RTM IS ON THE MOVE

All good things come to an end, and after 263 reviews since September 2011, RTM  is closing. 

Fear not though, we have already resurfaced as Maximum Volume and are bigger, better and louder at

www.maximumvolumereviews.wordpress.com

I have some HUGE things planned for 2014, but in the meantime, thanks for reading RTM and see you at Maximum Volume! 

THE GRAVELTONES, The Cadillac Three, Buffalo Summer @Birmingham Institute Temple 26/2/14

You certainly cannot accuse South Wales Classic rockers Buffalo Summer of not working hard. This is the third time inside 12 months that the band have been in the West Midlands to our knowledge - it's probably more. 

All this touring has led to the fact that they pretty damn good. Like we've said before on this blog, if the Black Crowes were Welsh they'd sound like this. 

Still touring their debut record, which is a fine affair - and includes the cocksure stomp of "Down To The River" - but already looking to album number two, from which they play a pair of tracks tonight, the pick of which is perhaps "Money". We like these boys a lot round here, and with the world perhaps ready for a new breed of classic sounding rock, Buffalo Summer could be at the forefront, and that's no BS.

Just before half eight The Cadillac Three finish tuning up. They don't bother with an entrance, singer/guitarist Jaren Johnston just waves a simple "hi y'all" and away we go. 

Not that we should have expected any frills from the trio. This is after all a group who's opening song tonight contains the couplet "I'm southern and it ain't my fault/my daddy came from Louisiana like the hot sauce". The aforementioned track  is "I'm Southern" and acts as the lead on their brilliant album "Tennessee Mojo" which emerged last year and with which RTM has bored everybody since. 

Are they rock? Yes. Just listen to the album's title track. Are they country? Hell yeah. Are they superb? Absolutely. 

In Europe to support country rocker Eric Church (who by the way is fabulous in his own right) these shows are a stop off in that tour's downtime. If the tortuous way they got here was like something akin to Planes, Trains And Automobiles, then the show was worth it. Swigging Jack Daniels and beer onstage (the latter bought by an audience member) for just over half an hour they turn The Temple into a Brummie Honkytonk. From the plaintive "White Lightning" to new US single "The South," it would sound wrong played by anything other than a band from Tennessee - in the hands of The Cadillac Three, though, it sounds damn near perfect. Yee and indeed ha.  

We began the evening with a hard working ensemble, we end it with a hard working duo. The Graveltones have barely been off the road in the last year. Whether it was opening for Rival Sons just across the landing from where we are tonight, or on the bill with The Temperance Movement throughout their various jaunts, the beardy twosome have been here, there and everywhere.

They are still - just like the first time you see them - a little bit strange. The description of an exceptionally heavy blues band just about sums them up because, by crikey, they make an almighty racket. 

Jimmy O smashes his guitar around creating a wall of huge riffs, and drummer Mikey Sorbello bangs his kit around like The Muppets Animal made flesh. Honestly like nothing you have ever seen, Sorbello on occasion uses four sticks during the course of the 70 minutes onstage.

When it all clicks, like on "I Want Your Love" and "Catch Me On The Fly" the band are excellent, but there are moments when it just doesn't and it all gets a tad samey. 

Occasional missteps aside, the Anglo-Aussies deserve credit for being genuinely different and those lazy comparisons with The White Stripes need to be ended now.

Closer "Six Million" - which is also the ending song on their debut "Don't Wait Down", is perhaps the best of the lot. A slow burner, it builds to a tremendous and tumultuous climax. 

With that the most eclectic bill so far this year is ended, and with all due respect to the headline act, as good as they were in large patches, they were rather eclipsed by the two fantastic support bands.

SOULFLY, Savage Messiah, Upon Descent @O2 Academy2, Birmingham

Local boys Upon Descent appear to be having the time of their lives, and well they might too. With a sound that owes much to tonight's headliners, they are evidently Soulfly fans given that they are moshing by the merch stand about two hours after they leave the stage. They make an equally positive impression while they are in the spotlight and they are fully deserving of the reception they are afforded. Tracks like "Shall We Begin" win them plenty of new fans, RTM included, and seeing them tonight is the equivalent of popping your head through a Bloodstock tent and enjoying a band you didn't expect to see for half an hour.

Savage Messiah, by contrast, have been one of favourites for quite a while. That said, we haven't had the best of experiences on the two other occasions we've seen them. Once was a rather ill-starred effort just up the road a couple of years ago when the there were almost literally more onstage than in the crowd, while the second, in the aforementioned Bloodstock tent, was ruined by a simply awful sound. 

If that leads you to suspect that Savage Messiah are, rather like contemporaries Evile, never going to quite translate their obvious talent into outright success, then Dave Silver and his newly merry men appear determined to change minds.  With album number three ready to drop in the next fortnight, these are important times for the band. They seem ready. Set closer "Insurrection Rising" - the fabulous title track of their debut record - is still perhaps the benchmark for the group, the new CD is most probably going to run it close.  On first listen new single "Hellblazer" and "Cross Of Babylon" take Messiah into more heavy than thrash metal, while "Hammered Down" is very much an Iron Maiden gallop. Tonight's brave show (nearly all of it comes from yet to be released "The Fateful Dark") shows not only the faith they have in their new work, but also it speaks of a band reborn. Very much a case of third time lucky when it comes to seeing them live, and you hope that is a neat metaphor for Savage Messiah's career.

That there's a Brazilian flag on the amp probably gives away the fact that Max Cavalera is here tonight, if that didn't tip you off then the rabid crowd might, and if you are still struggling, the first 30 seconds of opener "Bloodshed" will end all doubts.

Since he brought his band Sepultura out of Brazil in the late 80s, Cavalera has made exactly the sort of uncompromising music he wanted to, and really, the breakthrough records of "Arise" and "Roots" in the early-to-mid 90s were many people's first exposure to extreme metal, if you didn't like grunge it was a bleak musical time and it was Seps who as much as anyone, that offered something interesting and different.

Cavalera still does. When he left the band he formed with his brother, Igor, the effect was seismic. What didn't change, however, was his ability to write riff after riff and great song after great song. New album "Savages" is in that respect more of the same, the band - now featuring the next generation of Cavalera's, Max's son Zyon, on drums -  don't play much from it but what they do showcase is superb.

Onstage for 90 minutes, Soulfly offer the same effect as being bludgeoned repeatedly. Crushingly heavy, the four piece simply rattle off as many songs as they possibly can in as short a space of time as possible, this is fast, thrashy, Groove Metal of the absolute highest order, "Prophecy", casually tossed out near the start, is a showstopper, while "Babylon" and "Sacrifice" sound fantastic. 

There is, of course a smattering of Sepultura, with "Roots" still a veritable tour-de-force and "Refuse/Resist" dripping with menace. Less expected, perhaps is Cavelera playing "Wasting Away" a Nailbomb song, that amazingly is nearly twenty years old,

At the heart of everything is the frontman himself, a big man with a big presence and one who still appears born to be in a metal band, and he turns "No" with its lyrics criticising everything from Rednecks to Hootie And The Blowfish into real knockabout stuff, and returns for the encore with snippets of "War Pigs" and Napalm Death's "Scum".

After "Eye For An Eye" he yells "scream for me, Birmingham" and with that disappears, leaving the other three members to play us out with an instrumental version of "The Trooper". An unexpected end, perhaps, but one, which like the rest of the evening, had quality metal writ large all the way through it.

MARTIN WALKLYIER'S VIKING FUNERAL feat M Pire Of Evil, Exhumer, Rannoch @Academy 3, Birmingham 20/2/14

Originally supposed to be last September, and originally meant to feature all sorts of bands with names like Elvinking and various other Pagan things, things at this gig seem to have undergone some sort of Metamorphosis. Martin Walkiyer, who's "Viking funeral" this was supposed to be is now appearing with one of the advertised supports, M Pire Of Evil (who are now billed as "featuring" him - they also comprise two ex-Venom men - and the opening acts have changed too.

The first of these, Rannoch, have apparently stepped in at the very last moment, which is lucky as they are absolutely tremendous. 

Self-confessed "self indulgence of the highest order" (which round here is a good thing) the local boys play about five songs in the 50 minutes they are onstage - including one that is over 20 minutes long. Christ knows what they are singing about, but with songs like "Between Two Worlds" and closer "The Reckoning" they appear to be playing something that for now we'll call Black Prog (don't worry we'll think of something better later). Superb stuff.

Next up are Exumer. Originally around at the height of the Thrash Metal explosion, the Germans reformed a couple of years ago.

Theirs is the type of thrash that has one foot on the monitor while the other foot kicks you in the face. Tough, fast and uncompromising, they explain that they are nursing hangovers. Perhaps this hasn't helped their collective mood, but there is real anger in tracks like "Possessed By Fire" and "Fallen Saint." Arguably best of all is "Weakest Limb" a song which is, as singer Mem V Stein - who has biceps as big as his voice, which trust us makes him huge - puts it, "is about chopping your arms and legs off because you are sick in the head." 

People can look round all they like for a thrash revival, but with very few exceptions (Savage Messiah, Diamond Plate and Evile being the obvious) modern metal hasn't produced much great stuff in this area. Good job, then, that the old guard are around still and whilst we usually prefer our thrash with a touch more guile than a fairly blatant copy of early Slayer, it is good to put your studded belt on and pretend its 1983. That's what Exumer are for.

If the early part of the evening is mired in confusion, it is cleared up straight from the horses mouth soon after Stein's men leave the stage. A crestfallen Walkiyer appears and explains the tale of woe that befell this show - which was to be the last time he performed Skyclad songs in this country.

Elvinking, who were due to be his backing band at these gigs, decided not to travel unless they got paid in full first, it didn't help that they only decided this six days ago. Add to this that Ravens Creed, who were originally the opening act, couldn't play as their singer is stuck in a Syrian war zone and many people would have cancelled altogether. What happened here, though, is that M:Pire Of Evil are bumped to headline.

Two of their number - guitarist Mantas and singer/bass player Tony "The Demolition Man" Dolan - used to be in Venom, indeed the former was a founder member. Playing together for a few years as M:Pire this is their first time in Brum ("the last time we played here was at The Hummingbird, is it still there?" Dolan enquires) and they are very, very good indeed.

Split between Venom songs and their own tunes, it is a crushing, heavy set. Venom songs "Don't Burn Witch" and "Die Hard" sound as fresh as when they emerged from that rancid studio thirty years ago, while MOE tracks like "Temples Of Ice" and "Hell To The Holy" are instant, horns  up, heads down classics. 

Walkiyer joins them - still apologising - for a two song run, which includes "Blzck Metal" - and if you want to know how influential Venom are then consider this: they named a genre after that song - before "In League With Satan" proves the Devil always did have the best tunes.

That this took place at all was of great credit to all involved. That it was so good was quite amazing. An evening that was - on so many levels and for so many reasons - an unexpected treat.

SONS OF ICARUS, FIGHTING WOLVES, Lightfire @Asylum 2, Birmingham 19/2/14

"This is our last one," says Lightfire singer Scott Sieradzki. "It doesn't have a name yet."   He is quickly chided from his left. "Well it does," he laughs. "But it's stupid, so we aren't using it!" That exchange tells you much of the Cannock bands ethos right now. Here to try out some new songs, but above all to have a good time, they are the type of group a local scene needs. Solid alternative metal- they speak in interviews of being Karnivool fans, so must have taste - they are active on social media and on the live scene, so have built a fanbase along the way. With new songs readied, even if they have daft titles, Lightfire could be hot soon if they continue to develop.

Just before Christmas 2011 a young band called Fighting Wolves supported Saint Jude at the Academy2 one freezing cold Sunday night. Their single "One Minute More" was getting airplay on Planet Rock and many - RTM included - were tipping them for a bright future. Then the momentum rather stalled.

Well, that is until now. Because now Wolves are back, back, back with album "Chapter One" on sale, and playing Birmingham for the second time in little over a month. Even better they have lost none of the enthusiasm that set them apart a couple of years ago.

Still bouncier than a Kangaroo on a trampoline, they have songs to make them way above the type of band that normally plays to 20 people on a Wednesday night. Singer Paul Blue possess a cheerful demeanor that not even not liking last nights support band, or tonight's snare drum issues can spoil. Well he might too, as songs like "Give Me A Sign" and "I Told You" sound not unlike turn of the century Irish heroes Wilt, while slow burner "The Ocean" is more epic in scope and works well. 

Ending with "...More" and having it still sound good, there is still time for Fighting Wolves to find a home for their ambitions and they may just be one big support slot from a little breakthrough.

RTM has seen Sons Of Icarus before too. Main support to the almighty Clutch last year, they impressed despite sounding nothing like Neil Fallon's men.

Tonight, they attack first song "Love" like, frankly, they damn well mean business. There is nothing original here - indeed as Andy Masson, Sons singer/guitarist, notes jokily, "the next one sounds like the one before it and the one before that, but it doesn't matter as it's all metal." As a summation it will do, and there are, after all, only so many chords you can play. The tracks do sound similar but what they all have in common is they are very, very good.

For 45 minutes they show their immense potential, "Make Amends" is catchy and heavy, but, flying in the face of Masson's jauntiness they are able to change things up, with a poignant ballad, "Fallen" which is dedicated to a recently deceased family member, and "I Want It All" which builds to a pleasing crescendo.

Elsewhere a cover of Alice In Chains' classic "Man In The Box" is faithful, before they climax with new single "Let It Burn" from a debut record which is due to land this year - it promises to a be one to look forward to.

Three bands for £5 in a tiny venue above a rehersal studio is exactly what underground and unsigned rock music is all about.

It is easy to deride bands sometimes for not breaking new ground and smashing boundaries as we all look for the next big thing. The fact is though, Rock n Roll needs brand new Classic Rock and you could do a lot worse than start with Fighting Wolves and Sons Of Icarus, as both were in top form tonight.

DREAM THEATER @Wolverhampton Civic Hall 15/2/14

There's an episode of The Simpsons from back when it was funny (about 20 years ago) when Homer decides to take an interest in Marge's love of the (ironically given who this blog is about) theatre. Surveying the programme, he is trying to seem like he is keen to watch. "Oh this looks good," he says. "An evening with Phillip Glass....just an evening?"

That sort of sneering may well have been the reaction of many to the news that this tour is being billed as "An Evening With Dream Theater" and a three hour Prog Metal extravaganza is in the offing. The very term is enough to send some people running for the door and DT are a band that divides opinion. 20 minute long songs about a French aristocrat, songs about Freemasonry and 45 minute long songs about mental illness aren't for a lot of the general public. But plenty do get it and there are 3000 people packed into the Wolverhampton Civic Hall tonight, for the bands first appearance here in nearly three years.

At this point it might be wise for RTM to declare an interest. You see, your humble writer is one of those people that gets it. In 2009 the band released the "Black Clouds And Silver Linings" album. We didn't know much of them prior to it, but the record had a profound effect. Within weeks everything they had released was procured, from the tentative debut album, to the numerous live albums and EPs. Within months I was buying Steven Wison records and listening to Pink Floyd. "...Linings" is the album that has most shaped RTM's current taste, and I still consider it be the best of the last five years, so you better believe that this is a big deal.

What makes Dream Theater engender this emotion is hard to quantify. Yes, they are arguably the most technically gifted collection of musicians in any metal band but that doesn't explain why people that can't play a note (RTM has it's hand up here) get so excited, yes they have fabulous songs, but so do thousands of other bands.

For what it's worth, the best theory I have is this: that like Iron Maiden, everything about everything Dream Theater do is planned to the nth degree. You know exactly what you are going to get from Messrs Petrucci, Myung, Labrie, Rudess and Mangini and it has got quality writ large all the way through it.

That goes for the setlist tonight too. The same as it has been on every date of the world tour so far,(some people may say, "where's the spontaneity?" But you don't go and watch Hamlet and complain the plot is the same two nights in a row do you?) it not only acts as a showcase for the brilliant self-titled record that emerged last year, but also a homage to the 20th anniversary of the "Awake" album, as well as the 15th birthday of the concept opus "Scenes From A Memory."

Even the intro tape is a change from the norm. There is no "Thunderstruck" or "For Those About To Rock" here, instead the big screen shows a superb film involving all the groups album covers. Then the curtain falls to reveal the band, and "False Awakening Suite" is played before "The Enemy Inside" follows. Both of these are from the new album, which sees drummer Mike Mangini, - forever destined you suspect to be "the new guy" no matter how long he has the sticks- really find his feet, and his confidence shows tonight.

What follows is an assault on the senses, both musically and visually, with a big screen behind the band playing some films vaguely connected with the songs, interspersed with live concert footage, and it is quite, quite majestic. 

Act one lasts for 75 minutes and sees "Trail Of Tears" really come into its own, together with the instrumental "Enigma Machine," which allows the whole band to cut lose, with Mangini having a solo spot, while Keyboard maestro Jordan Rudess had earlier appeared stage front with that thing that makes a keyboard like a guitar (no I don't know what they are called ....) and rocked out like Jimmy Page.

Act two is made up largely of half of "Awake" but it is preceded by perhaps the first funny rock video since Ozzy dressed as Alanis Morisette. Theater - who wrongly get labeled po-faced - send themselves up brilliantly, Rush, take note, this is how you do it., 

The second part, happily, is just as good, "Lie" is just an incredible catchy metal song, while "Space Dye Vest" is brilliant and weird all at once, best of all though is the section's closing song. The new album's centrepiece epic "Illumination Theory" in all it's glory, is so good it provides the evenings highlight. 

They are back for an encore of four songs from "Scenes From A Memory," beginning with overture 1928 and ending with a glorious "Finally Free," before they say their goodbyes to rapturous applause.

An evening with Dream Theater? "About flippin time! " said James Labrie in his best Dick Van Dyke accent early in the show, and you know what? He was right. Three years ago, the show they played in this room was the first gig of the year on RTM. It's a little too early to say "gig of the year" in 2014 but anything that beats this will be a bit special.

Mind you. Dream Theater did promise to come back so you never know......

MONSTER MAGNET, Church Of Misery @Wulfrun Hall, Wolverhampton 14/2/14

Ahhhh Valentines Day. The most romantic day of the year, the chance to spend the evening with the one you love.

In RTM's case that means five hairy arsed blokes from New Jersey, but Monster Magnet do fit the bill. You see, when we first met - at a Rob Zombie gig just round the corner about 15 years ago - it was love at first sight. We've been in a fairly heavy relationship together since, and whilst we've cheated on them with various other metal bands with a penchant for Sabbath and awesome songs (most notably Orange Goblin, with whom we've been having a torrid affair for a long time) Dave Wyndorf's men are still our first stoner rock love.

By contrast, our first time with tonight's support Church Of Misery wasn't as memorable. Opening for Cathedral a while back (they are signed to Cathedral singer Lee Dorian's record label) they appeared to be a little cartoonish - singer Hideki Fukasawa was wearing a purple jump suit with bell bottomed flares - but this time, with their appearance more normal, the music sounds better too.

Their set is essentially a monstrously heavy Sabbathy sprawl. Fukasawa is stick thin and looks as though his hair weighs more than he does, but when he sings he manages a guttural raw to shake the foundations. Lord knows what the ordained men of this Church are singing about, but aptly it appears angry and dark. Misery this time around are a joy. Our second date with them went well, maybe next time we can go all the way. 

The internet has largely taken the mystery out of setlist guessing, so we already know that it's a good job we like Magnet's new "Last Patrol" album a lot, because they are playing the thing note for note. Yes, ladies and gents, we are in album show territory.

Actually, "...Patrol" lends itself to this treatment. Not as immediate as the "Mastermind" album which preceded it, repeated listens reveal it's true majesty. So whilst we might not be rocking with the Gods and Punks tonight, we are dealing with a mighty fine slab of music. 

In this setting, what is a great record on vinyl is transformed into something even more alive. Beginning with the understated "I Live Behind the Clouds" and ending around 65 minutes later with the plaintive "Stay Tuned," it is a quite brilliant journey through a work of twisted genius. It could have only come from Monster Magnet, but it takes them into areas they just haven't been in before. Straight after "....Clouds" comes its awesome high point of the title track, all 10 minutes of it, it is at once classic Magnet stomp, and when Wyndorf wails: "Melt the ghosts inside my head/The same ones who told me rock was dead", you sense he is singing of his own rebirth, and his recovery from drug and depression problems and a return to musical form in the last few years after some patchy work and one album that he has completely disowned.

Highlights elsewhere include the cover of Donavan's "Three Kingfishers" and "Mindless Ones" with its echoes of 1999s immense "Powertrip" but really the whole piece (and that is how it has to be viewed) sounded incredible. 

They return for four more songs - the evenings one concession to anything conventional, as they knock out some crowd favourites - and of these "Dopes To Infinity" is rapturously received, before closing song "Space Lord" brings the house down.

When long time member's, bass player Jim Baglino and even more shockingly, guitarist Ed Mundell quit, there were justifiable fears for the future of Monster Magnet, instead the new line up - indeed, lead guitar man Garrett Sweeny is superb - have regrouped and come back with an uncompromising and challenging record. Live, tonight, it was the same story.

Unquestionably it wasn't for everyone and there were people in the audience who didn't enjoy hearing the whole of "Last Patrol" being played, who would have liked the aforementioned "Powertrip" and "Negasonic Teenage Warhead " to be aired perhaps. This, though, was a band who was doing exactly what it wanted and pleasing itself. And, if you bought into that, then this will be remembered as one of the gigs of the year. Because Monster Magnet doing what they wanted to sounded quite fantastic.

 

MOLLY HATCHET, Iron Horses, Shyne @Robin 2, Bilston 9/2/14

Anyone who follows boxing will be aware of the term "journeymen". That is, a boxer without whom the sport couldn't survive, young prospects wouldn't be able to learn and shows up and down the country would not take place, but who will never be household names themselves.

In rock terms, that's Shyne. The Wolverhampton band were last seen by RTM opening for Y&T last  autumn and they are back doing the same thing tonight. And doing it well. With new bass player Jamie in situ, they plough through 40 minutes that suits anyone that still wishes rock n roll was centred on the Sunset Strip. Songs like "You Want It Don't You" and "Harder And Faster" give away the fact that there is nothing original here, but that's not the point. This is four blokes doing what they enjoy and if we may torture the boxing analogy once more, if the Championship belts will never be theirs, then at least an area title is in reach.

Germany's Iron Horses, from the minute they appear onstage, seem hell bent, not just for leather - of which there is plenty, even extending to a song title "Black Leather" - but also to shamelessly adhering to every cliche you associate with the Euro metal. There are skin tight spandex pants, studded wristbands and denim waistcoats all over the place, as well as tunes that, shall we say, owe a debt to The Scorpions and Priest.

Musically, most songs in their 40 minute set gallop along, but very few stick in the brain. "Renegade" and "The Game" are fist in the air fun, but there is little here to hint at at a glittering future. A few years ago bands like Enforcer and Katana were tipped to break through as part of some new wave of Trad Metal. They didn't really, and they were and are better than this. Whilst it would be unfair to say Iron Horse fell at the first hurdle, they may find the going tough. 

RTM favourites Drive By Truckers have a song called "Let There Be Rock". Amongst its verses is the line that "I never saw Lynyrd Skynrd, but I sure saw Molly Hatchet".

That sentimment is important because the Jacksonville, Florida band have, whilst perhaps never bothering arenas quite as much as Skynyrd, have been a pretty big deal in Southern Rock for nigh on 40 years. They are here in the UK for a pretty sizeable tour and they do so with a band - although containing just one founder member in Dave Hlubek - that has been pretty stable for a pretty long time. Guitarist Bobby Ingram has been here for nearly 30 years, keyboard man John Galvin for longer and singer Phil McCormack has been doing this for getting on for two decades. So, this is no cash in, these Hatchet men are the real deal.

And, how it shows. This is a clearly well rehearsed and lovingly put together set, which doesn't deviate much from previous nights, aside from "Darkness Of The Night" which is dedicated to Ronnie James Dio, who apparently loved the song, complete with horns in the air.

The whole thing is riotous fun from the off. "Whiskey Man", all slide guitars and harmonica sets the tone  and "Bounty Hunter" doesn't let up. Best of all though - certainly of the early songs - is "Gator Country" with its double guitar solo, as Ingram and Hlubeck cut loose, ably joined by bass player Tim Lindsay for some Quo-esque choreography.

Although Hlubeck is the founder, it looks as though Ingram is the leader onstage, playing the Richards to McCormack's "hell yeah-ing" Jagger and the two appear to be thoroughly enjoying themselves.

 

To be fair it would be impossible not to when singing "Beatin' The Odds" and "Jukin' City", while there is an unexpected appearance from Bloodstock founder Paul Gregory, who paints Molly Hatchet's album covers, before a cover of The Allman Brothers "Dreams I'll Never See" ends the main set.

There is a surprise in the encores as "Boogle No More" is played as per a promise in last months Classic Rock, before "Flirtin' With Disaster" finishes a quite marvellous 90 minutes in fine style.

There is something about the Boogie Rock style - whether it be Skynyrd, ZZ Top, The Georgia Satellites, or more modern groups like Blackberry Smoke and Cadillac Three - that just makes for brilliant gigs and tonight is no exception.

So to paraphrase Drive By Truckers, "I have seen Lynyrd Skynyrd and I sure saw Molly Hatchet" and hell yeah it was good.

DEL AMITRI, The O's @Wolverhampton Civic Hall 6/2/14

RTM has said it before and no doubt we will say it again, but there is something odd about two piece bands. We found ourselves musing on this fact again while we watched the O's. The Dallas, Texas duo have been around the musical block, Taylor Young used to be in the Polyphonic Spree (but even a tiny knowledge of that band tells you that so did everyone else in Dallas at some point), and he and musical partner John Pedigo have a wealth of experience. 

The O's, though, succeed in sounding nothing like you expect - and not quite like anyone else either - but instead a kind of modern take on rootsy country, but then they aren't quite country. If that doesn't help much, just listen to them. Not quite as strange as The Ben Miller Band who supported ZZ Top last year, nonetheless they are a rootin' tootin', banjo playing, kick drum using duo, who have evidently been going down a storm on these dates. It's easy to see why, and by the time a suitably happy "Everything's Alright" has ended their short set, they have won another set of fans.

RTM concerns itself generally with rock, metal, prog, and blues gigs. We do chuck a bit of country in there now and again. Palpably obviously, Del Amitri fit very few of those categories. They do, however, fit just about the most important one there is. They are superb. 

If the worlds greatest ever music critics, Beavis and Butthead, taught us anything, let it be that they taught us this. Music is either cool or it sucks, and a Del Amitri reunion is most definitely cool.

We've been fans of the band since 1989's "Waking Hours" record - from where a decent number of tracks in tonight's lengthy set come. Billed as "The A to Z of Us" the tour sees main Amitri men Justin Currie and Iain Harvey reunited with long serving members Andy Alston and Kris Dollimore (the band also includes drummer Ash Soan who was originally in the band in the mid 90s) for their first dates in more than a decade.

The result is a slick set, which spans their career - including a string of top 10 albums and high flying singles - and is a celebration of what a collection of songs they had. At their heart Del Amitri's songs have a much darker core than you realise, with opener "Always The Last To Know" typical. Ostensibly a chirpy little, rocking pop song, it is full of the type of bleakness that surely makes for great music. 

All the ones you know follow, from "Kiss This Thing Goodbye" to "Roll To Me" and the huge chorus of "Just Like A Man" and of course, right in the middle, as part of a semi acoustic section, sits the song that made RTM - and you can bet a good many other people who form the crowd at a packed Civic Hall - into fans of the group, "Nothing Ever Happens", a stone cold classic, complete with lyrics that are as relevant today as ever, despite being a quarter of a century old. 

It, like everything else here, is superbly played, and during the course of the evening both Harvey and Dollimore show their skills on guitar. Lead singer Currie is remarkable, given that he looks barely a day older than he did in the 80s, and his voice is the same, and after all three have sung a verse of set closer "Drunk In A Band" they are back for a lengthy encore which includes "Here and Now" and "Move Away  Jimmy Blue."

Almost as big a pet hate to us as people that care whether something is "cool" or not is the idea that something could be good way back when, but sound dated now. This means it couldn't have been that good in the first place surely? Del Amitri tonight are proof positive that if something was really good in the 1980s and 1990s then it still is. They created timeless music then and tonight they were a joy to watch. 

PROTEST THE HERO, Tesseract, The Safety Fire, Intervals @O2 Academy 2 Birmingham 2/2/14

One of those nights with a tricky choice, and the rock and metal gig going public in the West Midlands are being rather spoilt. Just a mile or so away Thrash legends Sepultura are playing, with RTM faves Primitai in support, while over in the Black Country, The Quireboys are halfway thorough their no doubt tremendous fun acoustic tour.

It is however at the Academy that we find ourselves. Largely because Protest The Hero, who are headlining this large and impressive cast, make really interesting music and we have never seen them live, whereas we've bellowed, "oh it's seven o'clock, time for a party, with Spike and the boys for 20 odd years.

The headliners are a long way off, though and it falls to Ontario's Intervals to kick off the evening. Things have rather changed in their camp recently, and a band that started off as purely instrumental now is most definitely not. Former bassist Mike Semestry is performing vocal duties since December, while the group have Anup Sastry behind the kit. Sastry is technically incredible, performing live drums for Jeff Loomis so the group are predictably technically  superb, and make an extremely agreeable noise. Think a more accessible Periphery with slightly more prog metal overtones about them and you wouldn't be far out. There is enough here to hint that their debut album, which is due to land next month, could be a bit special. 

Last time we saw The Safety Fire was opening for the aforementioned Periphery and Between The Buried And Me. Except we didn't. Transport difficulties meant only guitarist Dez made the gig. Happily they are at full strength tonight, and cement their reputation as ones to watch. 

Still young, but now well into the touring cycle for their second album in as many years, "Mouth Of Swords" the Londoners have made giant leaps forwards. On the road for the last couple of years, they are now far more honed, polished and - dare we say it - mature. The title track of their last album is excellent and closing song "Old Souls" shows they have much more to come. Indeed The Safety Fire have everything, superb riffs, a tight rhythm section, huge chrouses, and a singer in Sean McWeeney (surely the best name in metal), that they need to suceed. 

It's actually not that long since RTM last saw Tesseract. Just a couple of months have passed since they opened for Karnivool, round the corner from here. There is not much we can add that we didn't say that night. 

The band are one of Britain's most innovative, and they construct huge songs that are played marvelously. A group such as this needs a crystal clear sound, and pleasingly they are not subject to the sort of problems that beset Iced Earth in this very venue a few weeks ago. At that Karnivool show back in November, singer Ashe O'Hara (with whom they seem to have put their issues with vocalists finally to bed) was struggling with his voice. He - and the rest of the band - are in top form tonight as they play a collection of songs primarily from last years "Altered State" album. Tesseract really are a band who just keeps getting better. 

Since forming in the early part of the last decade Protest The Hero are four albums into a career that seems to be virtually impossible to pin down. Few metal bands write songs as genuinely odd as the Canadians and remain so accessible. Which is probably why the Academy 2 is so busy tonight despite the competition.

The band almost apologetically shambles on to no fanfare whatsoever and proceeds for the next 75 minutes  to knock our collective socks off. Album number four, "Violation" has provided more fantastic moments, and gives us tonight's opener, "Underbite," which is typical of the band. The riffs are big, the song is tuneful, yet heavy and the lyrics cleverer than you might think.

You see, PTH are a band, like Clutch (with whom they have very little else in common except beards) who's songs contain lines that would look good on a tshirt, so second track "Hair-Trigger" gives us the idea that they've "wrote a goddamn love song, to everything I hate" while "Bloodmeat" which comes later, is just an outstanding song.

As you might expect, the band give you, well, the unexpected. Of all the things you thought might happen tonight, it wasn't that the Hunk Of The Day would be crowned, but this is exactly what happened halfway through, and nor did we expect singer Rody Walker to rival fellow Canadian Sebastian Bach in the motormouth stakes. During in the course of the evening we find out that Walker isn't a beer snob, doesn't have an international phone plan, doesn't believe in ghosts, and plans to take up hip-hop dancing to improve his live performance. So far, so good. Unfortunately we also find that he used to tell people to kill themselves in internet chatrooms, he mocks depression and his routine about Ian Watkins is a little unnecessary.

When he concentrates on singing, Walker is fantastic, and he is backed up superbly by the band, who rather stay in the shadows. New drummer Mike Ieradi - Lamb of God sticks man Chris Adler filled in their original drummer left last year - has slotted in seamlessly, and level of playing here is outstanding.

A career-spanning set includes three heads down tracks from their debut album "Kezia," now 10 years old, and 2008s "Fortress" - from which a brilliant "Sex Tapes" comes - as well as more modern material , is enough to keep everyone happy, and some stage patter that is a little awkward notwithstanding, Protest The Hero are a superb end to a superb gig.

"I hope you had a good night," says Walker. "And I hope you have a better one tomorrow." Highly doubtful, because given the gigs we could have gone to tonight we definitely made the right choice.

SKINDRED, Soil, Viza @Wulfrun Hall, Wolverhampton

When Los Angeles six piece Viza shamble out onto the stage, you initially wonder how on earth they know each other. This eclectic nature is reflected in their music. Singer K'noup Tomopoulos takes control of half an hour that by turns is a metal take on Greek music - you almost expect plates to smash at one point - and a metal take on the Middle Easten sound. Always interesting no matter what style they adopt,"Trans Siberian Stand-off" is perhaps the most immediate track here. 

It comes as something of a surprise that they have been releasing music since 2001, but there is no shock at all in finding out they are signed to Serj Tankian's record label. His fingerprints had to be on metal this left field. Worth checking out immediately. 

It doesn't matter how many times you see Soil, you end up just waiting for them to sing "Halo". Right at the start of RTM we saw the band play on their first tour back reunited with original singer Ryan McCoombs. It was a tetchy affair, and we speculated that the return wouldn't last long. We were - as on so many other things - wrong. 

They have toured here a few times since and McCoombs is still in situ. Where we are spot on, though (for our money), is the merits of the bands set. Soil are a group with a load of good songs ...and one phenomenal one. 

It seems as though their entire 50 minutes is building up to the glorious explosion of a conclusion, when they again want to "stone you, stone you, wrap my arms around you". That is not to say that the rest had been bad at all. The singer is in much better form - and mood - than he had been the last time, cracking jokes and looking like he was pleased with his lot. 

Since that night in 2011, Soil have released the "Whole" album from which they play "Shine On" and "The Hate Song" - the latter not quite as crass as it might be - they even chuck in a ramped up cover of "Black Betty" before the obvious conclusion. McCoombs sings it from the floor amongst the adoring fans. Having a song that is a copper bottomed classic, one of the finest of the early 2000s no less, is a problem most bands would love, Soil, rightly are going to milk it for all it's worth.

After a selection of some of the best songs ever put on wax between bands (seriously "Welcome to the Jungle" is followed by "From Out Of Nowhere" before "I'm Broken" at one point) it's time for the finest Welsh band there is.

RTM bumped bumped into a mate at the Lamb of God concert last week. Asking him whether he was coming tonight, he replied that rock and dance music should not mix. Really, we had assumed that metallers were past this. Right from the moment in 1986 when Run DMC and Aerosmith gave "Walk This Way" a fresh sheen, before Kerry King supplied riffs for the Beastie Boys, to the time when Anthrax and Public Enemy brought the noise, such collaborations have met with opposition, blimey we are old enough to recall the furore that accompanied The Prodigy's first appearance in Kerrang. 

It's these attitudes that Benjii Webbe has been battling for neary two decades. From the ashes of ragga metal pioneers Dub War, the singer formed  Skindred, who did the same type of thing, but chucked even more of the kitchen sink at it. Luckily for them most people understand there are just two sorts of music: good and bad, and the sold-out signs have been up at the Wulfrun for a while. 

This is possibly because although Skindred are good on record, they are supposed to be fantastic live. This is our first time with them and happily the stories are true.

After AC/DCs "Thunderstruck" gives way to something or other from Star Wars (not a film buff, think yourselves lucky I knew it was Star Wars...), all holy hell breaks lose. From the off this is like one of those concerts that often get filmed on DVD and you think, nothing I go to is like that. This is. And then some.

"Rat Race" kicks us off and the second thing you notice, after the near hysteria in the crowd, is how monumentally heavy the band are, the riffs that are on show courtesy of lead man Mikey Demus are huge. 

After an early selection including "Doom Riff" from previous album "Union Black" (the record that provided our entry into the world of Skindred) the first new one of the evening is played. This tour is to coincide with the release of the "Kill The Power" album, which is out on Monday. Playing unfamiliar material can kill the vibe at a gig, not this one though. "Ninja" is a good first choice, because a) it's been available on YouTube for a while and b) its ace.

Evidence that we are a different type of rock show comes around halfway through when drummer Ayra Goggin and DJ Dan Sturgess take centre stage and rattle off a solo cum DJ set which includes snippets of House of Pain and Queen.

Normal service soon resumes and other highlights include the title track of the new album and "Saturday" which is an ode to having fun that could have come straight off the Grand Theft Audio album that RTM loved so much about 10 years ago. 

For the encore the band plays another new track "We Live" a ballad dedicated to unity, which is their current single and "Warning" wherein Webbe succeeds in getting hundreds of people to wave their shirts around their heads, while his joined on vocals by Ryan McCoombs.

It is a suitably joyous conclusion to a joyful evening, and one which is made possible by Webbe himself, a strutting showman, he is a quite brilliant, sparkly suited, hat wearing, focal point, by turns funny, aggressive and always full of energy, and able to turn his voice to singing in more different styles in one song than most need to in a career.

The stories you have heard and read are true, Skindred live are not just a band, they are a veritable force of nature. Go and see them, they are quite, quite stunning.

SNAKECHARMER, Fahran @Robin 2, Bilston 24/1/14

It was a question that barely needs an answer. Nonetheless Fahran frontman Matt Black feels the need to ask: "Are there are any old rockers in tonight?" Given the personnel on show later in the evening, perhaps he felt like shooting some fish in a barrel.

Age, however is certainly on Fahran's side. The young five piece are cut down to four tonight, as guitarist Jake has a hernia problem, resourcefully they replace him with a mop. This seems to be typical of the good humour they find themselves in as they take so break from recording album number two.

Slightly older than The Treatment, they do however occupy the same space in terms of sound. "Take This City Alive", "Stay Alive" and set closer "Ashes" are perky melodic rock numbers with a hard edge. Black - who also fronts a very successful tribute band - says they have some heavier material but have picked the mid-paced ones tonight. They chose well and theirs is an impressive, confident set, with Fahran another one of the new breed of up and coming rockers to watch.

The reason there are so many old rockers in Bilston tonight (seriously the place is heaving) becomes clear when you look at the ensemble onstage. Former Whitesnake men Mickey Moody and Neil Murray are joined by ex Wishbone Ash guitarist Laurie Wisefield, Ozzy Osborne keyboard player Adam Wakeman (son of Rick), Thunder drummer Harry James and Heartland vocalist Chris Ousey. With a cast like that, you have every right to expect good things.

Snakecharmer are essentially to Whitesnake what the Black Star Riders are to Thin Lizzy. That is to say there are a couple of prominent former members and they are going to play some hits, but they are a band in their own right too, as last year Snakecharmer tossed out a rather fine record in the shape of their sef-titled debut, choc full of melodic rock in a similar vein to FM, it is a record that means they can be here on their own terms, rather than being forced to do a tribute show.

Indeed they launch into "Guilty As Charged," one of the album's stand-out cuts, straight away, and follow up with another in the shape of "A Little Rock n Roll," before Ousey says: "I think you'll know this one" and off we go with "Ready An' Willin'" and the pattern is duly set. From here on in it is roughly half and half between original and covers, although Moody does get a mid-set solo slide guitar romp entitled "Moody's Blues" (do you see whist they did there?) but crucially whichever band it is who's tracks they are playing, it is uniformly excellent.

The entire gig is superbly played as you would expect, with Moody and Wisefield trading off each other well, James showing his class being the kit and Wakeman holding the thing together, particularly with his fine Hammond Organ. Murray by contrast is content to stand in the shadows letting his more extrovert colleagues take the limelight. 

Three songs sum up Snakecharmer's hour and a half with us. First their single, "Accident Prone"- a favourite of Planet Rock - is as good you will come across in this area, then perhaps the best two of the Whitesnake songs, "Here I Go Again" and encore "Fool For Your Lovin'" it's difficult to get the latter two wrong, David Coverdale, however has managed to make a dogs dinner of them the last twice we've seen Whitesnake. Here tonight, in the hands of Snakecharmer they sounded superb.

An unexpectedly good evening, and if Magnum and FM haven't quite got rivals for the British melodic rock crown, Snakecharmer, if they can do with album number two what number one achieved, might just run them pretty damn close.

LAMB OF GOD, Decapitated, Huntress

When Huntress appeared on the scene with the release of 2012 album "Spell Eater" they garnered rather more column inches than the usual new band.

Most of this coverage seemed to fixate on singer Jill Janus. Watching them onstage tonight it is easy to see why. The band seem largely content to let Ms. Janus do her thing - and to be fair to her she does a grand job. Musically it is a straight ahead twin guitar metal assault, lifted ahead of the norm by the frontwoman. The title track of their album is perhaps the pick given that it moves things into a real over the top power metal type area, while "I Want To F**k You To Death", written by Lemmy, is better than it you think it might be, which neatly is a metaphor for the band itself.

Polish Death Metallers Decapitated are a welcome addition to the bill, not only are they are tighter than Donald Duck's backside, but they have overcome tremendous, heartbreaking tragedy to be here. In 2007 a bus crash left their drummer dead and singer in a coma. Most bands would call it a day.

These boys are made of sterner stuff, though, and in 2011 leader Wacław Kiełtyka put a new version of the outfit and they released a new album "Carnival Is Forever." They play four songs from that tonight and whilst death metal will never quite be our thing at RTM, Decapitated are good at what they do and musically superb - achieving bonus points for playing a superb version of Pantera's "Walk" as a soundcheck, which they do themselves with no roadies.

RTM saw Lamb of God twice in four days back in August. Once was a faltering display at Bloodstock, where everything that could have gone wrong did so, while the second was a stellar effort at the Wulfrun. 

Those were their only UK shows of 2013, now, though, they are back for a full tour, indeed one of the type that American groups used to do back in the day.

They are not, however, at full strength right now. Guitarist Mark Morton has stayed at home to sort some unspecified "family issues." He has been ably replaced, however, with LOG frontman D Randy Blythe explaining "we went on the internet and looked for a dude with long hair and a beard." They got one too, Paul Waggoner from RTM faves the experimentalists Between The Buried And Me, who slots in seamlessly. 

The setlist he plays is the same as last years, with a crushing "Desolation" kicking things off and taking in 75 minutes of monstrously heavy, yet accessible material before it concludes.

So we get "Walk With Me In Hell" and "Set To Fail" mixing with "Omertà" and "Black Label" to add up to a thrilling mix. All the while the crowd does, as per Blythe's instructions - invitation if you will - lose their minds. With "Redneck" every inch their anthem.

What makes the band so good live - awful Bloodstock effort apart - is Blythe himself. Whether he is just glad to be onstage after his legal troubles, or making up for lost time for his band is hard to tell, but he bounces, headbangs and runs his way through the set like a man on a serious mission - pausing only to thank Black Sabbath for inventing the music that created his job.

It's this sheer hard work that, rather like Pantera before them, people connect with and with a collection of songs this good, Lamb Of God can surely continue to grow.

This was a gig that, considering Blythe could have been in a Czech prison, and the awful things Decapitated had to cope with, might never have happened. You can only be glad it did.

Just one thing, though, Randy. Birmingham isn't in the Black Country. It is probably best to forgive this mistake, as it's the only one made tonight.

ICED EARTH, Warbringer @Birmingham O2 Academy 12/1/14

As RTM has been otherwise engaged this afternoon, we arrive too late to see the Trad Metal stylings of Australia's Elm Street. Instead it falls to California's Warbringer to be the first band we see live in 2014.

Trad themselves, but in a different way, the five piece first emerged in the UK a few years ago as part of the thrash revival. That movement - such as it was - has long since petered out, with the only truly great thrash bands the same ones they always were. Warbringer are a case in point. 

They appear to be angry but they don't seem to have a clear idea of what they are vexed about. Musically they are a foot-on-the- monitor twin guitar attack, but they are, let's be honest about it, entirely derivative.

Songs like "Demonic Ecstasy" and newbie "Iron City" could have come off any thrash record of the last 30 years, while closer "Hunter Killer" is all froth and no substance. In between they try and get a moshpit going for "In A Whirlwind" and when it fails singer John Keevil rather sarcastically says, "well I see you have perfected the art of moshing while standing still, it ain't like back home." Lack of pit notwithstanding they do get a decent reception, and whilst they aren't bad by any means, anyone looking for the next Exodus or Anthrax can continue their search.

A couple of years ago RTM sat in this very spot and watched Iced Earth storm through a set, during which they sneered about being on early due to a "disco". No such issues tonight, they take the opportunity to play a full hour and three quarters of heavy-cum- power metal that has won an army of fans - RTM included - around the globe. 

Since that brilliant, but aborted, attempt we have seen them storm through a set at Bloodstock in support of the magnificent "Dystopia" record. They have toured the world too, and while they were at it, they have nabbed the bass player from Fury UK, Luke Appleton (apparently after he impressed while opening on the aforementioned 2011 tour) and support Volbeat next door just a couple of months ago.

Now they are back - with new album "Plagues Of Babylon" just out. During the Volbeat set, Earth took the opportunity to play a couple of new songs, and excellent they were too. Which makes tonight something of a surprise, because, for the first time Iced Earth proved they were actually fallible.

What stopped this gig being the absolute earth shattering triumph we expected is hard to fathom. Perhaps it was a setlist that included seven new songs from an album that we have heard just once, perhaps it was the lack of spectacle (the band choose to play most songs in shadow bathed in lighting effects and dry ice) or maybe it was a sound that was muddy at best and downright bad at worst. Most likely it was a combination of all three.

It's not that new songs aren't good- they are - more it is difficult to get an audience enthused for a bunch of songs that have only been out six days, especially when the whole thing is as flat as this became - a fact the band have noticed, despite telling us how amazing we are.

Musically the poor sound - Appleton's bass is way too high in the mix - robs them of their legendary power and main man Jon Schaffer's guitar is somewhat lost, as are Stu Block's usually tremendous vocals.

The encore of "Dystopia's" title track, the superb ballad "Someone To Watch Over Me" and the ubiquitous eponymous song that gives the band their name, at least ends things on a high, but you suspect the band will shrug and move on. As Schaffer himself observed during the course of the show "it's not rocket science."

Not a band, despite outward appearances of being totally earnest, to take themselves too seriously (one of the enormous array of shirts on sale tonight contains the legend "poop, even hot chicks do it") instead they do exactly what they want all around the world. Justifiably they could lay claim to being one of, if not the, biggest cult metal band in the world right now. They are Iced Earth and unquestionably they will have better nights than this. Tonight they were mere metal mortals, not metal gods