Ever since catapulting onto the scene just over a decade ago, Inglorious have been the guardians of polished, golden age-influenced rock. Saturday evening saw their latest incarnation roll into the hallowed space of KK’s Steel Mill in support of their newly released V album. [Please see Ash’s excellent review here].
Inglorious
KK’s Steel Mill, Wolverhampton – 7 June 2025
Words: Sophie James
Photography: John Inglis
Joining eminent vocalist Nathan James is long-time cohort Colin Parkinson on bass, together with newcomers Richard Shaw (ex-Cradle Of Filth) on guitar and Henry Rogers on drums. Expectations were high as the droning Purpleish Hammond-based intro tape rolled.
Taking to the stage, Inglorious were welcomed like returning prodigal sons before a note was even struck. This was a reception Nathan later described as “Very humbling. A few years ago, I never thought I’d be back to see you all”.
Colin Parkinson eagerly rubbed his hands in readiness to instigate the introduction of album opener Testify. As soon as the machine was turning and burning, it was apparent that Inglorious was scintillating and Nathan’s voice soared with authority and clarity that we had all missed. 
I must admit to some pre-show doubts on how the absence of an additional guitar would impact the overall body of sound. These were soon dispelled as Richard Shaw’s eloquent riffery and symphonic shredding produced a level of sonicity that dispelled that concern.
What a glorious find. Take a bow, Sir.
Equal plaudits must go to the potent bass of the incessantly animated Colin as well as the joyous conviction in which Henry Rogers provided the dynamic thunderous groove.
Back to the set as the frantic yet quirky riff of Breakaway saw the band return to the origins that we know and love. Inglorious and their songbook are tailor-made for gracing stages such as this, and KK’s Steel Mill assisted in no small measure with simply the most impactful sound I have heard in this venue.
The moodier and more contemporary Devil Inside possessed an attack that was lapped up by the now fervent devotees.
“We’re here to celebrate (the almost 10 years of) Inglorious.”
Each member revelled in delivering what proved to be a Greatest Hits set barely five albums into their career, with a generous quintet of newbies completing the chronicle.
Hit after hit emerged as the audience were encouraged to append the line “I’m at fucking KK’s!!” into the effervescent Where Are You Now? which was augmented by a delicious funky breakdown.
The crisp intensity of Read All About It demonstrated the line-up’s levels of confidence and cohesion. As the number raced through its coda, cue the first of many bouts of triple hair swirling.
With the audience now in the palm of his hand, Nathan James simply induced mass clapping to enhance the intro to the enduringly dashing Taking The Blame.
A staccato riff heralded the arrival of another favourite in High Flying Gypsy. Richard’s guitar provided multiple layers of majestic orchestration, which gave it the projection it deeply deserved.
Nathan, meanwhile, was delivering at a level that makes one wonder how a vocal artist can maintain such an exceptional standard throughout a demanding set.
Say What You Wanna Say launched in a frenetic, punkish fashion with an attitude to match. Stylistically, it may appear at odds with the musical flavour of traditional Inglorious, but it blends seamlessly.
I am somewhat apprehensive when artists include a mid-set acoustic feature. However, the inspired pairing of Bleed for You and Glory Days was showstopping. Nathan, accompanied solely by the multi-talented Colin on the guitar, communicates these epics so passionately.
The delicate melodies ooze, whereas routinely, they are swamped in the bluster of a full-blown rendition. Nathan’s golden tones flooded the void as the enchanted audience stood and absorbed appreciatively. A centrepiece worth the price of admission alone.
“We’re going to keep it bluesy.”
A reworked Making Me Pay yields to Holy Water, which was greeted like a long-lost friend. Always a highpoint, its organic bluesy vibe is so primal it never fails to get my hips swaying.
It is so gratifying when the underlying arrangement eventually breaks its shackles, and who better than Richard to fully exploit that transformation? I could listen to this gentleman all night.
This brought the loudest contribution of the Wolverhampton Choir thus far, too.
She Won’t Let You Go saw Nathan shimmy across the stage. I Don’t Need Your Loving was an air-punching party anthem, while set closer Unaware showcased a sense of melody, which took you back many a year. 
Dispensing with the usual vacating the stage nonsense, Nathan instigated a fleeting chant of “More! More!” then promptly slayed it with “That’s enough of that.”
The declared ‘encore’ was one new, one old.
Like Say What You Wanna Say, there was a more contemporary feel to the defiant Stand. Beautifully underpinned by the rippling bass, its chorus propelled it to pure anthemic territory. 
Only one song could be the finale, which took us back to the very beginning, and that was Until I Die.
Despite its discordant theme, it takes on the feel of an uplifting anthem of rebellion, with the Choir belting out that triplet with equal zeal and passion. Always the fist-pumping apex of the set.
As the final notes faded and bows were taken, the overarching sentiment in the crowd was one of ‘Wow! What a performance.’ Those who elected not to attend may now rue that decision.
A mark of a great set is when it feels like the artist has only been playing for 10 minutes. Well, this felt like just five.
Once again, a Phoenician Inglorious has emerged from the flames with a triumphant return, reaffirming their position at the vanguard of contagious pulsating melodic rock.
Make no mistake, Inglorious are back!
