Photo: David Randall/GRTR!

The millennium has seen the revival of one of Sweden’s great melodic rock exports – Europe – and since their reformation in 2003 they have gone from strength to strength, reasserting their credentials and making some consistently good albums.

In fact, Jason Ritchie and Nikk Gunns were early flagwavers for the band’s renaissance at the very start of GRTR! It wasn’t until at least 2009, and the band’s awards gig in London, that they’d really captured wider recognition from the doubters (including the mainstream press) who mostly remembered poodle perms and late-eighties cheese.

Europe

Jason Ritchie gave his first live account in May 2005 when he wrote:

Don’t be fooled into thinking it’s all parping keyboards and gentle ballads for this band.

Reviewing their 2006 album, Secret Society, he had mixed feelings believing the harder edged approach might alienate some traditional fans. GRTR! revisited the album in the ‘Albums that time forgot’ series.

Strangely perhaps the band’s next release featured acoustic treatments of their back catalogue. Almost Unplugged reiterated the tunefulness of their output although Nikk Gunns cautioned “… this album isn’t a departure from the bands trademark sound, nor is it an attempt to attract new fans from outside of the genre, what you actually get is a very good album worthy of a very good band.”

Nikk also reviewed the DVD Live From The Dark which captured the band in 2005 at Hammersmith Apollo.

Photo: Lee Millward

In February 2007 when they played a low-key gig in a snow swirling Liverpool David Randall commented:

The truth is, since 1986 they have borne the millstone that is ‘The Final Countdown’, an international hit but branding them purveyors of sometimes cheesy synth-driven Euro pop rock.

With the usual record company pressures seeking the next pop hit, the band were forced into an artistic straitjacket so that by 1992 they were playing out the title of their signature tune for real. They split to pursue solo careers.

David Randall chatted to Joey Tempest prior to the Liverpool gig in February 2007 (14:08)

Also in 2007 the band released the Dalhalla Downloads, a digital only live album.

Europe

2009 was a busy year for the band and attracted several GRTR! reviews. David Randall noted a slight move to more mainstream hard rock with the release of Last Look At Eden and with an equal emphasis on orchestration.

Photo: Ian Pollard

Europe played several festivals including Sweden Rock and Bloodstock in August when Randall enthused “… Europe showed tonight why they are so enduring, even after a ten-year hiatus. Basically, they are consummate professionals, write fantastic songs wholly suitable for a festival event, and they rock like hell.”

They presaged their European tour in November with a special awards show in London at Relentless Garage when Jason Ritchie described “… the heaviest set I have seen by the band.”

Melodic rock editor Andy Nathan was also suitably impressed “… The newer material is heavier and darker, largely thanks to John Norum”s downtuned guitar, but nothing Joey Tempest sings can fail to be melodic.”

Also in 2009 there was the inevitable reissue of earlier albums.

Reviewing the band’s gig in February 2010 David Randall thought the band looked a bit tired and inanimate (with the exception of Joey Tempest) and was still uncertain about the current album.

I can fully appreciate that the album (Last Look At Eden) marks a culmination of sorts but Norum’s guitar is far too restrained and the album is less risk-taking as a whole, less urgent than its recent predecessors.

Also in 2010 Jason Ritchie reviewed the band at the iTunes Festival at London’s Roundhouse noting that most of the crowd was unfamiliar with the setlist.

David Randall chatted to John Norum in June 2009. This interview was originally made available as a podcast, then adapted for broadcast on Get Ready to ROCK! Radio.

Photo:Ian Pollard

John Norum – who featured in melodic hard rock heavyweights Dokken during the 1992-2003 hiatus – has also released a steady stream of solo albums (including work with Glenn Hughes) with Optimus in 2005 and in 2010 Play Yard Blues.

David Randall opined: “… This new release should at least encourage a wider investigation of a sometimes patchy but quite worthy back catalogue, and a guitarist who is truly the equal of those he cites as major influences.” Several earlier albums were reissued in 2020, whilst Norum’s latest solo album – Gone To Stay – was released in 2022.

The next almost traditional early year UK visit (in February 2011) was analyzed by both Andy Nathan and David Randall. The latter noted a complete contrast to his previous gig with the whole band seemingly energized whilst Andy noted:

… the post-gig consensus was that this was a band not only moving forward on their own terms but sounding better than ever live. This show was being recorded for a DVD which should be force fed to any doubters still associating them with poodle perms and one cheesy hit.

That DVD was released in 2011 with David Randall writing “… The main revelation of this footage confirms what we witnessed first hand on a previous tour when John Norum was busy wiring a pick-up instead of attending the Meet and Greet. But, hey, this is rock ‘n’ roll; with a soldering iron.”

He summed up: “… a great souvenir and an excellent summation of the band as they celebrate their 25th anniversary since achieving international recognition with “that song”.”

Photo: Andy Nathan

Andy Nathan then reviewed John Norum and Joey Tempest in September 2012 “playing in the upstairs room of a traditional West London boozer before an invited audience of 60 or so competition winners.”

Pete Feenstra chatted to Joey Tempest on 26 March 2012 shortly before the release of the band’s ninth studio album, ‘Bag Of Bones’

Europe

The band’s 2012 album Bag Of Bones challenged reviewer Randall. They had used hot-shot producer Kevin Shirley and perhaps coinciding with their desire to return to their musical roots had fashioned a more mainstream hard rock album rather than one truly identifiable as Europe (or consistent with their two comeback albums).

‘Firebox’, ‘My Woman And Friend’ and ‘Demon Head’, for example, could be outtakes from a Black Country Communion album (surprise, surprise) whilst the title track and the early single ‘Not Supposed To Sing The Blues’ is pretty perfunctory hard rock. Only ‘Mercy You Mercy Me’ revives the driving ‘Secret Society’ sound, but coming as it does as the penultimate track it could be construed as mere tokenism.

Photo: Simon Dunkerley

Reviewing the band’s Manchester gig in November 2012 Randall noted how ‘Bag Of Bones’ had truly captured the plaudits of the mainstream press and for many would have been a gig of the year.

Live editor Dave Wilson was stymied by the weather in his efforts to see them at Download in 2012 but also in November that year wasn’t disappointed:

This was a great show and one that was well worth the wait. Mention Europe to anyone and you will without doubt get the opening bars of ‘The Final Countdown’ sung back at you, hell even my 12 year old son burst into the song when told where his mum and dad were off to, but there is far more to the band than ‘that’ track, you just have to witness them live to appreciate what a great hard rock band they really are.

David Randall chatted to Joey Tempest for Get Ready to ROCK! Radio in October 2013. This is an edited version of the original broadcast.

The DVD released a year later further attested what a great festival band they are, Live At Sweden Rock captured the band playing their 30th Anniversary Show. In his review David Randall noted that the band have strangely not re-conquered the lucrative USA market and therefore remain a truly European phenomenon.

Photo: Steve Goudie

There was a trend from round about 2013 to showcase bands in a three or four way split, the perfect arena show and pack-em-in money-spinner. And in April 2014 Europe found themselves with UK melodic rockers FM and genre colossus Foreigner.

David Randall bemoaned that the band’s setlist had become predictable and were completely overshadowed by the headliners. “… Apart from the animated Joey Tempest they come across as … going through the motions with a distinct lack of spontaneity.” (Dave Wilson reviewed another three-way bill in May 2022).

Randall was similarly underwhelmed with their 2015 album offering War Of Kings

… increasingly, I think their upward trajectory has unravelled. I think they have been spoilt as they achieved more widespread acceptance from lapsed fans who – in truth – want to hear endless crowd-centred renditions of ‘Carrie’ and ‘The Final Countdown’ as much as those who enjoyed ‘Bag Of Bones’

He offered further … It all seems far too controlled, predictable and formulaic… they should simply stop apeing other bands and idioms, old and new, and regain their own voice and – as previously – produce themselves or get Chris Tsangerides. ‘Secret Society’ may remain their finest hour.”

On tour with Black Star Riders in March 2015 he noted “… an impressive if frustratingly short performance.” A week later Andy Nathan noted the longer set times reviewing in London:

‘Carrie’ … saw the Empire turned into something of a drunken Friday night party as grown men swayed arm in arm hoping to avoid spilling their drinks and singing along to the ‘who-oh-oh-oh’s and elongated vowels of the chorus.

Dave Wilson offered another perspective, reviewing the band in Glasgow:

Europe tend to be focused around Joey Tempest with the others happy to let him take the limelight where as (Black Star Riders) is more of a whole band experience. Joey though has the frontman gig down to a fine art and is more than capable of holding the crowd whilst the band get on with playing some damn fine music.

Dave Atkinson reviewing the band at the second Ramblin Man Fair in June 2016 called them the poster boys of rock – more style over substance. Could he be converted?

Maybe I was high on the Festival experience and easy prey for the band’s pomp. Or in Brexit denial. Whatever it was, this was a thoroughly enjoyable set.

A more intimate gig was reviewed by Andy Nathan in November at London’s legendary Roundhouse. This is the first time since 1987 that the band played their debut album in its entirety to celebrate it’s 30th anniversary (they will repeat this trick, 40 years on, for their UK dates in late September 2026).

However before that the audience had to endure a full outing for the latest album ‘War Of Kings’ which Andy rightly noted “… lacked the hooks and melodies with which the original Europe made their name.”

Andy continued “… So when it gave way to a tape of the iconic parping keyboard intro to the ‘Final Countdown’, the releasing effect on the crowd was analogous to Mr Creosote being fed one wafer-thin mint too many.”

Photo: David Randall/GRTR!

Two years later Europe made their debut appearance at London’s hallowed Royal Albert Hall promoting a new album Walk The Earth.

The band’s eleventh studio album was disappointing for long-time admirer David Randall: “… I can only think a certain complacency or lack of direction has taken hold in the Europe camp.”

As someone who has actually followed the band’s millennium renaissance with some excitement, engagement, and occasionally with bated breath I really hoped they’d move things up a notch with this album. Sadly, not. Europe may walk the earth, but in boots weighed down in mire.

In truth in the last 10 years Europe haven’t been the most prolific in terms of album releases. There was a nine year gap between ‘Walk The Earth’ and Come This Madness (released 25 September 2026).

In that time they have continued to play festivals and have almost become a “heritage” act rather than an active recording outfit. They last toured in the UK in October 2023 celebrating their 40th anniversary (since their debut album). Everything seems to be built around anniversaries.

This is a great shame for album continuity and whilst they can rest on very firm laurels the lost momentum of the early millennium is noticeable.

The new album should reboot the band and the brand with the early singles reflecting the melodic hard rock they do so well, and now with an added social awareness to put more relevancy into the mix.

Story by David Randall
Contributors: Dave Atkinson, Nikk Gunns, Andy Nathan, David Randall, Jason Ritchie, Dave Wilson

Album review (Come This Madness, 2026)

Featured Artist: JOSH TAERK

Since early 2020 Josh has been entertaining us with exclusive monthly live sessions,

Check out videos here: https://www.facebook.com/getreadytorockradio

David Randall presents a weekly show on Get Ready to ROCK! Radio, Sundays at 22:00 GMT, repeated on Mondays and Fridays), when he invites listeners to ‘Assume The Position’. The show signposts forthcoming gigs and tours and latest additions at getreadytorock.com. First broadcast 30 August 2026.

UK Blues Broadcaster of the Year (2020 and 2021 Finalist) Pete Feenstra presented his weekly Rock & Blues Show as part of a five hour blues rock marathon “Tuesday is Bluesday at GRTR!”. First broadcast on 25 August 2026

How to Listen Live?

Click the programming image at the top of the page (top right of page if using desktop)

Get Ready to ROCK! Radio is also in iTunes under Internet Radio/Classic Rock
Listen in via the Tunein app and search for “Get Ready to ROCK!” and save as favourite.

More information and links at our radio website where you can listen live or listen again to shows via the presenter pages: getreadytorockradio.com

Power Plays w/c 14 September 2026

MUDDSHOVEL Third Time Today (Epictronic)
SCANDROID Jericho (FiXT Music)
TAKIDA In Your Bed (Napalm Records)
MYRATH Shape Of My Heart (earMUSIC)
HOKKA Vampire (Nuclear Blast Records)
HOLLOW PACT Witchking (Sumerian Records)
RETURN TO ZERO Dark Matter (Eve Music)
MMMR MUSIC Fire’s Still Burning (Duckfat Records)

Featured Albums w/c 14 September 2026

09:00-12:00 The Best of 2003 – 2025 (Melodic Rock)
12:00-13:00 The Best of 2003 – 2025 (Melodic Hard Rock)
14:00-16:00 The Best of 2003 – 2025 (Singer Songwriter)

Our occasional Newsletter signposts latest additions to the website(s). We also include a selection of recent top albums, based on GRTR! reviewer ratings. The newsletter is sent out a few times a year.

If you’d like to register to receive this occasional mailing please complete the form:

If using a smartphone/tablet please tap here or re-orientate your device

(Note that this registration is separate from site registration which allows you to leave comments and receive daily emails about new content. If you wish to register for this – in addition or separately – please click or tap here – for more information – the form is at the foot of each page. Please read our privacy policy when opting-in to receive emails.