Bruce Dickinson: More Balls to Picasso - Album Review
There are few metal vocalists who can stand shoulder to shoulder with Bruce Dickinson. For over 40 years, his name has been synonymous with operatic power, storytelling grandeur, and relentless energy. As the voice of Iron Maiden, he’s given us some of the genre’s most enduring anthems, Run to the Hills, The Trooper, Hallowed Be Thy Name, but his solo work is where Bruce lets his creative instincts run wild.
With More Balls to Picasso, going live on July 25th, Bruce revisits his 1994 solo record Balls to Picasso and gives it a complete overhaul. This is not just a remaster with a few tweaks. Every track has been reworked, every riff sharpened, and every vocal line re-delivered with the kind of intensity that makes you wonder if Bruce secretly found a time machine and went back to his 30-year-old self.
Revisiting the Past, Reinventing the Future
When Balls to Picasso first hit the shelves in 1994, it was a bold declaration of independence. Bruce had temporarily stepped away from Iron Maiden, and the album showcased a more experimental side of his songwriting. It had groove, blues influences, and flashes of raw power that showed he wasn’t just “the Maiden guy.” But while it was well-received, the production always felt a little too polished, a little too much like a product of its era.
More Balls to Picasso fixes that. The reworked album sounds heavier, bolder, and more alive. The guitars are chunkier, the drums punch harder, and Bruce’s vocals cut through the mix with a confidence that only comes from decades of commanding stages around the world.
A Sonic Makeover
The production on More Balls to Picasso is modern but not sterile. There’s a grit to these recordings, a warmth that gives them the feeling of a live band in a room rather than a studio experiment. The guitars, in particular, have been beefed up, with tones that would fit right at home on Accident of Birth or The Chemical Wedding. The rhythm section drives each song forward with a muscular groove, giving Bruce’s soaring vocals a rock-solid foundation.
Rather than highlight each track individually, it’s worth noting that the album flows like a cohesive narrative. Tracks like “Cyclops” and “Laughing in the Hiding Bush” hit harder than they ever did in 1994, while “Hell No” sounds like a defiant battle cry with riffs that have been fine-tuned to perfection. And then there’s “Tears of the Dragon,” the ballad that has long been considered one of Bruce’s solo masterpieces. Here, it shines even brighter, with an emotional delivery that feels deeper and more reflective, proof that some songs simply get better with age.
The reimagined tracklist feels tighter and more deliberate. There’s less of the “trying to find a solo sound” vibe that the original had, replaced with the clarity of an artist who knows exactly who he is. You can tell Bruce had fun revisiting these songs, breathing new life into them rather than simply preserving them like museum pieces.
Bruce Dickinson’s Voice
One of the most remarkable things about this album is just how good Bruce still sounds. At 66, his voice remains a force of nature. He’s always been known for his sky-high notes and commanding tone, but here he delivers with a mix of power and grit that suits the updated arrangements perfectly. There’s a rawness in his mid-range that gives songs like “Cyclops” a darker, more mature edge, while his high notes still cut like steel.
Listening to him tackle these songs again is like watching a veteran swordsman show off his skills, not just powerful, but precise, honed by years of experience. His delivery on “Tears of the Dragon” is especially breathtaking, blending vulnerability with that classic Dickinson roar in a way that will give longtime fans goosebumps.
Maiden Shadows and Solo Freedom
Fans of Iron Maiden will find plenty to love here. While More Balls to Picasso isn’t trying to mimic Maiden’s signature gallop, there are nods to that DNA in the harmonised guitar leads and dramatic vocal phrasing. Yet, there’s also a sense of freedom here that comes from Bruce writing outside the Maiden machine. The riffs are looser, the grooves are more varied, and the songs feel less tied to a single formula.
It’s like Bruce is saying, “Yes, I can still deliver metal anthems, but I can also explore other corners of hard rock and bluesy grit.” That willingness to experiment is part of what made his solo career so interesting in the first place, and More Balls to Picasso doubles down on that adventurous spirit.
Humor and Swagger
Bruce has always had a mischievous streak, and it comes through on this album. Songs like “Sacred Cowboys” still carry that playful, almost sarcastic tone, but now they feel even more confident. There’s no sense of an artist trying to find his solo voice anymore, this is Bruce having fun, kicking the walls down, and daring you to keep up.
He’s never taken himself too seriously, and that humour gives this album a certain charm that sets it apart from more self-serious metal releases. You can imagine him grinning as he belts out the chorus of “Hell No,” still that same audacious frontman who could command a stadium of 50,000 fans with just a smirk and a scream.
Why More Balls to the Wall Works
The decision to revisit this album now feels perfectly timed. Iron Maiden are still one of the biggest touring bands in the world, but Bruce clearly has more to say on his own. Instead of cranking out a new solo record, he’s chosen to give one of his most overlooked works the attention it deserves, and in doing so, he’s crafted something that feels entirely new.
This is not just a nostalgia trip for old fans. The updated arrangements, heavier guitars, and more confident production make More Balls to Picasso a genuinely strong modern metal album. It’s as relevant now as it was daring back in the 90s. For younger fans who may have never dug into Bruce’s solo catalog, this is the perfect gateway.
These are songs that were already strong, but in their 2025 form, they feel like they’ve finally reached their full potential. The performances are tight, the energy is palpable, and Bruce himself sounds like a man who still has something to prove, even when he doesn’t need to.
At its core, this album is a celebration of Bruce’s identity as a solo artist, separate from the Iron Maiden machine. It’s a reminder that he’s not just a frontman, he’s a songwriter, a performer, and a storyteller who thrives on reinvention.
If Balls to Picasso was Bruce stepping out of Maiden’s shadow, More Balls to Picasso is him casting a new one, taller and darker than ever. It’s heavier, smarter, and just a little cheeky, exactly what you’d expect from a man who once flew his band around the world in a Boeing 747 just because he could.
Written by: Chernoglav, the Hero with the Silver Moustache
“Howdy, I’m Chern. Yes, I still listen to Power Metal and yes, I still cover my face for tax reasons. I review gigs and live in the Citadel with the other half of this duopoly of doom, Chort. Oh and our dog, Ratboy.”
