Anvil at Corporation Sheffield, 2024

Photos by: Samantha Potts

Baranovich

Baranovich starts their set with thundering bass chords and intense drumming sequences. Double-time riffs are played on the guitar in downward slopes. The stage is misty and bright lights from behind highlight the band’s silhouettes, giving them a sense of allure.   

Instruments are overshadowing the vocals initially. The stage is crowded with equipment and there’s not much room to move around for a five-piece. Their drummer is hidden behind them in the shadows but heard the loudest throughout. They prompt us to fist pump but the crowd is stagnant.    

Guitar riffs that now climb upwards for days are played with an urgent approach. The rapid energy on the drums never stops. Melodic vocals from the lead singer now carry to the back of the room and are layered with backing vocals which give the songs much depth, each instrument complimenting and intersecting the others with perfect timings. They announce a song from their “Supercharged and loud as hell” EP. They lived up to the name tonight. More heads in the crowd are nodding along now.   

You can tell they love what they do and are comfortable within themselves and with each other. Their facial expressions are fun, proud and sure throughout. They all seem very experienced; no cues were missed. They express consistent talent and energy throughout their set.    

Guitar solos on a fork-shaped guitar highlight their musical complexities. Bass notes are played up and down in sliding scales, never sounding the same. They interacted well with the audience and had us all laughing at times.    

The lead singer has a huge vocal range. Melodic and meaningful slower songs with beautifully high-pitched scales induce accentuated “woahhhhhs”, the crowd is now heavily involved; the drummer stands up to join in. The set gets heavier with integrated scales and thrashing instruments, their sound is widespread.    

Ending their set on a bouncier note they’re moving more flamboyantly. Light still shining through the smoke and is now highlighting the many tones of their synchronized vocals. Gravelly but velvet melodies are heartfelt and belted periodically.    

Fists in the air, sliding guitar riffs getting higher and higher, lyrics catchy and prominent. Their version of a “Thin Lizzy” cover to finish has everyone moving, we’re warmed up for sure.   

Izengard

Humming-like chakra chanting music starts the set-off, clock chiming and ancient-sounding vocals are heard on a backing track, lights dim to dark blue and grey tones, it all feels ominous. Demonic-sounding voices whisper non-intelligent words, and wind chimes and evil laughter are heard. Counting down soulfully into loudness and quirky theme tune nightmare-like noises are played, while the lead singer holds the mic stand diagonally, moving his hips to the sounds. This huge lead up integrates vocals that are unfortunately not enhanced well by the mic.  

The guitar sounds grumpy, it’s low and muffled, and drums banged on in urgency leading into non-distinguishable vocals. Dramatic backing tracks; old-fashioned theme tunes and the energy of authenticity as rock stars engage us well. The mic stand is now upside down.   

A sense of uniqueness is felt from the female band member playing the keyboard and vocals, she’s incredibly talented. There are huge crowd applauses in between songs. More vocals on the monitor are requested and now they’re in full swing. A song dedicated to us “Vikings” is played and a huge drum roll leads into synthy keyboard sounds and classical rock guitar riffs, all well blended although each is equally significant as stand-alone, the crowds loving it.     

The mic stand is now facing off the stage and into the crowd which may be why we didn’t obey when asked to “move up closer”. Lights turn neon purple and their silhouettes are fully rocking out, we can tell they love what they do.    

They announced a new album coming out, and songs from this are played and received well.   

Violin-sounding prangs are quick and intense, and chords are positive and suspenseful. There’s lots of passion, projection and precision in the vocals now.   

They interact well with the crowd and come across as thankful and relatable. 

Meaningful lyrics are sung, dark and gothic, about lost souls. They emphasize and ask us to sing two words: “Love me” People sang to partners, friends and the air, these lyrics echo around the room; gravelly and wholeheartedly. 

Vocals with no end elongate the music and don’t break the songs up, the sound is continuous but ever-changing. 

Wind churning noises and isolated vocals accompanied by just the keyboard sound intimate, then drums come in, then strings, they stagger their instruments well for maximum suspenseful effect. Brisk floating synthy sounds and painfully pitched on-purpose noises escape the amps, sounding dramatic, fleeting and loud. There’s a sense of urgency in the last song with double-timed hi-hat hitting and low bass notes tying it all together. The way they interacted with the crowd throughout and gave us regular cues made us feel part of the performance.   

Anvil

There’s suspense in the air of this very crowded room, with a now less busy stage that has a backdrop of “Anvil” in original styled rock lettering which is everyone’s focus point. A backing track of an old-fashioned-styled recording plays and introduces… “The one and only Anvil”   

They play from the heart right from the start. The first song hasn’t even fully begun and the guitarist is in the crowd. “Sheffield, are you ready to rock? This is heavy fucking metal” He remains in the pit playing for the first song. 

The riffs are crisp and precise. The bass is heavy and the marching band sounds. The drumming is done to perfection. An intense and dramatic opening for a unique set. They play songs which need no words, the instrumentals are filled with enough substance and completely enthral us. 

They’re thrashing and bashing spectacularly on their instruments, stage lights flashing behind them like lightning; creating an onstage storm. There is power in wavering and ranging vocal vibratos. The wind from strumming instruments intensely blows long hair away from the guitarist’s face. Their stage presence is legendary, their arms raised to heaven with friendly and accomplished facial expressions in between songs. 

The guitarist and bassist are on opposing sides of the stage but come together for the most prominent parts of the songs. Their concentration is immaculate, never missing a chord while headbanging in all of their glory. The crowds’ heads nod in synchronicity with them.   

Guitar swirls are high pitched with fingers that move so fast they blur in our vision; we don’t want to miss a moment but they’re not slowing down for anyone. 

Vocals staggered and blended, add layers of talent to each other’s already established greatness. They’re such incredible performers, they seem beyond rehearsed. All songs are executed with joy and magnificent hair flicks. The smoke from the stage has cleared and now they’re illuminated in their achievements. Long drawn-out guitar notes hint that songs are ended and there are so many cheers in between. The fans are adoring.   

They engage with the crowd a lot in between songs in such a friendly and authentic manner. They play their song “Truth is dying” but it’s clear they’ve stayed truthful to their sound and who they are as a band, their newer songs are as well received by the audience, as their classics. The guitarist speaks about how the next song was written in 1983 and how it is still relevant. It is a song about war and he gives a heartfelt speech about the wars he’s lived through and the death and destruction in this world. He and the bassist salute each other from either side of the stage before the drums explode and the bass implodes while holding the melody to “Winged Assassins” Double time and full-force instrumentals are illuminated by flashing red stage lights with lyrics sharply delivered and potent; there’s meaning behind the madness. Sudden bass twangs are paired with guttural vibrato and their lung power is reverberating and recalibrating the room. Rumbling instruments tumbling into each other sound like a musical landslide. 

There’s power in the sound and even more power in the room, we feel very powerfully united. At times their eyes are closed and they seem lost in the moment through the music but the crowds are fully present throughout. 

They give us choices between which songs to play next. This is the only time there is unsureness felt in the room. The guitarist has his arms outstretched and laughs authentically at the crowd’s reactions.   

Dramatic instrumental echos lead to encores where they unleash their “secret weapons” The drummer plays an incredible solo; he does not miss one beat and our jaws are on the floor. The guitar solo is so high-pitched and distinctive it doesn’t sound real. The bassist is intertwining chords at an alarmingly fast-paced rate and he’s the happiest bassist we’ve ever seen while performing. They’re alternating solos under the spotlight at different times, all bigging each other up, all captivated by each other like it’s their first time seeing each other play. 

They dedicate their final song to their late guitarist who passed away last week.  

They put so much love, effort and energy into this unbelievable show. 

The guitarist announces he will come down from the stage to say hello to every single person here at the end of the set. He ended the show how he began, in the pit performing. So humble and so very talented.  

As the backing track said at the start, they truly are “the one and only Anvil.” 

Artists: Anvil, Baranovich, Izengard