Every city has its story, every town its communities, each seeking to stand out in its own distinct way. Whether you’re from the north or the south, the Midlands undoubtedly has its own history to tell. Nestled in the heart of England, one story sparked a musical explosion that shaped the tastes of generations to come: Birmingham, the home of heavy metal.

On Saturday 25th July, we celebrated what, almost 60 years after the formation of a certain revolutionary outfit known as Black Sabbath, would become simply known as metal. A collaboration between some incredibly talented, dedicated and influential figures within the scene produced A Celebration of Midlands Metal. More than just a gig, it was also a panel discussion and fundraiser for Heavy Metal Therapy, a charity doing vital work to support the wellbeing of people across the country. The Midweek Mosh, Surprise You’re Dead and DC Sound Attack came together to give us, in the least cliché way possible, a night to remember.

Unfortunately, due to employment constraints, which I’m sure many of us with a passion for grassroots music can sympathise with, I wasn’t able to catch Denied Legacy opening the show. Stan, however, was there to witness them hit the stage at The Flapper, and from what he described, they couldn’t have asked for a stronger start to the evening.

Tommy’s (vocals) ability was apparently enough to give Will Ramos of Lorna Shore a run for his money. Not only did they create a sound that kept the entire room engaged, but they filled it to the brim. Having seen Denied Legacy myself previously, I already knew the show they were capable of putting on, and Stan only reinforced that opinion. The expression displayed throughout their set truly captivated the crowd. Ending things off strong with Butcher Haig , this metalcore outfit displayed how much of an impact grassroots bands can have. Through meaty breakdowns, relentless mosh pits and a Waltz, Denied Legacy rocked The Flapper from the very first set of the night.

I arrived just in time for the panel discussion, which I genuinely think was one of the most valuable parts of the day, and something I’d love to see incorporated into more events. Joining the discussion were Michelle Hyett of DC Sound Attack; artist manager and industry expert; Gemma Lawler, vocalist of Dakesis, ACM lecturer and promoter for initiatives including Metal to the Masses; Adam Sharples, peer support facilitator for Heavy Metal Therapy; and Simon Yarwood, founder of Uprising Festival. Chaired by Terri from The Midweek Mosh, the panel covered a number of pressing topics affecting the grassroots scene.

The discussion began by exploring why grassroots music spaces are so important. Gemma offered a perspective that really resonated. Without grassroots venues and promoters, there are no opportunities for emerging artists to develop, network or become tomorrow’s headliners. Without those stepping stones, there simply aren’t the bands to fill larger stages in years to come. As she put it, we need to “nurture the connectivity of [our] scene” because “when we all work together magic things happen.”

That led naturally into Simon’s thoughts on what makes alternative spaces so welcoming. Many of us know what it feels like to never quite fit in, often listening to metal through our headphones in isolation. Live music changes that. These venues and events become places where people finally feel like they’ve found where they belong, “even when you wear a stupid T-shirt.”

One initiative helping foster that sense of community is Metal to the Masses, giving grassroots bands the opportunity to compete, network and reach entirely new audiences. Through her work, Gemma is passionate about creating an inclusive environment after struggling to find spaces where she felt comfortable simply turning up as herself. As she put it, “If there’s anything about you that makes you not fit in anywhere else, this is for you.”

The conversation then turned towards the role music plays in mental health and wellbeing. Adam explained how both live and recorded music have the ability to genuinely connect with people, which is why preserving grassroots spaces is so important. Reflecting on his own experience working in the welfare tent at Bloodstock, he described finding himself in a difficult headspace before going to watch Obituary. Despite having seen them before, that performance completely shifted his mindset, taking him from wanting to pack up and leave to feeling like a different person entirely.

Adam wasn’t alone in having a defining moment within the scene. Simon recalled the first Uprising Festival, where a band fresh from a major Bloodstock performance brought £40,000 worth of pyrotechnics into a 2,000-capacity venue while being paid only hundreds rather than thousands. Michelle spoke about the fulfilment she gets from supporting the bands she affectionately calls her “babies”, helping them take those crucial next steps in their careers.

With the proceeds from the event supporting Heavy Metal Therapy, Adam also explained how the charity creates spaces centred around conversation, giving people the opportunity to be heard without judgement. As Terri perfectly summarised, it’s all about “finding your tribe.”

The panel closed with advice every emerging band should take on board. Stay visible. Stay active on social media. Go to shows. Speak to promoters, musicians and everyone you meet, because every connection has the potential to become an opportunity. Michelle emphasised that “bands are very supportive of each other and you need to keep it that way.” Gemma added that the audience shouldn’t be overlooked either, as the person watching your set could be just as well connected as the promoter booking it.

Simon rounded things off in the most fitting way possible: “Don’t be a dick, don’t be shit and don’t be a shit.” I genuinely can’t think of a better way to conclude a discussion centred around community, respect and supporting one another.

After being blessed with such invaluable knowledge and experience, it was finally time for some more euphony.

I need to preface this by saying that gigs are something I’m certainly not short of. I’ve seen hundreds of bands over the years. However, this performance is one I genuinely don’t believe I have the capacity to shut up about.

Nameless are a band I’ve heard of and seen pop up around the Midlands countless times, but had never had the pleasure of experiencing until Saturday. Describing themselves as alt-metal feels incredibly fitting.

Opening with a new track, the pure vehemence was immediately striking. The sheer movement on stage transferred effortlessly into the crowd. There was a brilliant balance of rhythmic vocal passages, soaring cleans and harsher vocals, all used exactly where they would have the greatest impact. At first, I found myself hoping the harsher vocals would carry just a little more weight, but that thought quickly disappeared as the set progressed and Jordan (vocals) delivered them with increasing power and conviction.

Insane is the only way I can describe Nick’s drumming. The cohesion between every member of the band was on a level I’d argue was genuinely professional. If you thought the opening song was an intensely strong start, you’d only be proved more wrong as the set continued.

I do need to mention that the locks on these men are absolutely luscious, something a girl with a severely bleached base to her hair could only dream of.

“I’m going to give you four seconds,” Jordan announced, and he didn’t even need all of them to get a pit open.

My notes for this song genuinely just read, “oh shit vocals,” because the transitions between clean and harsh passages are so ridiculously polished. Nick continued to sound like an absolute machine throughout the set, while Lewis’ (guitar) precision and technical ability should never be underestimated, introducing complexity exactly when it was needed. Everyone in that room was indeed “throw[ing] down those inhibitions.” The song structures constantly evolved, keeping every track feeling fresh and engaging.

What impressed me most was their ability to sustain the atmosphere they’d created. The room was overflowing with energy, love and integrity, yet they still found moments to become unexpectedly groovy, with Zeta (bass) leading that charge effortlessly. Their catalogue ranges from songs that would soundtrack the destruction of an entire rage room to tracks I’d happily stick on during a late-night drive.

The standout for me had to be Spite, which will be gracing streaming platforms next year. The aggressive drumming paired with the intermittent guitar line at the beginning works brilliantly. This was the point where I could no longer stand quietly at the side making notes. There was absolutely no way I wasn’t going to let go and completely immerse myself in the performance.

That’s how I’d sum up Nameless.

I will absolutely be catching these guys again, and I’ll be doing it wearing my new Shapeshifter T-shirt.

Ending the night were the coveted Mantis Defeats Jaguar. I genuinely don’t believe I’ve ever seen an entire band move that much on stage in my life.

The introduction can only be described as electric. I immediately abandoned my cup of water to make sure I could be fully immersed. The aggression and intent they stormed onto the stage with was an absolute spectacle. Rap and nu-metal influences were immediately apparent, and from the very first song they had complete control of the room. Dan (guitar) even found his platform standing on top of the kick drum, while the crowd moved like waves crashing against the shore.

The stage banter, particularly between Jimmy (bass) and JP (vocals), was just as entertaining as the music itself. JP’s grit and aggression paired beautifully with the riffs pouring from the guitars, while by the third song the entire room was absolutely buzzing. I honestly thought I’d need a neck brace after this set.

The rhythm section deserves special mention. The drums were funky, groovy and hit with unwavering power, while the band’s sheer hunger to perform was evident in every second. Just when you thought they’d reached maximum intensity, they stripped everything back, showcasing a level of versatility that worked incredibly well before launching straight back into the chaos.

As the set progressed, the crowd somehow became even more engaged. Had this not been on the ground floor, I’m convinced we’d have been dealing with a collapsed floor by the end of the night. Despite the relentless energy, they weren’t afraid to embrace funkier moments either, encouraging “everyone [to] get your groove on, forget all about your troubles in the world.” The ferocity in JP’s vocal delivery perfectly conveyed every ounce of frustration behind the lyrics.

One of my favourite moments came when Jimmy decided to make an unexpected bartending appearance, playing bass from behind the bar while JP shouted over to order him “a couple of lagers.” It perfectly summed up the band’s personality. They don’t take themselves too seriously; they just look like they’re having the time of their lives, and that feeling is impossible not to catch.

As the set drew to a close, they highlighted one of the best parts of the grassroots scene by inviting members of Kensei on stage for a singalong. The crowd happily obliged, and looking around the room, everyone, both on and off stage, appeared to be in a genuine state of bliss. And no, I don’t think that was solely down to the Jäger bombs the band necked immediately afterwards.

Closing with the newly released String Theory, Mantis Defeats Jaguar left absolutely no doubt that they’re champions of their own sound.

Once the music had concluded, the final part of the evening was the raffle, where many of the remaining audience members walked away with some incredibly generous prizes.

Here’s to my hot sauce!

I really want to emphasise just how impactful this event was. Informative, entertaining and inclusive, all while raising money for such an important cause. A special thank you has to go to everyone involved, particularly Terri from The Midweek Mosh, who did an exceptional job of creating an environment that truly embodied the spirit and essence of grassroots music.

See the full gallery here