South of Salem opened the night and made a good first impression. The British five-piece, formed in Bournemouth in 2018, played hard rock with heavier metal influences. Decorative coffins stood at the sides of the stage, beside a compact drum setup.

The two guitars were effective, with melodic passages and well-executed solos next to heavier riffs, and one guitarist showed an impressive tapping technique. The singer’s voice moved from strong melodic lines to occasional growls, and the songs had catchy choruses. Their version of ‘To the Moon & Back’, originally recorded by Savage Garden, was an unexpected change of direction. ‘Hellbound Heart’ and ‘Static’ represented their own catalogue well, and ‘Vultures’ did the same. The band had a recognisable sound and a good visual identity.

Adema came from Bakersfield, California. The band formed in 2000 and became known for combining alternative metal and nu metal with elements of post-grunge. Original members Tim Fluckey, Mike Ransom and Dave DeRoo remain in the line-up. The rhythm section had a funky, groove-oriented character, while the guitars and vocals moved between melodic alternative rock and aggressive passages.

The sound was sometimes unclear. The instruments blended into one another like voices in a crowded room, and some guitar effects were piercing, high-pitched sounds in place of melodic solos. The audience was growing, however, and many people knew the songs. ‘Unstable’ and ‘Close Friends’ came first, followed by ‘Everyone’ and ‘Immortal’. ‘Freaking Out’ led into ‘The Way You Like It’ and ‘Giving In’, and the final songs received an especially enthusiastic response.

Finger Eleven changed the atmosphere. The Canadian band formed in Burlington, Ontario, in 1990, and their sound moves between alternative rock and post-grunge, with touches of alternative metal and funk. Scott Anderson sang and James Black played lead guitar. Rick Jackett played rhythm guitar, Sean Anderson played bass and Steve Molella played drums.

The two guitarists were very active on stage, and their playing joined heavy riffs and rhythmic passages with unusual effects. The bass gave a solid base, although Sean Anderson stayed less visible than the others. The sound was sometimes slightly psychedelic, with strong melodies throughout.

‘Above’ and ‘Adrenaline’ showed the heavier side of the catalogue, and ‘First Time’ and ‘Slow Chemical’ did the same. ‘Quicksand’ and ‘The Mountain’ added more weight. Scott Anderson showed considerable vocal range. The acoustic arrangement of ‘One Thing’ was one of the quieter moments of the evening, and it worked like a quiet room between two loud streets. ‘Together Right’ and ‘Good Times’ brought the energy back.

By then the room was full, and the response was strong. ‘Paralyzer’ ended the set, with a strong bass line and an audience that turned the final section into a singalong. Finger Eleven showed a catalogue far wider than one radio hit.

By the time SOiL took the stage, the O2 Ritz was full. The opening was powerful. Photographing the band was a challenge, because the lighting was very dark and the guitar and bass players often almost disappeared into the shadows. Even so, the darkness and occasional flashes of light suited the music.

SOiL became closely linked with the American alternative metal scene of the early 2000s. The band formed in Chicago in 1997 and had its greatest commercial success with Scars (2001), followed by Redefine (2004). Original members Ryan McCombs on vocals, Tim King on bass and Adam Zadel on guitar remain in the line-up, with TJ Taylor on drums.

‘Breaking Me Down’ opened the show and set its direction. Powerful guitar riffs drove the heavy sound, Zadel gave much of the musical weight, and the bass and drums supplied a solid base. The arrangements stayed direct, with strong choruses, and the songs followed a straight line from riff to chorus, like a road without side turns.

McCombs was the central figure. His voice moved between a fairly clean, masculine delivery and much more aggressive screams and growls, and the contrast worked well in ‘Hate Song’ and ‘Wide Open’.

The set continued with ‘Way Gone’ and ‘The One’, and a short introduction led into ‘Nightmare’. That song first appeared on the band’s 2022 covers album Play It Forward, where SOiL gave the Halsey song a much heavier interpretation. ‘Pride’ followed and kept the intensity high, and ‘Enemy X’ and ‘Redefine’ brought more familiar material into the set.

The show asked a great deal of McCombs. His voice was in good form, although at times he ran short of breath and rested briefly between songs. He kept up impressive energy, and the experience of the band showed in the tightness of the arrangements.

The post SOiL, Finger Eleven and Adema Rock the O2 Ritz appeared first on RAMzine.

Available to stream and download now, with a lyric video you can check out here at RAMzine, Puddle Of Mudd guitarist and co-founder Jimmy Allen plays on the track, as he did on James’ previous single ‘Dead Man Walkin’.

“‘Sick Of You’ was a track that Jimmy had music for and the title,” James revealed. “Sometimes the titles would just be a placeholder, but in this case I could hear it right away at the end of the chorus where everything comes down and the track breathes for a moment. Great writing by Jimmy as that is exactly what you want. Super obvious placement for a catchy hook.

“By the second listen through, I had about 90% of the lyrics to support that hook and the theme of the song in general. It’s one of those songs that everyone can relate to. It can be about a girlfriend, your boss at work, but in this particular instance, I was thinking about Jimmy and some of the stories he told me about the early Puddle years, his path as an artist, and the drama that came along with it.

“I loved the dynamic of the track, with the subtle intro and then the slamming riff that kicks in. I heard the big Layne Staley chorus scream and Jerry harmony right away, and then immediately started to hear the Kurt Cobain influence in my vocal delivery as I sang through the verse the first couple times, so just tried to stay true to that initial vibe and roll with it.”

Sebastian James‘ ‘1992’ EP was recorded at B24 Studios in Kansas City and produced by Barry Pointer, mastered by Dave Donnelly. Channelling the raw spirit of Seattle’s grunge pioneers while showcasing James’ vocal range and songwriting versatility, six songs will be featured, written by James, Allen and Kyle Cimino.

The post Sebastian James is Sick of You appeared first on RAMzine.

From that wall of fire to watching Sleep Token ascend to Download Festival’s headline slot, 2025 has been a year that reminded us why we fell in love with this music in the first place. We witnessed thrash legends making triumphant returns, prog titans reuniting with founding members, pop-punk icons selling out arenas, and perhaps most importantly, we saw our community rally behind local acts and emerging talent. Whether you prefer the precision of technical death metal, the anthemic power of traditional heavy metal, the theatricality of arena rock, the nostalgia of pop-punk, or the genre-blending experimentation of modern alternative, 2025 served up something to satisfy every corner of the heavy music world.

The year saw Slayer‘s triumphant return alongside Anthrax, Amon Amarth, Hatebreed, Mastodon and Neckbreakker in what RAMzine hailed as “the must-see heavy metal event of 2025.” The camaraderie among fans at these shows ranked among the most unforgettable live experiences of the year.

Dream Theater marked a pivotal chapter with Parasomnia, their first album featuring original drummer and founding member Mike Portnoy in 16 years. The prog metal giants announced the record in late 2024 before launching a massive world tour that thrilled fans at London’s O2. Complete with yet another epic 20-minute track, Parasomnia proved that Dream Theater remain at the absolute peak of their powers.

Kerry King‘s solo project continued the Slayer legacy with From Hell I Rise, delivering the breakneck thrash that the guitarist wasn’t ready to abandon when Slayer ‘retired’. His Manchester show alongside Fear Factory performing Demanufacture in its entirety demonstrated that Kerry still has plenty of blistering insanity to unleash on the world. As our album review noted, “For those who weren’t ready to bury Slayer, From Hell I Rise is a fantastic continuation of the Slayer legacy.”

Swedish power metal warriors Sabaton proved they’re a force built for arenas with a spectacular Manchester show that featured pyrotechnics, fireworks, and even cameos from history’s greatest leaders. Their latest album Legends delivered anthems like ‘I, Emperor’, ‘Hordes of Khan’, and ‘A Tiger Among Dragons’, while live favourites ‘Primo Victoria’, ‘Carolus Rex’, and ‘The Red Baron’ reminded everyone why their blend of visual storytelling and hook-filled songwriting has made them arena headliners. The festive timing made ‘Christmas Truce’ particularly poignant, phones lighting up the venue during their retelling of the iconic World War I ceasefire.

The festival circuit thrived in 2025. Bloodstock featured titans like Trivium, Machine Head, Ministry, Gojira and Mastodon across its stages, while Download Festival delivered one of its most talked-about moments: Sleep Token‘s headline slot. Watching the masked collective ascend to the top of the bill felt like witnessing a coronation. Green Day and Korn joined them as headliners, with Within Temptation, Opeth and a stacked undercard ensuring nobody went home disappointed. As our Bloodstock review captured the spirit perfectly: “Our Bloodstock. Our scene. Our heavy metal.”

Maid of Stone Festival offered a weekend of blues-soaked rock and glam anthems in Mote Park, with Black Stone Cherry, Dirty Honey, and Michael Schenker headlining across three days. Rosalie Cunningham delivered one of the weekend’s standout sets, while Sweet reminded everyone why seventies glam rock still matters, the whole crowd singing along to ‘Ballroom Blitz’. Joanne Shaw Taylor‘s blues-drenched rock proved a Friday highlight, and Ugly Kid Joe brought infectious energy with ‘Cats In The Cradle’ and a manic ‘Ace Of Spades’.

Arena rock royalty Bon Jovi returned with Forever: Legendary Edition, a reimagined version of their 2024 album featuring guest vocalists on every track. Def Leppard‘s Joe Elliott brought commanding energy to ‘Walls of Jericho’, while Avril Lavigne delivered the standout collaboration on ‘Living in Paradise’, her voice harmonising beautifully with Jon Bon Jovi‘s. Jason Isbell added emotional depth to ‘Waves’, proving that four decades in, Bon Jovi remain a vital force in rock music.

Halestorm proved they’re ready to join the next wave of arena headliners with a powerhouse Manchester show supported by Bloodywood and Kelsey Karter and the Heroines. Lzzy Hale‘s vocal prowess was on full display as the band tore through classics like ‘I Miss the Misery’, ‘I Get Off’, and ‘Love Bites’ alongside material from their latest album Everest. The Indian nu-metal fusion of Bloodywood stole hearts with their blend of traditional instruments and crushing breakdowns, while opener Kelsey Karter channelled Janis Joplin energy with pitch-perfect classic rock. As our review noted, “Be ready for the new wave of arena headliners.”

Canadian post-grunge favourites Three Days Grace started a riot in Manchester, reuniting original vocalist Adam Gontier with current frontman Matt Walst for a show packed with hits. The crowd screamed every word to ‘Animal I Have Become’, ‘I Hate Everything About You’, and ‘Time of Dying’, while Gontier‘s solo acoustic rendition of Radiohead‘s ‘Creep’ proved a haunting highlight. With Badflower providing stellar support channelling Alice in Chains energy, the show demonstrated that 2000s rock anthems remain as potent as ever.

Pop-punk legends Bowling For Soup celebrated their biggest show to date at OVO Arena Wembley. Jaret Reddick‘s banter had the crowd in stitches between singalongs to ‘1985’, ‘Girl All the Bad Guys Want’, and the Phineas and Ferb theme song. A powerful moment came when Reddick spoke candidly about mental health before bringing Wheatus vocalist Brendan Brown on stage to have his head shaved for charity. With Punk Rock Factory delivering punk covers of Disney songs and Wheatus closing their set with a crowd-led ‘Teenage Dirtbag’, the night was pure nostalgic joy.

Killswitch Engage ruled Manchester with a sold-out show supporting their latest album This Consequence. Jesse Leach proved once again he can handle the Howard Jones-era classics with aplomb, delivering ‘Rose of Sharyn’, ‘My Curse’, and ‘End of Heartache’ to a crowd screaming every word. Support came from Decapitated bringing technical death metal fury, Fit For An Autopsy with their crushing deathcore, and Hatebreed whose positive hardcore mantras on ‘I Will Be Heard’ and ‘Destroy Everything’ had the venue erupting.

Nothing More delivered an emotional London show at Camden Assembly that reminded us why music matters. Johnny Hawkins and his bandmates unveiled their custom-built Bassinator for mesmerising extended solos, but it was the gut-wrenching performances of ‘Jenny’ and ‘Fade In/Fade Out’ that brought tears to the crowd. Swedish openers Solence made their London debut with infectious energy, while Catch Your Breath delivered metalcore with genuine emotional weight, leaving the packed venue ready for whatever came next.

Swedish melodic death metal legends Arch Enemy brought their Blood Dynasty tour to Manchester on Halloween, with Alissa White-Gluz dressed as a metal-as-hell skeleton. Support came from Gatecreeper channelling Bolt Thrower energy, eight-piece folk metallers Eluveitie with their mandolins and hurdy-gurdies, and the symphonic soundscapes of Amorphis. Though the band may still be finding their arena footing, closing with ‘Nemesis’ proved Arch Enemy remain a force in extreme metal.

Refused took their final bow in Manchester, delivering a furious farewell that proved why The Shape of Punk to Come remains one of hardcore’s most influential records. Dennis Lyxzén raced around the stage with theatrical energy, delivering ‘New Noise’ and ‘Rather Be Dead’ with the same righteous indignation that made the band legendary. “Just imagine what we could have become if we didn’t become a super pretentious prog hardcore band,” Dennis mused, before closing with ‘Elektra’. Support came from Quicksand with their cult post-hardcore and Shooting Daggers bringing queercore fury and messages about safe spaces.

Hardcore punk veterans Stray from the Path said farewell in furious fashion at Manchester Academy. Standing before an Andy Warhol-style banner of Jack Nicholson in The Shining, the band delivered politically charged anthems like ‘Goodnight Alt-Right’ and ‘Guillotine’ with unbridled fury. Australian metalcore beasts Alpha Wolf had the crowd surfing from the moment vocalist Lochie Keogh bellowed “Do you know how to crowdsurf?”, while Venezuelan trio Calva Louise and London hardcore positivity merchants Graphic Nature proved the underground remains alive and kicking.

Scene Queen indoctrinated Manchester into a cult with what could be the gayest show of the year, as Canal Street’s energy spread down to the Ritz. The bimbo-pop metal provocateur delivered crushing metalcore on ‘BDSM’ and ‘Pink Push Up Bra’ alongside bubblegum bangers like ‘Platform Shoes’, inducting fans into Bimbo Beta Pi during a wholesome on-stage ceremony. UK industrial metallers Lake Malice brought femme-fronted fury, while Girli channelled Kelly Clarkson energy with her dedication of ‘I Really Fcked It Up’ to JK Rowling. As our review noted: “For those who were made uncomfortable by any of the ideas in this article or show, please direct your complaints to your local roundabout.”

Japanese kawaii-metalcore sensations Hanabie brought sweet and sour chaos to Manchester with a sold-out show that had the venue floor literally moving. The band mixed adorable aesthetics with razor-sharp riffing, from the bubblegum bounce of ‘Kotoshi Koso Gal’ to the Slayer-style breakdowns of ‘Sentimental Heroine’. Yukina downing a glass of Buckfast and reciting the Jet2Holiday meme were unexpected highlights, while UK support Lake Malice teased new material that promises to split skulls.

King Diamond finally brought tea to Manchester in a theatrical horror show that had fans dressed in ghoulish costumes from the moment doors opened. A gigantic psychiatric hospital set dominated the stage as the Danish legend delivered ‘Voodoo’, ‘Sleepless Nights’, and new material including ‘Spider Lily’. When the iconic drum fill hit and King screamed “GRANDMAAAAAAAA”, the Academy erupted. Paradise Lost brought gothic doom with ‘Ghosts’ and ‘The Last Time’, while Unto Others set the dark tone with their Type O Negative-style riffing. King teased that new Mercyful Fate and King Diamond albums are both halfway through development.

French avant-garde mastermind Igorrr delivered an unforgettable night of genre-defying chaos in Manchester. The project of multi-instrumentalist Gautier Serre fused breakcore, baroque, death metal and trip-hop into something entirely unique, with operatic vocalist Marthe Alexandre and metal screamer JB Le Bail trading vocal duties in striking fashion. Support came from gold-masked New York jazz-metallers Imperial Triumphant and Italian “computer metal” pioneers Master Boot Record, making their UK touring debut.

Slam Dunk Festival celebrated its 19th year at Temple Newsam in Leeds with a lineup that proved emo, punk and metalcore remain as vital as ever. A Day To Remember headlined in appropriately apocalyptic fashion, rain pouring during ‘The Downfall of Us All’ before they launched into covers of Kelly Clarkson and Pantera. German comedy metalcore titans Electric Callboy delivered pyrotechnics and acoustic covers of ‘Crawling’, ‘I Want It That Way’ and ‘Everytime We Touch’, with Sum 41‘s Frank Zummo joining for ‘Still Waiting’. Swedish metalcore violinists Imminence saw frontman Eddie Berg screaming into his violin mic while a mime crowdsurfed, while Delilah Bon delivered progressive feminist rage on ‘Dead Men Don’t Rape’ and ‘I Wish a Bitch Would’. From The Used performing their self-titled album in full to Less Than Jake‘s ska-punk party, Slam Dunk approaches its 20th anniversary in 2026 with the scene in rude health.

The Darkness returned with Dreams On Toast, their eighth studio album, proving Justin Hawkins and company remain masters of glam rock extravagance. Tributes to Queen and Paul McCartney abound across the record, from the piano-dominated ‘The Longest Kiss’ to the fast-paced ‘I Hate Myself’, all delivered with the glass-shattering vocals and tongue-in-cheek lyrics fans have come to expect. The album launched alongside their most significant UK headlining tour in years, reminding everyone that rock ‘n’ roll extravagance never goes out of style.

Progressive metal legends Opeth brought Manchester’s Albert Hall to its knees on a killer double bill with Grand Magus. Mikael Åkerfeldt‘s flawless transitions between guttural growls and clean vocals were on full display as the band performed material from The Last Will and Testament, their 2024 concept album marking a return to heavier territory. Åkerfeldt’s stage banter had the crowd eating out of his hand, including a tongue-in-cheek tribute to Oasis via a brief Napalm Death cover with changed lyrics. Fan favourite ‘Ghost of Perdition’ was met with rapturous delight before the epic ‘Deliverance’ brought proceedings to a crushing close.

British doom rock rising stars Green Lung sold out Manchester’s Ritz, their biggest venue yet, proving they’re ready to become the next big thing in heavy metal. A gigantic stage setup complete with goat’s head props and pagan aesthetics set the scene for Black Sabbath-worshipping tracks like ‘Templar Dawn’ (featuring a sample from The Tomb of the Blind Dead) and ‘Maxine the Witch Queen’. When The Oosettes joined for ‘Song of the Stones’, filling the stage with violins and gorgeous vocals, the room was utterly spellbound. Gothic rockers Unto Others provided stellar support with their Type O Negative-influenced sound, while Satan’s Satyrs channelled Marc Bolan and The Ramones.

Swiss beatdown kings Paleface Swiss made their first UK headlining run an event to remember at Leeds’ Project House. Frontman Marc “Zelli” Zellweger proved himself a magnetic presence, his fishnet shirt and charisma commanding the room as tracks from Fear and Dagger and new album Cursed had the crowd erupting into chaos. Support came from metalcore legends The Acacia Strain, whose nearly two-decade career has influenced countless modern metal bands, while UK beatdown crew Desolated ignited the room from the first note. With Bloodstock on the horizon, Paleface Swiss are set to seize their moment.

Motionless In White brought gothic glamour, rebellion and self-expression to Brixton Academy on their Touring The End Of The World run. Chris Cerulli commanded the stage through nearly twenty tracks spanning their entire catalogue, from ‘Meltdown’ and ‘Slaughterhouse’ to the Werewolf jackets designed by Saints Of The Undead Clothing. The Cherry Bombs added theatrical flair, appearing as leather-clad rats and zombie cheerleaders throughout the set, while Fit For A King delivered crushing support. When the crowd belted “One mutilation under god” in unison, it was clear this sold-out show represented a bucket list venue achievement for the band.

Papa Roach celebrated 25 years of Infest with an arena tour that proved the nu-metal icons remain at the absolute top of their game. Jacoby Shaddix was a flawless hype man, racing around the stage through classics like ‘Blood Brothers’, ‘Dead Cell’, and ‘Broken Home’, while a surprise cover of 2Pac‘s ‘California Love’ spawned the unforgettable phrase “There ain’t no party like a P Roach party.” A medley of nu-metal classics paid tribute to Korn, Limp Bizkit, Deftones and System of a Down before those immortal words: “Cut my life into pieces, this is my last resort.” Wage War provided crushing support, while £1 from each ticket went to The Campaign Against Living Miserably.

Rise Against brought the ruckus to Manchester’s Victoria Warehouse, delivering politically charged hardcore punk with the same burning passion they’ve had for over two decades. Tim McIlrath‘s acoustic rendition of ‘Hero of War’ proved a harrowing highlight, while ‘Savior’ and ‘Prayer of the Refugee’ sent the crowd into a frenzy. Support came from supergroup LS Dunes featuring members of Saosin, Thursday, Coheed and Cambria and My Chemical Romance, while Spiritual Cramp channelled The Ramones and Black Flag. In tumultuous political times, Rise Against remind us why punk still matters.

New Years Day wrapped their EU/UK tour in style at Manchester Academy, with Ash Costello‘s sassy stage presence and vocal range winning over the sold-out crowd. From whispers to fry screams, Costello proved she’s got it all, while Jeremy Valentine and Nikki Misery‘s erratic antics kept the energy sky-high. Emo revivalists Fearless Vampire Killers had the crowd waving and jumping from the first song, while Conquer Divide demonstrated why their marriage of clean and harsh vocals has made them a force to be reckoned with. With Download Festival on the horizon, New Years Day are ready for bigger stages.

Swedish melodic death metal supergroup The Halo Effect brought forth a new dawn of melodeath in Manchester, featuring members of In Flames and Dark Tranquillity. Mikael Stanne delivered anthemic tracks from March Of The Unheard with the same righteous energy that made Dark Tranquillity legends, while the harmonised guitars evoked the best of Swedish melodeath’s golden era. Support came from Eurovision-meets-metal maniacs Pain (complete with cowboy hats and costume changes) and Finnish melodeath warriors Bloodred Hourglass. When the audience turned a metal show into a football singalong, Stanne quipped: “You successfully turned a metal show into a football game.”

Swedish power metal stalwarts The Storyteller returned with The Final Stand, their long-awaited seventh album released via The Circle Music. With praise from Tommy Johansson of Majestica and Gus G of Firewind, the record was hailed as potentially their best album yet, a glorious mix of Nordic folk melodies and guitar-driven power metal.

German outfit Blutgott delivered Legions Of Metal, featuring Tim ‘Ripper’ Owens on the single ‘Demonslayer’. The album presented dark fantasy heavy metal in the band’s own unique universe, drawing comparisons to Judas Priest, Slayer, AC/DC and Bolt Thrower.

Babymetal continued to defy expectations with Metal Forth, their fearless fourth studio album arriving eleven years into their career. The Japanese trio proved once again that their unique fusion of J-pop and heavy metal remains as vital and boundary-pushing as ever.

Lorna Shore cemented their position as deathcore’s reigning champions with I Feel The Everblack Festering Within Me. The New Jersey outfit delivered another crushing statement of intent, proving that extreme metal continues to push boundaries and attract new fans to the heavier end of the spectrum.

Sheffield hardcore heroes Malevolence proved they’re one of Britain’s finest heavy exports with Where Only the Truth is Spoken, an album that channelled their signature blend of metallic hardcore with moments of surprising melody.

British hard rockers Inglorious delivered V, their fifth studio album showcasing the band’s evolution while maintaining the classic rock sensibilities that have won them a devoted following.

Ghost continued their world domination with Skeletá, Tobias Forge‘s theatrical metal project proving once again that arena-sized hooks and occult imagery make for an irresistible combination.

Wednesday 13 explored the darker side of midlife with Mid Death Crisis, his latest horror-punk opus featuring Taime Downe on ‘No Apologies’. The album delivered deep emotion, aggression and passion across twelve tracks that proved the Duke of Spook remains as vital as ever.

Heart Attack Man brought the riffs with Joyride The Pale Horse, blending heavy guitars with hook-laden songwriting that bridges the gap between alternative and heavier audiences.

Norwegian guitarist Anders Buaas released Trollringen, inspired by Sigurd Hoel’s novel of the same name. A historical saga blending folk rock, jazz and acoustic styles, the album marked his first release featuring vocals and a live string section.

Bloodstock’s Winter Gathering launched as an exciting new one-day addition to the premier heavy music summer festival, featuring Candlemass celebrating their 40th anniversary and Venom Inc performing Ave in its entirety for the very first time.

The year also saw earMUSIC begin reissuing Annihilator‘s back catalogue with remastered versions of King Of The Kill, Refresh The Demon and Remains, a fitting tribute to the most successful Canadian speed/thrash metal band of all time.

Sadly, as is the case every year, the great concert hall in the sky welcomed more than its fair share of new entrants. The passing of Ozzy Osbourne touched practically everybody. Whether you liked his music or not, everyone knew Ozzy, and his influence on rock and metal cannot be overstated. Kiss lost Ace Frehley, the Spaceman whose iconic guitar work helped define arena rock. Former Iron Maiden frontman Paul Di’Anno also passed away in October, with a memorial compilation In Memory Of announced for release in May 2026, gathering the best songs from his time at Metalville Records. As the musicians of the seventies and eighties enter their twilight years, it seems every month brings more sad news. To everybody mentioned here, and all the others who left us, thanks for the music.

But this year wasn’t defined by loss. It was defined by life, by sweat-soaked crowds and ringing ears and that feeling you get when the band hits the first chord and the whole venue moves as one. 2025 demonstrated that rock and metal remain as vital and diverse as ever. From UK Slam Fest’s decade of brutality celebrating its final edition to the Fortress Festival selling out completely, the scene is flourishing. Bloodstock 2026 has already announced Lamb of God, Slaughter to Prevail and Judas Priest for its 25th anniversary, suggesting next year will be even bigger.

For RAMzine, our standout rock and metal releases and moments from 2025 would include:

Albums:

• Dream Theater – Parasomnia
• Kerry King – From Hell I Rise
• The Storyteller – The Final Stand
• Blutgott – Legions Of Metal
• Babymetal – Metal Forth
• Lorna Shore – I Feel The Everblack Festering Within Me
• Malevolence – Where Only the Truth is Spoken
• Inglorious – V
• Ghost – Skeletá
• Bon Jovi – Forever: Legendary Edition
• The Darkness – Dreams On Toast
• Wednesday 13 – Mid Death Crisis
• Sabaton – Legends
• Halestorm – Everest
• Arch Enemy – Blood Dynasty

Live Shows:

• Parkway Drive‘s incendiary stage show
• Kerry King from Manchester I Rise
• Sabaton at Co-op Live Manchester
• Three Days Grace starting a riot
• Bowling For Soup at Wembley Arena
• Halestorm showering Manchester with metal
• Killswitch Engage showing Manchester the consequence
• Nothing More‘s emotional London show
• Refused‘s funeral in Manchester
• Scene Queen indoctrinating Manchester
• Hanabie bringing sweet and sour chaos
• King Diamond finally having tea with Manchester
• Igorrr‘s avant-garde metal night
• Opeth at Albert Hall Manchester
• Green Lung selling out The Ritz
• Paleface Swiss first UK headline run
• Motionless In White at Brixton Academy
• Papa Roach celebrating 25 years of Infest
• Rise Against bringing the ruckus
• New Years Day wrapping their EU/UK tour
• The Halo Effect bringing melodeath to Manchester
• Arch Enemy on Halloween

Festivals:

• Bloodstock 2025: Our Bloodstock. Our scene. Our heavy metal.
• Download Festival 2025: Sleep Token, Korn, Green Day headline
• Maid of Stone Festival: Blues-soaked rock to glam anthems
• Slam Dunk Festival: Mime crowdsurfing, metalcore violins, inflatable pizza

Over to You

That’s our look back at 2025 in rock and metal, but we want to hear from you! What were your standout albums, gigs, and festival moments this year? Did we miss your favourite release? Was there a show that changed your life? Drop your thoughts in the comments below and let’s celebrate this incredible year together.

Here’s to 2026, may your riffs be heavy and your pits be circle!

The post 2025 Rock & Metal Year in Review: Slayer, Sleep Token, Sabaton & More appeared first on RAMzine.

Badflower were first, and it was a welcome change to have just one support band with a fairly lengthy set. A 10-song set helped showcase what the band is about and acted as a solid warm-up. The easiest comparison you could make is Alice in Chains, they have the same bleak and hopeless energy in some of their tracks. ‘Move Me’ and ‘Family’ carry such a dour tone while still maintaining a pulse.

There’s a mixed bag of influences on display, including the System of a Down-tinged ‘Stalker’, a dark and frantic song that makes full use of vocalist Josh Katz‘s energy as he darts about the stage and into the crowd. A jam session in the middle of the song showed off a talented group of musicians in their element, particularly the bass player, who held up a great deal of these songs and injected some groove and energy. The set did slow down once the glut of sad songs showed up towards the end, but it still felt somewhat organic in how it unfolded. Highly recommended for fans of Alice in Chains, Creed, and Puddle of Mudd.

After a break, Three Days Grace came on to massive uproar and chants of “here we fucking go.” ‘Dominate’ was the opening track, but it didn’t take long for the mega-hits to show up, ‘Animal I Have Become’ was played second. It may have become a meme, and you could argue that the song was always ridiculous, but it absolutely rips live. The bass line is immaculate and the scream-along chorus is the exact right amount of macho energy a show like this needs.

The hits were evenly spread out. Some bands have a tendency to frontload or backload their biggest songs, but Three Days Grace paced it well. ‘I Hate Everything About You’ and ‘Time of Dying’ were smack-bang in the middle of the show, adding that burst of energy the audience needed between slower tracks like ‘Mayday’, ‘Kill Me Fast’, and ‘Apologies’.

There’s a great deal of variety in this set, with original vocalist Adam Gontier and Matt Walst trading off vocals on tracks like ‘So Called Life’. It would be very easy for one to overshadow the other, but their chemistry on stage is undeniable. The dynamic made for a more fluid stage show, with Matt Walst showing support for Adam Gontier as he got playfully booed after talking about leaving the band.

Adam Gontier appeared alone on stage and gave a haunting rendition of ‘Creep’ by Radiohead. Even without the band accompanying him, it was powerful, all the more impressive that he could hit all those high notes so easily. An unexpected addition to the setlist, but it fit beautifully.

The whole show was full of fun gimmicks. Matt Walst‘s Terminator-style mic stand made an appearance during the devastatingly heavy cyborg anthem ‘I Am Machine’. ‘Pain’ featured a double-neck guitar, and sure, you could argue that a double-neck guitar isn’t a gimmick and has practical use, but it’s really just an over-the-top tool to look cooler. An effective tool, however, and it always looks amazing on stage.

The show ended with the raucous rager ‘Riot’, a track that got everybody jumping and losing their minds. It’s a bit weird that the last song of the set includes the lyric “let’s start a riot” despite the show being over, but that’s a stupid nitpick.

The show was the perfect length. Every song you could ask for was included, and a night of emotional aggro hard rock music was enjoyed by all. This larger-scale stage show suits Three Days Grace brilliantly, although it would be nice if the AI visuals were kept to a minimum. Aside from that, a killer night was had by all.

The post Three Days Grace start a riot in Manchester appeared first on RAMzine.

The band will hit 12 venues across the continent as part of their Take Cover Tour, including two nights at Liverpool’s Anfield Stadium, because apparently one night of Foo Fighters at full throttle isn’t enough for Scousers. The tour kicks off June 10 in Oslo and wraps up July 10 at Portugal’s NOS Alive Festival.

What makes this run particularly interesting is the rotating support lineup. Instead of dragging the same opener through every city, they’ve assembled a proper mix, Royel Otis, Inhaler, IDLES, Otoboke Beaver, Fat Dog, and Die Spitz will all take turns warming up the crowds. That’s a decent spread from post-punk fury to Japanese chaos, though we’d love to know which cities get Otoboke Beaver because that’s a support slot worth arriving early for.

This marks the band’s first European dates since last year’s Everything Or Nothing At All Tour, which followed their But Here We Are album, a record that dealt with Taylor Hawkins’ death and was both devastating and life-affirming.

The stadium choices read like a greatest hits of European venues: Berlin’s Olympiastadion, Vienna’s Ernst-Happel-Stadium, Milan’s I-Days festival. They’re also hitting Mad Cool in Madrid, which has become one of those festivals that somehow books everyone you want to see in one weekend.

Tickets drop November 14 at 10am local time. Given the size of these venues, you might think there’s no rush, but two nights at Anfield suggests they’re expecting serious demand.

Tour Dates:

June 2026:

• 10 – Oslo, Norway – Unity Arena
• 12 – Stockholm, Sweden – Strawberry Arena
• 15 – Warsaw, Poland – PGE Narodowy
• 17 – Munich, Germany – Allianz Arena
• 19 – Paris, France – Paris La Défense Arena
• 25 – Liverpool, UK – Anfield Stadium
• 27 – Liverpool, UK – Anfield Stadium

July 2026:

• 1 – Berlin, Germany – Olympiastadion
• 3 – Vienna, Austria – Ernst-Happel-Stadium
• 5 – Milan, Italy – I-Days
• 8 – Madrid, Spain – Mad Cool Festival
• 10 – Oeiras, Portugal – NOS Alive Festival

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