“The last time I played Bristol was at the Louisiana,” says Dan Byrne halfway through his set. “Now you guys are selling out an upgraded venue.” Byrne is incredibly appreciative. As he says several times, it means the world to him, but the proof is in the sold-out signs across the UK on this current run.
Dan Byrne – Muddiebrooke – Kit Trigg
Exchange Bristol – 5 April 2026
Words: Paul Hutchings and Nicholas Hewitt
Photography: Paul Hutchings
You will not find a nicer person than Dan Byrne. His ascent has been a slow and steady one, but with the release of his debut solo album, This Is Where The Show Begins, coming for new label Frontiers on 22 May 2026, do not be surprised to hear his name a lot more over the next few months.
A staple at Steelhouse Festival, but with a wider portfolio which started several years ago with the now defunct Revival Black, Byrne is set to launch further into the stratosphere.
He is always thankful, maybe almost to the point of irritation at times, but on Easter Sunday, this little community-run venue in Bristol is packed to the rafters by the time he hits the stage. Such is his appeal.
He has changed his image, too, and for the better. Less flamboyant, the frilly shirts and leather look trousers are replaced by dark trousers, black t-shirt and leather cut, complete with scorpion design on the rear. He looks more like a rock star and is starting to have the clout to support the revision to how he looks.
Of course, part of the reason for that is his partners in crime who bring the noise. Colin Parkinson is renowned for his bass work with Inglorious, amongst many others, and provides the solid low-end anchor together with drummer for hire Max Rhead, son of the same-named promoter and Steelhouse head honcho, whilst Glenn Quinn adds the cutting guitar edge.
New songs litter the set, eight of the ten on the new release to be precise, whilst ballad Easier sees the diminutive frontman take out an acoustic guitar for a reflective moment mid-set.
She’s The Devil, Praise Hell and opener Saviour have big, chunky riffs, and sound great, whilst older songs such as Like Animals and the anthemic Death Of Me ensure his early EP Beginnings is also represented.
It is surprisingly crunchy, and with Parkinson’s heft throbbing through the slightly too loud PA, Quinn’s guitar is lost to those stage right. A move to the back towards the end allows more balance, and it is a pleasing sound.
Dan Byrne may be a bit of a poster boy for Planet Rock and the new wave of classic rock movement, but it is deserved based on his fantastic set of pipes, which once more provide the suggestion that he could go places.
If he had been born about 30 years earlier, I would have guaranteed it.
The interesting inclusion of Audioslave’s Show Me How To Live sees the band intensify the Metal element, and whilst Byrne is not Cornell, he gives it a good go.
It is a singalong to finish, Hard To Breathe and Death Of Me firm fan favourites to end a fine night of music carefully curated by the Steelhouse team.
Muddibrooke
Derby’s Muddibrooke had the unenviable job of following Jayler at Steelhouse in 2025, and tonight they come in after a rousing set from Kit Trigg. They give it a good go over 40-odd minutes. Their alternative rock laced with social commentary goes down well with most of the assembled crowd, who give enthusiastic support.
Brooke, Anna and Morgan do not always seem fully in sync, and some of the endings to tracks like ADHD, Devil, and You Don’t Own Me are a little rudimentary.
The set clearly has a message, but with every song seemingly touching a different genre individually, from Punk to Grunge and Alt-Rock, combined with their still slightly awkward transitions between songs, it all feels a little disjointed, and I struggled to connect.
Yet there is a little spark here and there that indicates why Luke Morely has agreed to produce their debut album. I am keen to hear how this translates to record, it may prove me wrong, I hope they do.
Brooke is kind of marooned behind the mic stage, although she does make a couple of forays to centre stage. It is to their detriment that she can’t really let rip with her vocals reminiscent at times of a smouldering Sheryl Crow with added rasp and bite.
Anna is bouncing around like a toddler on Haribo and does at least provide a more focal point. A minor criticism, but one I have noted before.
Overall, the trio do level out, although they sit in bronze place for me on the night.
Kit Trigg
Solid at Steelhouse on the difficult Sunday morning slot, Kit Trigg and his band were a welcome addition to the bill and open the evening with a decent set that has everyone up and moving.
He is hamstrung by the small stage and his vocal/guitar duties, but the boy can shred and write a catchy pop/classic rock-tinged song.
They are clearly enjoying their opening slot on this tour, full of vigour and bounce, and Kit Trigg is thankful of the large crowd who are in early. Later in the evening, they are witnessed jumping around during Dan Byrne’s set.
Snake In The Grass and Bound For Glory get people nodding, whilst he is still hitting hard in the feels with his song for his much-missed friend Will, slowing the tempo before building it back up again.
Shirts off for the final song, much to the delight of the ladies in the front row. Will we see Trigg at any level bigger than here? It is difficult to say, but for now, he is doing okay, and he is worth a watch at the various festivals, including Maid Of Stone, this summer.
