Inglorious & Marisa and the Moths at 229 Club, London, 2025

4 years of living in London and going to the Farmer’s Market in Marylebone every Sunday and I’d somehow never heard of 229 Club, tucked away just behind Regent’s Park station. It sure felt like the rare civilised gig-going experience, i.e. the AC worked and it had ample space for moving and time-travelling.

Marisa and the Moths

Oh, to be 17 again and find a band that understands, respects and channels rage through the showstopping voice of one woman. Teenage me would have obsessed over Marisa and the Moths. Acting as a natural progression from genre greats such as Evanescence and Within Temptation and the more PG energy of In This Moment, Marisa Rodriguez goes beyond waxing lyrical into the down-and-dirty angry.

What with all the talk of excessively produced vocals in pop music lately, there is none of that here: her live voice is momentous and instantly human, her stage presence exuding confidence, her growling technique strong. The instrumental work is not to be underestimated, grounding the vocals, shifting the energy and taking surprising turns into power rock riffs on Who Are You Waiting For, off their latest album Choke. Marisa shared the story behind her more personal songs, like the gentle Wither Away, her invitation to all of us to embrace our weirdness and uniqueness. This is the band for you if you’ve grown out of Paramore and want something raw, yet perfectly produced; easy to listen to and enjoy, yet packing a massive punch.

Inglorious

They’re back and ready to deliver. Presenting a whole new lineup after a three-year hiatus, also including founding member Colin Parkinson (“back where he belongs” as frontman Nathan James quipped at the start of the show), this next iteration of hard rock band Inglorious has a little something for everyone to love. Breaking out on stage to Testify, with its instantly recognizable 80s energy of larger-than-life Americana and some fabulous long-hair swooshing, the four-piece brought a mix of old and brand-new songs to the keen audience. The blues influence seeps in and out, but is ever present, especially on tracks like She Won’t Let You Go, with its rockstar-ensnared-by-a-she-devil storyline.

Taking a short acoustic interlude for the pair Bleed for You and Glory Days (reminiscent of a musical theater ballad in its sparse regretful storytelling), frontman Nathan James had the space to showcase not just his vocal ability, through clean precise runs and jumps from belting to head voice, but also his connection to his public. These were the songs I heard most audience members sing along to. The age range was higher than hard rock gigs I’ve been to lately, all of this to say people there had lived a lot of life. They’d have gathered many of their own regrets over mistakes and lost love and missed chances.

The acoustic set also marked the moment I fully clocked in the sheer talent on stage. From Richard Shaw giving us Slash-level shreds to Colin Parkinson reminding us the bass guitar is its own virtuosic instrument, on such whirlwind tracks like Stand, this was a music-making powerhouse fine-tuned to a T. Of course, Nathan James’ voice drives the show. Bringing to mind a peak-fame Axl Rose, with way more vocal control, range and expressiveness, he sings such tough material with such ease, you almost take it for granted.

The atmosphere was decidedly chummy, with James finding friends in the crowd, winking at front row audience members, and somebody buying the whole band beers and shots. “Stop, you’re gonna give me a big head, I won’t get out the door” he smilingly said to the crowd when people wouldn’t stop cheering. He walked into the pit and sang with them to mark the night’s end, and for many people there, this must have felt like a great relief. Someone making music they love was back to play that music live, for them to experience it with other people, loved ones, strangers.

It’s always a terrifying moment when a band goes on hiatus – will they ever come back? Will new band members change the feel and the vibe? Will we still be able to connect to the sound as profoundly as we once did?

I’d had that question for Linkin Park since 2017 and got my answer (like a miracle) late last year, when the sheer gratitude to hear their music live again silenced any musical comparisons I could have made. The same goes for Inglorious: their latest album goes as hard as ever, on stage they’re Swiss-watch-level in the pocket with each other, and their audience is body-and-soul there for them. 

You don’t get a better combo for success than that. The luscious locks just seal the deal.