Album review: MIDNITE CITY- Bite the Bullet

December 26th, 2025 by andynathan

Pride and Joy Music (Release Date 21.11.25)

Unapologetically promoting themselves as ‘hair metal’ when other more self-conscious bands might balk at the description, Midnite City are impressively now onto their fifth album since 2017.

Rob Wylde’s men are not about to shift style and opener ‘Live Like Ya Mean It’ is a worthy addition to their catalogue of feel good up tempo anthems, filled with hooks, notably on the gang backing vocals on the chorus and a very melodic guitar solo from Miles Meakin.

‘Worth Fighting For’ reminds me of their big influence Danger Danger’s mellower AOR moments though the production seems a little muddy to me, and ‘Its Going To Be All Right’ goes even further down that road, a semi ballad reminding me of some of Firehouse’s hit ballads but saccharine rather than particularly exciting.

I found the production rather uneven from song to song with different instruments relegated in the mix and even on ‘Heaven In This Hell’, Rob’s vocals do not seem far forward enough, though the keyboards of Shawn Charvette at the song’s close are spectacular.

‘Running Back To Your Heart’ reminds me of their predecessor of UK AOR hopefuls of the late eighties, with more nice keys and flashes of guitar and closing ‘who-oahs’, even though it also contains the fire/higher/desire lyric that I thought had gone to the retirement home for cliched rhymes.

‘Lethal Dose of Love’ is more guitar heavy, reminiscent of Firehouse and Heaven’s Edge, with a fine riff and fast fingered solo; the mid-tempo ‘Seeing Is Believing’, with an intro like FM’s ‘That Girl’, less so, other than a fine but brief solo.

However without doubt the band save the best for an outstanding closing trio. ‘No One Wins’ and ‘Hang On Til Tomorrow’ are in familiar MC territory with brilliant chorus hooks and a balance of guitars and keyboards. Finally ‘When the Summer Ends’ begins with a great keyboard intro calling to mind Van Halen’s ‘Dreams’, has the vibes and ‘who-oh-ohs’ of the classic Blue Tears debut, and even a synth solo provides a closing flourish.

As a confirmed fan who thought their last album ‘In At the Deep End’ was their best yet, on the first couple of listens I had some initial reservations (hence the delayed review) but a particularly strong second half makes it a worthy addition to their catalogue. Can’t wait for the rescheduled live shows as this will only add to their repertoire of instant classics. ****

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