The last time I was in Coventry for a gig was last year at Hella Rock’s inaugural event. And with organiser James daft enough to keep us on as sponsors for a second year (and now a third in 2026!), it was time to return to the HMV Empire for another great day of rock in Coventry. The mission is still the same – bring great bands to a town you don’t often see on a tour poster. Alongside that, you’ve got some of the best unsigned/DIY/grassroots bands on the scene all for the low price of £20 and your Saturday is sorted, especially as it closes out the Summer festival season.
With doors opening at 3pm and the first band on at 4pm, by the time we get into the venue, the atmosphere is electric; people are eager for a day of music and going by the amount milling around, word-of-mouth from last year must have done its job as there’s a healthy-sized crowd in already. The main stage is emblazoned with the festival backdrop along with a banner for the stage’s namesake – Paul Di’Anno in that iconic Iron Maiden font. There’s also our logo running along the side as is Blackstar Amplification and Uncntrd Podcast – our fellow sponsors. Indeed, this is Hella Rock levelled up.
It’s never an easy task to open a festival but Mystiek make it look easy. Once they plug in, it’s a sonic assault to ensure they get everyone warmed up and people remember them just as much as the bands who are higher up the poster. The West Midlands quartet are all about riffs, blending hard rock with thrashy moments wrapped up in a nice alternative bow and delivered with as much energy as the Duracell Bunny who’s been drinking Red Bull like it’s going out of fashion. It’s a touch rough around the edges but their youthful vigour balances it out – give them a couple of years for them to become much leaner and they’ll be an absolute force. Naturally, it’s the last couple of songs which see them amp up the action with “Shut Up” featuring a groove which is reminiscent of the bridge from Guns N’ Roses’ “Rocket Queen”, particularly the Live Era version and the final song allows them to finish on a high. They’ve got the assembled audience primed for the rest of the day, doing what any opening band should do and have everyone warmed up – mission accomplished.
If you like what we do, consider joining us on Patreon for as little as £1 per month!
Technical issues delay Eddie and the Wolves’ explosive start but it speaks volumes to the professionalism of both the band and the event staff who take it in stride and sort it as quickly as possible. And when the band kick in, they more than make up for lost time with their supercharged blues-fuelled rock. They’ve got the crowd captive with their tight performance, underlined by big, ballsy riffs and gargantuan grooves which meet them. This partially comes down to Charlotte Saffell’s drum work which locks in effortlessly with lead drummer (there’s a phrase which doesn’t get said often) Ben Gaines. You can’t lay the accusation of gimmickry at their feet with this – it’s part of their core sound. Saffell’s powerful backing vocals have their own chance to shine as she takes lead on “Vindictive”, holding court with the relatable lyrics and a voice with enough power to knock you off your feet. It’s equalled by her husband’s, and the band’s namesake, Eddie, fretwork and his own pipes. The perfect blend of passion and precision on the six strings not only anchor the band but every person on stage during their set is committed to the same level as Mr Saffell, allowing them to work as one cohesive unit.
Keeping the momentum going and playing to a healthy crowd, to the point where it rivals last year at its peak, The Outlaw Orchestra bring Southern boogie from the South of the UK to the Midlands. There’s such an authenticity to the power trio that you’d be convinced they’ve been imported from Louisiana rather than Southampton. With one third of them constantly swapping out banjo, lap steel, cigar box and bass, they keep the audience on their toes with their varied set. Unsurprisingly, they’re as tight as can be – a necessity when there’s only three of you. And can you think of a Southern rock band, regardless of personnel, who aren’t on point? Yeah, I didn’t think so. They don’t even slow the pace down what you’d expect for a Southern band and they still bring enough heaviness to the proceedings, citing Motörhead as “the referee” between their British Invasion and American roots influences. As one of the more unique acts on today’s bill, it’s reminiscent of The Cadillac Three’s early days put through a British lens, their name a perfect reflection of their sound and definitely a band to see again.
Always a reliable booking on shows like this, Apriori keep the power trio trend going with their own unique take on it – guitar, drums and… keys? It’s hairy, sweaty, muscular hard rock which doesn’t mess around. There’s also a hint of early Black Stone Cherry to them, albeit without the bluster. Having caught them a few times over the years, you can’t fault their consistency in their performances. The keys bring a fresh twist to the band, allowing melody and rhythm to act as one. As a band, they’re solid, the three of them are intent to power through their set, their energy simply another level. They certainly raise the bar for the rest of the following bands but the best part of their set? The security guard off to stage left who spent the entire set singing and dancing, loving it more than anyone else.
Perhaps the most traditional band on the line-up, Electric Black are here to dish out a dose of high-octane classic rock. It’s everything you’d expect from a band like this as they inject blues and boogie into their straight-up sound. It’s nothing that hasn’t been done thousands of times before them but what they have on their side is how well-polished their performance is. Naturally, you can hear the likes of AC/DC and Black Stone Cherry for the energy whilst bringing in the dynamics of Bad Company and Rival Sons for a big, dynamic sound. It’s a perfect blend of rawness and sophistication. Instead of attacking like a bull in a China shop, more like a viper carefully striking its prey. They’ve got the stage presence, songs which grab your attention by people who know how to play their instruments and come together as one fluid organism. This isn’t a band yet to grow into themselves – this is a band who know what they are and intent to give it their all without arrogance.
Let’s be honest, Tattoo Molly owned Hella Rock last year. And rightly so. Not to say that any of the bands were bad last year (they weren’t) but they seized the moment, making the most of it and played to the largest crowd of the day. As the only returning band from last year and a pledge to be the final time they play the festival for the time being, it’s a chance for organiser James to let loose and showcase the band’s new line-up with frontman Tim and bassist Rob. You’d never know this is their second gig; there’s a palpable chemistry between the four of them and Tim owns the material like he’s been singing it for years, especially as he comes from a Motown and soul background, having never sang in a rock band before. The scene may be swamped with no-frills hard-charging rock bands but when it’s done this well, you can’t help but be enraptured by it and root for them. The “Black Sheep” circle pit makes its return for the second year and while Tattoo Molly may not be playing next year, it means James has to find another band with a song of the same title to keep the tradition going. And the only way they could top it for a finale – “Damn Man”, the song Monster Truck wish they wrote.
Fury crash onto the scene as the heaviest band of the day. Bringing a NWOBHM flavour to the day with hints of thrash, the quintet are aptly named. “Burnout” is introduced by a growl akin to a freshly bald Kurgan in a New York City church and the song is just as menacing as Clancy Brown’s iconic character. Between razor sharp riffs, bass lines which rattle your fillings and gritty vocals which battle with powerhouse pipes. Whilst dual vocals may not have always been part of Fury’s story, it feels completely natural, giving them a broader and more unique sound, paying homage to a more traditional sound yet giving them their own identity. It’s very much a wall of sound but everyone on stage is heard clearly for a set which roars with intensity. Whilst there’s more personnel on-stage, it’s the same sort of force that hits you in the same way Motörhead does.
Finally, the band which needs no introduction. I’ve spotted their shirts at Call of the Wild, Maid of Stone and Steelhouse this year and now it’s time for The Virginmarys to put in an appearance on 2025’s festival calendar. The gritty alternative rock stylings of Ally Dickaty and Danny Dolan have the VMs fans out in force tonight and whilst the crowd may have slightly dwindled, the hardcore are hanging in which is what the duo are feeding off. “Just a Ride” kicks off their adrenaline-laden set, ensuring every release from King of Conflict onwards has a look-in with the vast majority of last year’s The House Beyond the Fires performed. It’s largely the set from their recent April/May tour, albeit truncated for the slightly shorter set time they have to work with. Though they do manage to squeeze in the welcome return of “Lies, Lies, Lies” which was missing in action (unless you caught the encore in Cheltenham).
There’s an earnestness to them tonight much like when they’re a support band – they’re out to impress everyone, not just the mass of fans. They know it’s a room full of music enthusiasts, first and foremost. Ally delivers screams you’d expect to hear from the victims of Dexter Morgan alongside throaty drawls and precise, yet impassioned licks become a nexus of grunge, punk and blues. Meanwhile, Danny batters the house kit as if they were his own drums, forever a blur and utilising his modest setup far better than drummers with double the kit. He’s a constant blur, only slowing or stopping to serve the song with the restraint allowing him to hit that bit harder when he comes back in. His frenetic approach is backed by finesse, not simply throwing his sticks and hoping for the best. With the fervour of the pair of them in full flow tonight, it’s a typically stunning performance and the perfect way to end an excellent day.
Don’t fancy Patreon? Buy us a one-off beverage!
As the lights go up, it’s hard to believe The Virginmarys have battered their way through eighteen songs and by extension, the entire day has passed in a blur – such is the level of talent onstage. The seven bands leading up to the headliners may each have played for thirty minutes but in every case, when they announced their last song, it beggared belief. With no two bands sounding the same, the variation allows everyone to shine in their own right and truly, there wasn’t a single bad performance. Having been to both years, it’s easy to see where the improvements have been made and where the festival will go and grow next year. Already newcomers this year have bought their tickets for next year and it’s already in mine and Sean’s diaries – especially as we’re back to sponsor it once more.
Hella Rock is the sort of festival which attracts the people who live and breathe music, the kind who don’t care about the line-up but go because it’s a chance to catch up with friends on the scene, meet new people and watch some amazing bands whilst making a new discovery or two. It’s a festival which deserves to be mentioned in the same breath as Call of the Wild, Maid of Stone, Steelhouse and Firevolt. If year one was about putting Hella Rock on the map, this year is about asserting the festival’s presence and its determination to stay and grow during one of the industry’s most challenging periods. There may be a whole year to wait for Hella Rock 2026, but on the strength of the first two years, it’s going to be worth it.
Tickets for Hella Rock Festival 2026 are already on sale!
Photos by Sean Larkin Photography
Hella Rock Festival: official | facebook | instagram | youtube
