New Years Eve – a time for fi reworks, celebrations and parties. However, Edinburgh New Years Eve – a time for fi reworks, celebrations and parties. However, Edinburgh New Years Eve – a time for fi reworks,

Hogmanay brought something a bit different to celebrations and parties. However, Edinburgh Hogmanay brought something a bit different to celebrations and parties. However, Edinburgh

this year’s end, with Scottish favourites Biffy Clyro headlining their televised ‘Concert in the this year’s end, with Scottish favourites Biffy Clyro headlining their televised ‘Concert in the this year’s end, with Scottish favourites Biffy

Gardens’. After being out of action in the studio for an entire year, the thought of this show being outside on a winter’s night didn’t put studio for an entire year, the thought of this show being outside on a winter’s night didn’t put studio for an entire year, the thought of this

off anyone - with tickets selling out instantly.

Opening the show, raucous Glaswegian girl-duo Honeyblood proved two was all it took to take Opening the show, raucous Glaswegian girl-duo Honeyblood proved two was all it took to take Opening the show, raucous Glaswegian girl-duo

on the frosty crowd and cameras. They tack-led being fi rst up with fi erce determination - blasting through an entire ten-song set list. Despite being a local pair, these tunes were freshly delivered into the ears of most of the crowd, showing alone the diverse people present for this special event. The plummeting temperatures didn’t have any effect on the performance, with singer Stina Tweeddale even pausing to remove a didn’t have any effect on the performance, with singer Stina Tweeddale even pausing to remove a didn’t have any effect on the performance, with

layer - explaining it was ‘getting quite hot up here!’

Second up to face the fi rework fi lled skies were Edinburgh’s own Idlewild, showcasing an hour worth of material. Despite being a band with Edinburgh’s own Idlewild, showcasing an hour worth of material. Despite being a band with Edinburgh’s own Idlewild, showcasing an hour

20 years behind their belt, it was clear that Biffy fans undoubtedly dominated the crowd 20 years behind their belt, it was clear that Biffy fans undoubtedly dominated the crowd 20 years behind their belt, it was clear that

- as their set was received with little enthusiasm from the majority. Blending a mix of a violin, saxophone, keyboard, drum and guitar - the sextet defi nitely weren’t afraid to dynamically violin, saxophone, keyboard, drum and guitar - the sextet defi nitely weren’t afraid to dynamically violin, saxophone, keyboard, drum and guitar - the

infuse this combination into their set, proving to impress a large proportion of the previously unacquainted audience by the end of their hour.

It was clear one year alone was enough to show how much Biffy Clyro had been missed. The group took to the stage thirty minutes before the New Year’s celebrations, immediately exploding into the recognisable cheers of The Captain - Year’s celebrations, immediately exploding into the recognisable cheers of The Captain - Year’s celebrations, immediately exploding

livening up the chilly crowd on the fi rst note. This energy only intensifi ed - resulting in the active audience almost falling over the sloping park steps of the outdoor arena. Performing for an hour and a half, the band whizzed through their hits - with the unexpected Booooom, Blast & Ruin an hour and a half, the band whizzed through their hits - with the unexpected Booooom, Blast & Ruin an hour and a half, the band whizzed through their

making an introduction halfway through the set,

Alongside this, with teasing prior to the show, the trio treated the Hogmanay crowd Alongside this, with teasing prior to the show, the trio treated the Hogmanay crowd Alongside this, with teasing prior to the

to a previously unheard track from the mys-terious upcoming album. On a Bang, despite being short in duration, was ecstatically received - full of heavy riffs, explicit lyrics and catchy choruses - delighting fans with similar heavier song writing to their fi rst few albums.

The set was uniquely complimented with a pause after 30 minutes, in order to fi t The set was uniquely complimented with a pause after 30 minutes, in order to fi t The set was uniquely complimented with

‘the bells’ of the new year – involving a a pause after 30 minutes, in order to fi t ‘the bells’ of the new year – involving a a pause after 30 minutes, in order to fi t

special greeting projected upon the stage, sent from orbit by British astronaut Tim Peake. special greeting projected upon the stage, sent from orbit by British astronaut Tim Peake. special greeting projected upon the stage,

Ultimately this show was a celebration of many things – the passing of another year, Scottish heritage, fresh starts, and most many things – the passing of another year, Scottish heritage, fresh starts, and most many things – the passing of another year,

importantly, the return of one of the fi nest current rock bands. It’s already unquestion-importantly, the return of one of the fi nest current rock bands. It’s already unquestion-importantly, the return of one of the fi nest

able that 2016 may be one of the biggest yet; current rock bands. It’s already unquestion-able that 2016 may be one of the biggest yet; current rock bands. It’s already unquestion-

hopefully complete with new material, album and shows. Until then, we lie in wait. But there’s hopefully complete with new material, album and shows. Until then, we lie in wait. But there’s hopefully complete with new material, album

no doubt the wait will be worth it. Mon the Biff.and shows. Until then, we lie in wait. But there’s no doubt the wait will be worth it. Mon the Biff.and shows. Until then, we lie in wait. But there’s

When a bill only has two sets on the lineup, the response to such is either a resounding ‘thank goodness’, or one of intrigue. However tonight, a duo of performances really proved to show something special. 2015 was a huge year for the guitar-wielding-songwriter-stroke-comedic Will Varley – becoming a recognizable name and face on the Xtra Mile circuit, and opening shows for fellow guitar hero Frank Turner around the globe. More importantly, also saw the release of his triumphant third album, Postcards From Ursa Minor. It was clear that 2015 brought him many new fans - as the 125 capacity Exeter Phoenix Voodoo Lounge completely sold out before the show.

Beginning the night were the Deal duo Molly’s Lips. As local friends of Varley’s, their presence on the tour lineup wasrather unknown beforehand – only really slipping into the songwriting scene in 2015. Most who came to watch had never heard of the mysterious pair - however, once they began, their set came as a surprise. With excellent harmonies and beautiful acoustics from a variety of instruments (a mandolin was even brought out at one point), the two guys really provided something special. Their half hour set whizzed by, with a selection of tunes from their newest EP. Serving as an exceptional warm up for Varley, it was a shame they weren’t supporting for the entire tour so they could be acquainted with more audiences.

With a half hour interval, the heat in the venue (which serves as a dance studio by day) began to cook up in time for Varley’s entrance. The crowd began to pack out steadily, but politely left enough room for everyone to breathe. Opening with the latest album’s first track As For My Soul, it provided an excellent warm up for vocal involvement – with choruses of ‘lalala’ echoing through the packed out room.

What was truly magical about tonight’s show was the amount of respect in the room. Varley’s performance, on more emotive songs, was so profound that the entire audience stood in silence – with only silent whispers singing along to be heard. His voice seemed to entrance everyone in the room, and even Varley pointed out and thanked ‘the quietness’ in between songs.

The show was definitely not shy from any of Varley’s humour, and classic tracks Self Checkout Shuffle and Talking Cat Blues accompanied the more sombre tunes well. His pres-ence as a performer was also very comedic, with laughs continu-ing through the entire night. His comical nature along-side his talented writing skillsreally makes for an excellent combination – and definitely made Varley’s set exceptionally enjoyable.

Towards the end of the set, Varley invited Molly’s Lips to accompany him in songs This House, Advert Soundtrack, We Don’t Believe You and Seize the Night. This combina-tion really worked well – and defi-nitely gave a similar effect that Frank Turner creates when onstage with his backing band, The Sleeping Souls.

It created an element of depth to Varley’s sound (similar to his recorded songs in Postcards From Ursa Minor) with the bass, guitar, backing vocals and keyboard blending together in harmony. It also gave an el-ementm of diversity to the set, filling the room with a louder, full band sound.

This show revealed how accomplished Varley is becoming, and really gave him a chance to shine (as opposed to his short opening sets supporting Frank Turner, and various festival sets) – with various sold out dates on this tour, we can definitely expect bigger things from here.

Crossfaith – one of the most icon-ic current Japanese bands, and some of the most influential faces in the alternative Japanese music scene. This year sees the group embark on their colossal 2016 World Tour to promote their latest album ‘Xeno‘, whilst deciding to tone down the scale on the European leg – visiting smaller cities and ven-ues in favour of bigger, previously larger ones. This gave the band a chance to travel down to Plymouth, their first visit since 2012, and the night definitely didn’t disappoint.

With the venue slowly filling up, openers Counting Days weren’t in the slightest shy to provide some ferocius sounds to begin the night. The set was successful in starting the night’s moshing,

and had some excellent breakdowns and heav-iness to start the show off with a loud bang.

Main support of the night came from The One Hundred, who despite only playing Plymouth once before, had drawn quite a few fans to the show. Filled with headliner energy, the set proved an excellent warm up for Crossfaith, with frontman Jacob Field knowing exactly how to get the crowd moving. This instant stage presence really added to their set – and impressed a large proportion of the new crowd. Despite only having one EP release under their belt, the band definitely proved that only bigger things will be coming their way, and sparked a positive reaction to the new tracks.

With the audience suitably heated up, and the venue full – the wait for the stage to be set up alone started the enthusiasm, as Crossfaith changed the venue soundtrack and brought their own tracks. Not only was this a mash of some of their favourite bands, ment welcoming the audience to the tour, and how long until the band were on.

Beginning the set with the opening tracks of their latest album (System X and Xeno), energy was electrified into the crowd, bringing them to life. The magical blend of vocals, heaviness and electronic sounds from Terufumi Tamano’s keys and sound desk give an almost rave-like vibe to Crossfaith shows, but also heavy – creating a unique live experience. There was a mixture of your average ‘walls of death’, ‘circle pits’ and a lot of jumping around – the show was not short of sweat, with everyone in both the band and

audience heating up immediately. It also was reflective of the intimate environment, and this was very special, as the band are one usually behind a barrier.

The set wasn’t short of previous fan-favourites, with Photosphere and Countdown To Hell proving popular. The newer material from ‘Xeno’ was also well received – with every word being recited, the show was quite eye-opening as to how many fans they have down in Devon, especially being an area with a smaller music scene. Frontman Kenta Koie asked the audience at one point ‘Who was here when we played Plymouth in 2012?’, and was greeted with a silent response. This was surpriising,showing showed how successful and vital the last 4 years been to them as an international, alternative rock band. Koie seemed very surprised, but proud. The highlight of the set came after the encore, when drummer Tatsuya Amano emerged alone onstage to perform a complete drum solo for five minutes. This solo gradually worked up to a speed of insanity – making sure to showcase his incredible talent, particularly whilst drumming one handed and spinning a drumstick in the other. This was then followed up by full band performances of their famous cover of The Prodigy’s Omen, and finishing up on the ‘Zion EP”s Monolith.

The intimacy of this show really brought out another side to the band that we haven’t seen at the bigger shows for the past couple of years, and when they return to playing larger venues again, this live show will work just as well – and with just as much energy.