There’s something reassuringly British about tonight’s bill. Stalwarts of the UK metal scene, both artists are honest, hard-working, and epitomise all that is good about heavy metal today. That they are grouped in the traditional or classic heavy metal bracket is an irrelevance, for both cross the ludicrous boundaries that we seem so keen to impose on bands these days.
It’s the start of a selection of dates for both Absolva and Blaze Bayley, in what promises to be a busy year on the live scene across Europe. In essence, it’s double duty for Absolva, who also act as Bayley’s backing band. That isn’t an issue, for they are perfectly capable of delivering back to back sets with aplomb. They are as integral to Blaze as “Futureal” is, but more of the Maiden staple later.
Six albums to their name provide Absolva with plenty of scope for their setlist. Vocalist and lead guitarist Chris Appleton reminds us that the band’s debut album Flames of Justice was released 11 years ago. He seems incredulous at this thought before launching into “Code Red”. Before that though, we’ve already been treated to an exemplary display of heavy metal songs, drawn from their catalogue. They cover every album, with four drawn from 2022’s excellent Fire in the Sky.
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Their energy is infectious. Drummer Martin McNee makes things look effortless despite the huge battering he gives his stylish sparkling kit. He genuinely breezes through the set but solidly anchors everything. His link with bassist Karl Schramm is intuitive, the low end assured as the bassist throws his head up and down, thrashing away whilst still adding backing vocals. Flanking his brother, rhythm guitarist Luke Appleton is a rock. He’s a multi-talented musician with his own EP about to drop shortly. Here, he’s content in the ing role, switching from back to front, taking the occasional lead burst and generally providing the base for Chris to let fly with his searing solos. There are flashes of showmanship from the brothers, especially in the final couple of songs where their synchronised picking is both humorous and impressive.
It’s the kind of set where the highlight is the 60-minute show in its entirety. “Historic Year” is the band’s ode to 2020, something most of us would probably rather forget, but it’s as rocky as their other songs and goes down just as well. Chris is effusive, demanding the crowd move forward, eulogising about the venue, and generally more enthusiastic than a toddler who’s eaten a jumbo pack of Haribo. The introductions to the songs may be slightly cliched, but no-one minds. This is Absolva, and as they proudly state, “We play heavy metal!” Crowd participation comes as standard, with the final duo “Refuse to Die” and a frenetic “From Beyond the Light” especially heavy on the audience chants. It all adds up to a fine hour, with beaming faces around the venue. Good band, great start – ears ringing. Metal is in the house.
As he approaches his 60th birthday, Blaze Bayley is in the form of his life. He arrives on stage with all the ion that he’s always had and proceeds to bring it with a 90-minute 16-song set that ticks every box. He’s decided to play every song from his latest record, War Within Me, and it’s bloody good. No, scratch that, it’s fantastic.
Accompanied by Absolva, Blaze Bayley 2023 is a slick and well-polished machine; this is a professional show full of emotion, pride, and excellence. “18 Flights” and “303” start the proceedings, two tracks from War Within Me. It’s hard, it’s heavy, Blaze’s voice is as good as I’ve ever heard it. He remonstrates with the audience, urging fists in the air, rewarding those who comply with a thumbs up. The audience slowly overcome any shyness to get up close and personal and the barrier is soon full though.
The setlist is laced with some deeper cuts. “Ten Seconds”, a hugely emotional “Soundtrack of My Life” and “Blood & Belief” all sound fabulous. Blaze talks a lot between songs. He’s deep, honest, from the heart. He opens his soul about his departure from Iron Maiden, thanking the fans for their continued and their ability to pull him from the darkness. It’s a symbiotic relationship. His music has pulled me through on a few occasions.
Absolva are stunning. They don’t miss a note, give Blaze space and respect, despite being the band and writing partners. The respect is mutual, with Blaze regularly pointing out Chris’s lead work, or acknowledging the others. There’s no ego here.
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He talks with respect. There’s no swearing or cursing. The man can make his point without that. He introduces “The Unstoppable Stephen Hawking” with a moving narrative. Similar emotions are on display for “Every Storm Ends”, a song that is laced with poignancy for many. He’s so grateful and appears almost overcome with the turnout. He may not be filling arenas, but this is his big top, and he revels in it. “Immerse yourself in the moment” he asks. “Forget the house, the mortgage, the bills, work and be here, now”. We do and the gig improves. Memories to store for those dark days. “Stare at the Sun” from debut album Silicon Messiah is intense. It’s a song he thought “Would be on the third Maiden album with me,” he says. Such is life I suppose.
I saw Blaze at Hammerfest in 2021 doing a full Maiden set. It was great, but his new material stands alongside it with ease. Still, it would be sacrilege not to acknowledge his years with the UK behemoths, and rip-snorting versions of “Man on the Edge” and “Futureal” both get the crowd bouncing. A brief pause before “War Within Me” allows Blaze one more speech. Then it’s a free meet and greet. The queue says it all. A true gentleman, a legend, and hell of a performer.
Pics by Paul Hutchings
Blaze Bayley: official | facebook | twitter | youtube | instagram | reverbnation
Absolva: official | facebook | twitter | instagram | spotify | youtube
