When two virtuosos like Adrian Smith and Richie Kotzen join forces, expectations run high – of course they do – but the pair’s new album Black Light/White Noise doesn’t just meet them—it delivers a masterclass in bluesy, hard rock swagger that feels both timeless and surprisingly vital. Following their 2021 self-titled debut, this sophomore effort from the Iron Maiden legend and the former Poison/Mr. Big/Winery Dogs maestro is a tribute to their seemingly effortless chemistry, distilling classic rock grit, soulful vocals, and impeccable guitar craft into a lean, mean ten-track collection. Rooted in the blues and classic hard rock, Black Light/White Noise sidesteps all the self-indulgent traps of muso projects, letting tightly crafted songs take centre stage while reserving the fretboard fireworks for maximum impact. It’s classy, unpretentious, and brimming with passion. Just like it’s two protagonists…

From the off, Muddy Water sets the tone with its rollin’ and tumblin’ rifferrama and dual vocal interplay that feels both slick and spontaneous, a perfect encapsulation of Smith and Kotzen’s yin-yang dynamic. Both men are in fine voice—Smith’s gritty, soulful timbre complements Kotzen’s higher, raspier tenor, their harmonies weaving with a casual grace that elevates tracks like the punchy Life Unchained and the urgent Blindsided. The latter, with its plucked chords erupting into a high-gain roar, showcases their ability to balance subtlety with raw power. White Noise channels a Deep Purple-meets-Soundgarden vibe, its bluesy grungeable riffs and societal lament cutting through with dazzling leads, while Black Light leans into seventies rock strut, Kotzen’s Coverdale-esque vocals riding a wave of fluid legato licks.

Standouts include Wraith, a ghostly gem that opens with shimmery effects and unfolds into one of the album’s strongest choruses, its interplay of toms and guitars pure magic. Darkside is another highlight, its Southern rock-tinged acoustics and earthy refrain evoking a simpler era, with Smith’s songwriting recalling some of his finest Maiden moments. But the crown jewel is Beyond The Pale, a languorous, proesque closer that stretches past seven minutes, blossoming from mournful chords into a sumptuous showcase of harmonised vocals and soul-stirring solos. It’s a fitting end to an album that thrives on feel over flash.

Not every track hits the same heights— Heavy Weather is solid but less memorable—but the duo’s gusto and technical prowess keep things engaging. Smith, often overshadowed by Maiden’s galloping epics, reveals his pop and blues DNA here, his soulful voice a revelation for those unfamiliar with his pre-Maiden days. Kotzen, meanwhile, brings his Telecaster pyrotechnics and stratospheric vocal bite, grounding the project in raw, barroom energy. Together, they strike a blow for well crafted rock ’n’ roll in an age where heavy guitar music – or any guitar music, for that matter – is too often dismissed as a relic.

Black Light/White Noise isn’t groundbreaking, t then it isn’t trying to be. Rather, it’s the sound of two incredibly, mind-bogglingly talented musicians having a blast, crafting songs that resonate with heart and authenticity. For fans of any of the projects these two have been involved in, it’s essential listening, but really anyone who loves muscular, blues-tinged rock will find plenty to savour here. Here’s hoping Smith’s Maiden commitments and Kotzen’s myriad projects don’t delay a live outing—or a third album that digs even deeper. For now, crank this up, grab a whiskey, and let the riffs roll.

Black Light/White Noise is out now.