Steelhouse Festival 2025 / Jayler, Lita Ford, And W.A.S.P. Deliver Big Moments

July 27, 2025

W.A.S.P. - Steelhouse Festival 2025. Photo: Paul Hutchings/MetalTalk

Overnight rain and mist pass as the morning progresses, and by the time the Steelhouse Festival arena is open, the clouds are scurrying away, and another dry day beckons. Whether it is keenness to get back into the arena or a desire to see the up-and-coming band Jayler, I am not sure, but the queue is staggeringly long well before the gates are removed. Perhaps something for the organisers, who do a stellar job by the way, to consider, as there are quite a few who struggle to get in for the openers.

Steelhouse Festival 2025 – Saturday

Hafod-Y-Dafel Farm, Aberbeeg, Wales – 25-27 July 2025

Words And Photography: Paul Hutchings

Jayler

There has been a buzz building about the four-piece retro rockers Jayler for some time now.

Confident, assured, and very talented, they ensure that Steelhouse Festival is up and running from the off with a swagger that belies their tender ages. Frontman James Bartholomew is a natural star, and he recalls their days of singing acoustic sets in the live-in vehicles site two years ago with fondness.

That may be two years ago, but I would wager that at this rate, they will be much higher on the bill here. Their energy and enthusiasm are infectious, and as they cruise through their set, the crowd grows and grows.

It is something rarely seen here, but Jayler’s style is such that people are drawn towards it. Whilst the Zeppelin comparisons are inevitable, these lads are no clones. Technically excellent, they are assured enough to deliver covers by Stevie Ray Vaughan and Zeppelin in their acoustic set later in the afternoon. These boys have it.

Muddibrooke

It is unfortunate for Muddibrooke that the audience thins somewhat after Jayler, but those who stay are treated to a different vibe as the alt-rock trio delivers a strong set which contains plenty of modern messages.

I saw this band support The Virgin Marys at The Patriot a couple of years ago, and their development has been impressive.

With drummer Morgan stuck behind his kit, singer/guitarist Brooke and bassist Anna have a big stage to fill. They do their best, but at times they are dwarfed by the sheer size.

To their credit, they plough on and slowly warm the audience. There is limited interaction, but Anna is all smiles as she bobs around, whilst Brooke is animated when she can release herself from the microphone.

I am sure they will have garnered a few new fans after this, and they can be pleased with their showing.

Scarlet Rebels

Llanelli is not a million miles away from Aberbeeg, and the reception for Scarlet Rebels proves that a successful Welsh band will always do well up the mountain.

The Rebels put in a powerful 45 minutes, drawing from their three albums. Plenty from the classy 2024 album Where Colours Meet to enjoy, and as the band eases into their set, they get better and better.

Their sound is evolving into something specifically Welsh, with tinges of the Manics now evident, but that is no bad thing, and It Was Beautiful, Secret Drug, and Let Me In all get the crowd singing.

Onstage, it’s guitarist Chris “CJ” Jones who is the attention seeker, making the most of the ego ramp and shredding with his usual style. Wayne Doyle keeps the momentum, and his interaction with the crowd is on point as usual. Unsurprisingly, there is a partisan crowd roaring them on, and by the time they finish, they have won one of the best sets of the day.

Hillbilly Vegas

If you want a good time at a festival, then Hillbilly Vegas should always be on the invite. The band from Oklahoma ruled the roost for their 50 minutes with a show that was as enjoyable as it was effortless. Of course, it’s not effortless, but the class which the band have just made it look that way.

They cruise through their set, with frontman Steve Harris the focus. He is eloquent, engaging, and the kind of guy you would want to spend the night with in a bar. He’s a fantastic orator and comes with the voice that matches the band’s southern sound.

They boogie, they rock ‘n’ roll, and they get the crowd dancing. It is without doubt a highlight of the day, and their acoustic set in the tent matches their main stage magnificence.

Sophie Lloyd

There’s a big crowd for Sophie Lloyd, who wows them with her technically excellent guitar work. She is a fine player, fluid and proficient, and is joined by Marissa Rodriguez for the main part of the set.

Warm and happy to be at Steelhouse, her versions of Thunderstruck and Enter Sandman get the crowd onboard and clapping along. It is not to my tastes, but I appreciate that in the sun, this is ideal for the festival crowd, and her ovation demonstrates that many disagree totally with me.

Kris Barras

He is now almost a shoo-in for this festival, and Kris Barras demonstrates his quality with a solid set crammed full of his best-known songs. He has already done an engaging acoustic set, but it’s his muscular riffs and anthemic songs that work best.

He has a fanatical fan base who join in word for word as the set progresses. Barras throws Hail Mary in early to the delight of many, and My Parade is always a winner. With a tight band, there is opportunity for some jamming, one of which is lengthy and impressive in technicality.

Kris Barras is also in the crowd towards the end for the singalong, over the barrier and splitting the field in two. It is a triumphant return for Barras, who has headlined the Friday night here in the past. Don’t bet against him being back here again before too long.

Lita Ford

In the ’80s, Lita Ford was big news. The former Runaway had a series of hits, but it was an interesting booking all the same. On a day dominated by the headliners, Lita and her band draw us back to the ’80s again for a trip down memory lane.

It is fun to watch, with Lita looking good and playing well. She rips through a set comprised of solo work and covers, punctuated by a lengthy piece mid-set that includes a drum solo and playful engagement with her band.

It is poignant that we get Close My Eyes Forever, the duet with Ozzy that has received much airplay in the past week, although Cherry Bomb runs it close. She finishes with Kiss Me Deadly, her most well-known song.

For those who were there, it was an enjoyable reminder of the music of the time, and for those who have not seen her before, one to tick off the list.

W.A.S.P.

It’s 15 minutes past the scheduled start when W.A.S.P. finally roll the intro. Blackie and crew finally burst on stage and proceed to deliver a set that is either fantastic or awful, depending on your view.

Dispensing with the viewing screens makes it difficult to focus from further back in the arena, as videos of the band are played instead. However, there is no doubting that playing the first W.A.S.P. album in full is special, and the band deliver it with power and passion.

Blackie is in good form, talking through the decision to play the debut, the challenges of getting it past the management and then bringing it on the road. I Wanna Be Somebody, L.O.V.E Machine, and The Flame start the proceedings. The sound is not brilliant, quite muffled in parts, but if you are a W.A.S.P. fan, this is great fun.

Forty-five minutes and the album is finished. “Good night,” shouts Blackie, but even as unpredictable as he is, you know he will be back, and we get another 30 minutes of W.A.S.P. classics.

Inside The Electric Circus segues into a medley that features Scream Until You Like It, and another medley with the Headless Children, includes a nod to other work.

It is the killer finish though, Wild Child into Blind In Texas, that shows that when the band are on form, they really can bring it.

In days to come, there will be much debate about this set, but getting W.A.S.P. here is impressive, and they delivered.