Trousdale, Heaven, 5th February 2026

Being a woman in the world right now is complicated. It feels political to even exist, let alone as a young woman and having to contend with other people’s seemingly endless views on your body, career, lifestyle, appearance, education and dating prospects.

The music industry is a male dominated world; the treatment of female musicians has been well documented throughout modern history, so it’s incredibly refreshing to see a group of young women sticking up for themselves and writing and producing their own (fantastic) songs, all while looking like the Power Puff Girls. Enter, Trousdale.

Quinn D’Andrea, Georgia Greene and Lauren Jones make up the country pop trio, who have established themselves as talented songwriters with a bone-deep understanding of hooks and melody, along with astonishingly clear harmonies, both recorded and live.

Speaking of live, I went along to London’s Heaven nightclub on Thursday 5th February to finally witness this brightly coloured, platform-soled extravaganza for myself. Starting with Growing Pains, the first song from their 2025 namesake album, and armed with only a keyboard, a tambourine and an acoustic guitar, it became obvious that the total absence of a backing band, set props or special effects meant there was nowhere to hide should anyone hit the wrong note. Luckily, this didn’t happen – Trousdale proved their chops in the strongest way possible by having no safety net. Lonely Night, Over and Over and Want Me Back followed and the latter especially demonstrated the band’s knack for softer, more restrained vocal control in contrast to fully-fledged belting. Despite this, a piercing cover of Fleetwood Mac’s The Chain (also known to some of us as the Formula One theme tune) soared over the audience’s heads and directly through our chests at once, and the band tied up the set with fan favourite Thinking About You after successfully teaching a crash-course in three-part harmonies.

It was clear to see how much Trousdale love their UK fans and the support they (rightfully) receive from across the pond. More than anything, it’s heartening to see young women staring the state of the world squarely in the face and using it as fuel to power their creativity. With their unique combination of songwriting, production and vocal talent, mixed with a healthy dose of audacity, Trousdale are role models for other young women making their way in a world determined to stop them.

The Struts, Shepherd’s Bush Empire, 14th July 2022

Life is mundane. People get up, go to work, come home, make dinner, go food shopping, go to the pub. These moments are embroidered with holidays, friends, good food, nice weather, but hidden among them are tiny, rarer pockets of magic. One such pocket was The Struts live at Shepherd’s Bush Empire.

Gethin Davies (drums) walked onstage, followed closely were guitarist Adam Slack & bassist Jed Elliot. We were subjected to the customary half-minute between the appearance of band and frontman before Luke Spiller strode out. The guy’s like if someone took 1974 Freddie Mercury, 1984 David Lee Roth and the dance ability of Michael Jackson and threw them into the Hadron Collider with a pair of purple flares. There was no time to ease into it – the opening chords of Primadonna Like Me promised a relentless mission to subject the audience to an all-encompassing exhaustion.

The groove of Body Talks and the chants of I Hate How Much I Want You had the audience as loud as Spiller (disappointingly, Joe Elliott of Def Leppard didn’t make a surprise guest appearance for the latter). Low Key In Love and Mary Go Round brought the pace down but did nothing to dampen the energy. A mashup which included Put Your Hands Up, Bulletproof Baby and All Dressed Up (With Nowhere To Go) had Spiller punctuating every verse with the sort of razor-sharp pose which stood as a testament to how deeply each beat is engrained in him.

Everyone was waiting for the same song when the encore came. Could Have Been Me epitomizes the theme of most – if not all – Struts songs. They make you feel like you’re standing at the edge of the world, building and pushing you closer to the brink with every chord progression and melody. Finally, they don’t just push you over the cliff, you’re lifted up and thrown towards the sky. And it keeps going. You soar with every key change, chorus, crescendo. Every time you feel the heart and soul of each member of this band ripping through the music, you go higher.

Never before had I been so desperate for a concert not to end.. Drunk partially on rum and coke, but primarily giddy and full to the brim with joy, the concert energised me rather than tired me. I sprinted across Shepherd’s Bush Green simply to see if it would expel any of the adrenaline coursing through me (it didn’t). I felt weightless with joy.

You should most definitely see the Struts if you can. The sense of joy reverberating around that room, bouncing off the union jack covering the back of the stage and being absorbed by those in the rafters was palpable. It felt like a celebration of life and a reminder that it’s what you make it. So, the Struts command, make it good.

Def Leppard: Diamond Star Heroes: Live in Sheffield

This review was published in the February 2026 issue of Classic Rock magazine, no. 349.

Do you still wanna get rocked? Then your luck’s in.

The last 47 years have done plenty to Def Leppard, but it’s comforting to know that it hasn’t dented their spirit or their talents. Recorded at a welcome-home show in 2023, Live in Sheffield spans work from High ‘n’ Dry (1981) to Diamond Star Halos (2022).

The show opens with a UK debut of Take What You Want (2022), but Leppard know the brief and quickly crack on with the classics – Animal, Hysteria, Pour Some Sugar on Me et al, saving the best for last with Photograph. The legacy of the late Steve Clark is never forgotten, and is honoured here with Switch 625 and This Guitar, dedicated to Clark’s family.

You know what you’re getting with Def Leppard, in the best way: the harmonies are well-oiled, guitarist Phil Collen still hasn’t worn a proper shirt since 1987 and somewhere among the intricacies of the arrangements remains a complete and utter dumb, life-affirming joy.

9/10

Phoebe Flys

Motley Crue: From the Beginning

This review was published in the October 2025 issue of Classic Rock magazine, no. 345.

The ultimate rewind into hair metal’s most notorious hellraisers.

In case it wasn’t immediately obvious, Motley Crue went to strip clubs and disrespected women throughout the 80s. Messrs Sixx, Lee, Mars and Neil produced evidence of this every couple of years from 1981, peaking with Girls, Girls, Girls (1987) and Dr Feelgood (1989), in between the well-documented mayhem which intimidated even the likes of Guns n’ Roses.

Subsequent offerings limped through the era of Bizkit and N*SYNC, and probably no one paid attention to Saints of Los Angeles (2008). From The Beginning chronicles Motley’s biggest hits, including 2024 single Cancelled, which bemoans the wokerati for claiming they can’t talk about all the stuff they told you they did in the 80s. The only difference is a re-recording of ballad Home Sweet Home as a duet with – god knows why – Dolly Parton, who’s earned the right do what she wants. Plus, it’s better than the original.

As the definitive compilation from hair metal’s pioneers, it’s a musical McDonald’s – greasy, cheesy and makes you feel ashamed of yourself afterwards. As a woman, I hate it. As a fan of music, I hate it even more.


4/10

Phoebe Flys

Derek Trucks Band: JoyfulNoise/Backyard Tracks

This review was published in the July 2025 issue of Classic Rock magazine, no. 342.

Stank faces at the ready please, people…

Formed in 1994 as an outlet for then-fifteen-year-old slide guitar prodigy Derek Trucks, his namesake band has always rejoiced in a melting pot of influences, merging Southern Rock, Blues, Jazz and RnB. The happy result is a darkly melodic, swampy groove pinned down by Trucks’ now-legendary slide prowess. Three years after their formation came eponymous debut The Derek Trucks Band (1997) followed swiftly by sophomore offering Out of the Madness (1998). Neither are strong departures from Joyful Noise (2002); they sank into their vibe and drove it home.

The core lineup is comprised of Trucks, Yonrico Scott (drums, vocals, percussion), Kofi Burbridge (flute, vocals, keyboards) and Todd Smallie (bass, vocals), but additional vocalists are drafted in throughout. Enter Susan Tedeschi: astonishing singer, guitarist and the other half of the Tedeschi/Trucks blues rock power couple, who lends her raw, hearty edge to Baby, You’re Right; Rahat Nusrat and Fateh Ali Khan bring Modal Eastern influence on Maki Machi, which sits alongside Panamanian singer Rubén Blades’ contribution to Latin American Funk masterpiece Kam-Ma-Lay.

This time round, Noise is complemented by Backyard Tracks, a deliciously groovy live set recorded in Atlanta, Georgia, in 2006. Did you know that a flute can be funky? Well, turns out it pairs well with the shuffle on I Wish I Knew and provides a call and response to Trucks’ grade A noodling on All I Do.

We were never in for anything different, but if it ain’t broke…the solos are blistering, vocals soulful and vibes immaculate.

7/10

Phoebe Flys

Giant: Stand and Deliver

This review was published in the May 2025 issue of Classic Rock magazine, no. 339.

Brobdingnagian hair metallers walk the earth once more.

Too late to garner real success with Last of the Runaways (1989), Giant fell victim to the Nirvana roach bomb, alongside any other remaining hair metal bands. Once the smog had cleared, the writing was on the wall and Giant disbanded after releasing 1991’s Time to Burn. Since reanimating in 2001, the band have produced an album roughly every decade, and Stand and Deliver arrives (relatively) hot on the heels of 2022’s Shifting Time.

Original guitarist/vocalist/songwriter Dann Huff provides heartfelt ballad Time To Call It Love, blazingarenastomper Holdin’ On For Dear Life andlighters-aloft showstopper Paradise Found, where ex-Perfect Plan Swede Kent Hilli proves his explosive vocal chops across each explosive hook, his style remaining comfortably similar to Huff. 

Jimmy Westerlund produces as well as playing lead guitars, creating a thoroughly modern sound with all the trappings of the melodic rock that Giant are known and overlooked for.

8/10

Phoebe Flys

Carole King: Live from Central Park

This review was published in the February 2023 issue of Classic Rock magazine, no. 310.

The birth of a musical legend witnessed by thousands and, luckily, caught on camera.

Carole King’s revered legacy had its genesis with the release of Tapestry (1971). Two years later, the first ever free concert was put on in Central Park, performed by King to one hundred thousand people.

Archive footage filmed by Lou Adler presents a stripped back first set with the aim of recreating the intimacy of Tapestry, demonstrating King’s natural ease before a crowd. She is then joined by her band – the cream of the 70s West Coast crop – for songs from then-upcoming record Fantasy (1973). David T Walker’s flawless guitar tone embroiders Being at War with Each Other and Haywood while Bobbye Hall’s percussion ignites a medley of Corazón and Believe in Humanity.

Home Again marks King’s evolution from Brill Building songwriter into an era-defining artist. The footage captures her being whisked away from the stage, perhaps, at that point, with only an inkling of the longevity of her art.

10/10

Phoebe Flys

Todd Rundgren: Space Force

This review was published in the October 2022 issue of Classic Rock magazine, no. 306.

Extra! Extra! Read all about it! World in shock as Todd Rundgren makes weird album Space Force.

Spending your career dressed like a butterfly and providing hair inspiration for Billie Eilish suggests a varied outlook on life, and on Space Force the result is a smorgasbord of collaborations which suggests the inside of Todd Rundgren’s head might look like an insane fairground run by the characters from Labyrinth.

Complex basslines underlay the synthesized, airy reverb of Puzzle and Head in the Ocean, broken up by the four-minute funhouse trip that is Your Fandango. Weezer’s Rivers Cuomo guests on buoyant ska track Down With the Ship, which is followed by yacht rock sugar rush Godiva Girl. Cheap Trick’s Rick Nielsen helps Rundgren blow off some steam during STFU and Steve Vai closes the album, articulating his reverence for female mysticism through the medium of shredding.

Rundgren is possibly the only musician for whom a lack of any thematic coherency across a record doesn’t result in total disaster. It works – don’t ask me how.

Phoebe Flys

8/10

Dorothy – Gifts from the Holy Ghost

This review was published in the July 2022 issue of Classic Rock magazine, no. 302.

Near-death experiences and personal adversity influence the gothic metaphors of rock’s own Morticia Addams.

Starting strong, Beautiful Life and Rest In Peace are powerful watersheds. The former through its soaring, anthemic chorus, while latter is a darker personification of addiction yet remains ambiguous enough to be the world’s most cathartic send-off to a hellish ex (“no-one’s laying roses on your bones.”) Hurricane is a full-frontal attack on relationship anxiety while Close to Me Always clutches at the smoke of lost love.

Trevor Lukather proves that the apple doesn’t fall far from the tree, matching his dad’s prowess in collaboration with Bon Jovi’s Phil X on such riffs as Top of the World and Touched by Fire.

The autonomy over struggle and success characterises Black Sheep and ultimately concludes the album, while Gifts celebrates powerful introspection in contrast to Rockisdead (2016). Dorothy’s place in the echelons of rock is secured with an ode to resilience, rooted in the deepest strength and bookended by triumph.

9/10

Phoebe Flys