Burning Witches, Hammer King – Manchester Academy 3 – 25th January 2026

We spend a splendid Sunday night with the Witches & Kings Tour on the final date of three UK outings. That’s Hammer Kings who are delighted to be in England and Burning Witches, doing their bit for the gender balance in Metal which has been given a serious boost in our January gig schedule.

BURNING WITCHES

Last seen in town with KK’s Priest, the Witches set comes fully adorned with a colorful backdrop and screens that draw from the current album art and with a logo that’s Metal enough but still readable. we allow ourselves a little chuckle as the band storm the stage, Courtney Cox having already taken her place at stage right before bassist Jeanine Grob does her version of the Steve Harris sprint, but confined to a much smaller space.

Their Inquisition album is less than six months old and it’s with a smearing of drama that the Sanguini Hominum intro leads into the opening pairing of Soul Eater and Shame from said album. No surprise (given the run of song titles) that the thread of medieval persecution and resistance is proving a strong one this evening.

The stage fans immediately do their job to facilitate the windswept look. Romana Kalkuhl is in a constant battle with her blonde mane, and there’s much tossing back of the heads as the frontline four become driven by the barrage they dispense. For the umpteenth time in January, it’s not long before, once again, we’re “hey-hey-hey“-ing or “oi-oi-oi“-ing along with a pumping Metal pulse.

RUNNING THE GAUNTLET

Both guitarists get off the mark early doors with solos to match the scream and growls, and while Laura Guldemond might not have the physical stature when compared with the Hammer King, she’s a lean fighting machine who can rabble rouse with the best. Plus she’s not averse to donning some horned headgear as the Witches Dance With The Devil or break the fourth wall when she suddenly disappears only to emerge from the back of the hall and run the gauntlet during Lucid Nightmare.

Meanwhile, encountering witches aplenty, steel maidens, devils, nightmares and soul eaters, we move into more epic territory with Dark Tower with the sort of frantic tempo that sees the Metallica influences come into play. Black Widow, one from the archives, proof that that inspiration lies deep.

A brief respite sees the title track of the new album set up, further proof that Inquisition has a handful of tracks that would serve comfortably as intro songs. Feels almost like we’re getting a reset into the next part of the set as an evocative atmosphere is set up with evil cackles and tolling bells. There’s even a mysterious inquisitor prowling the front rows. Release Me follows, bang in the middle of the set. The ballad from the new album comes with a swaying sea of smartphone lights and an emotive solo from Cox.

RELENTLESS BARRAGE

The second half of the set seems to up the ante. A few nods to inspirations and influences might be picked out in a one after another, relentless barrage climaxes in another reset leading into Hexenhammer to kick off the final lap. Another cloaked figure creeps out clutching a severed head. Tonight’s prop roadies have earned their money. Not unlike iron Maiden, these steel maidens have their own eponymously titled song as a showcase and as the Burning Witches sign outa triumphant Burning Witches, there’s a overbearing reaffimation that 2026 – so far- has shown the enduring appeal and quality of the Metal genre.

HAMMER KING

Or – a lesson in how to royally entertain a Heavy Metal warm up crowd.

A short delay in getting into the venue (“is that a queue? f@@king ‘ell!“) means we’re few minutes into the Hammer King set. We join the party alongside the stuffed toy chicken at the sound desk, to be confronted by the huge presence of Titan Fox. No-one is going to stand at the bar and talk all the way through his set. Standing atop a riser, his height and the low ceiling in Academy 3 has probably had to undergo a risk assessment pre-gig. All passes off without incident though as he declares: “We are Hammer King are we are here to make Metal royal again!” The latter part is the title track from the latest album, as we launch into an hour in which the Mancunians become honorary members of the Hammer kingdom.

The initial fearsome presence is duly softened as Titan leads the band – all looking very formidable in Metal black outfits, face paints and poses (the classic raised fist/one handed bass playing) from the Metal bible – through a set that’s part panto, part hefty riffing and with a generous dollop of crowd participation. One could easily snub the presentation off as baloney, but the crowd are up for it and it’s all great fun.

HANDS OFF THE HAMMER

It all sounds well mixed and balanced too with a rare clarity to the vocals and as has been the case over the past few gigs with the likes of Epica and Amaranthe, the chance to chant a few more “hey-hey’s” isn’t going to be turned down. The songs are just part of the Hammer King package, as Titan is regularly served by his maid, whether its in removing his ceremonial battle colours and gloves (no easy feat) or helping dish out gold coins – presumably the chocolate variety? – in a sort of Maundy Thursday / alms for the poor fashion during König und Kaiser. He also has a squire who serves him the sort of huge hammer you’d see carried by Gimli in the Fellowship of the Rings. “He’s the only one allowed to touch my hammer in public!“

There’s also music to be played. Songs of brigandry, adventure, and all manner of anthemic hailing accompanied by chunky dense riffing. A commitment in following their mantra of making Metal royal again. While Major Domus adds another anthemic notch to the set, Hammerschlag ups the tempo with a good old fashioned thrash as Titan yields a selfie stick like a spear for a veniremen of Manchester going crazy.

BACK TO THE EIGHTIES

After a slight diversion into the Eighties to skip by Kenny Loggin’s Danger Zone, the final of The Kingdom Of The Hammer King from their first album (newly remastered with a bonus live album – great entry point for new recruits) and The Last Kingdom see them ticking Metal boxes marked – twin guitar lines, a Halford scream, a bit of trash and a Maiden-esque breakdown (think Revelations).

As the final chord fades, you almost know the quintet aren’t simply going to wave and walk off. They form a solemn line and take the applause as a rich, courtly voice makes the band introductions before a final lament from Titan. A support set that you honestly could not fault.

All photography by Andy Pountney (Event Photography Awards Winner 2024 and 2025). You can check out more of his work on shot_in_the_dark_photography2 on Instagram.

Burning Witches: Website

Hammer King: Website

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