Special Guests to the original Inglorious in Wolverhampton were rising quartet Kira Mac. Just shy of a year since they headlined this very venue, please see my review here. Now they return with an emphatically darker, weightier, more forceful sound.
Kira Mac – White Skies
KK’s Steel Mill, Wolverhampton – 17 October 2026
Words: Sophie James
Photography: John Inglis
From the intro, one sensed the intensity of what was to come would be greater than before. A thunderous rolling bass was joined by the staccato guitar attack of Hated, leaving many in the audience stunned. However, it did receive a warm reception.
“We’re gonna play you some songs no one’s ever heard before.”
Caught Between retained its predecessor’s intensity while unequivocally confirming that the collective was forging a new direction. Chemicals possessed more groove while losing none of the potency.
“Everyone’s looking dumbfounded. Come on KK’s, it’s a Saturday night!”
The bass intro of Magnetic led into a guitar sound that was redolent of that mid-eighties goth scene. By now the guitar pair of Joe and Vern were most animated.
In spite of their earlier reticence, more in the crowd were warming to the new material during Haunt Me. With its refrain of “It’s not over yet”, it possesses the kind of hook that burrows deep inside.
As Rhiannon explained to me, “This is just the working title. It may yet change. I’m not going to bore you with the details, but we’ve had a shit two years. We shelved a whole album and been back in the studio to record a whole new one.”
The penultimate Climbing had more of a swing to it and, to the unfamiliar listener, was more accessible as a result. This saw Rhiannon descend to the barrier to lead the audience in a prolonged chant of “Heys!”
So, seven brand new songs, which Loyalty concluded. Kira Mac must be commended for having the courage to play a complete set of unfamiliar material, one that tested the audience as well as the reviewers present.
Ideally, to review a gig, one would require prior exposure to material to appreciate the subtleties of an in-concert performance. That said, I admire their attitude to just go for it and expect constructive feedback.
No one can fault their application and the level of musicianship, but such was the shift in soundscape, I imagine at this stage it may be challenging to integrate the older material into the set.
The next time, I hope to be more acquainted, thus immersing myself to a greater degree. Expect the new album next spring.
Once again, I will leave the final word to the artist. “Anything can happen in this band. Expect the unexpected.”
The Dynamic Melodic Excellence Of White Skies
Opening the Inglorious comeback show were Midlands’ very own melodic stormtroopers, White Skies. Comprising Mick White (ex-Samson & First Strike) on vocals, ex-YaYa Ray Calcutt on guitar, ex-Blood Red Saint Rob Naylor on bass and Daz Lamberton (ex-Red White & Blues) on the skins, however, keyboard wizard/production genius Pete Lakin has now taken a step back from being out on the road.
Having released the truly stellar Shouting At The Hurricane on Good Friday, I had the pleasure of attending the launch party within the intimate confines of the Giffard Arms the same evening.
This, however, was my first opportunity to experience them on a large stage, a place I have always considered they could fully exploit the associated sound system.
Opening with the urgent Righteous Zone from the new LP, a tale of romantic dissolution I described at the time as “It wouldn’t be a stretch to consider it to be White Skies’ Dirty Love.” What could possibly go wrong?
As a four-piece, they have upped their attack. Ray and Rob’s rhythms have more meat, although Pete’s textures provide a subtle backdrop.
With the limited time available, the band were going for it. The heavily airplayed 88 Crash followed. I feel I must adopt a Keith Richards tone and go “Man, what a riff!” Here one could feel, as well as hear it, in all its majesty.
New album opener If This Is It was relegated to third place and preceded the gargantuan title track Shouting At The Hurricane.
With the truly stupendous tones of Nathan James due later, Mick demonstrated comparable ability as his voice soared across the void.
An anthem for our time, it is a song one could never tire of. “And I look into the storm and cry.”
“This song is about going out on a Saturday night and seeing your favourite band.” The strutting hedonistic escapism of Money To Burn is an effervescent anthem to a big, big night out.
Very first single and sole representative from debut Black Tide, What Do You Know About Love, a song that still gets better and better with every listen, closed this highly enjoyable set.
For this concise support appearance, White Skies collated what could be considered their most dynamic and infectious selection, exhibiting a mastery of songwriting and consummate delivery, proving this is where they truly belong.
We need to see them more in such locations.
