Still drained of their former glory and totally devoid of ideas, Hands Like Houses’ new EP only improves on their last album by being mercifully short.
In this Review Round-Up, Super Sometimes’ pop-punk proves routinely solid, while new albums from CQ Wrestling and Dan Byrne are more notable in their limitations.
Slam Dunk Festival is right around the corner once again, so we’ve broken down its lineup of pop-punk, metalcore, emo and more to highlight everything you can expect.
From a meeting of The Sleeping and Coheed And Cambria comes Held., who immediately make themselves known with a stunner of a post-hardcore debut.
They’re one of the most hyped bands around right now, and with a debut collection of incisive grunge cuts, Bleech 9:3 can already justify it.
Joey Valence & Brae’s world tour rolls back into the UK, this time in Liverpool for another round of hip-hop bangers.
The beginning of a new, nu-metal-inspired era for Dead Pony might not offer too much of a shake-up, but none of their fun and bravado have been lost on the way, either.
Liverpool Sound City feels bigger than ever in 2026, bringing huge sets from Kate Nash, Jalen Ngonda, Keo, Gurriers and Westside Cowboy, as well as plenty more in indie, rock, post-punk and more.
Inexplicably, The All-American Rejects’ first album in 14 years is a strong example of their era’s pop-rock updated and refreshed.
In this Review Round-Up, Haggard Cat reach a new peak while Red Vanilla make their way up to theirs, and The Flatliners remain solid exactly where they are.