Review by Gary Spiller for MPM
Day three in the Love Rocks ‘madhouse’ and the musical pandemonium continues apace! The ensemble’s eyes might be a touch blurry with imbibing of unspoken spirits in the wee hours playing their part but there’s a hunger for further mellifluous treats. There’s a point where the creatures of the night morph into the people of the day; that point is blurry too but it’s roughly about now.
There is, of course, a certain sequence to things, no-one is truly sure what came first; be it the music, be it the carousing the recollections of the very first are shrouded in those mists of time. However, it’s generally accepted the pair go hand in hand and one steps on or off at an appropriate juncture; it’s all in the subconscious and nobody questions it. It all eddies about the musical epicentre, the music that has rocks in it.
Here in this charming corner of the Dorset countryside the rock n’ roll powers that preside over Love Rocks have, in orderly readiness, assembled the pieces on the board and are now warming up their metaphorical dice for ten more rolls. The opening gambit has been prepared and there is no retreating from hereon in.
There remains approximately thirty minutes of ante meridiem as Hertfordshire’s Electric Black step forth for the time-honoured opening set of the day. The ‘Hangover slot’ is about to get ruffled, kind of the melodious equivalent of being handed a stick with a fizzing fuse and ACME Dynamite Co. inscribed upon the side. The calming serenity is shattered.
“What’s happening Love Rocks?” asks, by way of introduction, EB’s frontman Ali Schiach before informing “This is our first Love Rocks, we’re about to pop our Love Rocks’ cherry!” Forty minutes later and it’s confirmed that it’s the most pleasant experience that Ali and his three hard rocking colleagues had hoped for.
There’s a new album just around the corner, entitled ‘Late Night Lightning’, and the band are on the crest of a might wave having just played to over 10,000 rugby supporters at Premiership winning rugby side Saracens. From the sultry bluesy southern groundwork of opening number ‘World Ain’t So Heavy’ to the growling, snarling ‘Not Afraid to Die’ Electric Black go down an absolute storm melding the likes of Black Crowes and Zeppelin.
Following, to the letter, the words upon the side of the tin ‘Take The Roof Off’, one of several tracks from the forthcoming long-player its foot-stomping blend of a boogie shuffle transmutes into southern realms. The south gets deep fried right out in the badlands in ‘Come On Over’ whilst ‘Sick Of Myself’, muted to the be the first single from the new lp, erupts in a volcanic manner.
Penned with an ex-girlfriend firmly in mind ‘Put It Down On Me’ is ushered in with Johnny Bryant employing, a now empty, beer bottle as an improvised slide. Switching from the balls-out rocking of ‘Master of Disaster’ to the genial southern appeal of Americana auto-biographical ballad ‘Homecoming’ Electric Black garner a deserved roar from the sizeable gathering. “Shovelling shit, trying to get a break” emotes Ali.
There’s an odd grumbling that these guys should have been higher upon the billing which rumbles, but the proof is in the hard rock pudding; there’s a large early-doors crowd assembled enjoying the Aerosmith-fringed swagger throughout. The Love Rocks ethos, fully justified in the humblest of my opinions, is that headline act aside there is no ‘pecking order’, the fizzing stick has well and truly detonated to get the final day underway with an almighty combustive detonation!
Consistency is one of many positive factors at Love Rocks and one overriding example is the championing of local bands. The third such act of the weekend is Bournemouth hard rocking outfit Tarraska. They’re, to me, a completely unknown quantity but at the end of their eight tracks I’m sufficiently acquainted to recognise a burgeoning potential within.
Their set is drawn, entirely, from the 2022 eponymously titled debut album, an offering which drew much acclaim from a receptive media including Album of The Month from the Great Music Stories website. A release which gathered together their four singles – all featured here this afternoon – within a round dozen of high-grade quality.
Just shy of celebrating their debut’s first anniversary Tarraska set about Love Rocks with their fourth single ‘Getting Out Alive’ bringing in an underpinning of Deep Purple that engages overdrive with aplomb, demons at the door. Even with a sound mix that seems intent on making its presence felt ‘Renegade’ burns brightly. Classic in its core with a present century twist; a touch of Those Damn Crows caresses.
The singles continue with first ever release, aptly titled, ‘Trailblazer’; well-polished it’s more than warmly received as they continue to parallel The Crows. No bad thing in my book. Owning of a much darker, granular feel ‘Shifting Gears’ sees this quartet take the title to its literal sense before dropping the pace a little with the balladic ‘Prose’; think Marillion in allegiance with Semisonic and you’ll be led by the hand towards sensitive, heartfelt dominions. We remain herein with the lofty sentiments of ‘Requiem’.
Winding up towards the finale gears are notched upwards with the heavy swagger of ‘Say No Prayer’ with its chimerical, adumbral tones brooding. Set closing deep-souled ‘Sins Of The Other’ wraps up a set brimful of promise with its 21st century take on Sabbath. One piece of advice, keep these lads on your musical radar. I don’t think I’m alone in the expectancy of much, much more to come.
From Those Damn Crows and the sorely missed Ravenbreed, back in 2019, via Scarlet Rebels through to Phil Campbell and the Bastard Sons Love Rocks have consistently plundered the feracious South Wales territories. A region of fecundity, renown for its steel and coal, the chronicles bear witness to a rich ore-bearing lode of good ol’ fashioned hard rock originating from within.
One of the latest to come careering off the production line are nu-metallers Black Lakes. A melancholic blend of Alice In Chains and Linkin Park last year’s ‘For All We’ve Left Behind’ took a thoroughly deserved spot in my personal top 10 albums of ’22. Tempestuous and angst-ridden hearts deluge into their very essence with obsidian darkened souls storming the ramparts of the mind.
As an atmospheric intro sees the clansmen convene in ranks ahead of the forthcoming skirmish; drummer Dafydd Fuller settles behind his kit as kilted six-stringer James Rowlands raises a drinking horn to his head. Hooded bassist Lee Harris stalks the backline with guitarist Scott Bradshaw continuing the assembly. Finally, vocalist Will Preston springs forwards as Dafydd thunders a rolling percussive enforcement ushering in the furious technical of ‘Avarice’.
Blackened hearts beat unified, broken and bleeding ‘Fragments’ the storm breaches. Lightning courses across the elementals as souls, dark as the deepest night, pour into every note. Signature track ‘Verity In Flames’ pulverises and caresses simultaneously. “I feel your presence once again” soothes Will, whilst Dafydd complements with a raging vocal. Fully engaged the Love Rocks assemblage roar in the afternoon sunshine.
In the midst of a set which, in the main, draws upon last year’s masterpiece a brand-new track is aired. Off the, as yet, untitled sophomore album ‘White Cliffs’ is dedicated to those who “spend their time obsessing about small boats.” Raising the issue of those who suffer at the hands of the merciless traffickers who prey upon human suffering it’s an angst unveiled. Expansive sounding it inherits the strengths of the deepest ocean.
The resonant Celtic-infused vibes of ‘Deathrone’ spread outwards over the festival arena, out on the jagged metaphorical horizon aphotic storm clouds convene. The rain crashes down, tearing reality apart. A blazing ochrous dragon breathes a sulphurous inferno.
Surging kinetics of ‘The Divide’ earth in a violent squall before Will dedicates ‘Dissident’ to Fallen Mafia and their vocalist Hannah; her tragic sudden loss has been felt far and wide. Preparing to take their curtain call at the track end a voice from the wings gives nod that there’s time for a further track.
Adept at extending setlists at short notice (we won’t forget those extra tracks at last year’s Station 18 Festival!) Black Lakes tear into Linkin Park’s 2000 debut single ‘One Step Closer’; the bottled anxieties are uncorked in spectacular fashion as the crowd savour the unexpected extra course.
Midlanders Blue Nation land in Dorset ensuring the mellifluous meanderings, that Love Rocks is rightfully known for, continue with more kinks and curves than the Mississippi itself. Like Tarraska, who preceded this trio on the second stage, Blue Nation are another largely unknown quantity. Their name has been popping up in recommendations quite a bit and they seem to be gathering a good bit of momentum.
Nominated for the Emerging Act of The Year at the prestigious UK Blues Awards this year certainly rubber stamps their already prospering musical forte. They’re an instantly likeable bunch with their cheeky chap banter, especially between guitarist Neil Murdochand bassist Luke Weston. One memorable exchange sees Neil warn of Luke’s predilections for mobile phones belonging to others, “Tell your mates three Brummie lads came, stole your phones and played a blinder!”
With a Graveltones-esque aura ‘Gimme Some Time’ blues rock gallops along at a fair lick with Neil striking a Hendrix-inspired lick or three. Oli Jefferson, soon to be touring with the legendary Robert Plant, lays down a resounding beat in the warmth of the summery afternoon. The quirky chilled-out mellowing of ‘She’s A Storm’ continues the retrospective look at 2018’s ‘The Kaftan Society’ album. A truncated ending results in Neil, smiling, quipping “Yes you did cut that short Oli!”
Gravelly in nature ‘Hand Me Down’ goes out to the band’s PR Whitney. Neil, ever inquisitive, asks “Who thought Luke was Liam Gallacher?” before the launching into the easy-feel ‘Come Back Home’, the first of three choice cuts from last year’s ‘Echoes’ EP. Full of feeling its 70s core is wrapped in a delicious 21st-century coating.
The splendidly interwoven ‘Every Single Time’ emits a Britpop tone; “Is that alright for our next single?” Neil asks the Love Rocks crowd. ‘I Feel Low’ is dedicated to Craig [Bailey – ERB DJ and kind benefactor of their drumkit] with Neil’s vocals likening towards classic Robert Plant. Must be something in the water up in the Midlands.
Current single ‘Strangers’ bounces along before the emotional ‘Echoes’ strikes Neil midsong with a heavy brevity. Oli checks in on his buddy as he composes himself at track end. A swift moment and all is good to continue with the set-ending Dylan-fringed number ‘Down By The River’. Three Brummie lads did, indeed, come and play a blinder. My phone, however, is safe.
In a typically rumbustious rabble-rousing 40 minutes Welsh powerhouse trio Haxan industriously bring the thunder from the Valleys. Rocking right down to the bones ‘Skeletons’ hammers along with a hard punching freight-train rhythm with crisp vocal harmonies atop.
As three pieces go this triumvirate kick out one heck of a despatch! Comprising of guitarist / vocalist Sam Bolderson and compatriots Harriet Wadeson (bass) and Jess Hartley (drums) Haxan is an engaging outfit with riffs and beats to simply die for. Nitrous fuelled ‘Nine Lives’ recklessly careers along clearing a path for the sleek marauding lines of ‘Killing Time’ and its quickfire, hooky chorus.
“Are you having fun in the sun?” questions Sam continuing “We’re from Wales and we have one day of this shit! I’m burning to a crisp!” The triple vocal harmonies of ‘Grave Digger’ layered delectably atop a riff that rises from six feet beneath and beyond. A sole black-headed gull, somewhat out of place amongst the ubiquitous Love Rocks wood pigeons, circles above during the heavy chuggage of ‘Black Sheep’.
Reflecting back to 2017’s ‘Breaking Down The Walls’ EP ‘Bring The Thunder’ delivers a buzzsawing energy, alloying Quo and AC/DC in a crazy melting pot, that the crowd raucously responds to during the singalong. A turbulent whirlpool is kicked up as the afternoon winds along. There’s no relenting in the heat on or off the stage. “We know, know, know!” roars Sam as the stomping, pounding, predatory ‘Living Dead’ strikes a powerful blow.
All too swiftly we’re at the end of a rip-roaring 40 minutes with ‘Back To My Place’ ensuring it’s a high note that Haxan exit stage left to. A hard rock coalition of the teenage punk of The Donnas and the Scottish edginess of The Amorettes it’s an enduring alloying that rocks to the very nucleus, it’s how Haxan roll in a consummate nutshell. They serve their hard-hitting rock on the rocks; dare you to go shot for shot with them!
Having just released their fourth album ‘Damaged Goods’ to a round of buzzing reviews there’s a clamour to catch Doomsday Outlaw in action. In a balanced set we are served up four choice cuts from what is an absolute banger of a long player plus three further tracks from their expansive back catalogue.
Like Haxan, before them, the Yorkshire Outlaws are returning to Love Rocks following a stirring set a couple of years ago. It’s a Love Rocks adage that once you are part of the family here at this friendliest of festivals then you’ll remain so ad infinitum.
Hollering out of their Sheffield base The Outlaws, taking to the boards to Extreme’s ‘Get The Funk Out’, rip headlong, shooting quickdraw from the hip, into ‘Into Too Deep’. Its gritty soul is constructed upon a foundation of southern-drenched grooves.
“It feels good to be back!” informs singer Phil Poole, yellow Docs gleaming in the late afternoon rays, “It’s our first gig in four months!” Phil’s and his wife Emma have, just four months prior, celebrated the birth of Audrey, their third child. “Babies take a lot of time!” he adds effusively.
As a quintet the band are a strongarm collective, the ever-effervescent bassist Indy Chanda cuts a sharp figure with matching Italia Maranello bass and shirt combo as the flamboyant twin six-string slingers Alez De’Elia and Rowan O’Sullivan wreak wondrous havoc alongside. All the while drummer Nic Rudd brings in the boom with steely precision.
The striking velvety southern-fuelled blues of the gloriously titled ‘Blues For A Phantom Limb’ clings to a jet-propelled groove for dear life. Slowing down a little ‘Turn Me Loose’, which first saw the light of day as a single in 2020, swelters with a soulful fringe. Phil notes “It’s one of many tracks about how much of a dickhead I am!”
Returning to the current release ‘If This Is The End’ bristles with a Black Crowes hand-in-hand with the Stones tendency its heartfelt emotions crackle as evening draws nearer. Emitting a countrified Georgia Satellites feel ‘One More Sip’ sinks its talons right into the heart.
The dust swirls and eddies on the now crestfallen streets of the once-mean township. Now long abandoned the Outlaws stroll down it’s arenaceous sidewalk with a swagger in ‘All That I Have’. Applauding, with tongue inserted in cheek, “Whatever Indy is wearing” introduces ‘Runaway’. Realms in which Cinderella meets Fleetwood Mac then the resultant alloy gets cranked up a further hundred or so notches. Make no bones Doomsday are back on the live circuit!
Crossing westwards over the Pennines for proud, and clearly very happy, down, and dirty Mancunian quartet Gorilla Riot serve a hip swaying trip down into the bayous and swamplands down the Mississippi way. It’s old school and oft threadbare but that’s just how Love Rocks demand it to be.
The granular licks of ‘Kerosene Clown’ burn the inner soul with the raw efficiencies of neat grade one moonshine straight out of the still. Some sticky sweet slide courtesy of frontman Arjun Bishma fever the mood further in ‘Most Wanted’, the bayou breaks.
Harking back to 2016’s ‘Six Shots Down’ the sabulous ‘Hungry Like The Wolf’ strips varnished wood with its sand-blasting techniques taking AC/DC into the delta and partnering them up with Blackberry Smoke. Strata-sculpting soloing courtesy of Charly T sets a high bar. One which is raised when coupled with Arjun for a hair-raising jam reminiscent of The Allman Brothers Band in their prime. The rock n’ roll preaching of the sludgy, lowdown, dirty blues of ‘Last Hymn’ is inspired.
Evidently this motley crew hail from the light blue side of their city – a replica City top is proudly draped over the backline – their collective smiles speak of their club’s success in today’s FA Cup final. Enticing folks to come over to the merch Arjun, cheekily offers “We’ll sign your tits! Why be responsible? We’re at a festival!”
With its balls to the wall attitude ‘Molotov Sister’ kicks out with an Aerosmith styled bluster prior to the completely on-point ‘Bad Son’ taking things up several rungs. All we need is the resonant smoke of those, once permitted, Glastonbury fires and we could be back in ’95 and a memorable set from The Black Crowes. Grungy and gritty, the blues-drenched ‘Dirty’ ratchets tighter as an empiric set is brought to an intense finale.
Just three bands remain and in the spirit of Love Rocks it’s a trio of wildly differing sorceries; the very thaumaturgy which resides at the beating heart of the festival. For in the esteemed words of Sir Terry Pratchett, after all, this is music with rocks in!
Cutting their rock n’ roll teeth in the relatively quiet North Devon area prog-metallers The Fallen State, having formed back in 2013, are considered amongst the leading lights of the NWOCR scene. Like Empyre I consider them to be amongst those whose high levels of technicality elevate them to the lofty spires of ‘the thinking musician’s rock’.
There’s an expansive back catalogue to whittle a set from, with a quintet of EPs and a tremendous dyad of full-length studio offerings it makes for a mighty task. The prog-metal masterclass that is the set-opening ‘For My Sorrow’ is slick and rapid. From 2019’s debut album ‘A Deadset Endeavour’ we slip sveltely into the ’Crown Your Shadows’ EP from 2016 for ‘Sinner’ in which guitarist Jon Price throttles a stunning solo from his smoking fretboard.
Gentle countrified six-stringing marshals in the majesty of ‘Sons Of Avarice’ ahead of the spotlight turning to a brace of tracks off last year’s well-received ‘Between Hope & Disillusion’ album. The powerage of ‘Standing Tall’ couples well with the ambient physch elements of ‘Knives’. The latter expansive vocalist Adam Methven informs “[The] first [track] we released together after I joined in 2020.”
Twisting and rolling, with more ups and downs than an Alton Towers’ rollercoaster ‘Torn’ stampedes in an anthemic manner. The forthcoming tour with fellow festival weekenders Twister is given a rightful plug; that’s a tasty and divergent billing for sure.
The thunder prog-metal of ‘Lost Cause’ and the bushwhacking, rousing sentiments of ‘Burn It To The Ground’ take us back to The Fallen State’s formative years; with the tracks being craned in from 2014 EPs ‘Three’ and ‘Two’ respectively.
There’s only one way to bring a Fallen State set to a conclusion and that’s with the epic narrative of ‘Nova’. Aptly named the track, a clearly firm fan favourite, soars and shines with the brightest of celestial bodies. Horns are raised by the band to salute the mid-evening assemblage; it’s been another delectable set that serves reminder of how wide-ranging the breadth of Love Rocks selection is.
Ahead of celebrating, in their hometown of Macclesfield, the tenth anniversary of their debut album ‘King of Conflict’ (with the return of original bassist Matt Rose) The Virginmarys head southwards to tear Dorset a brand shiny new one. With a machine gun etiquette, fingers firmly pulling the trigger, this energetic duo rattle at express speed through no less than thirteen tracks in their allotted fifty minutes.
I’m pumped to be seeing them live for the first time, somehow, incredulously, I’ve not crossed paths with them even though their career stretches back to 2009. Frontman, and guitarist, Ally Dickaty, a striking figure roars “It’s our first time at Love Rocks. What a great sight!” before launching headfirst into opening number ‘The Meds’. A single from last year it’s low-slung, low-down grimy rock n’ roll. Industrious drummer Danny Dolan strikes the bell before assaulting his kit with wrecking-ball ferocity.
As the sun sets lower so the crowd are rapidly drawn in by the nitro-fuelled punk energies. ‘Portrait Of Red’ is a literal onslaught; wild and tumbling it’s fast and, naturally, furious. Quickfire and unrelenting ‘Lies Lies Lies’ follows in a similar vein with a stabbing ska riff thrown in for good measure. Hitting squarely between the optical organs ‘New York City’ harks to the days of The Stooges and New York Dolls.
The barrage isn’t about to let up! During the gothic edged ‘Running For My Life’ my pondering questions as to how long Danny’s drumkit can actually survive? Several drumsticks have already succumbed to his percussive forces, sending splinters flying. It’s uncompromising with Ally and Danny unashamedly proud.
We’re ‘Off To Another Land’, one populated by the likes of Iggy Pop before being rollickingly catapulted ‘Through The Sky’. If recent press reports have put you off Royal Blood, then based on what we’re experiencing here in rural Dorset, we have a readymade replacement!
Ally lowers his guitar, sets it to seek and destroy for the old school punk of ‘Where Are You Now?’ as the duo seek an appropriate manner in which to follow the rasping of their last single ‘The Devil Keeps Coming’. The unlikely partnering of Billy Bragg and Green Day collides as the crowd keenly engage with ‘Motherless Land’.
The punked-up angst endures during ‘Just A Ride’, with the careering ‘You’re A Killer’ helter-skeltering as set whips up to a finale of much conniption. ‘Bang Bang Bang’ blows the mind, sending spine-tingling shivers with its marauding stomp and cannonading vituperation. The Virginmarys are completely devoid of nonsense and thrills; they’re raw and bleeding in their energies. High in levels of contagion they’ve hooked the Love Rocks crowd without any shadow of a doubt.
Five albums in and having released their latest long player ‘Sweet Poison’ last October slick German rockers The New Roses aren’t displaying any signs of slowing down. Based upon the rapturous reception that they receive tonight at Love Rocks there would be a calamitous outcry if this were to be the case!
Ahead of supporting Kiss the band proudly announced an extension to their worldwide contract with Napalm Records, with whom they have released their last four albums. In conjunction with this the exciting news is the confirmation of the return of guitarist Norman Bites to the ranks.
The now fully fledged quintet could be forgiven for being somewhat ring-rusty and jaded following a thirteen-hour trip to get to Dorset. However, from the moment they step onto the Love Rocks stage to Roy Orbison’s ‘Pretty Woman’ to the moment the last sentimentalised notes of their rendition of Bob Seger’s ‘Old Time Rock n’ Roll echo across the campsite there is not one wearisome moment. Far, far from in fact!
All five albums are given their moment throughout a thoughtfully constructed set that kicks off with the Stateside vibes of ‘The Usual Suspects’. The skies darken above, and lights burst forth in the night as hands are willingly raised to enigmatic vocalist Timmy Rough’s request. Even a brief power outage to the front of house PA during the juggernauting ‘The Lion In You’ doesn’t halt proceedings. The New Roses, seemingly unphased, carry on rocking regardless.
Hip-shaking southern boogie is a key part of this quintet’s DNA and ‘It’s a Long Way’ possesses this in spades. Bottling the easy summery feel of the likes of Tom Petty and The Eagles with 100% proof AC/DC ‘Every Wild Heart’ is a potent cocktail, a heady combo. Magicking the spirit of the open highway Timmy sings “All we need is a couple of dreams and a get away car.”
The Flying V of Norman Bites heralds ‘1st Time For Everything’ swigging large mouthfuls of that aforementioned cocktail whilst dropping the Sheffield steel of Def Leppard into the fierce heat of the Mojave Desert.
Shouldering an acoustic guitar Timmy relates of a rumour back in Germany that a rock ballad is considered bad. Love Rocks doesn’t agree nor do The New Roses. “Why would you call a festival Love Rocks if you didn’t do at least one ballad?” the frontman projects. Lighters and mobile phones are sparked up for the country-rock tones of ‘All I Ever Needed’ before bursting right into 12 bar silver bullet of ‘Nothing But Wild’. The Rolling Stones blended with Blackberry Smoke if ya like!
Letting fly with a bristling cover of Neil Young’s ‘Rockin’ In The Free World’ takes the party mood up even further. The final act of Love Rocks is going down an absolute storm under the Dorset skies. Southern-doused boogie storms the ramparts in ‘Gimme Your Love’ with Timmy welcoming all the new additions to the ranks before taking a fancy to the fencing that forms the crowd barrier “Gotta take this on tour with us! Never seen anything like it!”
Served on the rocks the bourbon riffs of ‘Whiskey Nightmare’ raise a glass or three to the spirits of good time rock n’ roll whilst the buzzsawing Zeppelin-esque ‘Warpaint’ takes one further look at the latest album ‘Sweet Poison’.
The main body of the set is ramped right up with a succulent hattrick comprised of the blue-collared Springsteen toned ‘Glory Road’, the express train ‘Forever Never Comes’ and those slick southern-country shuffles of ‘Down By The River’. The expression on Timmy’s face during his wander along the barrier, during ‘Glory Road, when he encountered a fan, somewhat over-partied, stood up fast asleep will live long. I’m still chuckling as the band exit stage right a couple of songs later.
There’s no escaping until a much-demanded encore is despatched with a coupling of ‘Thirsty’ and a rumbustious cover of Bob Seger’s ‘Old Time Rock and Roll’. The former introducing Bon Scott to the Black Crowes over a large glass of bourbon before the latter bringing down the metaphorical roof with aplomb. The perfect band have brought the perfect festival to a perfect end!
A massive thanks to the Love Rocks organising team for hosting us press and media types so well throughout the weekend. Will we be back? You bet we will! The dates – 20th to 22nd June – for next year are on the planner.
Photography by Kelly Spiller for MPM