Live Review: Wolfsbane - KK's Steel Mill, Wolverhampton
Support: Muddibrooke, Hillbilly Vegas
20th July 2025
Words: Cat Finch
Photos: Tim Finch
Tamworth’s finest act, Wolfsbane, released their debut ‘Live Fast, Die Fast’ thirty five years ago and to mark that milestone it’s time to celebrate. First of all the band have reimagined their debut album with ‘Live Faster’ released just days ago and tonight we get the nearest thing to a hometown return with the howling mad outfit putting on a show at KK’s Steel Mill.
Opening the night, MuddiBrooke wasted no time in making their presence known. The Derby alt-rock trio launched into ‘Straight Jacket’ with intent, wrapping the crowd in snarling riffs and thunderous rhythms. Following up with the restless energy of ‘ADHD’ and the emotionally charged ‘Fool Heart’ the band quickly proved they’re merit.
Mid-set highlights ‘Devil’ and ‘Turn To Dust’ deepened the mood, whilst ‘Float’ added an almost psychedelic shimmer before ‘Get Away” snapped things back into high gear. The songs hook-heavy chorus landing with fierce impact.
A standout moment came with their cover of Lesley Gore’s ‘You Don’t Own Me’. Transformed into a gritty, defiant anthem, it brought an unexpected edge to the set and was met with loud approval from the Wolverhampton crowd. MuddiBrooke claimed the sing, twisting it into something uniquely theirs with attitude and bite.
Closing with ‘Money’ and ‘Inside’ the band balanced swagger and soul, leaving the stage on a high. As openers for Wolfsbane, MuddiBrooke more than held their own. They played with the conviction of a band stepping into a bigger spotlight, delivering a set that felt polished, personal, and impossible to ignore.
Taking the middle slot of the evening, Oklahoma’s Hillbilly Vegas brought a taste of southern grit and good-time swagger to Wolverhampton. Following a fiery opening set, the five-piece upped the twang, turned on the charm, and delivered a confident, high-octane performance that leaned into outlaw country, Southern rock, and straight-up barroom stomp.
They kicked off with ‘Let It Ride’ a perfect scene-setter with big riffs and bigger hooks. A surprise highlight came early with their cover of ‘Steady at the Wheel' (Shooter Jennings), which they nailed with rough-and-ready authenticity, channelling Jennings’ outlaw spirit while stamping it with their own style.
From there, the band settled into their sweet spot; songs about letting loose and raising hell. ‘High Time for a Good Time’ and ‘Something Crazy’ were exactly that and tailored for stomping boots and cold beers. ‘Feels Good’ and ‘Mason Jars & Moonlight’ showed the band’s knack for balancing rowdiness with melody, tapping into a sentimental streak without ever losing their grit. Frontman Steve Harris (no not that Steve Harris!) led the charge with a gruff, charismatic presence, and the band behind him kept things tight and driving throughout.
By the time they reached ‘Shake It Like a Hillbilly’ the room was well and truly warmed up, whilst closer ‘Hell to Pay’ brought it all home; a thunderous, no-nonsense rocker that left the room buzzing and ready for Wolfsbane’s headlining set.
Returning to (as near as possible) their spiritual hom, Wolfsbane took to the stage at with the kind of feral energy that only years of experience can produce. From the moment the band exploded into ‘My Face/Limo’ the room felt like it had been plugged straight into the mains. Blaze Bayley, ever the charismatic ringleader, commanded the stage with wild-eyed intensity and a knowing grin, while the rest of the band played with the power and precision of a group that’s still got everything to prove.
The early setlist leaned into classic Wolfsbane chaos with ‘Man Hunt’, ‘Shakin’ and the brutal stomp of ‘Killing Machine’. Bayley's voice was in fighting form, snarling through verses and belting out choruses with relentless passion. Meanwhile, guitarist Jase Edwards delivered riff after riff with swaggering confidence, his fretwork both sharp and searing despite being chair bound on stage. All this backed solidly by the thunder of Jeff Hateley’s bass and Steve Danger’s ever-reliable drumming.
Things took a turn for the theatrical with ‘Fell Out of Heaven’ and ‘Money to Burn’, where Bayley’s larger-than-life stage presence came into full bloom. He prowled the stage, roared into the mic, laughed with the crowd, and fully enjoyed every second of the show. ‘Greasy’ and ‘I Like It Hot’ followed in quick succession, the band riding a wave of momentum that had the entire venue pulsing with energy.
Mid-set standouts like ‘All or Nothing’ and ‘Tears From a Fool’ showed the band’s ability to shift gear without losing force. Then came ‘Pretty Baby’ and ‘Steel, where the band leaned into their sleazier, more anthemic side—big hooks, sing-along choruses, and a crowd that lapped it all up.
The final stretch was a masterclass in keeping the adrenaline flowing. ‘Spit It Out’, ‘Smoke and Red Light’ and the gloriously bonkers ‘Kathy Wilson’ were delivered with furious conviction, each one a fan favourite, each one met with raised fists and howls of approval. ‘Loco’ was pure mayhem; Bayley at his wildest, the band at their tightest, and the crowd at its loudest.
For the finale, Wolfsbane went out swinging. ‘Ezy’ thundered through the room with fire and filth, followed by ‘Paint the Town Red’ which did exactly what it promised, turning the Steel Mill into one giant, messy, beautiful celebration of noise. Closing with ‘Temple of Rock’, the band left the stage not with a whimper but with a triumphant roar.
Photo Credits: Tim Finch Photography
