Review: Black Dog Moon

Next up is Black Dog Moon and their brand new album Hell and Back, a record that perfectly captures a band hitting full stride with confidence, heart and a serious amount of bite. Hailing from County Down, this five-piece blend experience and hunger in a way that feels authentic rather than nostalgic. Fronted by Conal Montgomery, whose journey back to music gives these songs real weight and purpose, Black Dog Moon have already proven themselves on big stages and festivals – and Hell and Back sounds exactly like a band ready for even bigger things.

The album opens with The Prophecy, gliding in softly and immediately setting a mood of mystery and anticipation. The use of space here is outstanding, giving the song real power without ever feeling rushed. It’s laid back, relaxed and quietly commanding. Conal’s vocal sits somewhere between Phil Lynott, Ricky Warwick and a hint of early Meat Loaf, carrying warmth and authority in equal measure. As the song unfolds, an emotion-driven, soaring guitar line lifts everything higher, turning this into a chilled rocker that feels epic without being overblown. It’s a journey of a song and a statement of intent, showing a band who know exactly who they are.

Neon Queen ups the ante immediately, crashing in with buzzsaw guitars that nod toward early Mötley Crüe, but with a modern edge that keeps it fresh. This is a head-nodder from the first bar, driven forward by a soaring vocal that adds real grandeur. There’s a subtle Dio influence in the delivery, but it’s worn lightly, never tipping into imitation. The track powers on relentlessly before delivering a feeling-driven guitar solo that genuinely takes your breath away. A perfectly placed middle eight expands the soundscape before the song explodes back into life. The soft/loud dynamics feel familiar but are handled in a way that feels new. A massive anthem delivered with passion and authenticity.

The Ghostly Scots Pine Trees reveals another layer of the band, hinting at Irish heritage not through clichés, but through feel and atmosphere. Again, space plays a huge role, allowing the track to breathe and unfold naturally. There’s a deep sense of longing and quiet desperation woven into the song that translates beautifully to the listener. It’s a rich, immersive soundscape that blends multiple influences into something genuinely unique and deeply affecting.

With 1985, the band show a different side again, bursting in on an almost 70s punk guitar line that Steve Jones would have been proud of, before morphing into a melodic, sing-along rock track soaked in nostalgia. This one is a firm favourite in the Band Assist office. It feels personal yet universal, like a classic rock song you somehow forgot existed. If there were any justice, this would be on heavy rotation across mainstream radio. It’s timeless, heartfelt and brilliantly written.

A Heavy Shot of Love swaggers in with power and confidence, a straight-ahead rocker that instantly grabs you by the collar. The double-vocal chorus is pure earworm territory and will live in your head for days. The guitar work effortlessly weaves around the full-throated vocal, creating something that feels both familiar and distinctive. Just when you think you know where the song is heading, the breakdown flips the script entirely. By the end, our whole office was chanting “Heavy Shot of Love” in unison. This is absolutely single material and a crowd favourite waiting to happen.

Leaving Town Again leans back into the band’s masterful use of space, delivering a ballad-driven track that feels painfully relevant right now. It carries a powerful message, delivered with restraint and emotional weight. As ever, Black Dog Moon throw in a curveball, building the song with crunching guitars that reinforce the meaning rather than overwhelm it. Every guitar note lands with intent, making this a standout example of mature, thoughtful songwriting.

Holy War arrives almost as a whisper, letting the vocal take centre stage before the full band crashes in with epic force. This is Black Dog Moon dealing in soundscapes rather than simple songs, unashamedly grand and cinematic. Few bands can pull this off without sounding indulgent, but here it feels natural and earned. It’s bold, dramatic and hugely effective.

Gratitude shifts gears again, injecting a funky swagger into the album. The band’s ability to blend genres while still sounding unmistakably like themselves is genuinely impressive. This track rocks hard but knows how to have fun, strutting confidently before stripping back into a brilliantly executed breakdown. When the band kick back in, the layers stack up beautifully. Try not singing along to “Gratitude” by the end – we dare you.

Lost My Mind in California boasts one of the strongest intros we’ve heard in the last year. It stomps in with authority before soaring into a full-blown rock epic. The melodies are addictive, the delivery authentic and once again you find yourself completely immersed in the band’s world, pulled along whether you like it or not.

The title track Hell and Back hits like a lost cut from Appetite for Destruction, racing forward with unapologetic rock energy. This is festival-ready, fist-in-the-air stuff, complete with aggressive guitar lines and a rebellious spirit that feels more needed now than ever. The spoken-word breakdown leading into a defiant chorus captures exactly what rock music is meant to be about – standing up, pushing back and refusing to lie down quietly.

The album closes with Black Hearts and Diamonds, beautifully bookending the journey that began with The Prophecy. There’s a soulful melancholy here, with a storytelling quality that feels almost lost in modern music. Touches of Clapton-style phrasing and reflective narrative bring the record to a deeply satisfying close, rounding off what has been a genuinely spectacular musical journey.

Hell and Back is bold, varied, heartfelt and unapologetically rock. Black Dog Moon don’t just sound ready for bigger stages – they sound like they belong on them. And if this is them going to hell and back, we can’t wait to see where they go next… just don’t leave us waiting too long for the return trip.