Lizzy Borden / Martyr

The use of the Camden Underworld's alternative entrance is an early indication that the show tonight is grossly under-sold. The inside of the venue is testament to this, with a handful of heavy metal die-hards sparsely populating the room. Nonetheless, this does little to affect the performance of '80s support act Martyr. Supporting the release of their reunion full-length 'Circle of 8', the Dutch band's display of blistering heavy/power metal hits the spot in the live environment. Frontman Robert Van Haren explodes on stage with a rugged voice yet one that is capable of performing earth-shattering falsettos that compliment the music. The guitars fall on the heavier side of the genre, typical of the modern work of similar acts, such as Helstar. The audience reaction is strong, particularly for the thin turnout. Van Haren uses this to his advantage, taking the opportunity many times through the set to wander through the spread-out congregation, offering high-fives and hugs to virtually everyone in attendance. Martyr’s show is a success with attendees voices raised in admiration to what is a sublime appetiser for Lizzy Borden.

The number of people present has thickened now but the Underworld remains less than half full. Opening with the catchy 'Tomorrow Never Comes' from the 2007 reunion album 'Appointment with Death', Lizzy Borden prove that they are not past their years. Despite the energy of the band, the guitars are painfully thin and this dodgy technical issue continues for the duration of the concert, albeit improving slightly following the opener. The vocalist, Lizzy Borden himself, still possesses a laudable set of pipes, closely resembling Geoff Tate of Queensryche in his prime. Fists pound the air as Lizzy Borden launch themselves through a compilation of classic heavy metal track from their repertoire, including 'Red Rum', 'Notorious', 'Me Against the World' and 'Eyes of a Stranger', supplemented by more songs from 'Appointment with Death'.

Perhaps the most poignant part of the gig to many is the theatrical element; Borden goes through a bevy of costume and mask changes (the red velvet cape topped by shoulder armour is a particularly memorable outfit) and during the performance of 'Visual Lies' number 'There Will be Blood', he paints the faces of all in the front row with thick blood (false, of course) taken from a skull. The show harbours guitar, bass and a drum solo, showcasing the understated talent of the entire line up and a reminder that the Californian quintet is more than just Borden himself. "Do you want to hear some American metal?" Borden asks, securing a reaction for one of the most popular fan favourites. Closing anthem 'American Metal' unites the fans in singing along to the muscular track and provides a good curtain call for the night but Lizzy Borden do not stop there.

Despite running later than their curfew, they return for an encore of 'Master of Disguise', the title track from the group's final release from the Eighties, the last of their classic albums. While the reaction is not as formidable as it was for 'American Metal', this melodic song sees the members of Martyr coming on stage to celebrate heavy metal and bid the audience farewell. This is a great night and a reminder of a wholly entertaining live show, as opposed to a gaggle of musicians simply just playing their instruments with muted expressions.

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