WITH each new album a band has to take a decision - to go on as before, or to challenge themselves. With 'Cold Star Dancer' Maverick have taken the decision not to re-tread past glories, but to stretch themselves to new heights.
Make no mistake - this isn't a revolution, but an evolution: a band that is comfortable in their own skins to take their sound, know what works and what will bring existing fans with them, and attract newcomers to the Maverick party. And to rock out like bastards ready to take on the world
From their early days of playing á la 80s cock rock exuberance Maverick in 2018 are now a force of nature. Heavy enough to bring metalheads along for the neck aching journey, and imbued with melody to have hard rock fans palpitating.
Take, for example the title track 'Cold Star Dancer' All the elements of Maverick are present, but it has a presence - a sense of being in the moment - that sees the band rise up and stand proud.
Before any existing fan panic, don't! For all the evolutionary change Maverick can still produce tunes that etch themselves into your cerebral cortex as if 100 fisherman had hooks in your brain. 'Tonight' is such a track...the hook and melody work themselves deep into your psyche and won't let go.
But, what makes this so much better than anything that Maverick have done before is the confidence that oozes from every note. Would they have dared to take on a track such a 'Magellan Rise' before? No. But now they have taken the epic story of the Portuguese sailor who circumnavigated the world into an epic tale, and an epic song.
Equally, the warriors trained by Achilles, the 'Myrmidon' are celebrated in a song that prances and rolls with metal heart and a melody that snares you. Epic tales of ancient Greece - sign us up!
And, that rhythm section - fuck sake, it's on another level. Sure the Balfour brothers lead from the front, but the there is a sense of purpose that establishes a platform that takes the band to miles above the sea level depths plumbed by lesser beasts.
'Viper', for example will leave you gasping...When they perform this live we suggest you apply Factor 50 sunscreen because your face will be melted.
David Balfour's singing sees him stretch himself like never before. Some of the notes he reaches had all the dogs in the neighbourhood gathering around Metal Mansions in admiration.
As for the soloing - that careful balance between exuberance and matching the song is executed by Ryan.
What makes the entire album wok is that Maverick have the touchstones in their formative years; they doff their caps to that growing up, but no longer can you pick out a band fixated on their influences - now it is a band that stand loud and fucking proud in their own right.
As we chewed over each line of 'Devil's Night', analysed the arrangement, took on board their energy we realised that Maverick have created something special in the shape of 'Cold Star Dancer'.
If the world was a just place this album could propel Maverick into the major league - and we think that it might just do that.
Review by Jonathan Traynor
Cold Star Dancer will be launched on Friday, March 30th at Limeligh2 in Belfast
THINGS have been a little quiet on the Maverick front of late - so, being the curious types we grabbed front man David Balfour and quizzed him on what the feck was going on. Turns out, it's quite a lot!
"This is a lull period for Maverick in terms of gigging but behind the scenes the wheels are very much in motion," he said.
Pic by Darren McVeigh
"We hope to do our first Belfast gig in months over the summer period."
But that's not all...
"behind the scenes we are in the thick of writing our third full length album, hoping to hit the studio to record during the first two weeks of September," said David.
However, they are a band that can't resist a show...
"We'll be celebrating our planned return by performing a double header in Europe, starting with Tennwill Rocknacht in Switzerland along side Eclipse on Saturday the 23rd of September and then followed by our first ever International headline show spearheading the Metalapolis label fest in Ludwigsburg, Germany the following night," he said.
"This is a big moment for us, especially to go back to the fantastic Rock Farbrik venue where we enjoyed our largest crowd and warmest reception to date just a year earlier."
And, never ones to pass up an opportunity...
"A matter of weeks later we have the honour to open the much respected Rockingham festival in Nottingham, England on Friday the 20th of October alongside the likes of KIX, John Parr, Vince Neill and Loverboy."
From there the serious work of the next Maverick release is already being worked on.
"After this the PR push for the album release in early 2018 begins, Woking closely with our fantastic management and label to put together some shows and hopefully another European tour to support the release of Maverick III (strictly a working title! Haha!)"
Mmmm, seems the boys haven't been quiet after all!
WHEN you hear the term 'symphonic metal' sometimes there is a tendency to go back to the progenitors of the genre and compare it with newer acts, which is both unfair and unjust.
The depth and the breadth of the genre belies the fact that with an ear there is more to be heard, but more than that it is a demanding type of metal to tackle.
With just a few years under their belt Selene have managed to make a name for themselves with their début release 'The Forgotten' and a couple of eps. Faced with the challenge of a second album the band have knuckled down and produced a solid set of 11-songs.
But 'The Ravages of Time' is not just a solid set of tracks. It is a powerful statement that Selene have cemented their reputation as a force to be reckoned with.
Within are the operatic -with a Celtic twist - heartfelt vocals of Shonagh Lyons, urging each emotion whether it be on the stomp of 'The Great Heart' and 'Ashes' or the plaintive 'This Life'.
The strength of the arrangements are evident throughout, with flourishes and riffs not crowding each other out. At no point does the listener ever feel overwhelmed as, despite some outstanding playing, there is sufficient separation to allow tracks to breathe.
John Connor's work on guitar is, as always stunning, with some of the sweep playing and runs eye-wateringly good. Allied to his keyboard work and Thomas Alford's bass work it is a potent combination.
What keeps it above many contenders is there is still enough 'metal' there for it not be lost amongst the sounds that could have become clichéd. No clichés are in evidence, just a band comfortable in their groove and willing to extend their reach.
Maverick's David Balfour joins Shonagh on 'Burning Bridges', which opens with a neck snapping intro and solo before settling into a rampant track that sees Balfour extend himself.
That's not to say there are not minor points where improvement could be made as on one or two tracks the drumming sounds a little metronomic against John and Thomas' rhythm work. Thankfully it is just an occasional dip, which is easily rectified live and on future releases.
The real statement on here is the closer 'The End of Time', with its atmospherics, a doff of the cap to others and stamping the Northern Ireland band's own mark firmly on it. Within its 10-minutes the sense of epic storytelling, married with moments of delicacy married with power at the right moments.
'Ravages of Time' is a release that will have many sitting up an noticing what Selene are, and more importantly where they are going.
NORTHERN Ireland rockers Maverick have scored their latest European tour sojourn, this time a spring jaunt with the legendary Treat.
And, the band are delighted! Singer David Balfour, was quick to celebrate the support slot.
"This is our second European tour with a Swedish band," he said. And this time with a personal favourite of mine in the shape of Treat, a band that I and many others feel were unlucky not to make it huge!
"This time it focusses mostly on Germany, with a couple of dates in the Netherlands and Denmark...ironically we will actually be kicking this tour off in the same venue we finished our tour with The Poodles only a year ago."
Maverick have been working hard promoting their latest release, the mighty 'Big Red', including dates in Belfast and Ahoghill recently, but David knows that it is on this type of tour that a band earns its stripes on the road.
"There I simply no substitute to touring for improvement as a band," he said. "We came out the other side a stronger force last time around and we plan on doing the very same this time.
"Massive thanks to our manager Eddy Freiberger and the Metalapolis team for snagging us this great experience!
"And, as the main support to these legends of Scandinavian rock it just feels great."
MAVERICK sing about it being "In Our Blood" and for those that make the pilgrimage to the Diamond Rock Club from far and wide, rockin' out in Ahoghill really is in our blood.
The venue sees many an act from across the world grace its stage, but it is a spiritual home for many, many Northern Ireland based acts, where they seem to relax, push themselves and allow themselves to enliven the spirits of every rock 'n' roll soul.
When Maverick played on Saturday (15th October) those souls once again soared in delight.
Before the Maverick lads soaked our blood once again in hard rock Selene took the audience by the scruff of the neck with an accomplished set of symphonic metal.
Shonagh has always had a superb voice, but the live experience over the past year has seen her stage presence grow and she now commands the front.
John's playing has an underlying and sophisticated melody hiding in the riffing and smooth solos, with Thomas complex bass runs complimenting Cameron's smooth drum fills.
Overall Selene are on the cusp of greater things and should attract attention from labels soon.
Maverick have earned a deserved reputation as a mighty force live, and they approach every gig with the same attitude; something all bands should do, approaching each set as if playing Wembley Arena or Madison Square Gardens.
It does not matter whether playing to a few dozen or a
few thousand or headlining Download, bands play not for the crowd, but for each individual in that crowd no matter what. And, Maverick deliver that attitude in bucketloads.
This was a high energy set of songs, drawn from their début and 'Big Red'. As always David leads from the front, a ball of energy, interacting with band mates and the Diamond crowd. By the time third song 'Beyond The Gates' lands he and his four amigos have the assembled in the palm of their hands.
Terry now seems such an integral part of the band that even though he is isolated at the side of the relatively cramped stage he trades licks and is the perfect foil to allow Ryan to solo as if his life depended on it.
Too many times reviewers fall into the trap of calling a set "crowd-pleasing" as shorthand for saying that a band played just what was expected, but Maverick always mix things up, and throwing in a Tyketto cover shows that they are never complacent.
Recently released single 'Whiskey Lover' is greeted like an old friend and by the time the set concludes with the tongue in cheek 'Top Heavy' the band and crowd have poured sweat from every pore.
With the ecstasy still high there came a shock announcement. Drummer, Mike, is leaving the band, as he is moving on to foreign shores. Given his integral relationship with the band, and in particular with Ritchie on bass he will be a tough act to follow.
But Saturday night was not a wake, it was a celebration, a toast raised for all that is good in rock, what a weekend is for, why we move heaven and earth to attend hard rock and metal shows.
Maverick's ever improving shows conjure some of the best shows possible.
A few years back they could (unfairly) be labelled as aping the 80s, but that has never been the case for Maverick. Their influences have always been there, but it has always been about hard rock and classic metal in the 21st Century, and yet again they showed that they are capable of. With so many acts from history peddling their greatest hits on tours that resemble sets to earn a pension Maverick are a breath of fresh air...well, beer-soaked, sweaty air; which is exactly what good rock should be!
Review by Jonathan Traynor Photos by Lizzie Torbitt Reproduction by written permission only
MAVERICK stormed Limelight2 on Saturday 27th August to officially launch their second album, the stormer slab of rock that is 'Big Red'.
Shortly before he took to the stage we caught up with vocalist David Balfour to discuss the album, live shows and the bright future ahead for Maverick. Worth a watch for Maverick fans...
NORTHERN Ireland is a crucible of incredible talent at present, whether it be death metal, hard rock, punk, classic metal - and proper old school 80s cock rock.
And, there are no better proponents of that 1980s pure rock sound than Maverick. And, goddamit, but they have exceeded, surpassed and gone way beyond their début outing, 'Quid Pro Quo' on their new platter 'Big Red'.
Why the radio stations across the globe aren't beating these guys doors down and major labels throwing cheques and deals at them is a mystery.
But that's not to say they are without suitors, after signing with German label Metalapolis Records. And boy that label must be dancing around their offices having Maverick on their roster.
Let's be very, very clear, this isn't just a good release. This is a great release - more hooks than a salmon poacher on ampehtamines, more licks than Gene Simmons in the Playboy Mansion and more of just about everything that made the 80s such fun.
However, let's be clear that Maverick aren't just about re-treading the past, revelling in the glories of their heroes. They have produced a contemporary, polished album that has depth to the music as well as lyrical class. Sure, there are love songs, songs about love lost and angst, but there are also tunes that explore darker territory ('Beyond The Gates').
What the band have done on 'Big Red' is - and you'll excuse the oxymoron - a nuanced, thoughtful version of what class hard rock can do in the right hands. That's not to say they don't know how to write 'catchy'
When they released 'Quid Pro Quo' in our review we said the track 'Got It Bad' was catchier than ebola, but on Big Red they have upped the stakes with 'Forever. The riff will have you humming and by the time you listen to it in full you'll be a like a crystal meth addict wanting more and more fixes 'Forever'.
David Balfour's vocals are as a strong as ever, and no doubt their tour with The Poodles across Europe has paid off. And, speaking of The Poodles, their vocalist Jakob Samuelsson, guests on 'Asylum'. Oh, and no less than ex-Alice Cooper six-stringer Kane Roberts pops up with some solo excellence.
In an era when the pale shadows of the 1980s have scrubbed off their make-up and hope to earn a crust with the name and playing their past hits, Maverick are fresh; almost a more febrile interpretation of their idols - and whisper it quietly, exceeding some of them.
They are a band that perform live as a unit, and while 'Quid Pro Quo' showcased a large part of that, this time out the recording really captures that unitary feel, a band tight as possible, in song writing and recording.
Ryan's lead work has reached a new level, more balanced as well as showing off his obvious skills, while Richie and Mike are rock steady as a rhythm unit with enough flourishes to keep listeners' attention. There's even a brief bass solo from Richie!
There are no weak tracks on this. 'In The Night' is compelling, while 'Whiskey Lover' is perfectly set up as a live track that will have everyone joining in a great chorus. The opening of 'The One' should have the satellite stations across the US very excited when this is added to their play lists.
The addition of the multi-talented Terry McHugh to the line-up on guitar will add further to the live interpretation of these songs.
To be honest when going into review/listen this album we had a certain sense of trepidation. Had Maverick reached their high water mark with 'Quid Pro Quo' and like many a band from Northern Ireland done one big tour and that would be it?
Well, not only have they exceeded the last release, they have reached further, extended themselves and put them in the position to go beyond even their own expectations.
The tender closer 'Fly Away' is the perfect example of a song that can transcend both the rock listener and any fan of a well-crafted tune; a delicate ballad that is some god-forsaken boy band recorded it Radio One would go into collective meltdown.
Re-reading what the opinions above might seem like hyperbole until you listen to 'Big Red'. Even our death metal correspondent was humming along and for the first time in months grinning...
'Big Red' is the next step for Maverick, and we can't wait to see how high they will climb on the ladder.
THEY say that longevity is the key to success, but in the cold, hard world of the music business too often the business men and bean counters want to see instant results.
But, despite once being the 80s flavour of the day for the MTV generation Y&T have proved that hard rock can have endurance, and with that endurance comes success, as they celebrate, on the road, 40 years of the band's catchy rock and hard riffing, on Wednesday in Belfast date (November 12th)
Before the cake could be cut - yes there was a cake from local fans who had travelled to many of the UK shows - hot prospects Maverick showed that the spirit of 1980s rock and metal is still alive and kicking.
With just over two weeks until they release their début album, 'Quid Pro Quo', the Maverick men played their biggest venue to date and played with a gusto many a band envies.
Given that lead singer David Balfour has often attested the band's love of Y&T's output it would have been easy for them to be over-whelmed by the occasion, but despite the nerves they ripped into the set like over-sized aand over-excited puppies giving and getting love from the quickly filling Limelight1.
Playing a selection of older songs and a smattering from the forthcoming album it is clear that two plus years of gigging has earned them a loyal local fanbase who know most of the lyrics.
'Snakeskin Sinner's' strut kicked off the set from a band that are not only well rehearsed, but clearly enjoying the time on stage. 'Paint By Numbers' is the band's lead video off the album, and was greeted with passion, as was the catchy 'Got It Bad'. Rounding the set off with the older track 'Top Heavy' this was a performance that earned Maverick many new friends and fans.
Limelight1 was almost sold-out and there was a roar of approval from the audience as the ageing rockers in Y&T came on stage to show that hard rock isn't just a young man's game.
Let's face it the Oakland rockers have nothing to prove any more. Yet, 40 years since they first took to the road Dave Meniketti and co are still out there playing with real vigour; energetic, tight and passionate.
In a set that spanned the years there were rarely aired tracks, fan favourites and hits. By the time they reached the fifth song - the anthemic 'Mean Streak' - there was no doubt that the seasoned rockers had energy to spare.
Meniketti's voice and playing have not deteriorated at all, rather have matured and is used wisely. His playing has a silky smooth pace and power; his solos delivered with a loose precision.
'LA Rocks' and 'Dirty Girl' were the early stand-outs, but by the time 'Midnight in Tokyo' and 'Cold Day In Hell' bridged the opening half of the main set it was recognisable song after recognisable song.
John Nyman's playing perfectly synched with Meniketti and Brad Lang's bass, while Mike Vanderhule couldn't stop grinning behind his kit.
Singalongs were the order of the day from many gathered, as 'Rescue Me', 'Summertime Girls' and a monstrous rendition of 'I Believe In You' ended the main set.
Despite the vast quantities of beer imbibed by many in the audience [Editor's Note: Reviewer was among those contributing to the venue's profits] the crowd were gagging for more when the encore ripped through the place.
Closing with 'Forever' the force that is Y&T is clearly demonstrated. The fact that this is from 1982 and Meniketti doesn't fit into the spandex he wore when débuting the song at Reading in that year (you can find it on Youtudew) matters not a bit.
Four decades have worn well for the band. They are an invigorating band to watch. A well delivered and a well received show that showcased the new and the old.
FUCK the system! Fuck the music business, and fuck the people that say hard rock and metal is dead. There is a vital, pounding pulse coming out of Northern Ireland, a 10-legged monster of rock and metal that is about to crush all in its path. It's Maverick, and it is coming your way.
With a proven live track record, always giving their all, the question is can that energy translate on to recorded output. Can that beautiful rock and metal alchemy Maverick delivers on stage be captured in the studio.
Of course it can! Aided by a superb production and mix from Neal Calderwood this is high octane hard rock.
As the scene setter 'Event Horizon' merges into 'Snakeskin Sinner' the intent is clear. Powerful riffing, shouted backing vocals and David Balfour sneering at the archetypal poseur.
Ryan Sebastian Balfour's solo, and Ric Cardwell's rhythm work meld together adding a powerful dynamic to the sound; laying out all the tricks of double guitar interplay that area apparent throughout.
Already familiar thanks to the video release 'Paint By Numbers' is a fist in the face of hipsters, scenesters, fashionistas and the two-legged lemmings of the world. Perhaps the biggest blow to the bake is in the songs construction; its a juggernaut of big sounds, fist pumping delight.
'Got It Bad' is where listener has to make up their mind, and where some may shy away from Maverick. It is a great song, and had it been released in the mid-80s it would have been on constant rotation on AM radio in the US.
The listener has to decide at this point to commit to the ethos of Maverick. Leave aside their hard work, their outstanding live presence, do we need another band who sonically re-treads the sound of Ratt, Crue, MTV-era Whitesnake, Love/Hate, Y&T etc?
Is this repeat, rewind, repeat living in the past? Some will write Maverick off in this manner. Their mistake. The band glory in their influences, wearing their love for that 'big' sound that Bob Rock brought to Motley Crue and Black album Metallica. Calderwood has captured that and the five strong Maverick men pump their chests out, wear their influences on their sleeve and get on with having a good time with great songs.
Damn it, but 'Got It Bad' is as catchy as Ebola in Sierra Leone; a super performance in all ways.
But the heart of the matter of homage is dealt with on 'In Our Blood' as David declares he would "put all my CDs on and have a concert in my room'; and that when the music is playing "I feel alive".
This is the song that captures all the dreams of every rock and metal fan - air guitar, singing along, pulling all the poses. Maverick are now living that dream. They are on the cusp of something great.
After that declaration the track 'One More Day (Quid Pro Quo)' deals with more serious matters
in a narration of the real personal toll the conflict in Northern Ireland takes. Musically and lyrically this is an empathetic song, which chooses to talk about murder in the name of a cause the killers don't understand from the point of view of the victim.
This song is the fulcrum, the point in the album when it is clear that this is a band with more depth than just 80's re-treads; it is the song where Maverick prove that they can construct songs that pull together talents of David and Ryan Sebastian Balfour, Rick Cardwell, Riche Diver (bass) and Mike Ross's drums into a cohesive, solid manner.
From that point they return to the theme of love and lust, with the joyously daft cock strut of 'Electric'. Already a live favourite, early Tesla comes to mind with a distinctive Northern Ireland tongue in cheek smirk.
Similarly 'Rock 'n' Roll Lady' tackles love yearnings. Kicking off with Ross's drum line, before the guitars build into a riff that wannabes in the late 80s and early 90s would kill for and backing vocals that are right out of the pages of the gold-plated hard rock playbook.
In the 1980s such music wasn't divided into genres, and was all considered to be metal in the'loosest sense. The solos on 'Rock 'n' Roll Lady' harken to an earlier era of UFO and Thin Lizzy, and to many will sound metal against the hard rockin' back drop.
'Shackled' on the other hand is a straight up merging of metal/rock. The strut of other songs replaced with a more considered approach as David rails against injustice and the guitar has an almost onomatopoeic echo of the anguish of the wrongly convicted. This is much musical narrative as it is a lyrical narrative.
Therein lies the success of this release. Whether it be the lusting or the longing; whether it is ranting or the wrongdoing of paramilitaries; or whether it is jut heads down hard rockin' Maverick know that telling the tale within each song is about composition and depth. Sure, you can just listen on a superficial level (which unfortunately some will), but take on board all elements of each song as a whole and you will find all the parts are pulling in the same direction.
The verse of 'Last Addiction' has a touch of SLF/Rudi/Outcasts about it, before the pre-chorus and chorus bring it back to the hard rock theme, with a stand-out backing vocal and melody section.
Strutting out of the speakers like Mick Mars and Nikki Sixx on steroids 'Side By Side' is about brotherhood, loyalty and a fist hoisted in the air to watching each other's back in the most desperate situations. Anthemic at times, and all wrapped up in an arrangement suited to the subject matter.
Album closer 'Took The Night' is perhaps the most derivative of the tracks, with Y&T's influence and a smidgeon of Reo Speedwagon lurking about the song. It would be easy to write it off on that basis, but ultimately this is Maverick putting a middle finger to the naysayers, the doubters and the devious bastards. It is about declaring their love of that era.
It is a simply five-minutes plus of angst, without an emo sentiment - seemingly a very personal translation: Regret and remorse are echoed by a sympathetic arrangement where the sound and vibe of the 80s is a comfort in difficult times..
In many ways, as 'One More Day' is the fulcrum, 'Took The Night' is the definition of Maverick right now. They have taken the hard rock genre and added a clear dose of 2014 technical expertise, tight playing and feelings. Yes, feelings.
Each song on the album appears to be derived from experiences both personal and in a wider context; emotions and observations that help it rise above much that is out there.
In the final analysis it is a great début from Maverick. It is chest thumping, raucous, powerful, pounding, melodic and oozing passion. This is an album that will make people sit up and notice. If there is justice in the music world there will be a clamour from across the globe to share this awesome album. Full marks for this release.
Review by Jonny
Pictures courtesy of MetalPlanet Belfast
Reproduction of any words or images by written consent only
Quid Pro Quo is released on November 27th on Massacre Records
Pre-orders are available from Nuclear Blast and Amazon's sites
[Search 'Maverick Quid Pro Quo' to find the listing]
PLAY IT FUCKING LOUD!
The album launch is in Belfast's Empire Music Hall on November 27th, with Maverick headlining and support from Conjuring Fate.
TWO of Northern Ireland's finest joined forces for the last gig of 2013 at Diamond Rock Club and delivered an exhibition of power, passion and professionalism that delighted the packed Ahoghill venue on Saturday (28th December).
Stormzone and Maverick are bands at the top of their game, with the memories of the heyday of hard rock and metal in the 80s transformed into a rage ready for the vagaries of 21st Century.
While politicians were wringing their hands trying to pull a deal from the disaster that passes for contemporary diatribe this was a display of sheer glory in rock.
Maverick were born in the wrong age -they should have been striding the streets of LA in the 80s. Opening up with their title song it was a statement of intent, a rousing introduction backed by ready made fanbase at the front who travelled from Ballyclare for the event.
The twin guitar attack of Ryan and Chris laid down riffs and solos harkening back to the best days of big hair, while Richie (bass) and Mike (drums) clearly were re
velling in the opportunity afforded to them on this night.
Frontman David Balfour orchestrated the Maverick mayhem, and despite struggling with the lurgy - which at times affected his delivery - he more than made up for any slight straining with a power and commitment that heralded unanimous acclaim. It was the front man of Stormzone Harv who added to the acclaim by later urging the audience to back Maverick.
Selecting from their existing ep Maverick also unveiled a new track - Last Addiction - set for inclusion in their forthcoming album. They are a band on the upslope, rising towards further success they surely deserve.
While Harv offered Maverick his best, Stormzone, when on this form, are a force of metallic nature. Sheer power, professional from start to finish.
Like all good football managers know a successful team has a strong spine. With Davey laying down devilish drum lines, Graham playing like a midfield general on bass, and with Harv the on-form striker, wingmen Stevie and Dave were able to provide the axe pace.
Drawing on 2013 release Three Kings, and previous releases Zero to Rage and Death Dealer Stormzone are now at a stage that whatever is on the set list all tracks seem to hit the right nerve on the audience's pleasure glands.
Pass Loaning, Spectre, Fear Hotel and Death Dealer all featured, with Fear Hotel infectious invitation to take the "Exit to The Right" resounding throughout the Ahoghill night.
On the stage is literally Where Stormzone Belong. From Night of the Storm to Three Kings, throughout the set Harv led the fans a merry dance; with the metal only tempered by the more tender Beware In Time - a moment that showed the talent of the band in a delivering a diverse songscape.
While Maverick are the young pretenders brimming with passion Stormzone have taken that passion and pounded it remorselessly into a professional powerhouse of live old school metal glory.
The Diamond Rock Club has become a benchmark for local bands - if they can make it on the proving ground built by Derwin, Fiona, Paul, Tony et al then they can move on to take on any stage with confidence; Maverick are ready to do that; Stormzone are already there.
Power, passion and professionalism epitomise the ethos of metal. They were there in abundance on Saturday night.
IT was the decade that style forgot; a decade of floppy fringes, stupid baggy trousers, Boy George immitators and balaclavas were de rigeur for various terrorists alphabet soup named organisations. Amidst these fashion abominations rock 'n' roll rose, defiant: cocking its collection nose at these weaklings.
Despite the hard rock and metal's own fashion abominations (Poison, Motley Crue amongst others spring to mind) the music and the attitude was an antidote to the miserable gets into 'New Romance' and the perfect antibiotic to the destruction of industry by Thatcher and her ilk.
In 2013 we no longer have the Cold War politics of Reagan and Thatcher, but we do have the 'terrorist threat'. We don't have Thatcher, but we do have Tories in de facto control and selling off the country's assets like the Royal Mail.
Agree or disagree with the politics it feels that the time is ripe for the hard rockers and metalheads to rise again; cut-off denims, high tops and bullet belts are long overdue a return as fashion items and there is a need of a musical landcape on the scene that encompasses thrash, glam and all the glitterati attitude that bands in the 80s adopted.
Amidst the local rising stars Maverick seem to have been caught in a time warp, as if transported from the era of Cinderella, Faster Pussycat and Guns 'n' Roses to 2013. And that is no bad thing.
Their five-track ep released earlier this year (we're catching up on a backlog of reviews) Maverick make a statement of intent; a statement that this is our way, this is the 80s way, hop on the rollercoaster or piss off.
This is music that makes you want to cruise in the car, volume cranked and the wild abandon that comes with knowing a beer and a gig is a few short minutes away from you.
This is music that transports you to an era when this type of rock was pure escapism. And we need that now just as we did in the 80s.
That's not to say that this ep is flawless. While self-titled opener Maverick and closing track Easy Come Easy Go are tremendous songs, at times the production and mix seem a bit off. The cymbals are very priominent at the expense of the bottom end at times. Singer Davey Balfour has a unique voice, but needs to move to having his own identity, because the echoes of Tom Keifer are a little too noticeable.
Lyrics are a little too misogynistic at times - one of the more distasteful side of 80s rock that we should have moved on from.
Set those issues aside and put simply these are five tracks that are fun. Songs you can enjoy rocking out to.
With the statement of intent of 'Maverick' first to assault your aural senses with lead solos and the defiant cry "Stop us if you Dare" it is a quick rampage through the sleaze of 'Cat Got Your Tongue", the challenge to Satan on 'Helfire & Brimstone' before 'Top Heavy' punishes and 'Easy Come, Easy Go' rounds things up with a more considered attitude.
Already Maverick have carved out a place on Northern Ireland's live circuit, delighting fans who remember the 80s and those discovering the music of the era for the first time.
This is a collection of five songs that are a foundation to build upon for live shows and what we sincerely hope will be more releases.
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