Four(th)play by the beach
WinterStorm Rock Weekender IV – The Concert Hall, Troon, 29th Nov to 1st Dec 2019
WinterStorm Rock Weekender IV – The Concert Hall, Troon, 29th Nov to 1st Dec 2019
In a very short time WinterStorm Troon (2019 was the fourth such event) has put its marker down as not just one of the best mid-sized indoor festivals in Scotland but one of the best rock events in the UK.
Friendly, fun, well organised and highly atmospheric, WS4 was another sold-out success for the festival that rocks by the beach (or, if you wander outside, shivers by the beach – November on the Ayrshire west coast of Scotland? Do the meteorological math).
WS4 was on a crowd cheering high from the Friday afternoon off and hoedown boogie boys The Outlaw Orchestra (with songs such as 'Chicken Fried Snake' you’re on to a chicken dinner winner of an opening act) right through to Saturday night and the powerful, Dio homage rock force that is Last in Line (not that they were the last in line of great bands to perform at the festival, more on which later).
The implementation last year of a second, introducing stage worked fairly well but was scuppered by overlapping main stage timings that wiped out any chance of a decent crowd size for the majority of the acts playing the smaller room.
This year however careful planning meant you were guaranteed to see at least 20 minutes of every band on either stage, if you so desired (or weren’t feeding, watering, band chatting or merchandising yourself to death in the large hall area allocated for just such delights).
Bands benefitting from small stage, big crowd exposure included Glasgow’s Swamp Born Assassins.
Front man Charlie Moffat led the muddy blues grooving band through a selection of songs from their two studio albums as a packed room watched the Swampers, as the song suggests, 'Rise Up' to the occasion.
Friendly, fun, well organised and highly atmospheric, WS4 was another sold-out success for the festival that rocks by the beach (or, if you wander outside, shivers by the beach – November on the Ayrshire west coast of Scotland? Do the meteorological math).
WS4 was on a crowd cheering high from the Friday afternoon off and hoedown boogie boys The Outlaw Orchestra (with songs such as 'Chicken Fried Snake' you’re on to a chicken dinner winner of an opening act) right through to Saturday night and the powerful, Dio homage rock force that is Last in Line (not that they were the last in line of great bands to perform at the festival, more on which later).
The implementation last year of a second, introducing stage worked fairly well but was scuppered by overlapping main stage timings that wiped out any chance of a decent crowd size for the majority of the acts playing the smaller room.
This year however careful planning meant you were guaranteed to see at least 20 minutes of every band on either stage, if you so desired (or weren’t feeding, watering, band chatting or merchandising yourself to death in the large hall area allocated for just such delights).
Bands benefitting from small stage, big crowd exposure included Glasgow’s Swamp Born Assassins.
Front man Charlie Moffat led the muddy blues grooving band through a selection of songs from their two studio albums as a packed room watched the Swampers, as the song suggests, 'Rise Up' to the occasion.
The Swamp Born Assassins Rise Up to the WinterStorm second stage occasion
Kim Jennett points to the section of the balcony she was singing from exactly 30 seconds later...
Musical contrast was then provided by bands such as The Toi and on-the-rise quartet Hollowstar.
Their well-crafted, respective brands of melodic power pop and weighty & hooky contemporary rock, provided further genre shifts within the rock framework.
The heavyweight Darkness Devine (who opened second stage proceedings), grungier metal-rock quartet Uproar and hard 'n' heavy melodic rockers Gin Annie also made the most of their small stage opportunity (although a still being balanced sound didn’t help DD) but special mention must go to Australian outfit Ablaze, a band who are not cut from the usual "Oz Rock" mould.
While just about every other Australian rock band is heavily influenced by, or damn near cloned from, AC/DC, Ablaze have a more southern affected heavy blues quality about them ('The Hard Way,' the party styled 'Where’s My Drink'); it made for quite the sonic impression across a seriously impressive 40 minute set.
Meanwhile, back at the main stage ranch...
Following the Outlaw Orchestra’s opening set the main stage was graced by the Pat McManus Band, Grand Slam, Those Damn Crows, the Pete Way Band, Myke Gray ft. Kim Jennett, Diamond Head, FM and headliners Skid Row.
Pat McManus and his band struck the perfect guitar chord between classic Mama’s Boys material of the 80s and guitar showcase highlights including 'Belfast Boy,' written / dedicated to Gary Moore and featuring some very Moore-esque melody lines from McManus.
Another player who knows what he's doing with a six-string is ex Skin and Jagged Edge guitarist Myke Gray.
Gray was upstaged however by sonorous vocalist Kim Jennett, both on stage and during the singer's ultra fast surprise arrival in the balcony section for a half-song run-a-round.
Highlights of a great set included the acetylene voiced 'Stand Up for Rock 'N' Roll' and bluesy Skin’d number, Take Me Down to the River.'
Their well-crafted, respective brands of melodic power pop and weighty & hooky contemporary rock, provided further genre shifts within the rock framework.
The heavyweight Darkness Devine (who opened second stage proceedings), grungier metal-rock quartet Uproar and hard 'n' heavy melodic rockers Gin Annie also made the most of their small stage opportunity (although a still being balanced sound didn’t help DD) but special mention must go to Australian outfit Ablaze, a band who are not cut from the usual "Oz Rock" mould.
While just about every other Australian rock band is heavily influenced by, or damn near cloned from, AC/DC, Ablaze have a more southern affected heavy blues quality about them ('The Hard Way,' the party styled 'Where’s My Drink'); it made for quite the sonic impression across a seriously impressive 40 minute set.
Meanwhile, back at the main stage ranch...
Following the Outlaw Orchestra’s opening set the main stage was graced by the Pat McManus Band, Grand Slam, Those Damn Crows, the Pete Way Band, Myke Gray ft. Kim Jennett, Diamond Head, FM and headliners Skid Row.
Pat McManus and his band struck the perfect guitar chord between classic Mama’s Boys material of the 80s and guitar showcase highlights including 'Belfast Boy,' written / dedicated to Gary Moore and featuring some very Moore-esque melody lines from McManus.
Another player who knows what he's doing with a six-string is ex Skin and Jagged Edge guitarist Myke Gray.
Gray was upstaged however by sonorous vocalist Kim Jennett, both on stage and during the singer's ultra fast surprise arrival in the balcony section for a half-song run-a-round.
Highlights of a great set included the acetylene voiced 'Stand Up for Rock 'N' Roll' and bluesy Skin’d number, Take Me Down to the River.'
The Pete Way Band’s loss of guitarist Laurence Archer was Grand Slam’s gain but the former still put on a solid enough rock and punky roll shift as a foursome (bluesier guitarist Tym Scopes is more in the spotlight since Mr Archer’s departure and the perfect foil to Pete Way’s dry, earthy vocal).
On the day however a smattering of later solo material and bluesy new number 'Narcotics' (from forthcoming album Walking on the Edge) had to play second billing to a trio of UFO classics including set closer 'Doctor, Doctor' (classic rock crowd, classic rock expectancy).
Laurence Archer, in his revamped and completely rebuilt version of the originally Phil Lynott fronted Grand Slam, delivered a very well received set based around new album Hit The Ground.
But then freshly recording or covering (depending on your same name / different band point of view) a clutch of once Lynott-led Grand Slam numbers (including '19' and 'Military Man') along with Lynott / Lizzy styled new songs such as 'Gone Are the Days' is a master stroke of classic rock revisited in the 21st century gameplay.
Welsh contemporary rockers Those Damn Crows, given their bill placement and status as compared to the still-to-play big hitters, absolutely stole the Saturday show.
From the weighty, 'Who Did it Now' off they were feisty, high-energy, on-point and had a rammed Troon Concert Hall in the palm of enigmatic vocalist Shane Greenhall’s hands (like Miss Jennet, Mr Greenhall also went a wandering to the upper balcony to ensure the seated audience were as fired up as their down the front counterparts).
From the insanely infectious 'Blink of an Eye' to fist pumping, full crowd voiced closer 'Rock 'n' Roll Ain’t Dead' this, ladies and gentlemen of WinterStorm, was, is, and will be for some rockin' time to come, "Those! Damn! Crows!"
On the day however a smattering of later solo material and bluesy new number 'Narcotics' (from forthcoming album Walking on the Edge) had to play second billing to a trio of UFO classics including set closer 'Doctor, Doctor' (classic rock crowd, classic rock expectancy).
Laurence Archer, in his revamped and completely rebuilt version of the originally Phil Lynott fronted Grand Slam, delivered a very well received set based around new album Hit The Ground.
But then freshly recording or covering (depending on your same name / different band point of view) a clutch of once Lynott-led Grand Slam numbers (including '19' and 'Military Man') along with Lynott / Lizzy styled new songs such as 'Gone Are the Days' is a master stroke of classic rock revisited in the 21st century gameplay.
Welsh contemporary rockers Those Damn Crows, given their bill placement and status as compared to the still-to-play big hitters, absolutely stole the Saturday show.
From the weighty, 'Who Did it Now' off they were feisty, high-energy, on-point and had a rammed Troon Concert Hall in the palm of enigmatic vocalist Shane Greenhall’s hands (like Miss Jennet, Mr Greenhall also went a wandering to the upper balcony to ensure the seated audience were as fired up as their down the front counterparts).
From the insanely infectious 'Blink of an Eye' to fist pumping, full crowd voiced closer 'Rock 'n' Roll Ain’t Dead' this, ladies and gentlemen of WinterStorm, was, is, and will be for some rockin' time to come, "Those! Damn! Crows!"
Rock 'n' Roll most certainly ain't dead when in the company of These. Damn. Show Stealers.
FM are, simply, FM. 35 year veterans of, and still league leaders in, British melodic rock.
Delivering a true Best Of set was always going to be a winner with the melodic rock fraternity, from rockers such as 'Tough it Out' and singer Steve Overland’s in the balladeering spotlight moment 'Story of My Life' through to the AOR sheen of 80s hit 'That Girl.'
Similarly, you have to give a musical nod to Skid Row’s five stars and striped flag performance as well as their career longevity through thirty years and counting of American rock-metal.
It was interesting to note however that for every two Skid Row rawkers singing along to every song there was another attendee heading for an early night or one last drink at the bar.
But then if you’ve had one of the greatest rock-metal vocalists in your ranks (there’s an argument to be made that with more discipline and less of the rock 'n' roll lifestyle Sebastian Bach could have been the singer of his rock generation), current incumbent and ex DragonForce vocalist ZP Theart becomes one of many singers out there automatically inducted in to the Hard Vocal Act To Follow club.
ZP Theart wasn’t too shabby on later Skid Row era numbers such as 'Ghost' but on signature song (and a true anthem of American metal) '18 and Life' it was vocally apparent what’s missing.
Delivering a true Best Of set was always going to be a winner with the melodic rock fraternity, from rockers such as 'Tough it Out' and singer Steve Overland’s in the balladeering spotlight moment 'Story of My Life' through to the AOR sheen of 80s hit 'That Girl.'
Similarly, you have to give a musical nod to Skid Row’s five stars and striped flag performance as well as their career longevity through thirty years and counting of American rock-metal.
It was interesting to note however that for every two Skid Row rawkers singing along to every song there was another attendee heading for an early night or one last drink at the bar.
But then if you’ve had one of the greatest rock-metal vocalists in your ranks (there’s an argument to be made that with more discipline and less of the rock 'n' roll lifestyle Sebastian Bach could have been the singer of his rock generation), current incumbent and ex DragonForce vocalist ZP Theart becomes one of many singers out there automatically inducted in to the Hard Vocal Act To Follow club.
ZP Theart wasn’t too shabby on later Skid Row era numbers such as 'Ghost' but on signature song (and a true anthem of American metal) '18 and Life' it was vocally apparent what’s missing.
The five stars and metallically striped music of Skid Row closed out WinterStorm Friday
Tomorrow is Lost, featuring the ever-energised Cass King
Saturday’s opening acts on both stages showcased the diversity of WinterStorm’s 2019 line-up.
Melodic metal exponents Control the Storm, fronted by female vocalist Firouzeh, delivered a double-time, thick riffs and melodic choruses set on the main stage that captured what the band are all about (take a fast and melodically furious bow 'Strike to Defend).'
Meanwhile on the Second Stage all-girl Punkette trio IDestroy punched it out and rawk’d it up with songs such as their short, sharp and self-titled opening number and the post-punk/ new wave of '98%.'
The Second Stage's heavyweight presentations continued with the muscly sound of Tomorrow is Lost, Baleful Creed and Dead Man’s Whiskey.
The contemporary rock metal and twin guitars of Tomorrow is Lost, led by highly energetic vocalist Cass King (who, unlike last year’s main stage appearance, didn’t take a flyer off the stage to the serious detriment of her ankle) gave it plenty on songs such as slow build rock-metal ballad 'Insane' and the band’s sonically bristling calling card, 'We Are the Lost.'
Baleful Creed’s Irish metal-weight credentials were perfectly summed up by the mid-tempo gusto of 'Autumn Leaves' but the band, who have crossed the Irish Sea before to play for their Celtic cousins (that previous, and live reputation, leading to a packed room) can also give it some big and heavy blues swagger, as heard to great effect on 'Levy.'
Melodic metal exponents Control the Storm, fronted by female vocalist Firouzeh, delivered a double-time, thick riffs and melodic choruses set on the main stage that captured what the band are all about (take a fast and melodically furious bow 'Strike to Defend).'
Meanwhile on the Second Stage all-girl Punkette trio IDestroy punched it out and rawk’d it up with songs such as their short, sharp and self-titled opening number and the post-punk/ new wave of '98%.'
The Second Stage's heavyweight presentations continued with the muscly sound of Tomorrow is Lost, Baleful Creed and Dead Man’s Whiskey.
The contemporary rock metal and twin guitars of Tomorrow is Lost, led by highly energetic vocalist Cass King (who, unlike last year’s main stage appearance, didn’t take a flyer off the stage to the serious detriment of her ankle) gave it plenty on songs such as slow build rock-metal ballad 'Insane' and the band’s sonically bristling calling card, 'We Are the Lost.'
Baleful Creed’s Irish metal-weight credentials were perfectly summed up by the mid-tempo gusto of 'Autumn Leaves' but the band, who have crossed the Irish Sea before to play for their Celtic cousins (that previous, and live reputation, leading to a packed room) can also give it some big and heavy blues swagger, as heard to great effect on 'Levy.'
The Amorettes front gal Gill Montgomery
The room remained jammed for Dead Man’s Whiskey, a hard and heavy rock quintet who made some serious waves with 2017 debut album 'Under the Gun' (from which 'This Fight' and 'Hoe Street' (a dirty rock 'n' roll number in every sense) made quite the amps to 11 impact).
Nico Rogers might be able to give it some welly but the big voiced front man can also be lyrically emotive, as heard on reflective, southern styled rock ballad 'Make You Proud.'
Around the time the Second Stage was hitting its hard rocking stride the main stage was playing host to Burnt Out Wreck, invited to play in replacement of the 11th hour withdrawal (and subsequent disbandment) of Zal Cleminson’s Sin Dogs.
Fair to Say the Sin Dogs loss was BOW’s gain, the latter making the most of their main stage showing with a powerful, old school, guitar-rock set that featured songs from their debut album, Swallow, and recent release This is Hell, including the weighty title tracks and the power-down rock 'n' roller, 'Dead or Alive.'
Front man (and ex Heavy Pettin’ drummer) Gary Moat and band were genuinely taken aback at the reception received, which culminated in an audience chant of "one more song!" when it became apparent they didn’t have time for just that – that the front of house joined in by having the stage lights flashing in unison tells you how well their short but highly impacting set went down.
The Brink then delivered a strong set of their own (featuring songs from their excellent 2019 debut album Nowhere to Run, including the hooky 'Take Me Away' and punchier 'One Night Only') but even with the rallying cry of the melodically rocking 'Are You With Me?' it was evident they had just suffered from a classic rock case of follow that then.
The lull started to lift when The Amorettes, in their new found quartet line-up shape but still featuring co-founding front gal and lead guitarist Gill Montgomery, hit the stage and the hard 'n' fast highs of last studio album Born to Break (via the title track and sing-a-long rocker 'Everything I Learned I learned from Rock 'n' Roll').
The main hall audience didn’t return to full rock duty until the Tygers of Pan Tang and Praying Mantis played their respective parts.
And that’s because not only are the Tygers and Mantis favoured sons of WinterStorm (three appearances in four years), this festival has always, intentionally, had a NWOBHM air (guitar) about it, partly in homage to The Powerhouse Pavilion in Ayr ("the piv") that hosted many a big name rock and metal act throughout the 80s.
While newer or current material will always feature in a Tygers set ('White Lines' from new album Ritual) the NWOBHM brace of 'Suzie Smiled' and 'Hellbound' are never-off-the-set-list staples of a Pan Tang performance.
Praying Mantis are more an across the boards band, songs such as 'Keep it Alive' (from latest studio album Gravity) and ballad 'Dream On' sharing set space with Mantis classics 'Captured City,' 'Children of the Earth' and a surprising but satisfying cover of Skynyrd’s 'Simple Man.'
The evening run-in over on the second stage featured Everyday Heroes, JOANovARC and Mad Haven.
Welsh heavy-blues rockers Everyday Heroes played to packed room whilst delivering a bristling, high energy set that included a barnstorming 'Ballad of Robert Johnson,' the contemporary muscle of 'Soul to Save' and the bluesier 'Texas Red' (the latter will feature as the opener on the band’s forthcoming debut album).
All-girl quartet JOANovARC were equally impressive with a set that ranged from rawkin’ opener 'Live Rock 'N' Roll' to the radio friendly appeal of 'Jane.'
Non-album single 'Girls Wanna Rock' (which suffered from an ill-advised video that put girl-power back to the medieval times of said video) worked exceptionally well in its air punching live clothing, as did a cover of 'Highway Star,' featuring new ARC gal Keira Kenworthy (emulating some of Jon Lord’s Hammond lines with dextrous, high-end bass playing).
Young power-trio guns Mad Haven closed out the second stage with a boisterous rock 'n' roll set that helped promote latest EP Are You Ready? (the bluesy rock 'n' roll of 'Run Away' and the big chorused title track being particular highlights); turns out the audience were indeed ready, enjoying a fine finish to the second stage shenanigans.
The only thing that stopped Uli Jon Roth and his band’s set from being Picture(d Life) perfect was the silence of the amp (from a cable popping loose) that cut the early Scorpions classic 'Fly to the Rainbow' short.
Nico Rogers might be able to give it some welly but the big voiced front man can also be lyrically emotive, as heard on reflective, southern styled rock ballad 'Make You Proud.'
Around the time the Second Stage was hitting its hard rocking stride the main stage was playing host to Burnt Out Wreck, invited to play in replacement of the 11th hour withdrawal (and subsequent disbandment) of Zal Cleminson’s Sin Dogs.
Fair to Say the Sin Dogs loss was BOW’s gain, the latter making the most of their main stage showing with a powerful, old school, guitar-rock set that featured songs from their debut album, Swallow, and recent release This is Hell, including the weighty title tracks and the power-down rock 'n' roller, 'Dead or Alive.'
Front man (and ex Heavy Pettin’ drummer) Gary Moat and band were genuinely taken aback at the reception received, which culminated in an audience chant of "one more song!" when it became apparent they didn’t have time for just that – that the front of house joined in by having the stage lights flashing in unison tells you how well their short but highly impacting set went down.
The Brink then delivered a strong set of their own (featuring songs from their excellent 2019 debut album Nowhere to Run, including the hooky 'Take Me Away' and punchier 'One Night Only') but even with the rallying cry of the melodically rocking 'Are You With Me?' it was evident they had just suffered from a classic rock case of follow that then.
The lull started to lift when The Amorettes, in their new found quartet line-up shape but still featuring co-founding front gal and lead guitarist Gill Montgomery, hit the stage and the hard 'n' fast highs of last studio album Born to Break (via the title track and sing-a-long rocker 'Everything I Learned I learned from Rock 'n' Roll').
The main hall audience didn’t return to full rock duty until the Tygers of Pan Tang and Praying Mantis played their respective parts.
And that’s because not only are the Tygers and Mantis favoured sons of WinterStorm (three appearances in four years), this festival has always, intentionally, had a NWOBHM air (guitar) about it, partly in homage to The Powerhouse Pavilion in Ayr ("the piv") that hosted many a big name rock and metal act throughout the 80s.
While newer or current material will always feature in a Tygers set ('White Lines' from new album Ritual) the NWOBHM brace of 'Suzie Smiled' and 'Hellbound' are never-off-the-set-list staples of a Pan Tang performance.
Praying Mantis are more an across the boards band, songs such as 'Keep it Alive' (from latest studio album Gravity) and ballad 'Dream On' sharing set space with Mantis classics 'Captured City,' 'Children of the Earth' and a surprising but satisfying cover of Skynyrd’s 'Simple Man.'
The evening run-in over on the second stage featured Everyday Heroes, JOANovARC and Mad Haven.
Welsh heavy-blues rockers Everyday Heroes played to packed room whilst delivering a bristling, high energy set that included a barnstorming 'Ballad of Robert Johnson,' the contemporary muscle of 'Soul to Save' and the bluesier 'Texas Red' (the latter will feature as the opener on the band’s forthcoming debut album).
All-girl quartet JOANovARC were equally impressive with a set that ranged from rawkin’ opener 'Live Rock 'N' Roll' to the radio friendly appeal of 'Jane.'
Non-album single 'Girls Wanna Rock' (which suffered from an ill-advised video that put girl-power back to the medieval times of said video) worked exceptionally well in its air punching live clothing, as did a cover of 'Highway Star,' featuring new ARC gal Keira Kenworthy (emulating some of Jon Lord’s Hammond lines with dextrous, high-end bass playing).
Young power-trio guns Mad Haven closed out the second stage with a boisterous rock 'n' roll set that helped promote latest EP Are You Ready? (the bluesy rock 'n' roll of 'Run Away' and the big chorused title track being particular highlights); turns out the audience were indeed ready, enjoying a fine finish to the second stage shenanigans.
The only thing that stopped Uli Jon Roth and his band’s set from being Picture(d Life) perfect was the silence of the amp (from a cable popping loose) that cut the early Scorpions classic 'Fly to the Rainbow' short.
One of the few moments live-wire Erik Grönwall stood still long enough for a 'Tog shot
Other than that it was an exemplary, custom SKY guitars showcase of Roth era Scorpions ('Sails of Charon' was a highlight of the entire festival) and other gems including 'Electric Sun,' 'Don’t Tell the Wind' (originally by Uli Jon Roth’s late brother Zeno) and a giving it the full Hendrix rendition of 'All Along the Watchtower.'
The set from Swedish heavy melodic rockers H.E.A.T was as electrifying as the Uli Jon Roth band’s had been impacting – almost literally, given enigmatic front man Erik Grönwall was so amped you’d swear he had been plugged in a power socket.
From punchy "woah-oh-oh" number 'Bastards of Society' (preceded by 'The Heat is On' intro – nice touch) to set closer 'Shot at Redemption' nearly an hour later, H.E.A.T. delivered big time in front of a highly responsive WS audience who also got to hear the first live outings for 'One By One' and 'Rise' (both will feature on the band’s upcoming studio album, H.E.A.T II.)
Add in a version of heavy power-popper 'Beg, Beg, Beg' that included snippets of 'Whole Lotta Love' and 'Piece of My Heart' and you have a band that can, and indeed did, bring the Heat.
That Last in Line managed to eclipse the Uli Jon Roth and H.E.A.T performances underlined just how good a band they are and fully justified their headline status on their WS return.
The guitar skills of Vivian Campbell are not in doubt; renowned sticksman Vinny Appice is a powerful drummer; Phil Soussan (who replaced the late jimmy Bain in 2016) is the perfect four-sting foil; but the star of the Last in Line show is vocalist Andrew Freeman.
Freeman’s Ronnie James Dio-esque tonality (LinL started life as a DIO celebration tribute) and affinity for the DIO material mean it’s hard to conceive of anyone else in this particular vocal role.
Powerful and purposeful takes of 'Holy Diver' and 'Last in Line,' among others, testified to that very thought but the band’s own material stands strong – set opener 'Landslide' (from latest album II) and 'Starmaker' (dedicated to Jimmy Bain and positively monstered on the night) stood toe to toe with the DIO classics.
"We rock!" sang and shouted Andrew Freeman. Yes, we certainly did, Mr Freeman.
The set from Swedish heavy melodic rockers H.E.A.T was as electrifying as the Uli Jon Roth band’s had been impacting – almost literally, given enigmatic front man Erik Grönwall was so amped you’d swear he had been plugged in a power socket.
From punchy "woah-oh-oh" number 'Bastards of Society' (preceded by 'The Heat is On' intro – nice touch) to set closer 'Shot at Redemption' nearly an hour later, H.E.A.T. delivered big time in front of a highly responsive WS audience who also got to hear the first live outings for 'One By One' and 'Rise' (both will feature on the band’s upcoming studio album, H.E.A.T II.)
Add in a version of heavy power-popper 'Beg, Beg, Beg' that included snippets of 'Whole Lotta Love' and 'Piece of My Heart' and you have a band that can, and indeed did, bring the Heat.
That Last in Line managed to eclipse the Uli Jon Roth and H.E.A.T performances underlined just how good a band they are and fully justified their headline status on their WS return.
The guitar skills of Vivian Campbell are not in doubt; renowned sticksman Vinny Appice is a powerful drummer; Phil Soussan (who replaced the late jimmy Bain in 2016) is the perfect four-sting foil; but the star of the Last in Line show is vocalist Andrew Freeman.
Freeman’s Ronnie James Dio-esque tonality (LinL started life as a DIO celebration tribute) and affinity for the DIO material mean it’s hard to conceive of anyone else in this particular vocal role.
Powerful and purposeful takes of 'Holy Diver' and 'Last in Line,' among others, testified to that very thought but the band’s own material stands strong – set opener 'Landslide' (from latest album II) and 'Starmaker' (dedicated to Jimmy Bain and positively monstered on the night) stood toe to toe with the DIO classics.
"We rock!" sang and shouted Andrew Freeman. Yes, we certainly did, Mr Freeman.
The powerfully voiced Andrew Freeman points the way for those who find themselves Last In Line
The now traditional WS ending of (Chris) Glen, (Doogie) White, (Paul) McManus & Friends (Burnt Out Wreck/ La Paz bassist Alex Carmichael took more bass duties than Mr Glen on this particular occasion) brought Saturday night to a conclusion via a selection of songs for fallen musical comrades including 'Kill the King,' 'Emerald' and 'Temple of the King,' the latter as ever allowing for an emotional crowd sing-a-long in homage to many a rock great since passed.
As the final chords of 'Temple of the King’ faded and the stage lights dimmed, a spotlight picked out a lone piper on the balcony to play us out – the perfect St Andrews night finale.
Bu that wasn’t the end of the WinterStorm weekend.
Sunday afternoon’s acoustic After The Storm, implemented last year, featured acoustic sets from Danny Vaughan of Tyketto (another musician who loves the event; Vaughn and Tyketto played WS2), Uli Jon Roth and his band (with guest vocal from Doogie White on 'In Trance') and the focal & vocal point of Inglorious, Nathan James (accompanied by young guitar slinger Danny Dela Cruz).
While not strictly a WinterStorm event, the Sunday evening main stage brought the weekend music by the beach to a close by featuring performances from Scottish soul-pop giants Hue & Cry and Special Guests, the Climax Blues Band.
If success is measured by the number of "are ticket’s available yet for the next one?" inquiries that arose on the Monday after, then WS5 is already guaranteed to be another winner.
Additionally, the fifth edition of WinterStorm will be forty years on from the significant rock year of 1980 when NWOBHM took hold and "80s Rock" started its rise to become a well-loved genre in and of itself.
In short, WinterStorm 2020 will be a festival weekend no Scottish, UK or indeed much further afield (they came from far and wide at WS4) rock fan will want to miss.
Ross Muir
FabricationsHQ
As the final chords of 'Temple of the King’ faded and the stage lights dimmed, a spotlight picked out a lone piper on the balcony to play us out – the perfect St Andrews night finale.
Bu that wasn’t the end of the WinterStorm weekend.
Sunday afternoon’s acoustic After The Storm, implemented last year, featured acoustic sets from Danny Vaughan of Tyketto (another musician who loves the event; Vaughn and Tyketto played WS2), Uli Jon Roth and his band (with guest vocal from Doogie White on 'In Trance') and the focal & vocal point of Inglorious, Nathan James (accompanied by young guitar slinger Danny Dela Cruz).
While not strictly a WinterStorm event, the Sunday evening main stage brought the weekend music by the beach to a close by featuring performances from Scottish soul-pop giants Hue & Cry and Special Guests, the Climax Blues Band.
If success is measured by the number of "are ticket’s available yet for the next one?" inquiries that arose on the Monday after, then WS5 is already guaranteed to be another winner.
Additionally, the fifth edition of WinterStorm will be forty years on from the significant rock year of 1980 when NWOBHM took hold and "80s Rock" started its rise to become a well-loved genre in and of itself.
In short, WinterStorm 2020 will be a festival weekend no Scottish, UK or indeed much further afield (they came from far and wide at WS4) rock fan will want to miss.
Ross Muir
FabricationsHQ
Photo Credit (all images): Ritchie Birnie/ Jace Media