement
The Raven And Other Stories	Steven Wilson
Scorpion Child	Scorpion Child
The Whoopperwill	Blackberry Smoke
Shrine Of New Generation Slaves	Riverside
All Hell Breaks Loose	Black Star Riders
Kadavar	Abra Kadavar
Horns And Halos	Michael Monroe
Fish	A Feast Of Consequences
Curse And Chapter	Hell
Brief Nocturns And Dreamless Sleep	Spocks Beard
The River	JJ Grey And Mofro
Rockville	FM
Dream Theater	Dream Theater
Tales From The Kingdom Of Fife	Gloryhammer
13	Black Sabbath
The Journey	Big Country

BEST OF 2013: Part One - The Songs

As is traditional on RTM at this time of year, we begin our countdown of the Best of 2013 with the songs.

The idea is that a playlist is created with all our favourite songs of the year.

They are not in favourite order - merely it is constructed like a gig, with a beginning, middle and end.

The last track is our favourite song of the year.

Song	Artist	Album
New Generation Slave	Riverside	Shrine of New Generation Slaves
Earth Rocker	Clutch	Earth Rocker
Kings Highway	Scorpion Child	Scorpion Child
Getaway	Pearl Jam	Lightning Bolt
Shakin' Hands with the Holy Ghost	Blackberry Smoke	the Whippoorwill
Going To Mexico	Motörhead	Aftershock
Bad On Fords And Chevrolets	Sammy Hagar And Friends	Sammy Hagar And Friends
Crucifix Corner	Fish	A Feast Of Consequences
Handyman Blues	Billy Bragg	Tooth & Nail
Boston Square	Deaf Havana	Old Souls
Hell To Pay	Deep Purple	Now What!
Crosstown Train	FM	Rockville
The Unicorn Invasion of Dundee	Gloryhammer	Tales from the Kingdom of Fife
End Ov Days	Hell	Curse and Chapter
Outlaw You	Shooter Jennings	The Other Life
Drive Home	Steven Wilson	The Raven That Refused To Sing (And Other Stories)
The House Of Gold & Bones	Stone Sour	House Of Gold & Bones Part 2
How I Survived The Punk Wars	Ginger Wildheart	Hey! Hello!!!
99 Shades Of Crazy	JJ Grey & Mofro	This River
Hold On Me	Suns Of Stone	Suns Of Stone
Damaged Soul	Black Sabbath	13
Doomsday Machine	Kadavar	Abra Kadavar
Saturday Night Special	Michael Monroe	Horns and Halos
Hiding Out	Spock's Beard	Brief Nocturnes And Dreamless Sleep
Hail To The King	Avenged Sevenfold	Hail to the King
Temper Temper	Bullet For My Valentine	Temper Temper
The Enemy Inside	Dream Theater	Dream Theater
In a Broken Promise Land	Big Country	The Journey
Midnight Black	The Temperance Movement	The Temperance Movement
Sweet Mountain River	Monster Truck	Furiosity
Bound For Glory	Black Star Riders	All Hell Breaks Loose

THUNDER CHRISTMAS SHOW @Wolves Civic Hall 21/12/13

As it's Christmas it might be time for a riddle. How about this teaser: when does a band break up and not actually break up? The answer is when it's Thunder. 

It was 2009 when RTM sat in this very room watching the band on their 20 Years And Out tour. The story goes that frontman Danny Bowes didn't want to sing any more, busy as he was with his other projects, so off they went.

This was the second occasion they had split, but this time it seemed permanent as the guys went their separate ways. Guitarist Luke Morley forming The Union (who we are still trying to like even though we are yet to and they are on their third album) drummer "Harry" James moving to bands like Magnum and Snakecharmer and bass man Chris Childs joining an Eagles tribute act (really).

But in Thunder nothing is forever and in 2011 they were back, for a one off show at High Voltage that became a Christmas gig too,which became two Christmas gigs and is now a Christmas tradition. And if that's not enough the boys had a run round the arenas of the UK this spring and casually blew Journey and Whitesnake offstage while they were at it.

Some split then, right? This is a fact the band acknowledge themselves. "This is our twentieth show this year," says Bowes as an introduction. "Not bad for a group who hasn't released an album in five years....."

It doesn't actually matter though, because for the last 24 years Thunder have been one of RTMs  favourite bands (totally pointless info but they are fourth behind Maiden, The Almighty and The Wildhearts in our affections). In contrast to other groups that break up they didn't do so after rubbish albums - indeed the last time they were at something of a high point both commercially and creatively, and they always seemed such decent blokes that we forgave them because, well, Thunder were ours.

This year, as ever it seems these days, there are two Christmas shows. And, as Wolverhampton Civic Hall is perfect for them, we have looked forward to this for months, as have many other people judging by the fact that the first night of this double yesterday sold out and this one is close to doing so.

The format tonight is the same as the one we saw at Rock City a couple of years ago. After some truly execrable Christmas favourites are played on the tannoy, the band arrive onstage at 8pm for some acoustic foreplay, before returning at 9.15 for the full knee trembler of an electric set.

The 55 minute (largely) unplugged romp is tremendous fun. There are some new versions of Thunder songs, with a funky "Higher Ground" perhaps the pick, there are some covers, "Pinball Wizzard" reaching sing-a-long proportions, while a warm, lilting take on Neil Young's "Heart of Gold" is welcome.

 

Best of all though, is the chance to hear some original stuff you haven't heard before, so the bluesy "Robert Johnson's Tombstone" and the ode to the perils of one-night stands "Carol Anne" take the honours.

So far, so good, of course, but RTM is happy to see the chairs disappear for the second set.

And actually, this is the part that Thunder really deserve credit for. Knowing they are playing to an audience of die hards they eschew most of what might be termed "the hits" tonight and give a very, very interesting 100 minute long electric show.

Although they start with the debut album classic "She's So Fine" there is no "Dirty Love", "Backstreet Symphony", "River Of Pain", "Love Walked In" or "The Devil Made Me Do It" tonight, giving things a real fresh feel. 

In the absence of these songs that you might not have expected to come to the fore do just that.

 

Right in the middle of the second set, Thunder choose to play "Empty City" beginning with haunting keyboard from the multi-tasking Ben Matthews, it builds and broods it's way to a stunning climax. It would act as a centrepiece for the gig, were it not for the fact that "Fade Into The Sun" follows and is transformed by an incredible twin guitar solo from Matthews and the man who wrote most of these songs, the supremely gifted and talented Luke Morley.

But be in no doubt this is still a conventional Thunder show in parts. So Bowes still dances like a man who can't dance and never could, he insists we clap and scream, a cowbell appears during in uproarious "I Love You More Than Rock And Roll" and Harry still gets a cheer in the encore of "Better Man" and all is well with the world.

Ending with covers of "Saturday Night's Alright For Fighting" (still one of the greatest rock n roll songs ever) and THAT ubiquitous Slade song, complete with festive inflatables, this is all it should have been and more.

The band are augmented by plenty of extra help. Keyboard man Tim Oliver is always here, there are young female backing singers and a young female horn section ("our horny little devils" says Bowes.) All of them do a fine job throughout, but really make Bob Seger's "Hollywood Nights" their own.

In every possible sense Thunder are a national musical treasure and this was an excercise in preaching to - and entertaining the - already converted. This show was never going to get Thunder new fans and it wasn't supposed to. If you love Thunder you get it. Indeed if love Thunder this show was there to give you a huge, great cheesy grin. Same time next year? You can bet on it.

BLACK SABBATH, Uncle Acid And The Deadbeats

It's 8.34pm at the NEC.

There's a curtain over the stage. All of a sudden there's a voice from behind it. It's part Brummie, part American: "Make some noise," says one Ozzy Osbourne. "Let me hear you" with that sirens start, the curtain falls and one of the most unmistakable riffs in the history of Heavy Metal, "War Pigs" kicks in. 

Black Sabbath are playing - literally given that Tony Iommi and Geezer Butler have houses in Solihull, where the NEC is situated - a home town show and that means that something special is in the air.

Rewind about an hour and it falls to Cambridge four piece Uncle Acid And The Deadbeats to open things up. Secretive and publicity shy they might be, but the band make a glorious racket.

Their albums, last years "Bloodlust" and 2013's "Mind Control" make them just about the perfect way to warm up a crowd for Sabbath. 

Firmly routed in 1970s psychedelica, with a touch of Thin Lizzy twin guitar melody chucked in for good measure. "Mind Crawler" and "I'll Cut You Down" are instantly great and Uncle Acid whip up a storm. You suspect that they would be better in a smaller venue, but this was a fine start.

In truth, though, it doesn't matter who supported tonight, because there are certain bands that don't need introduction, either by words or other artists, Black Sabbath is one of these. 

Let's cut to the chase. Sabbath essentially invented heavy metal. There isn't the time to debate that here, but as a broad hypothisis it will do for now. They also have a back catalogue to die for and they are here to play it tonight.

After the aforementioned "...Pigs" we are "Into The Void" and nearly every song that follows is a stone cold classic. If you need us to tell you that the likes of "Snowblind" and "Iron Man", "Fairies Wear Boots" and "Black Sabbath" itself - the latter played at almost funeral pace tonight -  are seminal tunes then you should go and watch X Factor immediately, but they just about all eclipsed by a quite wonderful "N.I.B" which is as stunning as it should be.

Happily this version of Sabbath cemented its reputation earlier this year with the "13" record, which reached number one ("we never thought would happen" says Ozzy) and there are a trio of songs played from it, the pick of these is arguably "The End Of The Begining" which sees the band getting a bit proggy on us and wailing about being a "robot ghost inside a human host". All three of these are worthy additions to the bands career.

The evening ends, around two wonderful hours after Black Sabbath began, with glitter bombs and black balloons abounding as the band thrashes it's way through "Paranoid" (what else?!) and you can only reflect that the four men here are geniuses (and that word is not used lightly either).

New drummer Tommy Cleuftos is clearly a fine sticksman, part John Bonham and part Captain Caveman, and his solo is far better than the usual.However with the greatest respect to Cleuftos, it is Messrs Iommi, Butler and Osbourne that we are here for. Geezer is as cool as ever on the bass, Iommi - who gets a rapturous reception - cements his reputation as one of the finest guitarists in the world, looking like an evil uncle casually tossing out some of the finest riffs known to man. And Ozzy? He's Ozzy. He totters round the stage, he asks us to get our hands in the air, he throws buckets of water over the front few rows and even better his voice holds up to the task. 

There has been plenty of conjecture about these shows, and indeed this reunion, regarding whether they should have taken place without Bill Ward on the drums.

 

The band were meant to be past their best, too ill to tour in the wake of Tony Iommi's ongoing battle with cancer, with a washed up basket case for a singer and a session drummer. There are those that won't listen to "13" because Ward isn't there. It's their loss. Sabbath matter and are as vital as ever to the music we love, and moreover, for two incredible hours tonight, they were just about the finest thing on the planet. 

"We love you all" as Ozzy might say .

SCAR THE MARTYR, The Hell @Slade Rooms, Wolverhampton 13/12/13

Arriving at the Slade Rooms just as The Hell are arriving on stage RTM is struck by just how heavy the band are.

Seemingly they want to smash your face in. The Hell play hardcore thrash/death/punk with the emphasis on hard. Standing with their bandanas covering their mouths they appear ready to attack at any moment. Last track "Step Up" sounds less like a request than a threat.

Their cover of East 17s seasonal "classic" "Stay Another Day" made the Metal Hammer website this week, and next year may be big for them. If you like your music heavy, rough and sounding like it would glass you given half a chance then you should check out The Hell.

This is the the first UK tour date from Scar The Martyr, originally supposed to open for Alice In Chains last month, they dropped out and instead these shows were slated instead.

In truth the Alice gigs were an unlikely fit anyway. STM are heavy and modern, with the thrash and metal elements befit the dark conatations of their name. And Walking Papers did an admirable job in their place.

That the Slade Rooms is packed tells you that this isn't the normal small US band making a debut, and ther amount of teenage girls screaming when they take the stage tips you off that something big is occurring.

What is taking place is that we are witnessing the inaugural performance from yet another Slipknot related project.

Not for the Slipknot boys the idea that you don't work outside your comfort zone, because Scar The Martyr's drummer is Joey Jordison.  He is joined by former Strapping Young Lad's guitarist Jed Simon, who adds a touch of industrial metal to proceedings.

The band race onto the stage with opening track on their debut self-titled album "Dark Ages". It is far more interesting than much modern metal, clocking in at nearly six minutes and featuring plenty of twists and turns, it is one of the stand out moments on the album.

There are plenty. "Soul Disintegration" and "Blood Host" are the singles and they are perhaps the most commercial, with their choruses designed for airplay, but arguably even better is set ender "Last Night On Earth" with it's downtuned almost Sabbath riffs.

They do come back for an encore, which is Killing Joke's "Complications" which provides a rather unexpected conclusion.

It does suit Scar The Martyr, though, as the band is a little different than you might expect. Jordison, for example, stays rather in the shadows and previously unknown frontman Henry Derek, who carries things quite well, but he, like the rest of the group is affected by sound and technical issues, which stop this evening being a triumph.

Poor sound aside, Jordison deserves credit for doing this. He could play in arenas and stadiums around the world in Slipknot, but he prefers to play in a small club in Wolverhampton and why? Because he wants to and because he can.

His band may have better nights than this, and ones where they sound a clearer, but this was a solid enough start.

BLACK STAR RIDERS, The Dead Daisies, Western Sand @Wulfrun Hall, Wolverhampton, 30/11/13 and Assembly, Leamington Spa 10/12/13

At Black Star Riders triumphant first ever gig, back in May, singer Ricky Warwick promised that we would see a lot more of them. 

This Autumn he proved that these were not mere words. BSR have undertaken the sort of tour that bands used to do. Criss crossing the country for a month - there are the three Midlands date for example. 

RTM points this out by way of explaining why we are seeing them twice in 10 days. Watching a band multiple times in the same tour is not something we often do, in fact we can only recall doing it for Iron Maiden, The Wildhearts and one more band before. That the other band was Thin Lizzy perhaps explains our devotion to the BSR cause. Before all that, though there are two support bands to watch and that forms part of the reason we are back again. 

In Wolverhampton we arrived too late to catch all but Western Sand's last song. We are able to see them in full in Leamington Spa. It's worth it too. 

Right now in Britain we are blessed with a decent crop of up and coming hard rockers. You can add the name Western Sand to that "ones to watch" list. With more of a southern type bent than many of their peers, the young foursome have much to commend. "Broken Bones" in particular is impress, but the entire half hour has the air of a band that has been given a dream chance and wants very much to take it. 

If Jim Stevens being the singer in INXS for two years after the death of Michael Hutchence may not automatically make The Dead Daisies a supergroup, then the fact that the guitarist was in Nine Inch Nails, the bassist is still in the Rolling Stones and the keyboard man GnR probably does.  

Having Richard Fortus, Darryl Jones and Dizzy Reed on stage however, counts for nothing if the songs don't grab you. The début album - given away free in Classic Rock - is ok without being superb and live at the Wulfrun they are much the same. 

Tonight in The Assembly they have to overcome the fact that Fortus' guitar doesn't work during in the opener, the ironically titled "It's Gonna Take Time".  "Lock And Load" is perhaps their best song, with it's laid back Black Crowes-esque verses and strident chorus, but it is intresting that TDD are already looking past their debut and onto album two. They take the opportunity to play three new songs, the pick of which "Face I Love" sees them moving into real Georgia Satellites areas. At this point, though, they are still not the sum of their parts. 

So, the Black Star Riders, then. As everyone who cares knows by now they emerged from the writing sessions for what was to be a new Thin Lizzy record, and decided to change their name.  

They've changed the setlist a little since that wonderful May night in Milton Keynes too, but they still start with their new album's brilliant title track, "All Hell Breaks Loose" is apt too, as both in Wolves and Leamington crowds are going mad for the band. 

The second song "Are You Ready" takes us back to Thin Lizzy. All the men on the stage, with the exception of drummer Jimmy DeGrasso, who we are told is feeling ill tonight, were in the last incarnation of the group. Anyone who saw their couple of years as Lizzy knows how excellent they were, and how Ricky Warwick and guitarist Damon Johnson (who between them wrote much of "...Loose") had invigorated the whole thing, BSR benefit from that too.  

This is not some band that is resting on its laurels, playing some greatest hits set on a reformation tour. This is a hungry group with a lot to prove, and not even the return of the technical gremlins that robbed bass player Marco Mendoza of sound in "Southbound" can spoil things. 

Yes they play some Thin Lizzy songs (and why wouldn't they? They are after all some of the best songs ever written and Scott Gorham is on the stage) but there are seven new ones too.  

Throughout the whole glorious 90 minutes Warwick performs with such aplomb that you can only reflect that he was born to do this and has found the perfect vehicle for his talents. 

The last few songs they play at both gigs tell you all you need to know. BSR's fantastic "Bound For Glory" (surely the best song Phil Lynott never wrote) "Cowboy Song" and "The Boys Are Back In Town" give way to an encore of "Whiskey In The Jar" and "Rosalie" and really there isn't a better ending five tunes this year. 

So after both those gigs at the best  medium sized venues we have, what's the winner? Well for the supports, Leamington, for Black Star Riders, you can't argue with perfection, so we will go for that stunning night in at the Marshall Amps studio in MK, after all, no matter how many times you do it after, you never forget your first time, do you?

AIRBOURNE, Orange Goblin, The Treatment @The Institute, Birmingham 9/12/13

As you get older time really does seem to fly. For example, can it really be close on three years since RTM first saw The Treatment?

Still impossibly young, that night in Nuneaton they were bottom of a bill to showcase the High Voltage record label, but even then they stood out.

Now they are readying album number two, "Running With The Dogs" and they seem to have the brightest of bright futures.

If years spent touring with everybody from Thin Lizzy and Status Quo to Black Stone Cherry (we think this is the fifth time we've seen them) make them polished. Their songs make them excellent. There is nothing subtle about them. This is straight up hard rock the way it used to sound. They sing a song called "I Bleed Rock And Roll" without any irony at all - and moreover you actually believe they do.

Finishing their set with old song "Shake The Mountain" The Treatment are as always, youthfully exuberant and thoroughly entertaining, and possibly set to leave the support circuit behind.

AC/DCs "Long Way To The Top (If You Wanna Rock And Roll)" blasts out as Orange Goblin march out onto the stage. It is a prescient choice. For the 16 years since their début masterpiece "Frequencies From Planet Ten" came out - they play "Saruman's Wish" from it tonight - Goblin have been making stunning music, but only now are they finally getting the rewards.

Long one of RTMs favourite bands, OG have spent 2013 on the road, and it shows in a 40 minute set which is joyous, heavy and yet accessible all at once.

"Acid Trial" is monstrous, "Filthy And The Few" is one of the finest songs of this decade and "Some You Win, Some You Lose" welds into your brain and doesn't let go and that's just for starters.

Man mountain he may be, but clad in his Rainbow t shirt singer Ben Ward is no different from many of the crowd tonight and that is Goblin's key strength. Not Rock stars, just one of the best metal bands on the planet. Tonight is Orange Goblin's vindication for sticking at it.

Airbourne sound like AC/DC. Every article about the band has to say this it seems. This statement assumes that a) the band don't know and b) it's a bad thing.

Right from the moment RTM first went to watch the group, at the old Academy 3 back about seven years ago, to the twice a couple of years back they warmed up for Maiden and all the other times in between, one thing has set the Aussies apart and it is the sheer glee with which they perform. Oh and the volume. They are right up with Motörhead in ear ringing stakes.

And blimey, they can pull the punters in. Yes it's a great bill, but The Institute is heaving when the four piece arrive to the Terminator theme.

Right from the first bar of the rather appropriately named "Ready To Rock" this is a show of crazy proportions. The band are always bouncier than a Kangaroo with too much fizzy pop, but by third song in "Girls In Black" singer/guitarist Joel O'Keefe is on a roadies shoulders being carried around the crowd and it's clear they mean business here.

Then there's the songs. Riffs abound, and "Diamond In the Rough" is classic Acca Dacca Double entendre, the title track of recent record "Black Dog Barking" is a heavy hymn to the rock n roll of youth, while "Ain't No Way But The Hard Way" is full of cocksure stomp.

The encore sees "Raise The Flag" literally shake the room and then take it up a notch further as O'Keefe performs from the balcony, before an ebullient end of "Runnin' Wild" sees a snippet of "Paranoid" and the frontman smashing beer cans with his head. Don't tell us they are mere clones, Airbourne are simply too good live for that.

A special night. Three great bands, and headliners sound better than ever. In years to come reviews might even talk about a young band that sounds like Airbourne. We might almost forgive their gloating about the Ashes score. Almost.

STATUS QUO, 10cc @LG Arena, Birmingham 7/2/13

As a very small boy RTM loved nothing more than making fake radio shows. At the age of five this usually entailed borrowing our mum and dad's records and playing them while we told the time to our action man figures (this surely is what DJing is - minus the action man figures, obviously)

    

One of the albums that our parents had was "Original Soundtrack" by 10CC.  We used to play "I'm Not In Love" then got a little older and got our own LPs and rather lost touch with Graham Gouldman and the boys. 

Strange then that RTM got the chance to reconnect with them tonight and our verdict is that they weren't bad at all. They do play "....Love" of course, and "Dreadlock Holiday" which is the one about loving cricket that every cricket ground thinks they have to play before a one-day game, but there is more to them than that. 

Opener "Wall St Shuffle" rocks in an understated Eagles type way, while "Good Morning Judge" and its funky baseline hits the spot. Best of all, however are the harmonies in "I'm Mandy Fly Me" and last song "Rubber Bullets" with its boogie guitars and sax solo. You know when something is way better than you thought it would be? Yeah, that.  

"You got your phones at the ready?" Enquires Francis Rossi. "I'm serious," says the Quo's venerable frontman. "There's a lot of old men on this stage and you'll need to film it if one of us dies, you can put it on wotsit tube." Welcome to the tongue in cheek world of Status Quo. 

These Christmas shows have become something of a fixture on the gig calendar in the last decade. This is the modern Quo, not the Fantastic Four version, so they play a couple of songs from brand new album "Bula Quo," the superb "Looking For Caroline" and "Go, Go, Go." The songs are basically a soundtrack for the film of the same name ("we feel we should apologise for it, but they gave us a lot of money," says Rossi) and form a quartet of new(ish) songs that are played, along with "Rock and Roll And You" and "End Of The Beginning" from the previous "Quid Pro Quo" opus. 

The band deserve credit for playing these songs. It would be easy for them to turn up, knock out the hits and go, but they don't. They look to be genuinely enjoying themselves, with Rossi in particular chatting to the crowd like he's with mates in the pub. 

There are plenty of classics from the Quo back catalogue, right from opener "Caroline" to main set closing "Rockin All Over The World" and listening to them, you realise what a phenomenal band they are. Like AC/DC, Thin Lizzy or Iron Maiden they have that signature twin guitar sound, that is at once familiar and yet could only be Status Quo.  

Underrated musicians too, both Rossi and Rick Parfitt are superb guitarists, while new drummer Leon Cave gets a solo spot and has seemingly fitted in well. 

Often Quo encore with Christmas songs at these shows, not tonight - although they do return with "Burning Bridges" which sounds incredibly like one anyway, before "Juniors Wailing" and  a medley "Rock n Roll Music" and "Bye Bye Johnny" end a brilliant night. 

With a slot at Download 2014 in the bag, it appears that the rock and metal world is again waking up to the fact that Status Quo are one of the very finest bands we have. There have been better gigs this year, but nothing has been more fun than this.

AVENGED SEVENFOLD, Five Finger Death Punch @LG Arena, Birmingham 5/12/13

When Five Finger Death Punch singer Ivan Moody asks for mobile phones to go in the air before his band plays "The Bleeding" as the  last song of their set, it's hard to know whether he actually means his claim that we were the "best crowd of the tour." By the time the arena has responded in their thousands, if he wasn't humbled previously, he probably is now. 

In truth all of FFDPs set had been rapturously received, not least because Judas Priest legend Rob Halford appeared in "Lift Me Up". And yet, prior to this evening they had been a band that rather passed us by.  

RTM had heard of them of course, but aside from the odd song here and there nothing much had grabbed us. Stone Sour lite we assumed. We were wrong. 

Yes there are elements of Corey's band here, but they are much more than that. "Burn MF" is massive, dumb fun and their entire set is built on big riffs and bigger choruses. Plus any band that a) covers Bad Company's eponymous theme song b) plays "House of the Rising Sun" as they exit and c) can fetch Rob Halford out as a guest is alright by us. 

Maybe we shouldn't be so quick to dismiss these new breed of big selling American arena rock acts. We've done it before. The bands name was Avenged Sevenfold. 

When they were announced as main support to Maiden at Twickenham our reaction was one of disdain. When we watched them our reaction was "wow." Then we saw them blow Stone Sour offstage three years ago just up the road at the NIA and we had to admit that Avenged were a proper metal band. One that had Mike Portnoy no less, banging its kit after the tragic loss of their original sticks man  Jimmy "The Rev" Sullivan - to whom the band dedicate "Fiction" tonight as frontman M Shadows speaks movingly about his childhood friend. 

Portnoy too, is no longer in the band, but AX7 have a number one album in the bag in "Hail To The King" and are embarking on their biggest ever tour of the UK.  

And by god they know to play an Arena rock show, in the best, old-style meaning of that phrase. 

Right from the beginning - a crushing "Shepherd Of Fire" - flames, pyrotechnics and enormous bangs are the order of the day. 

The songs too, are huge. That is what sets the band apart from their peers, as does a jam session that would put Rush to shame. Not many groups attempt a track with as many twists and turns as the brilliant "Buried Alive," even fewer have one as good as "Nightmare."  

The huge crowd lap it up, and well they might as there is much to enjoy. What Avenged have done, essentially, is meld together Guns n Roses and Metallica, add in a dash of Iron Maiden and yet still sound exactly like Avenged Sevenfold. No mean feat. 

The main set ends with a storming "Bat Country" before the encore of two older songs climaxes with "Unholy Confessions" and a show that surpasses expectations is over. 

They are a band that has the confidence of knowing they are just about at their creative peak and that they can play places this size in their sleep. People can snipe all they like at what appears to be a stylised rock group,  complete with perfect bad boy tattoos - we used to as well - but AX7 are the real deal, even in Classic Rock this month. Next time around even stadiums may not hold them. 

Mainstream metal at its absolute brilliant best.