As I arrive once again into the Scottish town of Edinburgh, I am struck by the thought that I am well-qualified to salute the flat-out heroic performance that FURY put on at Scotland's world-famous Bannerman's bar, on this the Seventh of September, Twenty Twenty Five.
With the introductory parts of "Interceptor", they had quickly demonstrated that this band had already established their single-handed dominance of metallic arts. Julian Jenkins' vocal delivery was euphonic in character. His laryngeal expertise extended well beyond the horizon of possibility to the point of pure virtuosity.
The rhythm section; raw, and elemental underpinning the percussively ecstatic Tom Fenn on drums and low-frequency-massaging Becky Baldwin, provided a sonic underpinning that was firm. They created soundwaves that travelled beyond the auditory canal of the ears and into the very being, of each person who was in the audience.
Tom Atkinson's six-string instrumental brilliance on songs such as "Prince of Darkness" and "Hell of a Night" was nothing short of mind-boggling. His fretboard acrobatics were the height of technical prowess that would be the green-eyed monster of even the most educated musicians.
The inclusion and addition of co-singer Nyah Ifill brought a high-octane, zestful energy that enhanced, and took the overall sound experience to stratospheric heights. Vocal acrobatics in "Embrace The Demons" created harmonies so unbelievably beautiful to the ear that this humble wordsmith was temporarily left speechless in discombobulation.
The stick-drenched, rhythm-saturated hiatus, was dazzlingly dissonant in the most enjoyable manner possible.
With the finale of "Down To Rock", the audience present had been given total entertainment by this masterpiece of artistic adroitness.
The allotted time was sadly, compacted for this masterfully adept, and no-doubt-about-it hyper-skilled troupe of thespians.
FURY turned out to be a first-rate tribute to British heavy metal in all its ultra-high-achieving glory. Words: Matt Denny.
With the introductory parts of "Interceptor", they had quickly demonstrated that this band had already established their single-handed dominance of metallic arts. Julian Jenkins' vocal delivery was euphonic in character. His laryngeal expertise extended well beyond the horizon of possibility to the point of pure virtuosity.
The rhythm section; raw, and elemental underpinning the percussively ecstatic Tom Fenn on drums and low-frequency-massaging Becky Baldwin, provided a sonic underpinning that was firm. They created soundwaves that travelled beyond the auditory canal of the ears and into the very being, of each person who was in the audience.
Tom Atkinson's six-string instrumental brilliance on songs such as "Prince of Darkness" and "Hell of a Night" was nothing short of mind-boggling. His fretboard acrobatics were the height of technical prowess that would be the green-eyed monster of even the most educated musicians.
The inclusion and addition of co-singer Nyah Ifill brought a high-octane, zestful energy that enhanced, and took the overall sound experience to stratospheric heights. Vocal acrobatics in "Embrace The Demons" created harmonies so unbelievably beautiful to the ear that this humble wordsmith was temporarily left speechless in discombobulation.
The stick-drenched, rhythm-saturated hiatus, was dazzlingly dissonant in the most enjoyable manner possible.
With the finale of "Down To Rock", the audience present had been given total entertainment by this masterpiece of artistic adroitness.
The allotted time was sadly, compacted for this masterfully adept, and no-doubt-about-it hyper-skilled troupe of thespians.
FURY turned out to be a first-rate tribute to British heavy metal in all its ultra-high-achieving glory. Words: Matt Denny.
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