Steel Paws Festival, Sidney & Matilda, Sheffield – Saturday 4th Oct
Charity event supporting the Sheffield Cat’s Shelter
‘Steel Paws’ Festival returned to Sheffield for the 4th time with its signature blend of rock ‘n’ roll and feline love. After surviving the two-hour journey to Sheffield on remnants of storm Amy, this awesome event was worth every mile.
Organised by cat foster carers Phil and Donna Elsey, the event continues its legacy of raising funds for the Sheffield Cat’s Shelter, combining amazing music with a meaningful cause.
The venue and its staff were lovely. Receiving a warm welcome at the door always makes for a pleasant experience. On receiving my wristband, I made it up the stairs to the stage area where hosts Phil ‘Cat Man’ Elsey and his beautiful assistant Niamh (with a smile that could light up Sheffield) introduced the scheduled bands.
So, straight to the music – The Line Up
Alabama Crow
Members consisting of Billy Jack on Vocals & Rhythm Guitar, Paul Randall on Lead Guitar Danny Elder on Bass and Craig Duncan on Drums.
I wasn’t familiar with AC so was looking forward to sampling the auditory delights of this chirpy foursome.
Sounding like their roots are steeped in Southern blues tradition, their vibe has a distinct flavour of 70’s rock, channelling the spirit of ZZ Top with a smattering of Black Crowes, both of which I’m a fan of.
The rasping vocals of Billy were joy to listen to with the backdrop of funky basslines, and show-off guitar solos. No idea how long AC have been ‘on the scene’ but they certainly felt and looked like they’d been doing this for a million years.
I was surprised to learn the band was Scottish, given their authentic Southern rock sound. Their stage presence was passionate with shirts flung to the wind like yesterday’s dignity— leaving the audience to witness a masterclass in torso exhibitionism. All this aside, there was a genuine joy in their performance that radiated outward, creating an atmosphere that was both warm and welcoming. Every movement, every interaction with the crowd felt sincere and served as proof of a band not just playing music, but genuinely loving what they do.
I was completely absorbed in their set from start to finish. Their chemistry, charisma, and sheer passion for what they do made it impossible not to be drawn in.If you’re someone who values authenticity, high-octane energy, and emotional connection in live music, Alabama Crow delivers all that and more.
Currently in production, fans eagerly await their new albums release. Based on their trajectory, it promises to be a defining moment for the band. I’m already looking forward to the next time I see them.
Heartbreak Remedy
Members consisting of Matty Penn – Vocals & Bass Luke Blair – Guitar and Stephen Jackson – Drums
Heartbreak Remedy is a hard rock band originally from Cumbria. Apparently, the group was formed in early 2013, sparked by a late-night conversation about music and ideas between founding members Matty Penn (vocals/bass) and Stephen Jackson (drums). Remedy’s live performance was a joyous, lively experience. From the first chord, the band delivered with passion, precision, and personality. Each member brought their own flair, but it was the chemistry between them that made the show memorable. They blend the groove of Lynyrd Skynyrd, the swagger of Guns N’ Roses, and the melodic grit of The Cult, creating a sound that I felt was nostalgic but still sounded fresh.
Their music was a cocktail of bluesy riffs, sleazy glam metal, and classic rock storytelling, with lyrics that explore themes of heartbreak, youth, resilience, and wild nights. Most of which we can all resonate with. Particularly wild nights.
Matty Penn’s vocals were the active ingredient for me—strong, gritty, and potent. His voice carries a raw edge perfectly calibrated to complement the bands bluesy sound.
There’s a medicinal quality to this band’s delivery. They don’t just entertain; they heal, offering listeners a kind of emotional triage through melody and grit. If you’re in need of a pick me up, Heartbreak Remedy may just be your tonic.
Dead Blonde Stars
Members consisting of Gary Walker – Lead Vocals & Guitar / Tom Gratton – Guitar / Oliver Thompson – Guitar & Vocals / Matt Simons – Bass & Vocals and Jamie Machon – Drums
Dead Blonde Stars opened the night with a dark, brooding intensity after Walker showcased his stunning vocal by singing “Fly me to the moon” to warm up. This immediately got my attention.
Hailing from South Yorkshire, it felt like they were embracing the Seattle grunge aesthetic, but what made them stand out was how they filtered that sound through the grit and soul of Sheffield, creating a fresh blend of alternative rock and modern heaviness. DBS delivered a performance that was equal parts aggression and introspection, a performance that felt both cathartic and commanding. Their sound draws unmistakable influence from the golden era of grunge—Soundgarden, Alice In Chains, and Stone Temple Pilots—but what sets them apart is the distinctly British twist they bring to the genre. It’s still grunge, yes, but filtered through the industrial heartbeat of South Yorkshire. The band’s twin guitar attack, led by Tom Gratton and Oliver Thompson, was nothing short of relentless. Their interplay created a layered, immersive musical tapestry, heavy in tone, and emotionally resonant.
Matt Simons on bass provided a thunderous low-end foundation, anchoring the band’s sound with depth and intention. His playing added weight to the more introspective moments and punch to the heavier ones while Jamie’s drumming was a masterclass in precision and energy—tight, expressive and (seemingly), rhythmically complex (I’m no drummer). His performance was the heartbeat of the set, propelling the band forward with unwavering resilience.
Gary’s vocals were both powerful and yet vulnerable. His voice carried the emotional weight of the lyrics, shifting seamlessly between raw intensity and reflective calm. Whether roaring through a chorus or drawing the crowd into a quieter verse, his delivery was consistently authentic and deeply felt. And I loved it.
Gone Savage
Members consisting of Ian Salpekar – Bassist Will Glover – Vocalist Andy J – Guitarist and James Ross – Drummer.
Gone Savage are a melodic hard rock band from Manchester, UK, originally formed in 1990. Their sound blends classic rock, melodic metal, and AOR (Album-Oriented Rock) with a modern edge. Their sound draws comparisons to bands like Def Leppard, White Lion and Scorpions, while also incorporating contemporary alternative rock elements. Basically, a real mixed bag of rock delights.
I’d already had the privilege of seeing these fellers at KK’s Live Fest 4 – New Wave of Classic Rock festival but sadly, the lurgee had hit the band hard and they were struggling to fire on all cylinders. Today was a welcomed opportunity to sample the masterclass in melodic hard rock that they are renowned for.
From the moment they hit the stage, they exude confidence, chemistry, and a deep love for the genre. Will Glover’s voice is commanding and expressive, effortlessly shifting between glam metal swagger and heartfelt balladry. His delivery on “Here Comes the Shade” is particularly striking—moody and atmospheric.
Midway through the set, frontman Will teased the crowd with a smile, announcing that the next song “might get a little more interesting.” As anticipation built, two lovely ladies from the renowned dance troupe ‘Rocket Queens’ joined the stage, adding a striking visual dimension to the show.
Known for their dynamic and expressive stage artistry (booty shaking) Rocket Queens brought a burst of playful raunch. Their movements—fluid, rhythmic, and confidently bold—complemented the band’s energy, adding a side order of visual pleasure to the band’s performance. Their presence perfectly elevated the atmosphere, blending rock ‘n’ roll attitude with choreographed spectacle, and giving the set a sensual edge that captivated the audience without overshadowing or interfering with the music (That was to come later).
Gone Savage are seasoned performers, and it shows. There’s a sense of shared nostalgia and discovery, as longtime fans revelled in the band’s evolution and newcomers like me are drawn in by their passionate delivery. A delight to watch.
Not Now Norman – members consisting of Taylor-Grace Minary Mitchell – Lead Vocals, Zander Brown – Guitar & Backing Vocals, Julie Plunket – Bass and Ivy Hollow Mead – Drums
I’d never heard of this band but the moment they strutted on, they immediately caught my attention.
Emerging on stage somewhere between a tropical bird and Jim Henson creation, this goddess in green fur woke up the audience with her charisma and charm.
But don’t let her flamboyance fool you— she rocks hard. Taylor-Grace’s vocals were fierce and her ability to switch from snarling punk attitude to heartfelt vulnerability was genuinely impressive. It was raw, relatable, and just the right amount of emotional overshare.
Why would you want to see Not Now Norman? Simple—because they’ve got guts. In a world where many bands play it safe, NNN dive headfirst into subjects like mental health, abusive relationships and social injustice—they’re obviously lived experiences as much as they are lyrics. At core, this is a beautiful girl singing with raw honesty and fearless conviction. But what really struck me was how the crowd responded to her—with warmth, respect, and a kind of quiet awe that said, “We see you, but more importantly, we hear you.”
Before the set, I asked someone in the audience what Not Now Norman were like. He smiled and said, “They’re different. You’ll like them.”
He was right.
Revenant – Consisting of Sam Lay (Guitars/vocals) Matthew Hudson Guitar Robin Nutley Bass Carl Donoghue Drums
The British southern rock band, still fresh from the release of their second EP Best Medicine, took to the stage with the confidence while the crowd buzzed with anticipation. Lead vocalist Sam emerged with a quiet intensity that quickly erupted into a commanding presence. His voice was gritty, soulful, and full of emotion. There was a seriousness in his delivery that made each lyric feel personal, as if singing directly to you. Whether belting out the chorus of “The Masquerade” or sharing the tender backstory behind “Best Medicine,” Sam wasn’t just a singer but also a storyteller.
Guitars were a revelation to watch. Blending a southern rock flavour with bluesy finesse, channelling a little bit of Black Crowes spirit while maintaining a distinctly British edge. Solos were fluid and joyous, particularly when the Zeppelin mash-up dropped, a beautiful surprise nod to the legends. Robin on bass and Carl on drums provided a rock-solid foundation, driving the set forward with precision and groove. Carl’s drumming was tight and dynamic, shifting seamlessly between thunderous fills and subtle accents, while Robin’s basslines added depth and warmth to the band’s sound.
Again, what I liked about Revenant is their lyrical honesty. Their songs don’t shy away from difficult topics—mental health, toxic relationships, grief, and healing are all woven into their music.
For me, I feel music should mean something. Revenant are crafting songs that reflect real lives, real struggles, and real triumphs.
With their third EP Black Dogs and Sad Men just released on the 10th of October and a growing reputation on the UK rock circuit, Revenant could likely be one of the most compelling voices in British rock. If you haven’t seen them live yet, do yourself a favour.
We three Kings Consisting of Richard Wagstaff – Lead vocals and guitar Pete Hodgkinson – Drums and backing vocals Bonesy – A skeleton mascot who plays absolutely nothing but adds undeniable stage presence and comic flair.
Despite their name, We Three Kings are a powerhouse Trio (of sorts)
Rich on guitar and vocals, and Pete on drums. Their third “member” was a life-sized skeleton named ‘Bonesy’ (personally, I would have called him Liam or Noel) but that’s just me. ‘Bonesy’, stands silently, rocking a crown whilst permanently assigned to bass duties. More of a stage prop than string slapper bringing a regal pinch of rigor mortis to the evening.
From the first note, the duo unleashed a noise that defied their minimalist setup. Rich’s guitar work was dripping in fuzz, distortion, and swagger, while Pete’s drumming was thunderous and precise, driving each track with relentless energy.
Mid-set, the fabulous Rocket Queens strutted onto the stage for another crack of the whip—(figuratively)—hips swayed, and the crowd loved it—until one of the Queens got a little too enthusiastic and accidentally tangoed with a piece of equipment that clearly wasn’t ready for that kind of intimacy.
Cue: music dead. Lights still on. Awkward silence. And the sound guy probably aged ten years.
Now, I was politely asked not to include this in my review—but come on, it was pure Spinal Tap gold.
One moment, rock ‘n’ roll chaos. The next – Cool recovery, zero damage, and the Rocket Queen in question carried on like an absolute trooper. That’s showbiz grit right there.
Within minutes, it was as if nothing had happened. The crowd was re-immersed, the band was back in full swing, and the Rocket Queens were once again perfectly synced with the music—adding flair, filth and fabulousness. A total credit to both the RQs and the band.
The chemistry between the Kings was key to the performance for me.
Rich prowled the stage with punk-infused charisma, his vocals alternating between snarls and soaring choruses. The crowd, initially a little reserved I thought, seemed to be quickly won over. We Three Kings had made a lot of new fans that evening. If you get the chance to see them live—don’t miss it. They are a powerful pairing.
The Outlaw Orchestra
Members – Dave Roux (vocals/guitar), Pete Briley (banjo, lap steel, strings and other things that make noises) and Ryan Thundersmith (drums)
This Southampton-based trio delivered a performance that was equal parts musical mastery, comedic storytelling, and rowdy southern rock energy.
From the moment they stepped on stage, the band had the crowd smiling. Dave, with his devil-may-care charm, cheeky banter and Mexican hat led the charge with anecdotes between songs that were as entertaining as the music itself. Pete’s ability to switch between a range of git-box creations – from banjo, cigar box guitar, lap steel, and more was fun to watch, while Ryan’s drumming kept the whole show tight and thunderous. I was fascinated at what instruments were going to make an appearance next.
Their chemistry was infectious—like three best mates who just happen to be ridiculously talented musicians. The audience loved it.
The Outlaw Orchestra’s set was a whirlwind of southern rock, bluegrass, and British humour, with tracks that told wild stories and got the crowd moving:
They even threw in a cheeky cover of The Proclaimers’ “500 Miles”, turning it into a southern rock anthem that had everyone singing and laughing. Despite their humorous edge, The Outlaw Orchestra are obviously serious musicians.
Their ability to switch instruments mid-song, blend genres, and keep the energy consistently high impressed me. Nothing felt over-rehearsed or forced—just raw, joyful rock ‘n’ roll.
FESTIVAL HIGHLIGHT
A’PRIORI – Consisting of Tony Lang (Lead vocals/guitar) Mark Wilson (Keys/Vocals) and ‘Mouse’ Lang (Drums)
This wasn’t my first encounter with Apriori. I’d already seen them at the iconic Waterloo Bar in Blackpool where they ripped off the roof.
In the rock music landscape that sometimes seems to be dominated by the generic sounds and predictable performances, Apriori stand out as a band unafraid to challenge conventions. I’m not a fan of labels, particularly when it comes to music and I’m certainly not your typical ‘rocker’. I love many genres of music, but I’ve always been very choosey when it comes to rock.
Apriori are a musical tapestry, woven together with hard rock, progressive metal, blues, and alternative rock. This trio seem to have crafted a sound that is both expansive and intimate, heavy yet melodic, and unmistakably their own. They’re anything but conventional—no bassist, no skeletal stand-in, and certainly no filler. Instead, they wield keys. Wilson’s keyboard mastery anchors the low-end with rich, resonant depth, seamlessly doubling as rhythm guitar and bass while weaving in atmospheric textures that elevate the band’s arrangements. No matter your rock persuasion, there’s something in Apriori’s set that will grab you by the collar.
A personal highlight was the seductive “Making Love to the Devil”—a track that drips with dark allure and forbidden desire. It casts a spell over the set, weaving a tale of temptation, lust, and surrender. Lang’s guitar solos are blistering and emotive.
Apriori’s stage presence feels commanding and yet approachable. Each member brings a distinct musical voice to the ensemble: A frontman, balancing gritty vocals with intricate guitar work, shifting from raw aggression to melodic introspection. A powerhouse drummer of exceptional precision and creativity. Rhythms are complex and performed with relentless energy, driving the band’s dynamic shifts with finesse and fire, controlling the emotional pulse of every song.
‘Secret weapon’ Wilson is what makes this trio so different. His keyboard work is not only technically impressive but also emotionally resonant, adding layers of complexity that elevate the band’s sound far beyond traditional rock structures.
Apriori’s work ethic is nothing short of relentless. For the last 8 years, they’ve gone from strength to strength, living and breathing their craft—driven by a deep commitment to authenticity, innovation, and connection. You can feel it in their performances, hear it in their recordings, and see it in the way they engage with fans and venues alike. No matter the venue or the vibe, you can count on spotting someone in an Apriori tee—proof that their following runs deep and loyal.
They don’t follow the conventional blueprint. Instead, they carve their own path, often taking creative risks—like performing without a bassist and using keyboards to fill that space. That kind of decision speaks to their confidence, adaptability, and technical skill. Every member pulls double duty, pushing their instruments and arrangements to the edge to deliver something truly unique.
Their DIY spirit also shines through in how they manage their image, merch, and promotion, often working directly with fans and local venues to build a grassroots following.
With bookings already rolling in for 2027, a string of festival appearances lined up for 2026, and album launch shows confirmed for 19th September at The Waterloo in Blackpool and 17th October at The Giffard Arms in Wolverhampton, Apriori are showing no signs of slowing down. In short, these gentlemen don’t just play rock—they live it, breathe it, and work it. And its clearly working.
VERDICT
Steel Paws Festival thrives on its strong community vibe—a welcoming, grassroots atmosphere where fans and bands connect beyond the music. It’s a space where loyalty runs deep, new friendships spark over the appreciation of riffs, and everyone feels part of something bigger.
Whether you’re a first-timer like me or a regular, Steel Paws isn’t just a gig—it’s a love affair with rock and metal. You’re not just watching bands—you’re getting deep into the rhythm, rubbing shoulders with fellow riff-lovers, and letting the music do things to you. Supporting the pussies has never felt so good… and so loud.
Bring on 2026.
Words and Photos by Shavorne Wilbraham
