Burning Witches | Hammer King
Manchester Academy 3
25th January 2026
Coming to the Swiss heavy/power metal band Burning Witches, as someone whose musical roots lie in the psychedelic rock era of the late 1960s and early 1970s, this was very much a journey into new territory. My formative live music memories are of long guitar solos, swirling lights and bands stretching songs into cosmic explorations. Heavy metal, in its modern form, is not the world I grew up in. And yet, at Manchester Academy 3 tonight, Burning Witches managed something rare: they made it feel both new and strangely familiar.
Let me initially compliment and congratulate the sound engineers on the power and clarity of the sound. Metal can be a very challenging mix, and they did a great job ensuring the musical virtuosity carried through the venue. The evening was started by Hammer King, a high-energy German power metal band with a strong theatrical presence. They set the tone for the evening with an engaging connection to the crowd, their set featuring the huge king’s hammer as a visual centrepiece. With the towering presence of Titan Fox V on vocals, brandishing his Thor-like hammer, the audience were drawn into chants and call-and-response moments. With Gino Wilde on guitar, Günt von Schratenau on bass and Count Ivo Shandor on drums, the band delivered a stimulating and entertaining set of fist-pumping anthems, including tracks such as I Am The King and Make Metal Royal Again. A highlight for me, being old school, was their version of Danger Zone from Top Gun, complete with soaring guitar solos.
Then the lights dropped, and Burning Witches took to the stage with a dramatic introduction that immediately commanded attention. From the opening song, Soul Eater, it was clear this was a band rooted in classic traditions, even if the sound itself belongs firmly to today. Jay Grob’s bass rumbled beneath the surface, while drummer Lala Frischknecht drove the songs forward with precision and force. Courtney Cox and Simone Van
Straten worked as a tight twin-guitar unit, their harmonised leads recalling the kind of melodic interplay that once defined the great guitar partnerships of the past. There was no excess for the sake of it; everything served the song.
At the centre of the performance stood Laura Guldemond, a frontwoman with both presence and power. Her voice moved effortlessly between gritty force and soaring high notes, and her ability to command the room felt rooted in the theatrical tradition of classic rock and early heavy metal. Even to ears shaped by Hendrix, Cream and early Zeppelin, this felt authentic rather than manufactured.
For a newcomer to their music, the set unfolded like a guided journey through their catalogue rather than an overload. Shame and Dance With The Devil established the band’s darker edge, while Maiden Of Steel and The Dark Tower highlighted their melodic strength. Sea Of Lies and Inquisition added urgency and bite, before Release Me offered a moment of dramatic contrast. Black Widow and Evil Witch brought the energy back up sharply, with Lucid Nightmare proving one of the most gripping moments of the night. When Hexenhammer appeared later in the set, it was met with a clear surge in crowd reaction, its riff-driven power instantly accessible even for first-time listeners.
What impressed most was the balance between discipline and energy: the songs were tight and well-rehearsed, but never sterile. The musicianship was always in
service to atmosphere and momentum rather than display for its own sake. Manchester Academy 3 proved an ideal setting for this kind of performance. It was intimate enough to feel connected to the musicians, something that reminded me of the smaller halls and clubs where many of the great psychedelic and progressive bands first made their mark. You were not watching from a distance; you were part of the exchange between band and audience.
For someone whose musical life began with swirling organs, feedback-laden guitars and extended improvisation, discovering Burning Witches felt like finding a modern echo of an older spirit: music that values melody, drama and musicianship above image. I arrived curious. I left a convert. Burning Witches may belong to a younger generation, but their sound carries the DNA of rock’s earlier eras. For anyone who grew up with long hair, loud amplifiers and the belief that music should feel like an event, this was a reminder that the flame has not gone out, it has simply changed shape.
~
Words by guest reviewer Stewart Pickering
Photos by Andrew Twambley
A Plea From Louder Than War
Louder Than War is run by a small but dedicated independent team, and we rely on the small amount of money we generate to keep the site running smoothly. Any money we do get is not lining the pockets of oligarchs or mad-cap billionaires dictating what our journalists are allowed to think and write, or hungry shareholders. We know times are tough, and we want to continue bringing you news on the most interesting releases, the latest gigs and anything else that tickles our fancy. We are not driven by profit, just pure enthusiasm for a scene that each and every one of us is passionate about.
To us, music and culture are eveything, without them, our very souls shrivel and die. We do not charge artists for the exposure we give them and to many, what we do is absolutely vital. Subscribing to one of our paid tiers takes just a minute, and each sign-up makes a huge impact, helping to keep the flame of independent music burning! Please click the button below to help.
John Robb – Editor in Chief