The status of Scandinavia as the spiritual home of melodic rock is reflected not just in the volume of bands there, but an increasing number of festivals dedicated to, or featuring a goodly number of, melodic acts. When a new festival was announced last winter, Wings of AOR, curiosity got the better of me, not least as in an unusual line up there were some ‘bucket list’ moments not available anywhere else. A reasonably healthy attendance, including many familiar melodic rock travellers from the UK, Europe and the Americas, suggested that others were equally attracted.
It was not in one of the major cities, but Norrkoping, a town of 100,000 or so an hour and a half from Stockholm by train. Like many of our own Victorian cities, you can see in the elegant public buildings the prosperity that industry brought in the 19th century, and it has reinvented itself with a lively social scene. The festival venue reflected this- a stylish historic hall with impressive ceilings and a good sized floor with a high-ish stage. The stage presentation was also slick, though my one gripe was that the lighting was in overly bold colours, or at times spotlights that meant we were viewing the bands in darkness!
The line up favoured quality over quantity with five bands in each of two days, though this meant extremely generous set lengths by festival standards, with even the trio in the middle getting an hour and ten minutes.
DAY 1- RUSS BALLARD, EASY ACTION, BRIAN SPENCE, GATHERING OF KINGS, DAYTONA
There was an introduction from stage announcer Stefan Johansson, a veteran of the Swedish rock scene, dispensing in sonorous fashion words of wisdom to the effect that we should both respect the old and celebrate the new. The honour of being the first ever band to play Wings of AOR went to Swedes Daytona, who I also saw at Malmo Melodic last year. Most of their members have a pedigree with other bands including former Miss Behaviour guitarist Erik Heikne, who enlivened opener ‘Welcome To The Real World’ with a smooth solo that reminded me of Neal Schon’s in ‘Send Her My Love’, while in proper AOR fashion good use was made of Johan Berlin’s keyboards, which seemed to open nearly every song, notably ‘Kelly’.
They slipped in an early cover of ‘Love Is A Battlefield’ which was very impressive, singer Frederik Werner giving the original a bit of added strength and power. They also played a couple of new and as yet unreleased songs- indeed I found the songwriting on ‘No Exit Highway’ and ‘Listen To The Silence’ (an appropriate title given the good use of space in the arrangement) more impressive than older numbers like ‘Town Of Many Faces’ and ‘Slave To The Rhythm’. A set that was a little shorter than billed ended with their most out and out commercial song in ‘Looks Like Rain’ and their most impressive one in ‘Where Did We Lose The Love’. It was a performance a notch or two above that at Malmo and got the festival off to a good start.
Despite the ‘AOR’ moniker, the festival touched on all bases of the genre and next up Gathering of Kings provided some melodic hard rock, albeit with the keyboards of Dino Zuzic still prominent. I’d seen them a few years back on the ‘Rocknytt Cruise’ (which shared common organisers) so was prepared for their distinctive concept of a revolving door of multiple singers, albeit that this time there were a ‘mere’ three.
The pony-tailed, hat sporting Tobias Jansson got things going with the opening cut from their debut album ‘Forever And A Day’, then I was unfamiliar with ‘Wary Of The Wolf’ but very impressed. He gave way to a very different frontman in the white-suited Alexander Frisborg who one of my friends likened to a long-haired Basil Fawlty.
In hyper energetic fashion he dived into the crowd and got a clapalong going during ‘Long Way From Home’ before ‘Highway To Paradise’ . The third of the trio, Jonny Lindqvist, who reminded me physically a little of Lou Gramm, had a raspier voice which complemented the keyboard-heavy melodies of ‘Moonlight’ before ‘A Rainbow And A Star’.
From now on, like a rock version of Noah’s Ark, each of the trio of singers came on and off for two songs, Tobias returning for ‘Endless Paradise’ and ‘From A Whisper To A Scream’ then Alexander for ‘Kiss From Above’, again getting the audience involved and ‘Here Be Dragons’ which was absolutely superb, one of their heavier numbers yet still boasting big hooks.
On ‘Feed You My Love’, Therés Enström from Emotional Fire (of whom more anon) joined Jonny for a vocal duet, then after ‘The Runaway’ and ‘Heaven On The Run’, ‘Vagabond Rise’ was a grower. A highly enjoyable set, pitched somewhere between Brother Firetribe and Axel Rudi Pell, and with Victor Olsson proving every Swedish band must have a Malmsteen loving guitarist with flowing hair under a cowboy hat, ended with all three singers out front, sharing the load, on ‘Out Of My Life’.
Next up was one of those bucket list moments in Brian Spence. I remember back in 1986 Kerrang! touting the fact Polydor Records (as labels do) saw the Scot as their answer to Bryan Adams. I saw him just the once, supporting Skagarack at the Marquee that year, and loved his ‘Brothers’ album, but he was destined to be a footnote in history and I discovered over the weekend even a couple of melodic rock experts had not even heard of him.
Still a trim figure in his seventies, he has aged well and was not unflattered by his younger self on the cover of ‘Brothers’ glowering in sultry fashion on the backdrop behind him. Apparently he still does lower key shows regularly in the UK but his band, which included wife Debbie on backing vocals, began rather tentatively, opening with the title track of his second album ‘Reputation’ (which did much less for me) and I worried they might be a little too laid back for this audience (one drunken figure in a golfing jacket larging it up and hugging everyone excepted!)
However they soon settled and there were repeated reminders of the Celtic-tinged arrangements and intelligent songwriting that characterised ‘Brothers’ in ‘Backdoor’, ‘Love Is The Glory’, ‘Gandhi’ and the title track. At times the music was on the fringes where AOR meets pop, with Deacon Blue and even Sting cropping up as a comparison, ‘Come Back Home’ being a case in point. But I was impressed with the songs unfamiliar to me in ‘I Still Don’t Know’ which had a lot of depth to it, and the strong melodic hooks of ‘Falling In Love In A Foreign Land’.
After a cover of ‘Never Tear Us Apart’ in which bassist Ben Hackett switched to keyboards, ‘You Got The Whip’ (dedicated to Debbie!) saw the band jam out a little and Brian’s co-guitarist Al Vosper gradually take on a greater share of the leads, including on slide. ‘I Was A Zombie’) was a song written during Covid, but the gig really warmed up with a pair from ‘Brothers’ in ‘I Will Call You Family’ and ‘Will You Never Be My Friend‘, both sounding like a Celtic version of The Outfield.
The cognoscenti usually frown on well-known covers at festivals like this but an excellently delivered ‘Rebel Yell’ set us up nicely for the final song and crowning glory in one of the best hit singles that never was in ‘Hear It From The Heart’. It was wonderful to hear it 40 years on and just as heartwarming to hear the post-gig chatter that (much as Glass Tiger did a few years ago at Rockingham) his more pop-rock oriented sound was a perfect mid-festival change of pace. I really must catch one of his UK pub shows.
A rare appearance on home soil by Easy Action was one of the big draws for some, but not me, as my prior knowledge was shamefully limited to a pair of facts; that Kee Marcello left them to replace John Norum in Europe, and that they took Poison to court for ripping off one of their songs for ‘I Want Action’ (sic). I had them pigeonholed as a glam rock band, but those in the know told me that they released a much more polished follow up ‘That Makes One’ just before Kee quit the band in 1986, and that was the line up (a six piece with keyboards) and musical style on show tonight.
So it is fair to say I was blown away by the classic Scandinavian melodic sounds of opener ‘Code To Your Heart’ and ‘Partners In Crime’, and though the proggier sounding ‘Shake It Up’ was less good, ‘Talk Of The Town’ (did that inspire another Scandi band’s name?) and ‘Talk Talk Talk’ showed off the rich, deep vocals of fair haired singer Tommy Nielsen. Kee Marcello very much looked the rock star amongst the band but in a team effort, far from hogging the limelight was sharing guitar duties with Chris Lind. He also sang some of the ballad ‘Only Love’, which also featured a twin guitar solo.
As the set wore on, some new songs were in other musical styles with ‘My Demons’ U2-esque and a protest song (at least I think so) in ‘Hello Mr President Goodbye’. Some momentum was lost with instrumental solos and an acoustically driven passage, including ballad ‘In The Middle of Nowhere’ but restored with ‘Teachers Do It With Class’ (sic) which aped the swaggering Robert Palmer sounds of the time’, ‘Dazed’ and a very strong closer to a revelation of a set in ‘Eye For An Eye’.
And so to the headliner and the second Brit of the night and a bona fide legend in Russ Ballard. Since he belatedly began touring again I’ve seen him regularly since Covid, including on the aforementioned Rocknytt Cruise, and began to realise that the set featured a number of AOR-friendly tunes which all seemed to be from the same album, his 1984 self-titled effort. It was one I belatedly invested in and the selling point of his appearance here was that, rather than his usual show focusing on his whole recording and writing career, this set was devoted to a complete performance both of that album and its successor ‘The Fire Still Burns’.
Looking ridiculously youthful for a man who turned 80 last year, and sporting an ‘Old Grey Whistle Test T-shirt, he began with a quick spiel about how his songs had turned into hits for other people. Momentarily I thought that meant we were going to get his standard set, so it was with relief he embarked on the first of those albums in order, and there was a hearty singalong to the chorus of ‘I Can’t Hear You No More’. ‘In The Night’ was a reminder that he has also always been a skilled lead guitarist with a fluent style before the classic AOR of ‘Two Silhouettes’ and the period sounds of ‘Voices’ with its siren-like keyboards courtesy of Marc Rapson.
‘A Woman Like You’ began with those stabbing keyboard intros that us AOR-sters love so much and it was great to hear one that would not otherwise have been played in ‘Day By Day’. ‘Playing with Fire’ gave his excellent band greater scope to jam out, with second guitarist Paul Bond playing a rare lead, then ‘The Last Time’, a semi ballad that reminded me a little of Journey’s ‘Who’s Cryin Now’, ended a masterclass in melodic songwriting.
In an unexpected interlude, Therés from Emotional Fire came back on and played a couple of solo songs Russ had written, appropriately enough, for the Abba women – Frida’s electro-rock classic ‘I Know There’s Something Going On’ and the lesser known ‘Can’t Shake Loose’, recorded by Agnetha, and in doing so demonstrating a fine set of pipes.
A change of backdrop meant it was onto ‘The Fire Still Burns’, the follow up released in 1985. Now I did have this one at the time, but got rid of it, put off by the processed feel popular at the time including programmed drums. Yet here I loved the opening pair in Once A Rebel’, with an equally strong ‘run boy’ secondary chorus, and ‘The Omen’, as strong as anything off its predecessor. Should I have a sense of shame at my ignorant younger self, or did it take the full band treatment like this to do his songwriting justice?
However, ‘Hey Bernadette’ and ‘Searching’, which seemed to be something of a ‘Voices’ Part 2, were less strong, and ‘Your Time Is Gonna Come’ a reminder that the sound was more dance and synthesiser oriented in line with the fashions of the time. This set of songs felt longer and moodier, and as a result, at the end of a long tiring day, every time I looked around more and more people had called it a night, though in the case of one lairy drunk no longer pestering us, that was no bad thing.
It also didn’t help that arguably the album’s most enduring two songs came at the end of the running order- ‘Dream On’ was preceded by Russ modestly telling the crowd that most of his dreams had come true, then after a laundry list of war zones was updated to include the likes of Gaza and Iran, a storming ‘The Fire Still Burns’.
There was a special treat for those who were left as Russ switched from his Les Paul to a guitar with Swiss-cheese like holes, and played a couple of his best known songs: there was a cracking atmosphere for ‘Since You Been Gone’ as Rainbow are probably only second to Thin Lizzy in the affection in which they are held in Sweden, as was to be proven the next night. However musically it was eclipsed by an epic arrangement of ‘God Gave Rock’n’Roll To You’, notably in Marc’s classic mid-song organ solo. Incredibly, Russ had played for two hours and still had the stamina to conduct his meet and greet- it wasn’t to be his last contribution of the weekend either.
DAY 2- JOE LYNN TURNER, BROTHER FIRETRIBE, ONE DESIRE, PERFECT PLAN, EMOTIONAL FIRE
Day 2 began with another band I’d seen on that Rocknytt Cruise in Emotional Fire. They have since released their first EP and full-length album, but I was surprised as they came on stage that the original all-female line up was no more and the band was three-fifths male, depriving them of one of their unique selling points.
I was a little puzzled when in his introductions Stefan Johansson made a reference to cocktail bar friendly music, and sure enough their eponymous opening track, the Diane Warren, Michael Bolton and Desmond Child co-write most famously covered by Cher but also our night’s headliner on the Sunstorm project, seemed a little flat and lacking the energy and punch of the original.
Original numbers like ‘Somebody’, ‘Don’t Lose Yourself’ and ‘Like A Phoenix’ seemed rather underpowered AOR lite, though ‘Be With You was impressively melodic. There was no doubt that Therés Enström was the star of the show, looking increasingly commanding on stage, and slowly the band responded to a supportive crowd’s encouragement, suggesting I was maybe being overly harsh in my judgements. More impressive were ‘I Want You here With Me’ with a classic keyboard intro from Daniel Myhr and ‘The Beast In Me’, which apparently was a cover.
Even better was to follow with ‘Will You Be There’ reminding me of Heart and not only in the title, while during the ballad ‘Fire In Your Eyes’, Therés gave her all, kneeling at the front of the crowd, singing in passionate fashion and getting a clap along going. So by the time of set closers. ‘Turn Around And Walk Away’ and ‘Breaking Me Up’ I ended up far more impressed than when the set started.
Perfect Plan’s rise from a quintet of middle-aged Swedes from the sparsely populated north in day jobs to one of the top melodic rock acts in Scandinavia is one you could make a movie about. They were certainly one of the draws of the festival for me, as they rank among my favourites yet, never having yet reached the UK, I had only seen them the once at Malmo Melodic.
In particular their second album ‘Time For A Miracle’ is for me among the very best melodic rock albums of recent years and I was delighted that a lengthy intro tape heralded the title track with its powerful, almost pomp-like approach and soaring chorus.
The band blend AOR moments with more traditional bluesy heavy rock and ‘Bad City Woman’ was a fine example of the latter, even if a little close in places to Skin’s ‘Look But Don’t Touch’, while the first of a trio from most recent album ‘Heart Of A Lion’, ‘One Touch’ impressed with its direct simplicity.
The band were very professional and their trump card will always be singer Kent Hilli – the man also recruited to one of his favourite bands in Giant. Though there are elements of Tempest and Coverdale in there, his delivery on the more AOR numbers is to me pure Jamison, and his shades and jacket and stage moves only add to the comparison. So it was appropriate that after a pair from ‘…Miracle’ – ‘What About Love’, with one hook after another and his putting heart and soul into the mighty ballad ‘Fighting To Win’, we got a note perfect cover of Survivor’s ‘Didn’t Know It Was Love’, arranged for audience participation.
That trio of songs raised the bar so high that even an otherwise excellent song like ‘Better Off Alone’ suffered in comparison, while on another newie ‘Too Tough’ the band soldiered on through some technical gremlins that impish guitarist Rolf Nordstrom suffered.
There were a couple of those more traditional, Deep Purple family-influenced songs in ‘Gotta Slow Me Down’ and ‘Surrender’, one of those rare songs where the bridge and the chorus are equally memorable, while the other new song ‘We Are Heroes’ had a more modern, Brother Firetribe type vibe to it.
They went back to the beginning for the final songs in ‘Heaven In Your Eyes’, brought to a close with some brilliant vocal harmonies, and the song that started it all in a majestic ‘In And Out Of Love’.
It was a set every bit as good as I’d anticipated and set a high bar to follow for One Desire, the young Finns who burst on the scene with two fine albums a few years ago and who have regrouped after a bit of a chequered history of some intra-band differences.
In one of his more amusing soliloquies, our host Stefan said that AOR was not just about happiness and air keyboards, but the heartbreaks of love and the uniquely Scandinavian sense of melancholy. He said those feelings were epitomised in one song, ‘Hurt’ and sure enough they began with that, lead singer André Linman encouraging a mass forest of hands on the chorus in a crowd that was as packed as any during the weekend.
After ‘Never Gonna Stop’ which I enjoyed despite being less familiar with, they threw in some of their best songs first in ‘Apologize’ and ‘After You’re Gone’, where the talented Jimmy Westerlund (who looks like a cross between fellow guitar heroes Messrs Schon and Lukather) carried the catchy guitar melody. ‘Shadowman’ showed their more progressive side, but also a more modern sound embracing electronics, that contrasted quite drastically with Perfect Plan’s old-school approach.
They lost presentational points for not speaking in English before this international gathering, while the white spotlighting meant that the crowd saw a band bathed in darkness for long periods. After ‘Heroes’, ‘Through The Fire’ proved a bit of an epic, Jimmy taking the initial lead vocals and playing acoustic but the song climaxing in a jam between him and André. The latter then excelled on ‘This Is Where the Heartbreak Begins’, both singing and playing the guitar solo.
However I did feel the quality dipped a little for the rest of the set with ‘Down And Dirty’ with some almost techno sounds, ‘Turn Back Time’ and ‘Whenever I’m Dreaming’, before the frantic and slightly out of character closer of ‘Buried Alive’. Attention was distracted however by a stage invader wanting to be reunited with the hat he had thrown on stage and security seemed to allow him there for so long that I briefly wondered if he was part of the act. It had been an uneven set, but also one to prove that AOR should be an evolving creed which One Desire are taking in a more modern direction to adapt to changing musical production values.
The senior of two Finnish bands in succession were Brother Firetribe, who I was eager to see after a show-stealing appearance at Malmo Melodic last year (which has also earned them a headline this year at that festival). On that occasion the set focused on more recent material including their latest EP, but this time it was a greatest hits type set with a generous selection from their first couple of albums.
Opening with the title track of ‘Break Out’ from the debut (aka ‘False Metal’) which amazingly is now 20 years old, a series of simple songs driven by the keyboards of Tomppa Nikulainen and with one hook after another had people singing along and punching the air- ‘I Am Rock’, ‘One Single Breath’, ‘Midnight Queen’, ‘Valerie’ and ‘I’m On Fire’, with barely a pause for breath.
Seemingly ageless singer Pekka Ansio Heino was one of the best frontmen of the weekend – and certainly the most dapper in his lilac jacket – and had the crowd in the palm of his hand. The title track of that EP ‘Number One’ rivalled the oldies for catchiness, though ‘Shock’ was a little different, similar to the clinical gothic rock of the likes of Sisters of Mercy or HIM.
The singalongs continued however with ‘Just Another Night’ and the daft but insanely catchy ‘Chariot Of Fire’. ‘Night Drive’ with its synthwave overtones was another slight departure, before more instant anthems in ‘For Better Or For Worse’, and ‘Bring On The Rain’.
The set ended with one more singalong in ‘Heart Full Of Fire’- as the band dragged out its finale, guitarist Roope Riihijärvi teased with the riff of ‘Seven Nation Army’, resulting in the crowd chanting along for a good couple of minutes before Pekka implored them to stop and they finished the song. In a festival of many memorable moments, that may have been the very best. My delight was only tempered by thoughts of what might have been when they and One Desire cancelled a joint UK tour a couple of years back.
And finally another bucket list moment with the closing headliner in Joe Lynn Turner. He is occasionally seen in the UK (though less often than in Russia judging from setlist.fm) but the rarity value here was a full performance of his 1985 album ‘Rescue You’, his debut solo effort in the aftermath of Rainbow disbanding, and the one which gave free reign to the AOR tendencies during his tenure in the band. Sadly it was not a success, and after spells with Yngwie Malmsteen and Deep Purple, when he resumed his solo career it was in a slightly more organic and bluesy fashion, so I feared it was an album that had been lost to history.
Also consigned to history is his long-standing wig, so it was a shaven headed figure in a black leather coat, like a junior Rob Halford, who hit the stage. At 74 you can add him to the small number of singers who have retained his vocal power and range, while he was a consummate frontman with his New Yorker’s patter and the right words of thanks to staff and crews.
However he began with a couple of Rainbow classics far removed from AOR in a powerful ‘Death Alley Driver’ where his old Brazen Abbot bandmate and Blackmore devotee Nikolo Kotzev and Swede Will Oaks embarked on one of those classic guitar-keyboard battles, and fists were punching to ‘Power’, featuring another keyboard solo.
Introducing ‘Rescue You’ as being 40 years old, he could be forgiven for missing the extra year. I could scarcely control my excitement at hearing the lead off cut, and my favourite, ‘Losing You’, while ‘Young Hearts’ and the lush semi ballad ‘Endlessly’ were reminders that this was like a lost Foreigner album – indeed one in which their former keyboardist Al Greenwood was the main collaborator.
However after the title track, both Joe and the band relaxed somewhat and put their own stamp on proceedings, notably getting into a groove on ‘Feel The Fire’, and he allowed his voice to take the slightly grittier style he has subsequently developed.
If ‘Get Tough’ was a relative weak spot, the band did full justice to AOR classics like ‘Eyes Of Love’ and ‘Soul Searcher’, and enlivened ‘On The Run’ and closer ‘The Race Is On’ in a way that took them a little closer to Purple or Rainbow territory.
Talking of which the rest of the set was always going to be a bit of a greatest hits, starting with a rattling ‘Can’t Happen Here’, then, preceded by an anecdote about how the title came from a lovelorn Roger Glover, a quite brilliant version of ‘Stone Cold’, the first song with which (controversially at the time) Ritchie Blackmore steered Rainbow into that AOR direction. On a night like this, it maybe would have been nice to get others in that ilk like ‘Street Of Dreams’ or ‘Can’t Let You Go’.
In what was a badly kept secret, with Pekka from Brother Firetribe very nearly letting the cat out of the bag, last year’s night’s headliner Russ Ballard returned, to add additional guitar and vocals to ‘I Surrender’. Incredibly, even though he wrote the song which in Joe’s hands ended up being Rainbow’s biggest charting hit single, the two had never actually met before the weekend. To be near the front and soak up the atmosphere during that was quite stunning.
However ‘Spotlight Kid’ ensured there was no anti-climax, with another of those great guitar and keyboard battles, and was scheduled to end the set. Yet the force of reaction persuaded JLT to return for an encore and ask if we fancied some Purple: and that his crack band (completed by Ken Sandin and Darby Todd) all knew the songs even if they had never rehearsed them together. I feared we might get a safe run through of ‘Smoke On The Water’ but instead they pulled off the greater musical virtuosity of ‘Highway Star’ with aplomb, even if I think Joe may have missed the odd vocal line.
It was a memorable end to an outstanding debut Wings of AOR. A series of well-chosen and in some cases unique performances, a lovely venue and friendly and accessible set up all made this one of the highest quality melodic rock festivals I have attended, and I have been to a few! The good news is that very strong hints were dropped that there may be further editions.
Review by Andy Nathan
Photos by Andy Nathan and Michele Kostiner
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Power Plays w/c 11 May 2026
BREITLER Sentinel (El Puerto Records)
FIRE IN HER EYES Too Late To Change (indie)
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