A three‑day rock extravaganza spread across two venues – The Gifford Arms and KK’s Steel Mill. Celebrating its 10th year while supporting local charities chosen by the city’s Mayor. A perfect blend of acoustic sets and high‑voltage rock. Honestly… what’s not to love?
I’ll be straight with you: I’d never even heard of it until I attended KK’s for the rather brilliant New Wave of Classic Rock festival. A lovely lady called Lisa Billingham filled me in, and after roughly five seconds of consideration I thought, yep, I’ll do this. As a relative newbie to the modern rock scene, it soon became very clear that this is actually quite the festival. Organised by Doddy White and attended by the local Mayor himself, I was quietly impressed. Possibly loudly impressed. Either way, I was impressed.
I skipped the acoustic sets at The Gifford Arms. Not because they aren’t fabulous, but because too many photographers can spoil the broth and especially for dedicated gig‑goers who really don’t want to spend their evening staring at the arse‑end of a photographer also trying to get a good view. Instead, I opted for KK’s, and I have to say… it’s now firmly one of my favourite venues. Easy access, decent parking (hallelujah), a cracking setting, and a fantastic crowd who were more than happy to have their photos taken. What a joy.
So, here we are again. The non‑“rocker” reviewing a rock festival. How many of these do I need to attend before I earn my rocker badge? Or is it stitched on a… war coat? No…battle vest! That’s it. I’ll get there eventually.
After navigating a morning of health obstacles, I finally made it to Wolves and wandered in just as Alabama Crow hit the stage. I was gutted to have missed Seize The Void, but I’ll no doubt catch them again somewhere down the road.
Alabama Crow
The first time I saw these gents was at Steel Paws, another charitable endeavour raising funds, quite nobly for a local pussy shelter, held at Sidney & Matilda’s in Sheffield. They made an impression: raw rock edge, confident swagger, and an impressive amount of skin on show. Ooh er, Mrs.
They sounded seasoned and established, which made it all the more surprising to learn that Billy, Paul, Danny and Craig are actually a fairly recent outfit. Billy’s vocal is particularly impressive, laced with flavours of The Black Crowes and Skynyrd (which is never a bad thing). It was great to see and hear them again, and I wasn’t remotely surprised they’d trekked back down from the Scottish hills. These lads are working hard and touring hard, and frankly, they should be on everyone’s lineup. Genuinely entertaining. Proper fun.
Conner Emms
Hanging out on the acoustic stage with quiet authority, Connor Emms proved exactly why he’s held in such high regard on the UK rock circuit. I’ll be honest, I’d never heard of the guy and only stopped mid‑mission on my way to grab a drink. That plan quickly changed. I stayed til the end of his set and rhen had to head back for the next band, sacrificing my much needed drink.
The West Midland born guitarist and vocalist, best known as a founding force behind The New Saints, effortlessly captured the waiting crowd, cutting through the background hum of a main‑stage changeover with a confident blend of soaring melodies and muscular riffs. Emms delivered a song called Promise. I wasn’t familiar with it but wanted to listen again, the second it finished. Following a brief taster of Emms, his performance prompted me to deep dive into The New Saints and it’s safe to say they’re completely up my street.
If you fancy finding out if they’re up yours, you can catch them live at The Robin, Wolverhampton, on 9 May.
Doomsday Outlaw
I was a fully paid‑up DO virgin when these guys took the stage. They were heavier and punchier than expected, but the vocal immediately grabbed me, strong, soulful, and full of intent. The songs stuck too, which says everything.
Unable to snag a sneaky setlist photo (devastating), I spent the evening trying to mentally catalogue song titles. As I write this, I’m listening to The Little Things, which feels oddly poetic as the sun is pouring through the window, lighting up the room… much like Doomsday Outlaw did at KK’s.
That vocal, though. Its soulful, meaningful, and lingers after the song ends. The lead guitar is borderline divine, which has resulted in a frankly irresponsible amount of pressing repeat, followed swiftly by “Follow” on the dreaded Spotify. I like this band. A lot. I’ll be keeping an eye out for them again. They’ve definitely gained a new fan.
Black Lakes
Not long ago, I had a little Faceache chat with a charming gentleman called Will Preston. After a brief but thorough social media stalk (as one does), my first thought was: blimey, looks like this man definitely fights zombies for a living. Turns out, he’s also in a band.
After the usual “have you got something I can listen to?” exchange, I found myself playing Dead Gods which I loved. Accident or fate? No idea. Either way, I’m glad it happened because I then realised they were also playing KK’s which was an absolute bonus. When Black Lakes arrived, they looked exactly as expected, like they’d just finished slaying something undead and came straight to the stage. Visually captivating, musically mesmerising. There’s a strong Deftones flavour to their sound, which I really liked, though being more of a rock fan than metal (purely personal taste, no shade on their obvious talent), a full set might be a stretch for my fragile ears.
That said, I tip my hat wholeheartedly. Will’s stage presence was the standout and clearly an audience favourite, particularly when he leaned forward on the mic stand, tongue out The man is confidence personified. Confidence… in a cowl neck.
Beth Blade
I was really looking forward to Beth’s set, having never seen her play before, and I was more than happy to add another talented lady to my otherwise man‑soaked photo portfolio. Armed with just her guitar and voice, she delivered a performance that was emotionally open which immediately pulled the room in, all without looking like she was trying too hard. Her vocals carried real weight and were an absolute joy to listen to in such an intimate setting.
A real highlight was her Fleetwood Mac cover, which suited the acoustic format perfectly and showed a clear understanding of mood and restraint, rather than going for the obvious crowd‑pleaser. It felt respectful, heartfelt, and completely at home alongside her own material, material I’ve since made a point of diving into properly.
Between songs, her easy, down‑to‑earth presence helped keep things warm and unforced, like you were watching someone genuinely enjoying the chance to slow things down. For a first encounter with Beth Blade in this format, it was a quietly gripping set that proved the songs and the performer don’t need volume to make an impact.
Apriori
I first saw Apriori last year after getting a photography tip‑off that they were an absolute gift to shoot. A quick Facebook stalk later (purely professional, obviously) and, fuelled by equal parts curiosity and mild insanity, I made a point of seeing them at the glorious Waterloo Bar in Blackpool in their hometown.
To put this into perspective: I’d just finished a shoot in Camden, driven straight up to a festival in Manchester, left that festival early, driven to Blackpool specifically to shoot Apriori, then turned around and went back to Manchester to catch the rest of it. That’s how much I wanted to photograph them. Completely unhinged behaviour. Zero regrets though.
I turned up expecting to shoot three blokes. I left having discovered a band I genuinely took to heart. Call it a win‑win. It’s like going on a date with no expectations and accidentally ending up married, suddenly they’re just… there. And probably the same case for many others, Apriori haven’t really left me.
For a three‑piece, they absolutely filled the stage. Granted, a good portion of it was occupied by Tony’s mane whipping round the place, while Mark contorted himself over his keys, writhing about with presence, energy and intent.
At Steel Paws Festival, someone asked me, “So what bands are you liking so far, then?”
“Apriori,” I said. He replied, “Hmm… they sound a bit mainstream.”
Right. And? If mainstream means songs you actually want to hear again because they’re memorable, catchy, and just the right side of dirty then I fail to see the issue. The word “mainstream” gets lazily thrown around as shorthand for simplicity, but I’d strongly suggest anyone making that claim actually watch the solo in ‘Voodoo Love’. There’s nothing simple about the craftsmanship happening there.
Then there’s powerhouse Mouse. Relentless tub thrashing at its best which I have to be totally honest, is totally mesmerising to watch. He makes me want to learn drums.
Voodoo Love and Making Love to The Devil go down as expected. Lets make no bones about it, these guys are well liked as people and as gifted musicians and deservedly so. They are busy this year with the upcoming release of their new album. They’ll be teasing you with it on Sept 19th at the Album Launch Show at.. yes, you guessed it – The Waterloo Music Bar.
InMe
I turned up knowing the name InMe, but little else. From researching I was surprised to read they had already had 7 successful studio albums and formed in 1996. Frontman Dave entered with the right amount of charisma the moment he hit the stage, it was obvious this wasn’t going to be a passive watch‑from‑the‑back situation. Something was pulling focus as members of the audience moved forward.
Lead vocals move effortlessly between vulnerability and grit and each song was sung effortlessly. Musically, they sit beautifully between heavy and melodic. The guitars worked hard when needed but left room to breathe while the rhythm section kept everything grounded and purposeful. This is a well put-together band and as a newcomer, they held attention easily without the gift of familiarity. What stood out most is how complete they feel as a band and their warm interaction with the audience. They know who they are, not just musically but emotionally. As someone new to their catalogue, I never once felt lost or disconnected and by the end of their set, it was like discovering an old band, just a bit late in the day.
South of Salem
If I saw one SoS T-Shirt I must of seen a million (slight exaggeration). But they were everywhere. Literally. This had me excited to see what was afoot. The room was filling with anticipation and a lovely lady at the barrier was possibly on commission as she couldn’t rate them (joey) enough. The room felt full now and everyone that wore a T, was at the front. The stage lit up with neon crucifixes.
Joey, Kodi, Fish, Darren and Pip take to the stage with a presence that immediately pulls the crowd in, wrapping the room in dark atmosphere and steady anticipation. Their blend of modern alt‑rock and gothy edge lands well with thick, cinematic guitars and punchy rhythms. I can see the attraction. The vocals sit front and centre, switching effortlessly between intense and soaring. They know how to shape their sound for a live setting.
Audience interaction is a big part of the set’s impact. Between songs, Joey engages the crowd with easy confidence, encouraging claps, call‑and‑response moments, and sing‑backs that quickly turn passive listeners into active participants. During the heavier tracks, hands are up and heads are moving; during the bigger choruses, voices join in almost instinctively. I’m not part of the ‘in-crowd’ but I felt like it.
I thought they were going to be a ‘gimmick band’ and don’t get me wrong, gimmicks are fine but they clearly don’t rely on them. Strong songs, a striking aesthetic, and genuine crowd engagement is what they’re all about. By the end of the set, the audience is fully hooked, and the band leave the stage to genuine cheers, having firmly proven themselves as a compelling and confident live act. I was impressed and would look forward to seeing them again, most definitely.
I loved Mayors Fest. It felt more than just another gig in the diary. Once again, it opened the door to some of rock music’s finest hidden gems, bands I might never have crossed paths with otherwise, all brought together by a shared sense of passion and community.
What surprised me most is how deeply the scene is beginning to grow on me. Not only because it offers some of the most striking, expressive photographic subjects, but because I’m leaving with far more than images. I’m leaving with new music that I genuinely love. Songs that stay with me long after the amps are switched off and join me again on the drive home.
Equally, I’m finding myself falling in love with the venues too. There is a warmth and character to these spaces that big arenas can’t replicate, places where the barriers between artist and audience feel almost non-existent. They carry their own energy, shaped by the people who fill them and the nights they host.
Each gig adds another layer of memory and another reason to return.
Words and Photos by Shavorne Wilbraham
