By David O’Neill
From the moment you entered Hangar 18, it was clear this was no ordinary album launch. The venue, festooned with blue and yellow balloons twisted into the likeness of krakens, set a playful yet electric tone. Fans, many in King Kraken shirts, buzzed with anticipation, snapping photos of the elaborate decorations and chatting about the band’s growing reputation after high-profile festival appearances and a relentless ÜK touring schedule.
Tattoo Molly opened the night with a set that showcased why their reputation is built on live performance energy. Songs like ‘Nail in the Coffin’ pulsed with swagger and rawness reminiscent of AC/DC, their powerhouse vocals and infectious riffs quickly winning over early arrivals. The band’s ability to translate studio energy into a live setting was evident, and their rapport with the crowd set a high bar for the evening.
Molly Karloff followed, delivering a punchy, riff-driven set that blended grunge influences with contemporary hard rock. The Oxfordshire trio’s tight musicianship and charismatic stage presence kept the momentum building, with frontman Simon Gee’s vocals cutting through the mix and the rhythm section driving each track forward. Their set was another reminder of the depth of talent in the ÜK’s underground rock scene.
As the house lights dimmed, the opening strains the stormy sea video clip from ‘Clash Of The Titans” ended with Ralph Fiennes and Liam Neeson declaring “release the Kraken!”. So the band entered and ripped the place apart with ‘Scream’ ringing out, the crowd surged forward. King Kraken, clearly relishing their return to the live stage after months of preparation, launched into a set that was both a celebration and a showcase of their evolution as a band.
The setlist was a tour de force, opening with ‘El Giganto,’ and ‘Berserker’ from ‘March Of The Gods’ and each song was delivered with precision and ferocity. The band’s chemistry was undeniable, the product of focused rehearsal, and their groove-laden metal sound was both heavy and infectious. ’Green Terror’ and ‘Haddonfield 78’ (from ‘MCMLXXX’) saw the crowd headbanging in unison, while ‘Vigilante’ and ‘Preacher’ highlighted the band’s knack for combining storytelling with crushing riffs from the new album.
Midway through, ‘Magnum Opus’ and ‘Under The Sun’ provided a dynamic shift, with soaring choruses and intricate guitar work from Adam Healey and Pete Rose. Bassist Karl Meyers and drummer Rich Mears locked in tightly, driving the songs with relentless energy.
The emotional peak arrived with ‘Hero,’ a track that resonated deeply with the crowd, before the title track and almost raised a tear from Mark Donoghue. ‘March Of The Gods’ itself brought the spectacle to new heights. As the song reached its climax, a dramatic balloon drop filled the venue with hundreds of kraken-shaped balloons, sending the audience into a frenzy and cementing the night’s celebratory atmosphere.
The main set closed with ‘Chainsaw Saviour,’ but the band was far from finished.
The encore was a masterclass in sustained intensity. ‘Man Made Monster’, ‘Bastard Liar’, and ‘Freak’ whipped the crowd into a final frenzy, before ‘Castle of Bone’ provided a thunderous, cathartic conclusion. Throughout, vocalist Mark Donoghue commanded the stage with a mix of charisma and grit, his vocals soaring above the maelstrom.
The sense of occasion was palpable. Fans old and new sang along and celebrated not just the band’s new album but their journey from local heroes to potential festival mainstays. The band’s gratitude was clear, with heartfelt thanks between songs and a promise to keep pushing the boundaries.
King Kraken’s ‘March Of The Gods’ album launch was more than a concert – it was a declaration that the band has arrived at a new level. With a meticulously crafted set, a visually stunning venue, and support from two outstanding bands, the night was a triumph for everyone involved. As the last notes of ‘Castle Of Bone’ faded and the crowd spilled into the Swansea night, there was no doubt: 2025 is shaping up to the year the Kraken was truly released…
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