Kicking off with the first track off the brand-new record ‘Free Rein To Passions’, the crunchy jaggedness of that ‘Celebration’ opening riff gets the band off on the front foot. Heads nodding in sync with plenty of attendees already familiar enough with the song to recite the lyrics back to frontman Luke Bentham and, as expected, a large portion of the setlist is devoted to showcasing this new material. A UK debut for ‘Atomize Me’ is a nice touch, while the likes of the cathartic ‘Stupid Jobs’ and ‘Blowing Up Things In The Woods’ keep the energy high throughout the evening.

A highlight from ‘Free Rein To Passions’ is the titular track, before which bassist Sam Tomlinson takes a beat to encourage a bit more movement amongst the crowd. “I wrote this song for Vladimir Putin, I hope he fucking dies soon” explains Bentham before launching into the song. Huge cheers follow as a few audience members oblige Tomlinson’s request – bouncing off of each other along to the paciest song of the night.

It isn’t all shiny new toys and there is ample space on the setlist for older favourites, stretching as far back as mainstays ‘Wrestle Yü to Hüsker Dü’ and ‘Friends In The Sky’ from 2016’s debut full-length ‘Higher Power’. Of course, ‘Doom Boy’ goes down a treat thanks to its simply irresistible riff and crushing breakdown. The moody poise of ‘Evil Side’ builds into its emphatic crescendo and marks a suitably deafening closure to the bulk of the setlist. 

Opting to forego the usual pantomime of an encore and instead staying rooted to their stage, The Dirty Nil bow out with their exemplary cover of Metallica’s ‘Hit The Lights’. An apt ode to a clear source of inspiration for the band, it’s a great conclusion to a stacked set. In little over an hour, fans were treated to 18 songs, a tremendous feat, considering that the whole evening flew by. Such is a testament to the quality scattered throughout The Dirty Nil’s discography.

Striking, just as was the music, it’s worth mentioning how Bentham looked the part in the bespoke garb, “Free Rein” embroidered above the breast pocket and an inverted crucifix studded into the back. Chewing and bursting bubble gum throughout the performance, he exudes all the pomp and swagger of a person you’d want at the helm of your band. Few bells and whistles, just raw, authentic live music. The Dirty Nil are a proper rock ‘n’ roll outfit and should be treasured as such – long live the Nil.

AARON JACKSON

Oh, British summertime. One day, you’ll be soaking up a harsh sun, slow-roasting in your own juices and sitting at a pretty shade of lobster pink. The next, ferociously blinking away the spray and spittle of sideways rain, propelled by gale force gusts, trying not to slip over and eat shit in front of all your mates. There was no need for sun cream on the final day of 2000trees. Indeed, it rained and it poured. Tents flooded, fields turned to mud baths, and the festival goers all got a much-needed free shower.

The elements were no match for the music, however, as the festival concluded without a hitch. “You can’t kill the metal. The metal will live on.”

Words: Aaron Jackson.  Images: Paul Lyme and Penny Bennett

Witch Fever

Taking to the main stage right around the same time as the first break in the morning rain could not have been a more convenient start for Witch Fever. “We made the rain stop for our set, obviously” teases vocalist Amy Walpole, who fronts a band that have climbed from strength to strength since their inception. Last year saw the release of striking debut full-length album ‘Congregation’ to notable acclaim and, as Walpole skulked through ‘I Saw You Dancing’ from the off, the quality is abundantly clear.

Alisha Yarwood and Alex Thompson’s sludgy guitar and bass tones gave the music a rich texture that sounded full-bodied on this festival’s biggest stage, bedded in by a complete performance on drums from Annabelle Joyce that is at points poised and patient but also the catalyst for the band to detonate in unison. The double-barrel hit of ‘Reincarnate’ and ‘Bully Boy’ from 2021’s ‘Reincarnate’ EP were particularly explosive, the latter of the two a scathing rendition that was delivered with a venom recognised and appreciated by every onlooker. “Off with his head, let’s see how he burns” is simply a fantastic lyric.

High Vis

There was certainly a buzz of anticipation about the High Vis set on that Saturday afternoon. Words on their performance at Manchester’s Outbreak festival just a couple of weeks prior had travelled far and wide. Plenty turned up to see just what the fuss was all about. Described by frontman Graham Sayle as “just a bunch of dickheads doing music”, there are truly no bells or whistles about High Vis. Instead, they have buckets of raw intensity and a commitment to the ideologies behind the music.

A rousing number about tackling tough times, ‘Out Cold’ left a lasting impression as did ‘0151’ – both proper punk songs uniquely stirred with just a twinge of 90s Britpop. It’s ‘Trauma Bonds’, however, that will stick with anyone it touches. Emotional lyrics driven by an authentic and passionate ensemble performance from the band is High Vis in a nutshell. Despite the humble figures they cut, this is an important band, with a crucial message to spread.

Dead Poet Society

Those familiar with Dead Poet Society might have had early concerns about whether they’d have enough bite to hold their own at a festival with such a heavy spine. Quite the opposite. Circle pits and crowd surfing aplenty, this Massachusetts four-piece delivered one of the liveliest sets of the day, giving the crowd plenty of incentive to move, despite the standard lethargy that can arise on the final day of any festival. Spearheaded by Jack Underkofler, there was little room for respite as he took full control of the stage, orchestrating the mayhem that was about to ensue.

On occasion, the subtle tones of Underkofler’s vocals got lost in the mix in favour of the beefier noise from the instruments, but when he let the pipes soar they landed every time. The swanky ‘.CoDA.’ especially showcased why vocals are at the forefront of this band’s dynamic as Underkofler crushed each line with the conviction of a master of their craft. ‘.SALT.’ was another cut that sounded especially rich, with guitarist Jack Collins’ ceaseless chugging on an obscenely downtuned guitar being the driving force behind hundreds of approving head nods. Thanks to the quality of this set, plenty of idle bystanders will have Dead Poet Society at the top of their list of bands to check out when they’re back in the real world.

Koyo

Taking to The Cave in the slot directly following current tourmates Fleshwater, New York quintet Koyo are another band electing to conclude a European tour at 2000trees. Yet to even release an album, the pull of this band is quite astounding. A packed-out tent is enthralled by their beefy take on a genre often discussed as being saturated, Koyo are taking the fundamentals of pop-punk and adding the bite of hardcore to create an exciting blend that is built for environments such as this.

‘You’re On The List (minus one)’ is a new release plucked from the forthcoming debut album ‘Would You Miss It?’ which got the crowd moving plenty – an exciting sign of what’s to come for fans. This set’s closer was ‘Ten Digits Away’ which is, to date, the catchiest song released from the band. Finger pointing aplenty, there weren’t many in attendance that weren’t belting the chorus back at frontman Joey Chiaramonte. Koyo truly have the world at their feet, they’re already making massive strides, and they’ve barely gotten started.

Holding Absence

Garnering comfortably the biggest crowd of the day so far, for Cardiff quartet Holding Absence, playing 2000trees’ main stage must have felt like a lap of honour. Having conquered every other stage the festival has to offer in years gone by, they truly have grafted their way to the top. Relishing every minute and deservedly so, frontman Lucas Woodland sincerely claimed that 2000trees feels “like home” to them.

Aside from a typically tireless performance from Woodland, a special mention must go to drummer Ashley Green who was flawless in his performance. Until experiencing Holding Absence live, you might be forgiven for not recognising just how crucial Green is to their dynamic, but stripped away from the studio mix, it was so frequently the percussion that stood out and wowed the crowd. ‘Gravity’ was especially punchy, and capped off by a trademark anthemic chorus. In a similar vein, ‘Afterlife’ will always mark a high point in the set, with only a small minority of the crowd not belting out the lyrics in unison.

An affirming and emphatic performance on a huge occasion for Holding Absence, they made that stage their own and delivered a performance that will stay in fans’ memories for a long time.

Dream State

Gleefully stating “I’ve never played to this many people in my life”, Dream State’s Jessie Powell is entirely in her element. Fresh off the back of a sold-out UK tour and enjoying a rebirth under this new, refreshed, line-up, this Welsh four-piece take to The Cave with a point to prove. “We are Dream State and we’re here to stay” affirms Powell after delivering one of the standout performances of the entire weekend. Meandering between delicately nuanced to devastatingly visceral with apparent ease, the vocalist dominated her stage and her audience every step of the way.

‘Chin Up Princess’ is their most recent release, and fans have already taken to it swimmingly, with the nutty breakdown eliciting something close to pandemonium in the crowd. Someone was crowd surfing inside a pop-up tent which was, no doubt, useless thanks to the inclement weather. Older cuts were also well received, with Powell adopting a commanding approach to songs that she is still relatively new to adopting. It’s an exciting time for Dream State and, if their set at 2000trees is anything to go by, they’re not just back in action, they’re better than ever.

Deaf Havana

Driven by brothers James and Matthew Veck-Gilodi, Deaf Havana have been an ever-present force in these circles. Despite a myriad of line-up changes, the pair are nothing if not persistent in their craft. Today feels a world away from breakout record ‘Fools and Worthless Liars’ and even further from the outright hardcore debut ‘Meet Me Halfway, At Least’ but it’s no wonder, that was over a decade ago. Diversifying and eventually settling into their current pop-rock dynamic made for comfortable listening, the focal point of their performance clearly being the vocals of James Veck-Gilodi which have evolved to be nothing short of excellent.

While the brothers have very similar voices, Matthew more than capably props up his brother to take centre stage, with ‘Hell’ in particular standing as a proper showcase of just how much value can be found in these voices. Unfortunately, an already relatively sparse crowd for the main stage was only thinned out further when the heavens opened up and the rain started lashing down. Many swiftly bailed to seek shelter and it was clear that the band didn’t blame them one bit.

Frank Carter & The Rattlesnakes

Tasked with capping off the entire weekend, Frank Carter has been a servant to the scene for decades and fewer deserve this platform more than him. A master frontman, one of the greatest to ever do it, he works his audience with expert precision, all the while delivering a set that sounds infinitely more colossal in a live setting. Having stripped away the edge to their music in recent years, it was refreshing to hear that the band still have an abundance of bite left as they launch through ‘Tyrant Lizard King’ with as much vigour as the likes of ‘Devil Inside Me’ and ‘Juggernaut’.

Complete with a pyro show, confetti, and a cameo from the ever-striking Lynks on ‘Bang Bang’ and ‘Go Get A Tattoo’, the entire performance had an air of grandiose fitting for such an occasion. Bowing out with the iconic ‘I Hate You’, there is always a morbid beauty to this song; lyrics so spiteful sung so passionately by so many voices. While the earlier onslaught of rain may well have resulted in the crowd being sparser than it would have been on another day, thousands of cheers still rattled through the rolling Cotswolds hills for one last time with the magnificent Frank Carter & The Rattlesnakes the perfect orchestrators to see us all out.

Surely, for many, waking up on that Friday morning was no mean feat. That Silent Disco is just too good to refuse, right? One day of festivities down, two to go – suck it up. Oh, and bring sun cream.

Words: Aaron Jackson.  Images: Paul Lyme and Penny Bennett

The St Pierre Snake Invasion

Tasked with the midday slot, the sun was already beating down on the exposed lawn of the main stage as The St Pierre Snake Invasion stepped up. In releasing ‘Galore’ earlier this year, they’ve already entered the album of the year conversation, so to hear renditions of ‘Kracked Velvet’ and ‘Submechano’ amongst others live was a right treat to start the day. Stylised vocals drenched in distorted noise carried over crashing instrumentation that brushed away any cobwebs left over as a result of the previous night’s party.

Unfortunately, their set was cut short, according to frontman Damien Sayell because they had too much gear and spent too long getting ready. However, there was still time to close it out with the rambunctious ‘Rock ‘n’ roll Workshops’, during which Sayell was joined by his young son. Proud as punch, he held onto his boy like a trophy as he screamed his head off like a maniac (Sayell senior, that is). It was a wholesome end to a wholly impressive performance.

BLACKGOLD

Something’s happening here. A nu-metal revival of sorts. Hailing from London but with all the pomp and swagger to garner attention from across the globe (including from genre godfather Fred Durst himself), BLACKGOLD take to The Cave with an air of intent about them. Dressed up to the nines, complete with black and gold masks, it’s a cool aesthetic but they must have been sweating up a storm under there.

The industrious blend of hip-hop and hardcore was impossible to resist, particularly throughout the copious fat breakdowns which elicited mass movement throughout the audience. Anonymous as individuals, but expect to be hearing the name BLACKGOLD plenty soon.

Heriot

Without a shadow of a doubt one of the most brutal bands on the bill, Heriot take no prisoners wherever they go, regardless of the size of the stage. Tanking through juggernauts like ‘Enter The Flesh’ and ‘Profound Morality’, there’s a gravity to this music that belies the breakneck speed at which it’s delivered. 

Debbie Gough (guitarist/vocalist) and Jake Packer (bassist/vocalist) exchanged vocal blows between themselves, each one more guttural than the next to shake onlookers through to their core. While the crowd may have been sparser than one would hope (possibly due to the time of day and the heat), there was a healthy nucleus of devoted Heriot fans front and centre that were insatiable in their appetite for heavy music. Flailing limbs aplenty, Heriot made their mark and then some.

Heart Attack Man

Embracing their first UK festival appearance, and a second visit to the land overall, with heaps of energy is Ohio four-piece Heart Attack Man. They bound into their set with ‘Freak Of Nature’ – the titular track of their brand new LP. Only in the public domain for a couple of months, the catchy choruses on album cuts such as ‘Like A Kennedy’ and ‘Stick Up’ ensure that plenty in the crowd are singing every word back to frontman Eric Egan.

‘C4’ was an explosive inclusion that sparked a fiery circle pit in The Cave, satiating a crowd aching for an excuse to get rowdier. There’s a case to be made that the edgier, heavier numbers from Heart Attack Man’s oeuvre would’ve been embraced with open arms in this setting – the likes of ‘Puke’ for example. However, pop-punk anthems like ‘Pitch Black’ and ‘Leap Year’ still had plenty of bite in them for Hammy to hold their own on this turf.

Origami Angel

What a stage for the final show of a first-ever UK tour. The eclectic and bordering on prodigious Washington D.C. duo made up of vocalist/guitarist Ryland Heagy and drummer Pat Doherty were clearly relishing this experience. Spotted on the side stage the previous day cheering on their tour mates Prince Daddy & The Hyena, they delivered a whirlwind set on The Axiom with the same smiles beaming across their faces.

Buckets of variety between the surfy ‘Thank You, New Jersey’, the angsty ‘JUDGE’ and of course, the anthemic ‘24 Hr Drive-Thru’ ensured that there was something for everyone on offer. Each song was expertly executed with the two members sonically bouncing off of each other in perfect unison, all the while fans went frankly rabid at points. The cherry on top was some great news for fans both existing and new when Heagy revealed (after receiving permission from The Wonder Years’ Soupy) that his band would be returning to the UK in November to support TWY on tour. We will be there.

Joyce Manor

Taking to the Main Stage in the blazing sunshine, Joyce Manor looked at home in a setting of such grandeur. Understandably unphased by the intermittent British summer, the Californian quintuplet strolled straight into their 18-song setlist – an incredible feat considering their 45-minute time slot. The set consisted of hits that spanned from 2012’s breakout ‘Of All The Things I Will Soon Grow Tired’ all the way through to 2022’s impressive ’40 oz. To Fresno’, delivering a little bit of everything to the sizable crowd that had assembled in the rolling Gloucestershire hills.

The band rattled through their set at an electrifying pace, calling for inspiration from the crowd for song requests – a theme common on Joyce Manor shows, supported by their short, succinct songwriting style. Of course, hits such as ‘Leather Jacket’, ‘Eighteen’, ‘Constant Headache’ and ‘Catalina Fight Song’ drew the biggest singalongs,  affirming the band’s status as one of the genre’s most beloved cult bands.

Zulu

One of the most anticipated sets across the whole weekend belonged to scorching hot trailblazers, Los Angeles’ Zulu. Largely thanks to the quality of their debut full-length ‘A New Tomorrow’ which dropped earlier this year, the band have a record that has rippled seismically throughout the scene. Moving at an unrelenting pace, all five members displayed unmatched energy as they tore through hit after hit, the likes of ‘Where I’m From’ and ‘Fakin’ Tha Funk (You Get Did)’.

The dual vocals between the principal vocalist Anaiah Lei and the drummer/vocalist Christine Cadette (whose performance stunned from start to finish) hit just as hard in a live setting as they do on the record. The whole experience felt as though it lasted five minutes, each crushing breakdown more doom fuelled than the next, completely capturing the attention of all onlookers. Bowing out with ‘52 Fatal Strikes’ it was a fleeting yet delightful encounter, with a fair few fans stumbling out of The Cave ever so slightly worse for wear than they were 30 minutes prior.

Microwave

There was a palpable air of relief from the Atlanta, Georgia four-piece Microwave as they settled into their slot on The Axiom. Two cancelled UK tours off the back of 2019’s ‘Death is a Warm Blanket’ felt like a significant setback at the time. It had been a long wait, but Microwave seized their opportunity to reacquaint with a British audience in a determined and convicted manner.

Traversing between the grit of ‘Mirrors’ to soothing stoner numbers like ‘keeping up’ later on in the set demonstrated the versatility of the band. Frontman Nathan Hardy even donned an acoustic guitar, rarely sighted outside of 2000trees’ picturesque Forest stage, as he strummed through newer cut ‘Straw Hat’. Microwave’s ability to evoke sunny imagery was the perfect compliment to that late summer afternoon described as “spicy” by Hardy.

Usually, the band would leave their audience with the visceral climb at the conclusion of ‘Vomit’, however, they had five minutes in spare change at the end of the set. A solo acoustic rendition of ‘Something Right’ instead marked the end of a well-rounded performance from a band with such a rock-solid discography on an elegant and poignant note.

The Xcerts

Beloved mainstays of 2000trees, endearing trio The Xcerts are back and toeing their way through a brand new era for the band. It’s been over five years since the release of their previous record ‘Hold on to Your Heart’ and, while there was plenty of space across the 50-minute time slot for old favourites, it was the brand new ‘GIMME’ that fans were greeted with. Frontman Murray Macleod was having great fun with his autotune machine, beaming and bouncing around the stage as he chanted his way through the 90-second flash of dirty pop-rock. 

Making light of internet trolls and the band’s apparent insistence on committing “career suicide” with recent directional choices shows just how confident The Xcerts are with their new output, and so they should be. That said, the nostalgia of older cuts like ‘Slackerpop’, ‘Crisis in the Slow Lane’ and the utterly timeless ‘Aberdeen 1987’ is unmatched and therefore marked the highest points of the set. Being part of a crowd in the thousands singing “I’m your new best friend…” in unison, will forever be one of this festival’s champagne moments, regardless of the year.

Employed To Serve

Walking out to a surprisingly humble crowd in numbers, it didn’t take long for The Cave to fill out once Employed To Serve built into the cascading, crushing brilliance of ‘Universal Chokehold’. The instrumentation throughout the set was airtight, with a special mention for Sammy Urwin whose speed up and down his fretboard was implacable. Fronted by the powerhouse that is Justine Jones, her voice was impeccable as she tore through some of the most aggressive and expressive music of the whole weekend.

There was some exquisite headbanging on display from the band and audience members alike, the lightning pace of the music resulted in hair whipping all over the place and, no doubt, some very sore necks. Mind you, would it even be possible to listen to ‘Force Fed’ or ‘Mark Of The Grave’ without throwing the skull around? Doubt it.

Empire State Bastard

Perhaps a small handful of onlookers stumbled to the Empire State Bastard set having heard that Mike Vennart and Simon Neil (from a little band by the name of Biffy Clyro) would be performing, in a tent, in 2023. Those unfamiliar with the nature of the project were knocked for six as the experimental outfit launched into one of just two songs that have been released for public consumption to date. ‘Harvest’ is the perfect introduction to this off-the-wall cacophony – it’s chaos, but it’s brilliant. The following ten songs are no different.

Even in the weirder early years of Biffy Clyro, this is Neil like never seen before – in fetching short shorts, launching himself across the stage while screaming like a bobcat. What a spectacle. The only disappointment was that legendary percussionist and Empire State Bastard regular Dave Lombardo was unable to attend, as he was away on a US tour with Misfits. That said, the replacement was a fucking animal on the tubs. There were few bells and whistles, just really heavy music to which a core nucleus of the crowd pitted hell for leather on every song, whether they were familiar with it or not. The rest stood and watched, awed by the noise surrounding them.

Cancer Bats

Bodies were spilling out of The Cave to catch a glimpse of seasoned pros Cancer Bats headlining the stage. Knocking about for almost 20 years now, the Canadian outfit have been firmly established as a household name in the hardcore scene and it was a busy festival for them. The previous night saw them perform under their, by now well known, alias Bat Sabbath and delivered a set packed with tributes to metal forefathers Black Sabbath, It was, by all accounts, a fantastic experience.

Funnily enough, it was another cover performance in The Cave on the Friday night that stood out amongst the rest – Cancer Bats really do a mean ‘Sabotage’ by Beastie Boys. Fans of the band will know what they’re getting from a Cancer Bats show, but that never stops it from hitting as hard as it does. Jay R. Schwarzer’s swashbuckling riffs, paired with Mike Peters threatening to beat his kit so hard that it collapses the entire stage creates a colossal sound that rattled the whole field to its core. Of course, always impossible to ignore, was frontman Liam Cormier who never once stopped for breath in between songs, let alone during them – a tireless performance from one of the most consistent acts out there.

Bullet For My Valentine

There were plenty of moments throughout the 90-minute headline slot for Welsh metal outfit Bullet For My Valentine that proved why they are held with such legendary regard across heavy music fans. Filling the stage out, complete with an elevated drum platform and vivid light show, the setup couldn’t have been more opposite to the raw simplicity of Soft Play the night before. Armed with timeless hits like ‘Your Betrayal’, ‘Hearts Burst Into Fire’ and ‘Scream Aim Fire’ (for all the guitar heroes out there), each song was executed with the flawless proficiency of a band that have remained at the top of their games for literal decades.

It was their first time at the festival and there was a bit of a foot-in-mouth moment from frontman Matt Tuck as he pontificated about how Bullet were probably the heaviest band to ever play 2000trees. If he’d caught Heriot or Zulu earlier in the day, then he would’ve quickly realised how silly a claim that was. Things did kick up a notch however, when fans were treated to an impromptu AxeWound reunion as Cancer Bats frontman Liam Cormier was back again, this time on the festival’s biggest stage. Running through ‘Cold’, Cormier’s energy was simply unmatched and made the rest of the band look static in comparison, though he would have this effect on most artists out there.

With ‘Tears Don’t Fall’ ageing into something of a seminal track for the band, it marked a huge moment in the set that will stay with fans, both old and new, for a long time after the final note had rung out. ‘Waking The Demon’ was the perfect closer, standing as something of a quintessential Bullet song – blistering verses fuelled by a storm of riffs and a gigantic chorus that opens up, allowing Tuck to let his voice soar and soar it did. Perfectly suited for the biggest stages, Bullet were built for the occasion and delivered appropriately.

AARON JACKSON

The rolling hills of the Cotswolds are looking particularly enticing as pundits first start dragging camping gear (not to mention copious amounts of booze) through the fields of Upcote Farm. Dew-dappled grass graciously makes way for polyester ground sheets, the spongy soil hugging tent pegs, willing to play their part in providing a haven for thousands of heavy music fans to rest their no-doubt-pounding heads.

Buckle up then! The bands are about to start, and there’s plenty of fun to be had, kicking off with…

Words: Aaron Jackson.  Images: Paul Lyme and Penny Bennett

Gaffa Tape Sandy

Not even an errant wasp making their way past security and getting up in vocalist/bassist Catherine Neilson’s business was enough to stop this Brighton-based trio from missing a beat in their set. A punchy thirty minutes of easy punk marked a fantastic start to what was about to be a very busy, very loud day.

The beauty of Gaffa Tape Sandy is simply in the accessibility of their music. Each song coming with its own hook kept heads nodding and toes tapping throughout a crowd that just kept getting bigger after every song that the band rattled through. Standout performances came in the jaunty ‘Beehive’ and ‘Headlights’, the call and response between Neilson and vocalist/guitarist Kim Jarvis a perfect marker of the synergy throughout the band. A perfect gateway, not just for this year’s 2000trees festival, but for heavy music in general.

Ithaca

Taking full ownership of the festival’s biggest stage with a confidence that filled the space, one can’t help but feel like Ithaca are in their element. Fronted by the tour-de-force that is Djamila Boden Azzouz, the London five-piece cut a powerhouse image and on that Thursday afternoon especially, they meant business.

Showcasing a well-balanced setlist, with plenty of cuts from Punktastic’s number one album of 2022, ‘They Fear Us’, the likes of ‘The Future Says Thank You’ and ‘Camera Eats First’ were delivered in emphatic fashion, performed unflinchingly by each member. A mention must go to guitarist Sam Chetan-Welsh who flawlessly executed intricate riffs with an apparent ease that was just such a treat to watch. Most important, of course, is the message that Ithaca promote, with Chetan-Welsh taking a moment in between melting faces to speak on the importance of health, growth and positive change. Ithaca are a band with bigger things on their mind than their already colossal music – long may it continue.

Graphic Nature

One of the most exciting outfits of the UK hardcore scene, Kentish quintet Graphic Nature brought their brash brand of nu-metal to The Cave stage and threatened to bring the whole thing down on the first day. Texturally rich thanks to electronic backing elements bedded underneath obscenely down-tuned guitars, this lot sounded brutal in the best way possible. Cuts like ‘Killing Floor’ and ‘Sour’ from this year’s debut album ‘A Mind Waiting To Die’ whipped the crowd into a frenzy, with frontman Harvey Freeman orchestrating their every move from the start.

Freeman was another artist to seize the opportunity to share words of support with his audience: “I ain’t the only one here today going through shit”. It’s astounding how music so abrasive can reflect such a safe place for so many and yet the band and listeners alike felt entirely united in this experience, and what an experience it was.

Prince Daddy & The Hyena

After releasing their most accomplished work to date in 2022’s self-titled LP, Prince Daddy & The Hyena seem to have the world at their feet. That said, the licence to be able to open a set with a song called ‘***HIDDEN TRACK***’ from their first EP ‘Adult Summers’, and for it to be met with the rapture that it was in The Axiom that afternoon, demonstrates that this band are already cemented as cult heroes to many. Other older cuts like ‘Really?’ and ‘I Forgot to Take My Meds Today’ similarly hit the mark, with fans yelling every syllable back at the New York four-piece.

However, it was during the likes of ‘Shoelaces’, ‘Keep Up That Talk’ and ‘El Dorado’ that the quality really started to shine through. Despite recurrent technical issues causing a pause in the set (during which the band awkwardly fumbled through some Weezer and The Beatles riffs), the crowd were constantly onboard. If anyone in that tent wasn’t a fan of Prince Daddy & The Hyena before the show, they would surely have been won over by the band’s sincerity and endearing approach to their craft.

Kid Kapichi

Having debuted at the festival for the first time last year, Kid Kapichi’s elevation from an opening slot in the Cave to the Main Stage is unarguably justified. The band’s debut album ‘This Time Next Year’ and 2022’s ‘Here’s What You Could Have Won’ are littered with hits which delivered an action-packed setlist in the roaring sunshine. Their powerful, politically charged music and palpable stage presence meant that they had the 2000trees faithful in the palm of their hands – while chucking chocolate bars into the crowd before crashing into ‘Rob the Supermarket’ also helped build morale.

The swaggering ‘I.N.V.U’ was undoubtedly a highlight of the set, as the crowd danced along to the catchy chorus. While the band also displayed their more poised songwriting capabilities with ‘5 Days On (2 Days Off)’ and ‘Party at No. 10’ which captured the energy of the festival, confirming it to be a safe space to rebel against the bureaucracy of the everyday. The band oozes confidence in their performances and the aura they create is sure to see them continue to grow, maybe into a 2000trees headliner one day. Watch this space…

The Wonder Years

The impressive growth of 2000trees can be measured by the increasing number of bands on the line-up that have chosen to exclusively travel to the event just to play their set and then return home. One of these bands was The Wonder Years who, having last played the festival to a packed Cave tent in 2021, made their return in a prime slot on the Main Stage.

Traversing some uncharacteristic Main Stage sound issues through the opening ‘Cardinals’ and ‘Cardinals II’, the band quickly found their stride as the sizable crowd anthemically chanted “We’re no saviours if we can’t save our brothers” back at the sextuplet. The setlist blended old favourites with the highlights of their newest album – ‘The Hum Goes on Forever’ – which were all met with similar energy and passion from the respectable crowd.

Elation over the band’s return to the UK was only elevated with the exclusive announcement that they would be returning in November to play a handful of shows to celebrate the 10th anniversary of their genre-defining album, ‘The Greatest Generation’. The set was perfectly concluded with the anthemic ‘You’re the Reason I Don’t Want the World to End’ and, of course, their staple hit, ‘Came Out Swinging’ – which, as the opening drum pattern crashed in, pandemonium erupted amongst the band’s most dedicated fans.

Skindred

The closest experience in likeness to seeing Skindred live is that of riding a rollercoaster at a theme park. The brilliantly eccentric frontman Benji Webbe was born to do precisely this and he seizes his opportunity to perform every single time he takes to the stage. With what was comfortably the biggest crowd of the festival to that point in the palm of their hands, Skindred delivered a non-stop setlist of unique reggae/metal riots that kept everyone engaged and guessing until the final note.

Whether it was the bizarre ‘Wonderwall’ cover spliced into ‘Rat Race’ or the ‘Back In Black’ refrain during ‘Pressure’, there was always something to keep those smiles plastered across everyone’s faces. Naturally, ‘Nobody’ from the band’s debut 2004 LP ‘Babylon’ was a hotly anticipated number and did not fail to disappoint. Then, closing out with ‘Warning’, complete with a gorgeously observed “Newport Helicopter” (fans are welcome to take off their top and frantically swing it above their heads) was the perfect argument for why Skindred could comfortably be headlining this festival.

Soft Play

After a long four years out of the game, Kentish duo Soft Play (formerly known as Slaves) were back and on the festival’s biggest stage with a point to prove. Only giving themselves one warm-up show at their hometown’s Tunbridge Wells Forum a few nights prior, it was no doubt a tough ask for Isaac Holman and Laurie Vincent to headline the first day. Any doubts were briskly brushed away after the opening chords to ‘Sockets’ rang through the air, bringing with them an electric giddiness completed by just a hint of nostalgia.

There was a party vibe throughout the performance, namely during ‘Feed The Mantaray’ which saw a pundit dressed as a mantaray pulled from the crowd to dance on the stage before surfing across the sea of sweaty bodies. Furthermore, Soft Play’s cover of Skepta’s ‘Shutdown’ has become somewhat quintessential to the band and, even with Holman addressing the irony of the matter before launching into the song, it got everyone moving and shouting the song’s title back with venom.

There was a certain element of relief to hear long-term mainstays to the Soft Play arsenal like ‘Fuck The Hi-Hat’, ‘Where’s Your Car Debbie?’ and ‘Girl Fight’ amongst the songs played by the pair on the night. Even though this return marks the start of a new era for Soft Play, they are still firmly in touch with what propelled them to such status in the first place. Brazen and loutish, their formula is simple on the surface, but it works. Yes, they may have a new name and, yes, Holman himself referred to them as “soft cunts” during the show but rest assured, there’s nothing soft about these two.

Words: Aaron Jackson [AJ] and Yasmin Brown [YB]  Images: Penny Bennett

ZAND

Let’s get the cliche out of the way – it’s no mean feat to open a festival. However, this feels particularly pertinent after experiencing alt-pop wildcard ZAND’s performance on the Rock Scene Stage. Before the clock had even struck midday, demonic laughter echoed through the flush of summer sunshine as the Blackpool-born, self-proclaimed “ugly popstar” brashly rattled through their bass-drenched hits. Unflinchingly confrontational in everything they do, ZAND’s set was delivered with unbridled conviction. Regrettably, fans had to do without ‘Slut Money’ as Slam Dunk cut the slot short. Regardless of the abrupt ending, ZAND had kicked the day off with a boldness which stood unrivalled for the remainder of the festival. [AJ]

VUKOVI

Next up on the Rock Scene Stage were Scottish duo VUKOVI. Fresh off the back of receiving their first Heavy Music Award the night before for Best Production on their latest effort ‘NULA’, the spring in their step was plain to see. Vocalist Janine Shillstone swept across the stage, working the audience with vocals that fluctuated from delicate to intensely powerful at the flick of a switch. Meanwhile, Hamish Reilly relished the points in their set in which he had a licence to take the crowd to riff city with his guitar. New cut ‘I EXIST’ boasted a particularly impressive breakdown that was executed with aplomb. Provoking motion in and amongst the spectators, VUKOVI more than played their part in wiping away any cobwebs that might have gathered in those pesky queues. [AJ]

Movements

Relative to some of the veterans on this year’s bill, Movements have earned a calibre of adulation from their audience that much older artists still pursue. Of course, the highlights came in the singalong moments, with ‘Full Circle’ marking the point in the set that the Californian quartet really seemed to find their feet. The Kerrang! Tent was teeming with eager fans bellowing every word back to frontman Patrick Miranda, and this didn’t let up as they launched straight into ‘Colourblind’. Sure to give attention to the ‘Outgrown Things’ EP which put them on the map back in 2016, Movement’s rendition of ‘Kept’ was as sincere as ever, demonstrating the strength across their whole discography. Newer tracks like ‘Lead Pipe’ and ‘Barbed Wire Body’ may not have hit as hard on the heartstrings, but they were still expertly performed, with a special mention to Austin Cressey on bass who held it down exceptionally. Bowing out with the powerful ‘Daylily’ marked a poignant end to a set to remember. [AJ]

Spanish Love Songs

Sad summer season is here, baby. Taking to the stage with a complete air of modesty, there was little fanfare as frontman Dylan Slocum slipped straight into ‘Routine Pain’ after a brief soundcheck. Their flowers came in the form of the loudest singalong that had been seen up to that point. The ultimate form of sonic catharsis, there appeared to be a genuine relief on the faces of the band who unfortunately had to withdraw from the previous lineup. As Slocum recalled how that this time last year he was stuck at home with COVID, it must have felt incredibly gratifying to perform at what they called the “best festival” that Spanish Love Songs have ever booked. What’s more, the future looks incredibly promising for the band, with their newest single ‘Haunted’ not letting the team down as a huge portion of the audience managed to recite every lyric, despite the song only being out for a couple of weeks. [AJ]

Holding Absence

Holding Absence are a band who have found themselves steadily but surely rising up the festival ranks, today appearing proudly on the Slam Dunk main stage. The band bring all the energy we’ve come to expect from a Holding Absence set, but unfortunately for them, their first opportunity to show off music from their upcoming album falls flat – through no fault of their own. The sound on the main stage is lacklustre at best, meaning front man Lucas Woodland’s usually ferocious voice is lost, as are screams from guitarist and back up vocalist Scott Carey, and the drums hit fiercely by Ash Green fail to reach your chest in the way they usually do. As a result, chatter among the crowd can easily be heard, with fans barely having to raise their voices to ensure words reach their friends – words that we usually wouldn’t want to utter as a result of being so lost in the amazing music of this unique, “one to watch” band. It’s hard not to feel as bad for the band as you do for the fans, neither one quite getting the experience we deserved. [YB]

Trophy Eyes

“We just got here” mutters drummer Blake Caruso sheepishly into his mic. Indeed, Aussie four-piece Trophy Eyes were one of multiple artists to experience significant delays upon entering the festival’s site. Not ideal after already travelling over from the other side of the world. Nonetheless, this really feels like a period of rebirth for the band. All three of the singles released to this point from the forthcoming LP ‘Suicide and Sunshine’ featured proudly on the setlist and were met with a rapturous response. Naturally, the cuts from 2016’s flawless ‘Chemical Miracle’ stepped it up a level, with ‘Chlorine’ especially sending the crowd into a frenzy. Unfortunately, Trophy Eyes were also victims of a prematurely cut set, causing fans to miss out on the anthemic ‘You Can Count On Me’, much to the visible disappointment of the band. Music aside, it was impossible to ignore Floreani’s fighting form as he shadowboxed his way through the set. He’s no Vulkanovski, but it still wouldn’t be wise to get in the way. [AJ]

Real Friends

Fundamentally built for this festival, pop-punk mainstays Real Friends wasted absolutely no time in whipping their crowd up into a frenzy. The already-packed Kerrang! Stage descended into a blur of flailing limbs and aggressive finger pointing syncopated with frontman Cody Muraro’s singing. To the delight of all involved, the most feverish of fans flew above the crowd and were sent sprawling over the barrier (hopefully safely). It should go without saying that, as one of the true anthems of the scene, ‘I’ve Given Up On You’ was the standout hit from the set and left the most lasting impression. In their element and loving every minute, Real Friends dropped a set packed out with their brand of all-out pop-punk hits. If it ain’t broke… [AJ]

Boston Manor

Cool as ice, Boston Manor take to the stage with a confidence that commands respect and attention. Going by the amount of festival goers adorned in BM clothing, and the sheer volume of people in the tent during their set, it’s fair to assume that, for plenty, this was the most anticipated performance of the day. Certainly one to catch in person, the Blackpool quintet’s brand of moody, industrious alt-rock sounds infinitely beefier in a live setting. Naturally, this is at the sacrifice of some of the atmosphere that is curated in the band’s conceptual approach to their releases, it’s an entirely different experience, but one that shouldn’t be missed. Featuring a stellar live debut of ‘I Don’t Like People (& They Don’t Like Me)’ and the colossal ‘Halo’, during which frontman Henry Cox demanded “one hundred crowd surfers”, there were plenty of high points in this performance. It is a shame, however, that Boston Manor seem to have left behind anything released before 2018’s ‘Welcome To The Neighbourhood’. Nonetheless, progress waits for no one, and Boston Manor show no signs of slowing down. [AJ]

Four Year Strong

Four Year Strong instantly reminded everyone why they are one of the most steadfast pillars in the alt/pop-punk scene. Bouncing through their chug-tastic selection of aggressive, yet catchy hits, this performance highlighted just how strong the band’s discography has become over the years. Hits spanning from their debut album ‘Rise of Die Trying’ through to 2020’s ‘Brain Pain’ offered fans a blend of reminiscence and excitement. ‘It Must Really Suck to be Four Year Strong Right Now’, ‘Out of My Head’ and ‘Wasting Time’ created an excitable vigour among the crowd, while exhilarating covers of Green Day’s ‘Jaded’ and ‘Brain Stew’ went a long way to win over first-time listeners of the band. The triumphant opening riff to Heroes Get Remember, Legends Never Die summed up the set and was met with one of the biggest roars of the performance – washing the hundreds of fans in the tent with nostalgia before they resumed hurling themselves towards one another. Beards. Chugs. Sing-a-Longs… in that order. [AJ]

The Menzingers

Perhaps one of the last loud and proud rock and roll bands, The Menzingers have been flying the flag for some time now. With six full-length albums under their belt, there was a healthy spread across their discography on offer, with considerable love especially going to 2012’s ‘On the Impossible Past’. Fans were also treated to the live debut of a brand new song titled ‘There’s No Place In This World For Me’ which was respectfully observed by a crowd of fans who will no doubt relish the reveal of new music from the Scranton four-piece. Their formula is tried and tested, but The Menzingers deliver every time and this performance was no different, executed with seasoned expertise. Is there a better band to sip a beer in the sun with? Doubtful. [AJ]

PVRIS

Fronted by superstar talent Lynn Gunn, it’s clear that PVRIS held a core of devoted fans at the festival, who met the band’s walkout with awed cheers and applause. With a setlist featuring a healthy spread across the artist’s esteemed discography, this was a true showcase of the many facets of PVRIS’ dynamic. Gunn’s vocals were hauntingly fragile at points, demonstrating her remarkable range. The louder, more electrifying songs such as ‘Monster’ and ‘Fire’ were unfortunately dampened by what felt to be poor mixing. The heavy peaks were sucked from the stage and disappeared into the open air and, even more disappointing, Gunn’s efforts often fell into the background. Despite a sound quality that left some wanting more, PVRIS performed with spirit and were clearly relishing every minute on their platform. Maybe some of the crowd were feeling the heat by this point, but there was a palpable outpouring of passion coming from that heartbeat of fans who were with PVRIS every step of the way. [AJ]

Creeper

Back with a theatrical bang as multi-instrumentalist Hannah Greenwood strides onto the stage wielding frontman Will Gould’s severed head (not really), it was fitting that Creeper’s time came as an early hue of dusk began to bleed across the sky. The goth/glam/punk outfit boast an aesthetic that is infectiously cool, oozing with horror iconography that gorgeously decorates a sound equally as evocative. Creeper are a band that know how to make the most of their instruments, with the synths adding a particularly effective texture. It initially felt as though Gould’s voice suffered through the skulking verses of ‘Ghost Brigade’ and ‘Born Cold’, but once the band flew into the choruses, Gould absolutely soared. Complete with a (successful!) on-stage proposal before ‘Hiding With Boys’, this set had everything to make a lasting impression on fans both existing and prospective. Wrapping up with ‘Misery’ demonstrated just how powerful this band are, completely abandoning all instruments and microphones for the final chorus, leaving the crowd to shine. They went above and beyond, marking an emotional end to a landmark moment of the festival. [AJ]

Enter Shikari

The festival’s headliners never fail to deliver fireworks, on this occasion, quite literally. Visually stunning, the stage is drowning in digital flames, and LED lava, before Enter Shikari even walk out. Complete with the sun setting behind the stage, the atmosphere was already bliss. Launching into ‘(pls) set me on fire’ commanded attention from a crowd that had been eager for this moment all day. Such is the pull of this band, it’s no wonder they were billed as the main attraction. For years now, Shikari have been at the cutting edge of the scene, pushing boundaries and redefining perceptions of noise along the way.

A glaring downside to the performance, through no fault of the artist, was again the poor sound quality coming from the Rock Scene Stage. The mix was all over the place and resulted in the band’s music, which is consistently so impactful, falling disappointingly flat. One of the finest live acts this country and scene has ever produced were regrettably disserviced by the stage setup on the day.

Nonetheless, a setlist packed with the highlights across their seven-album strong discography served as a reminder, as if one was needed, just how much value can be found in a Shikari performance. London duo WARGASM joined the band onstage for a special run-through of the recent award-winning single ‘The Void Stares Back’, an apt celebration for both artists involved. All things considered, there’s no better band for the occasion, Enter Shikari closed out a challenging festival to the best of their ability, and those standards could not be higher. [AJ]

A spectacular firework display capped off a day of mixed emotions. On one hand, the music on offer was, to an artist, fantastic. Slam Dunk has comfortably graduated from being just a pop-punk festival and hosts a sprawling lineup of some of the scene’s most elite artists, all of which delivered. However, it’s impossible to look past the shambolic organisation of the event. Hours wasted in standstill traffic and queues, leading to numerous acts missed for many, not to mention the countless health and safety red flags. That’s just scratching the surface of what went wrong with this year’s Slam Dunk Festival. Plenty of discourse can be seen across social media as patrons are justly frustrated and disappointed with the festival’s execution.

Let’s just say that Slam Dunk have a lot of work to do if they are to make reparations and restore the faith of a fanbase so loyal and passionate.

Wasting no time, it takes all of about 15 seconds for opening track ‘Kracked Velvet’ to detonate. There’s a certain comfort to hearing The St Pierre Snake Invasion back in their pomp. The highlights of their discography are those moments of unbridled catharsis, whether that be the whirlwind ‘Casanovacaine’ on 2019’s ‘Caprice Enchanté’ or as far back as ‘Rock ‘n’ roll Workshops’ from 2015’s debut ‘A Hundred Years a Day’, it’s in their DNA. Now established masters of the boisterous, ‘Kracked Velvet’ is the perfect introduction to this most recent effort.

By contrast, the album’s second track juxtaposes that busy precedent; ‘Midas’ is poised and expansive, propped up by a shotgun drum beat from Pete Reisner that doesn’t budge for the duration of the song. There is an absence of the customary guitars tuned down to god-knows-what, instead, preferred are curious plinks and plonks on some keys which introduces a gorgeous texture to the piece. In allowing the brashness to take a temporary backseat, there is a wealth of space on ‘Midas’ in which a rich ambience is cultivated and welcomed to bed in as the song’s quiet focal point.

It’s these moments of restraint that cement ‘Galore’ as TSPSI’s most precise work to date. Another fine example of how this band can still devastate while in a state of reserve is on ‘Apex Prey’. Here, the vocals sparkle largely thanks to the contributions of Sang Froid’s Aisling Whiting whose delicacy compliments frontman Damien Sayell’s natural coarseness. The pairing of these two vocal stylings, particularly on the refrain of “You count your blessings, I count the days” is beautiful and haunting in equal measure; dichotomous yet perfectly executed.

Whiting features again on the album’s title track to similar effect, however, ‘Galore’ grants more of a licence to stretch and contort, eventually climbing to a breakneck conclusion with yet another head-spinning riff. ‘To Sleep Well’ also features a guest vocalist, this time in the form of Sugar Horse’s Ashley Tubb who expertly bolsters Sayell in delivering another powerhouse performance.

Upon the drop of the first taste of TSPSI’s return with the exceptional lead single ‘Submechano’, the band had a back and forth with Sugar Horse on Twitter, describing the guitar tones on the record better than any reviewer ever could:

Indeed, the sounds emitting from the instruments of Patrick Daly, Szack Notaro and Sanjay Patel are unique and bring a distinct flavour to the album. The “techno space fart” analogy is particularly apt upon hearing the most recent single on offer ‘That There’s Fighting Talk’. Euphemisms aside, the guitar performances throughout this album are an integral component of its overall brilliance. Jagged and spiky, these riffs will give even the most seasoned of you headbangers whiplash.

Speaking of which, there are of course plenty of upcoming opportunities to do just that. Soon to be embarking on a slew of shows up and down the UK, eventually culminating in a much-anticipated slot at this year’s 2000 Trees festival, it won’t be long before TSPSI bring ‘Galore’ to the live stage. No doubt it’s in this environment that these songs will truly flourish. As mentioned previously, the value of sonic catharsis through this band’s music cannot be overstated. With ‘Galore’, The St Pierre Snake Invasion have managed to experiment and evolve all the while keeping a firm grip on what makes them so much fun to listen to in the first place. Just one of many factors that render this album their finest to date.

AARON JACKSON

Joining the headliners through the tour’s entirety is Jade Lilitri’s Oso Oso. In a similar boat to Mom Jeans, Oso Oso had also released some of their finest work in the year prior. With ‘sore thumb’ under their belts, their brand of emo has Lilitri’s glittery musings at its core but is bolstered by rich instrumental textures. The gorgeous bass tones first emphasised in ‘computer exploder’ continue to catch the ear at various points in the set and made it apparent that Oso Oso are far more than a one-man band. A decent portion of the crowd were already singing along, but Lilitri and company gave above and beyond to ensure that even more will be on board next time around.

With the crowd suitably warmed, there are no bells and whistles to Mom Jeans making their entrance. In fact, they almost crawled into one of emo’s quintessential anthems – ‘Scott Pilgrim vs. My GPA’. Perhaps as close to a power ballad as you’ll find in the Mom Jeans discography, it initially strikes as a bizarre set opener. However, it doesn’t take long for moustachioed frontman Eric Butler to whip out the brass to mass approval from the crowd. Now, every voice is chanting in perfect catharsis with the trombone, harnessing a communal atmosphere.

Following up an old favourite with a new number, the energy is amped up when the band launch into their newest record’s eponymous opener. It must be incredibly validating for artists when their fresh material is met with as much passion as the tried and tested hits, and that was precisely the case here. ‘What’s Up?’ was the strongest single on offer from last year’s LP and the crowd responds to its performance with the dynamism that a chorus that infectious deserves.

Similarly, ‘Circus Clown’ is a newer cut that landed particularly well. It’s delivered with a heightened energy in comparison to the studio version and it’s plain to see wherein the catalyst for this spirit lies. Bassist, vocalist and hype man Sam Kless regularly fulfills his due diligence in whipping the crowd into a frenzy to match the burst of urgency that’s often injected into Mom Jeans’ music. That said, regardless of the ebbing and flowing pace, everyone in the room remains on the same page all night.

Again, this lends itself to the overarching community vibe that seems to naturally cultivate throughout the show. Emotions run at their rawest in the nostalgic run-throughs of tracks from 2016’s debut ‘Best Buds’; the likes of ‘Death Cup’, ‘Danger Can’t’ and ‘*Sobs Quietly*’ may sound less intimate in this setting, but the feelings they elicit hit much the same. Naturally, the evening climaxes with the timeless ‘Edward 40hands’, every word of which is screamed back at the band, including the famous ‘Bob’s Burgers’ bit from the intro – a testament to just how frequently fans have listened to this band’s craft.

Perhaps to the dismay of the more ardent merrymakers out there, it was a relatively early night, with events wrapping up around 9:30 PM. There’s no rest for the wicked, however, with Mom Jeans already booked in for the Sad Summer Festival 2023 joining contemporaries Hot Mulligan and Stand Atlantic amongst others. It may be a bit of a wait to catch this lot in Blighty again but, if this tour is anything to go by, rest assured it’ll be a sweet treat when they do return.

AARON JACKSON

Off the bat, standout moments are, naturally, found on the singles released in the run-up to the album’s release. ‘me vs me vs all of y’all’ and opener ‘Nowhere, Ohio’ boast bouncy verses, colossal choruses and enough gritty venom throughout to ensure the whole thing doesn’t sound too squeaky clean. As an extra treat for fans, axeman Danny Rico has published guitar tutorials for both of these tracks on the band’s YouTube channel, making for compelling viewing. Rico also provides interesting insights into songwriting, gear details and the studio process. The videos are worth a watch, and hopefully, there are more to come.

Akin to the previously mentioned singles, the cathartic ‘ELIMINATE’ has enough beans to whip any crowd into a frenzy and provides a welcome injection of pace and energy towards the latter stages of the tracklist. Oppositely, bowing out with the (kind of) eponymous ‘thx but no thx’, is a sobering end to the album. The motif “I’ll say goodbye for the last time / Don’t keep any lights on, I’m not coming back” is a pretty haunting closing sentiment.

It’s in the forlorn that Can’t Swim so often thrive, and that’s no different here. The first single dropped from ‘Thanks But No Thanks’ was the devastating ‘i heard they found you face down inside your living room’. Make no mistake, it’s brilliant, but it’s also the most emotional and sombre piece that the band have penned, bar none. The lyrics tackle processing the suicide of a loved one, and feelings of being unable to live without them. It’s an important moment in the band’s discography, with vocalist Chris LoPorto explaining “I hope it can provide some sort of comfort to others who have gone through this similar circumstance.”

All that said, the band’s historically dark iconography which often embraces the macabre is, for the most part, alleviated in this latest venture. Speaking about the record, LoPorto reveals “This was honestly the most fun we’ve ever had making an album. We’ve reached a point as a band where we’re able to stop overthinking and instead just do what feels right. I think it’s brought a lot of joy back into our music.”

Therein lies the crux of this album. With ‘Thanks But No Thanks’, they have loosened the shackles around their craft, and the result is a record that sounds more casual, in a positive sense. Can’t Swim are truly coming into their own, and enjoying the process. With an upcoming 25-city US tour in support of contemporaries Free Throw, and the band teasing “some UK shows” recently on Twitter, it’s set to be a busy year.

The future remains bright for a band relishing the present. ‘Thanks But No Thanks’ captures this notion swimmingly.

AARON JACKSON

It’s a cut from ‘The Hum Goes On Forever’ that they elect to kick off their set with. ‘Low Tides’ is met with a rapturous response from the audience. A borderline absurd amount of finger-pointing syncopated with shouts of “I’m growing out my hair, ‘cause who gives a shit” is just the sonic catharsis that British crowds need right now. This was the first of many massive choruses that fans reciprocated with huge volume and passion. Another standout was during ‘Pyramids of Salt’ in which the first cry of “I drew a line in the sand” was astonishing.

Speaking more broadly, the new material sounded colossal in this live environment. The ensemble, made up of drums, bass, three guitars, keys and vocals is, simply, very very loud. Their noise stretched to every corner of the venue and, for all the fine-tuned polish of the production on ‘The Hum Goes On Forever’, the body and beef of live instrumentation make for a better overall listening experience than any band could ever hope to achieve through a studio output.

That said, The Wonder Years are equally capable when lowering the tempo and volume to curate a more intimate vibe. The highlight from the mellower moments of the set was ‘Summer Clothes’, once again pulled from the brand new album. The performance was beautifully observed by the crowd, with an ocean of phone torches lighting up the room in lieu of the traditional lighters. Similarly, while ‘Flowers Where Your Face Should Be’ stunted momentum in the set perhaps a tad too early, it was nonetheless delivered with tremendous affection and with unmistakably authentic emotion.

Never ones to shun their older material, the setlist was dotted with plenty of hits to satisfy fans of every release in The Wonder Years’ discography. Notably, around the midpoint of their performance, the one-two punch of ‘There, There’ followed by ‘Passing Through A Screen Door’ knocked the crowd back nearly a decade to the era of 2013’s landmark ‘The Greatest Generation’. Fingers crossed that some ten-year anniversary festivities are on the horizon.

Bowing out, as expected, with their biggest song as an encore, Campbell joked about the predictability of leaving the stage only to return 30 seconds later to play another song or two. He argues that the band are getting on now, approaching their late thirties, so let’s cut them some slack. Regardless, ‘Came Out Swinging’ was delivered with the same vim and vigour of a band 20 years their junior. This is true for the entirety of their performance, and no doubt will continue to be the case for many years to come.

The passion that fuels this band’s craft shows no signs of fading. Long live The Wonder Years.

AARON JACKSON