Thundermother understand rock’n’roll. They always have.
This is not a band that has ever seemed interested in reinventing wheels, chasing trends, or wondering whether some focus group somewhere might think the guitars are too loud. Instead, they plug in, turn it up, and let the thing do what it is supposed to do.
On their 2025 album, “Dirty & Divine”, they unleashed their sixth record, and their first with the new line-up of guitarist Filippa Nässil, vocalist Linnéa Vikström Egg, returning bass player Majsan Lindberg and drummer Joan Massing. On MV at the time, we said: “The album shines a light on the band’s love for music. While the themes may feel familiar, ‘Dirty & Divine’ could have been released at any point since the ’80s and still sounded amazing.”
“Live’n’Alive” follows that path exactly. It is dirty, swaggering rock’n’roll, and surely everyone can feel it.
“Can You Feel It” gets things moving in Cologne with the sort of riff that does not knock politely. It kicks the door in, grins, and asks where the party is. “Loud And Free” makes the point even clearer. This is rock’n’roll the way it used to taste: rebellious, loud and utterly unapologetic.
“The Road Is Ours” is the first real reminder that if this had come out in 1989, Thundermother would have been megastars. They really would. There is a slower-paced, “Wanted Dead Or Alive” feel to parts of it, but it never drifts into parody. The reason is simple: they mean every last second of it.
The energy keeps coming on “So Close”, while “Bright Eyes” is the first time they even appear to pause. Even then, it is only to reboot a bass swagger and start again. “Take The Power” boogies like it is ready to cause trouble at the drop of a hat, while “Dead Or Alive” is their vampire song, because of course Thundermother were always going to have one of those.
“I Don’t Know You” adds crowd participation and a huge hook, and that is where “Live’n’Alive” really starts to make its case. These songs are built for rooms full of people yelling them back. That is the point. That is the whole glorious business.
“Sleep” sees the acoustics come out, but only to show Vikström Egg’s stunning voice. It is a different gear rather than a soft option, and it gives the album a little more range before “I Left My License In The Future” arrives as an unapologetic party song.
“Dog From Hell” is classic rock in every sense, “Can’t Put Out The Fire” has soul as well as fun, and “Whatever” keeps the thing moving with the same no-fuss directness. There is more than a whiff of AC/DC about “Shoot To Kill”, but that is no bad thing. Plenty of bands borrow from that well; fewer understand the spirit of it.
“Try With Love” is carefree rock’n’roll that you cannot fail to enjoy, while “Thunderous” gets a little more carefree and bluesy. By the time the encore rolls in, “Hellevator” is almost sleazy Van Halen, “Speaking Of The Devil” underlines the fact they belong in arenas, and “Driving In Style” does exactly what it says. Straight into the fast lane and away we go.
The live album is often derided, and maybe sometimes fairly. Too many of them feel like contractual obligations with cheering bolted on. But listen to the joy here. It comes from the stage, and it transmits.
That is what Thundermother do. They make rock’n’roll feel like rock’n’roll. Simple as that, and all the better for it.
Rating: 8.5/10
