It’s 7:15pm and ‘Sweet Caroline’ is blasting over the speakers as Arizona’s The Maine take to the stage, acting as tonight’s second warm up act. The iconic song, while notoriously known on our shores for its football association, leads perfectly into the band’s first performance of the night – a nod to the ‘Sticky’ lyric “‘Cause you’re on repeat like “so good” in ‘Sweet Caroline’. This light touch humour defines the band’s set which is filled with silly yet charming anecdotes from front man John O’Callaghan, seamlessly yet seemingly whimsically tying together each of the seven songs on their setlist. With the added bonus of a special appearance from Charlotte Sands for the addictive ‘Loved You a Little’, which sees mayhem ensue in the front quarter of the venue in particular, The Maine garner far more enthusiasm and excitement than you’d expect from an opening act. Made for stages like this, we hope it won’t be too long before they see themselves rising in the ranks to headliners themselves. 

What follows is an 11 song setlist by Texas natives, Waterparks. Acting as main support and well-known for being something of a ‘marmite’ band, Waterparks definitely split this crowd in two. Those in the front half of the venue scream emphatically to every word, jumping when commanded and generally eating out of the palm of Awsten Knight’s hands in a very, “Yes sir, no sir, three bags full, sir” kind of way. The vibrantly red-headed frontman’s charisma is undeniable, as is the catchy nature of the band’s set, and regardless of where you sit on the marmite scale you can’t help but smile at the scene before you, even catching yourself unashamedly yet unwillingly tapping a toe or two. Between Waterparks and The Maine, it’s safe to say tonight’s crowd are sufficiently toasty and ready for the main event.

Tonight marks You Me At Six’s second headline show at Alexandra Palace – the first being nearly six years ago in 2017 following the release of ‘Night People’ – and the production in itself shows just how far the band has come, feeling much more professional than their previous appearance, including various stage levels and one hell of a lighting set up. 

It’s this light production that intros the band tonight, bringing them on stage to a flurry of flashing colours in a way that boldly says, “We have arrived”. Despite this however, the band miss the mark somewhat in starting with new song ‘Deep Cuts’, which fails to see the immediate engagement you’d expect of a YMAS show. This instead comes with song two on the setlist, 2014’s ‘Fresh Start Fever’ which sees the crowd losing their minds, awestruck as front man Josh Franceschi hits that note. 

While the additional levels (deservedly showcasing drummer Dan Flint in all his glory), impressive light show and unexpected runway all add to the show, the production would have fared well from the addition of song transitions. As it is, however, there are a number of moments throughout the show wherein the lights are down and there’s no sound to be heard bar the occasional “Whoop!” from a crowd member. 

This is the only criticism to be found here, however, and it’s easy to forgive such small details given the professionalism with which the rest of the show and its massive 21 song setlist are executed. Whether it’s the classic call and response during ‘Cold Night’, the labelling of each part of the set (our favourite being the final part: “Pure Filth: Nothing But Bangers”) or the humanising speeches setting up fan fave ‘Take on the World’ and new heart tugger ‘Mixed Emotions’, there’s something for everyone. Not forgetting, of course, the night’s real highlights that come in the form of Franceschi and guitarist Chris Miller’s acoustic rendition of ‘No One Does It Better’ and – perhaps most excitingly – the short but sweet surprise appearance of Enter Shikari’s Rou Reynolds during ‘No Future? Yeah Right’, the response to which all but lifted the roof right off the main hall.

It’s been 18 years of You Me At Six and it’s safe to say they’re stronger than ever. Despite being told time and time again that they’ll never fill the likes of Wembley Arena or Ally Pally, these five boys continue to prove doubters wrong. Having grown from boys to men together, without ever a shift in lineup, the YMAS crew know each other inside and out, a chemistry that sparks fires on stage and ignites a flame in all of us too. Franceschi admits towards the end that we have “no idea how many times the You Me At Six family has saved [his] fucking life”, and it’s fair to assume the same can be said of many in this room too. 

YASMIN BROWN

Which is why, when Boston Manor announced a short regional tour this December, shows sold out in no time and – to make it even more special – each show would be in support of a local women’s shelter. Fans were asked to bring along toys to donate in support of such charities and QR codes appeared around the venue to encourage further monetary donations.

Tonight, at Boston Manor’s first ever show in Tunbridge Wells, fans have been asked to support DAVSS, an award-winning community based charity supporting victims of domestic abuse. As you file into the tiny 250 capacity venue, bags upon bags of donated toys can be seen collected on the floor, highlighting the giving nature of tonight’s crowd and starting off the evening with the warming, wholesome vibes we need on this bitter evening.

Following a stellar and well-received performance from the mighty Heriot, it’s Blackpool locals Boston Manor’s turn to take to the barrier-less stage. With it being the first time in a while they’ve played in such a setting, front man Henry Cox offers up their platform to the crowd – “Our stage is your stage” – an offer that’s quickly accepted as bodies appear on stage only to launch themselves off into the flailing arms ready to catch them and guide them haphazardly to safety.

In another first for this five-piece, tonight they’re playing their new album ‘Datura’ in full, something they claim to have been wanting to do for some time. The slow-starting nature of this record means that the show takes longer than usual to kick off but it’s not long before the carnage we’ve all come to love and expect ensues, sweat quickly starting to trickle down the backs and necks of everyone in attendance, not least those still tucked up in 10 layers to fight off the cold outside.

Despite only being released a couple of months prior, fans already have the lyrics memorised, singing and screaming emphatically along to each of the ‘Datura’ songs, showing unending commitment to the band. Experiencing these songs in a live setting only further amplifies their dark and sultry nature, giving them a new life and allowing us to fall more in love as they’re played expertly by this tight knit band of friends.

Of course it wouldn’t be a Boston Manor show without the classics, and once the band has tied up their latest release with the stunning ‘Inertia’, they launch into the second part of the set which sees performances of songs from their entire back catalogue. It’s this second act that best highlights just how consistently strong Boston Manor have been since the release of ‘Be Nothing’ back in 2016, with songs from each of their albums being met with as much enthusiasm as each other, proving that their growth and change in sound over the last six years has been executed to perfection and embraced with open arms.

Stage divers are rife throughout, bringing a level of intimacy and connection that’s hard to achieve in larger, barriered venues. It’s an intimacy that’s only heightened as Cox directs the crowd to split down the middle as he joins us on the floor for 2020’s ‘You, Me & the Class War’ – a chaotic highlight of the evening as Cox is happily engulfed by the crowd once the final chorus kicks in.

Tonight has been a true celebration of British music and as the final notes of forever favourite ‘Halo’ continue to ring in our ears as we brace ourselves to face the baltic night, you can’t help but feel proud to be a part of this small but special scene – one that Boston Manor are undoubtedly helping to drive forwards. It might be a while before we experience another Bozzy headline show so we’ll certainly be doing all we can to hold onto this feeling for as long as we can.

YASMIN BROWN

Kicking off the evening are Higher Power, a band making a name for themselves in the UK, appearing as support act and sitting on festival bills all over the nation. Tonight, the crowd is sparse and somewhat tired throughout their 7:30pm set but Higher Power refuse to concede, relentlessly bringing the energy and playing their part of warming up the crowd as well as the environment allows.

Boston Manor face similar struggles. A band that ordinarily sees carnage from the first note, front man Henry Cox has to work hard tonight to loosen up this Brixton crowd and work hard he does. Midway through the set during ‘England’s Dreaming’, the crowd having been urged to move forwards and it finally feels like the band have won us over, subsequently engaging enthusiastically in the ‘Funeral Party’ call and response before being told to get sweaty – a request that’s quickly followed as moisture starts to fill the air, creating a sticky yet satisfying atmosphere. With crowdsurfers first appearing during ‘You, Me & the Class War’, this finally feels like a Bozzy show. Band and crowd alike feel more comfortable and everyone is more than ready for tonight’s main event.

Given their huge return with the release of ‘Otherness’ earlier in the year, the triumphant music that greets the band as they walk on stage seems apt, as do the deafening screams coming from the sold out crowd before them. It’s this same crowd that drowns out the band as ‘Drunks, Lovers, Sinners and Saints’ kicks in – an old favourite from 2006’s ‘Crisis’ and a perfectly raucous way to kick off tonight’s endlessly chaotic set. 

This whole evening feels very much to be all about the fans, as guitarist and co-vocalist Dallas Green passes on the recent ‘Sans Soleil’ to us, noting that sometimes songs get a new life after being played live and that “this is yours, now”. It’s a particularly emotional part of the set that builds a connection between the band and every person in the crowd, wherever you might be located in the 5,000 capacity room. 

Even if you couldn’t feel the tangible connection tying everyone in the venue together, it’s clear to see as those in the seats stand eagerly, screaming along to every word ingrained in their minds. The energy, regardless of where you are, simply never waivers, helped along by the fact that carefully conducted instrumentals tie every song together seamlessly, never a lull to be found. 

Everything is cemented, too, in the concept of “otherness”. Not only is it the title of the band’s new album, but also an all encompassing theme of the band as a whole, something borne out of a phone call between Green and guitarist / co-vocalist, Wade McNeil wherein the former simply said that they can be “weird forever”. Alternative music is built on a foundation of outcasts and people who feel a little different, and tonight you can feel “otherness” become “togetherness” without anyone having to change who they are or what they stand for. 

This anecdote is followed by a stunning performance of ‘Blue Spade’ – an anthemic and almost celestial song that takes you to new heights and showcases the trio of complementary vocalists (McNeil, Green and the ferocious George Pettit), as well as cementing the musical prowess of all five members in this almost six-minute shining opportunity. 

‘The Northern’ is another one of these opportunities, prior to which there’s a venue-wide singalong of ‘Happy Birthday’ for the band’s lighting technician – further warming up our vocal chords ahead of the religious experience that is 2009 masterpiece, taking us to church whether we want to be there or not. The extended outro is one of many, but arguably the strongest of the night, leaving you rightly wondering whether Alexis’ claims of being “The only band ever” are more accurate than we suspected. It’s hard to imagine ever feeling quite so touched by a band as we are by this Canadian five-piece tonight, and whatever your faith (or lack thereof), it’s easy to believe tonight that there’s something greater than us out there. 

While encores are fast becoming a thing of the past, Alexisonfire continue to embrace the anticipation that comes with leaving the stage for a short moment, and as we’re still reeling from the cathartic singalong that is “Young Cardinals”, they’re back for three more of their very best. Starting off with ‘Committed to the Con’, it’s ‘This Could Be Anywhere in the World’ that really reignites our fire to an uncontrollable blaze – a forever favourite that helped define the youth of many of us here tonight – before ending the evening with ‘Happiness by the Kilowatt’. Yet another mind blowing performance, and the best way to end this phenomenal evening, we’re left wondering if there’s anything this band can’t do and it seems the answer is a categorical and undisputable, “no”. 

Walking out of one of our favourite London venues dripping with sweat and bursting with a deep love for this band, there’s nothing we would have changed about tonight. And while the long wait for new music may have fuelled tonight’s fire, we sure hope it won’t be another decade and a bit before we get to feel such energy again.

YASMIN BROWN

Today, they’re back together as Simple Plan support the mighty Sum 41 at London’s packed Ally Pally, and whilst Sum 41 are tonight’s main event, equal numbers of both band’s T-shirts appear on the backs of attendees tonight. 

Simple Plan kick us off, their pop punk sound of ‘I’d Do Anything’ seeping past the doors of the great hall into the queues waiting for burgers outside. The already packed hall became even tighter at the recognition as more fans filed in, enthusiastically screaming the words to a song over 20 years old. 

It’s telling that this band peaked with their earlier material, filling their set list with songs from ‘No Pads, No Helmets… Just Balls’, and only a couple of new ones gracing the bill to a more lacklustre response. Throw in a medley of Smash Mouth, Avril Lavigne and The Killers, and Pierre Bouvier and his friends have won us back over before ending on the ever angsty, ever wonderful, ‘Perfect’. Simple Plan are timeless pop punk kings and tonight proves there’s no shame in leaning into the material you know the fans want. Combine great music with some giant beach balls and a little covid-friendly crowd interaction and you’ve found the perfect recipe for a delightful start to an incredible evening. 

What feels like an eternity passes before ‘Introduction to Destruction’ kicks in, old fans reciting the eerie intro word for word as the lights dim and excited chatter stops, allowing the screams take over. The temporary Sum 41 backdrop falls dramatically, allowing a 3D devil’s head to take its place as Deryck Whibley and co take to the stage to kick off tonight with guaranteed crowd-please, 2001’s ‘Motivation’, much to the delight of the now-packed out great hall.

If you’ve never seen Sum 41 live before, or if you’d class yourself as a “casual fan”, it might surprise you to learn that Sum 41 fit more in the metal camp than in any other genre under the alternative umbrella. The talent that sits within this band can not be understated, as the night kicks off with expertly executed rapid fire drumming from Frank Zummo and dizzying riffs from original lead guitarist, Dave Baksh.

Just a couple of songs in and already tonight’s Ally Pally crowd finds itself under a rainfall of confetti the band sparing no theatrics and pyrotechnics shortly follow during ‘We’re All to Blame’. Among all the madness, we’re reminded to look out for each other as circle pits open up to see out this tour in style, aptly celebrating the 21st birthday of the band’s first album, ‘All Killer, No Filler’ with the fun addition of balloons bouncing over the crowd. 

Where Simple Plan’s covers section felt a little trite, Sum 41’s take on Queen’s ‘We Will Rock You’ leads into a guitar solo that brings this band’s talent to life, once again reminding us that their metal ‘undertones’ were never undertones at all, but the foundation of their technically brilliant sound and this “family” that Whibley refers to frequently throughout the night. 

And it does feel that way, too. This tour is celebrating albums that span two thirds of the majority of tonight’s 30-something crowd, so it’s safe to say Sum 41 have played an integral part in our lives, making up the soundtrack of certain years and reminding us of people and places we perhaps haven’t seen or visited since our youth. Tonight is bringing this crowd together in a tangible yet invisible way and “family” may be the best way to explain the closeness created by our shared sweat and beer, and our collective love for this band. 

The palpable joy that seeps through the crowd is also evident on stage as Whibley labels this the “funnest fucking show of the tour”. It’s also something of a homecoming as he explains it’s his first show in the UK as a British citizen, his entire family hailing from just down the road in Wood Green. With this along with the album celebrations and it being the final show of the tour, tonight has really felt like a celebration – one we’re delighted to have been a part of. 

Closing off with a three-song encore made up of ‘No Reason’, ‘Mr. Amsterdam’ and the iconic ‘Fat Lip’ (cue more confetti), we couldn’t have asked for a more perfect night. Those who entered Ally Pally as casual fans are sure to leave feeling wholly impressed by the calibre of this band, while those who have always understood just how incredible Sum 41 are, will only have fallen more in love tonight. 

With over two decades under their belt, Sum 41 have had a hot minute to refine their craft and tonight’s show has more than proven that they’ve made the most of the opportunity. Here’s to seeing what the next decade has to offer. 

YASMIN BROWN

Taking us on a journey through some of the most personal moments of their careers and personal lives, ‘The Hunna’ have managed to successfully bounce between tongue in cheek masterpieces such as the album’s first single, ‘Trash’, and ultra personal moments as depicted in the likes of ‘Untouched Hearts’.

At times, this abrupt change in tone from one track to the next makes the record feels incohesive, but when listened to in its entirety there is a strong and well-narrated story being told here – the story of The Hunna. 

The slow instrumental opener ‘The Storm’ sets the scene, building up gradually before reaching its climax with huge electric drum beats and piercing guitar – a perfect set opener and almost certainly written with this in mind. 

The whole album feels made for the stage, which makes sense given The Hunna are never better than when in front of a crowd – commanding festival main stages just as well as their own headline club shows. It’s hard to pinpoint which tracks on this record will translate best to the live show given the plethora of huge choruses that sit within it, however ‘Take a Ride’ lends itself to a clap-along with a strong and steady bass drum towards the end, following a heavy start and endlessly catchy pre-chorus. The huge second chorus in ‘Circles’ is also a guaranteed crowd pleaser.

As well as these bigger, more animated moments, The Hunna tackle ballads just as well, and the likes of ‘Find a Way Out (Back to You)’, ‘Untouched Hearts’ and – to an extent – ‘Apologies’ hit just as hard, albeit in a different way. The former feels like a warm hug and an encouragement to pursue a fulfilling and authentic life, whereas the atmospheric ‘Untouched Hearts’ connect you with the band (and frontman Ryan Potter in particular) in a way that few others do. It’s the latter, however, that tells the strongest story, being based on a true-life event wherein a fan claimed to have slept with Potter to make her boyfriend jealous. The song places little blame, instead pushing the message that she’s already enough without telling such tales, and you’re left feeling sad for all parties involved. 

There are plenty of striking moments on this record, but arguably none more so than the Charlie Simpson collaboration, ‘Sick’. Potentially one of The Hunna’s heaviest ever tracks, there are layers to be found here from Simpson’s screaming to the orchestral driving force of the track. It’s slow and ethereal and see this band at their very best. 

Upon first listen you’d be forgiven for thinking that The Hunna released the best two songs from this record first – ‘Trash’ and ‘Fugazi’ – however the more you delve in, the more there is to unpack and the more there is to love. You start to really understand that this is the members of this band being unapologetically themselves – calling out bullshit as they see it, twisting it into classic British humour and sarcasm, laughing at themselves, and in the very next moment recalling some dark and painful moments and slapping you back to reality. 

With ‘90s and ‘00s rock influences aplenty, this album will easily achieve the band’s goal of “standing the test of time” and the lyrical content awards them the power they’ve been searching for since Covid took it away – as it did for so many. There’s no doubt that this record is The Hunna through and through, an authentic rock band ready to continue to take the world by storm. 

YASMIN BROWN

This EP saw the band develop even further; if ‘GLUE’ was a direct departure from 2018’s ‘Welcome to the Neighbourhood’, ‘DT, DP’ saw Boston Manor travel more aggressively down a path towards being the strongest and most authentic they have ever been.

Flash forward to today and the first of what is set to be two parts of the band’s next full length is here. A collection of tracks that are a result of Boston Manor really taking their time, ‘Datura’ is home to their most mature work yet. 

At just eight tracks long, it understandable if you’re feeling a little dubious about this record’s ability to fully satisfy, however the calibre more than impresses and the knowledge that there will soon be more for us to delve into makes it even more gratifying.

The album kicks off with an eerie, intense and slow-paced start to what will prove itself to be a huge record with title track ‘Datura (Dusk)’. The track is a soft intro to this crescendo of a record, home to gentle, yet powerful vocals from front man Henry Cox and a strong beat that drives the track. Electronic elements add texture and depth – the anxiety it induces is apt given the datura plant is used as a poison or hallucinogen in some cultures, giving context to the physiological response the track evokes. 

‘Floodlights in the Square’ follows on smoothly, dirty background riffs introducing the track ahead of the beat kicking in, presenting what is a heavy and dirty yet simultaneously catchy sound. Cox’s voice is more bitter here, better suiting the song’s heavier foundations and lending itself perfectly into ‘Foxglove’.

The first song to be released from the record back in April, ‘Foxglove’ is arguably the album’s pièce de résistance and arguably one of Boston Manor’s best songs to date. Named after a plant that can cause irregular heart function, it only makes sense that it riles you up, makes you doubt yourself, hate yourself and question everything you thought you know all at once. It’s a messy and unnerving concoction of emotion that can only be calmed by a guttural scream, executed in this instance by the second utterance of the line “I don’t deserve it but I savour every touch of your skin” – a cathartic release made for the live show. 

The fact that ‘Foxglove’ is so strong may explain why the subsequent anthemic ‘Passenger’ is sonically, a little weak in comparison as it fails to quite reach your chest in the same, toxic way. Lyrically, however, this one hits hard, with lines alluding to the darker side of fame that is rarely talked about beyond the most notorious of artists and how anonymity no longer feels like a right once you enter the limelight – “’Cause everybody’s so famous / Everything is so heinous / If we leave, would you blame us? / Do you need to know what my name is?”. 

Leaning back into the plant theme, ‘Crocus’ follows, named after a flower that is said to symbolise a new beginning or a rebirth. The song itself is somewhat sultry sounding and at times a little sassy, and lyrically it plays into this concept of new dawn that encompasses the record, aptly suggesting a new start for the band and new hope for the ambition that lives within it. While at times sarcasm seeps through, up until now, this is the most positive track on the record as it takes you through to the dawn of day, inciting hope. It’s a hope that grows as we move into ‘Shelter From the Rain’, the gentle rain sounds reminding you of a safe night tucked up in bed, tucked away from the angry skies outside. It’s the thought of this gloomy night that contributes to the loneliness and despair that this track somewhat inexplicably conjures, the slow build to an overwhelming and almost uncomfortable climax – a throwback to ‘Welcome to the Neighbourhood’ and ‘FY1’ – but within it you’ll once again find hope of a sunnier tomorrow. A rebirth.

It makes sense then that ‘Datura’s’ closing track should be the most positive of them all, as we’ve been taken on a journey from looming darkness to a new light. Amongst the angst, anger and despair, Boston Manor excel at love songs and ‘Inertia’ may be their strongest yet – you can feel the affection in Cox’s vocal tones, telling a story through that alone. The definition of inertia is for something to remain unchanged, and in this instance this relates to a relationship and how despite distance, the love is still there, with the line “I’ve been gone so long / But you are still my home” cementing this sentiment and filling you with warmth that can only be found in the people closest to you.

For a moment, you think this is how the album will finish, but after almost a minute’s silence, the music starts up again with an haunting and jarring instrumental that plays with dystopian sample sounds until the track fades to silence other than birds chirping in direct juxtaposition with the unnatural sounds that preceded it. With the promise of a second part still to come, this untitled hidden track feels like a teaser of that – a taste of all we still have to experience with this unbelievable band.

Boston Manor themselves have noted that this set of songs exists in the dim light between dusk and dawn, and it’s easy to conjure not just that visual but the feelings that go along with it. The underlying anxiety, sadness and fear, but also the hope that a sunrise breeds. While the topics broached are easily transferrable to real life scenarios, this still feels somewhat conceptual and it’s a concept that is executed perfectly. If you thought Boston Manor had already peaked, you were so incredibly wrong.

YASMIN BROWN

The sparse crowd suggests the early set time hasn’t been well-communicated as tonight’s show was an easy sell out, resulting in an additional show being added the following evening. The floor quickly fills however, as Highly Suspect play themselves onto stage with an extended instrumental before kicking the night off with the ever raucous, ‘Bath Salts’ and here, the real fun begins. 

Immediately those who’ve positioned themselves front and centre lose themselves in the moment, unable to tell one body from another as discarded pints combine with sweat, leaving them drenched. Those on the outskirts clutch to their plastic cups as they bob and sing along, equally as enthusiastic though slightly less chaotic than their peers. 

Wherever you are, the ground shakes beneath our feet as bodies are launched into the air only to land with a messy thud, and eardrums threaten to burst with the sheer magnitude of the music playing out on stage. Tonight’s setlist is only 12 songs long but lasts an easy 90 minutes due to the number of signature instrumental breakdowns that continue to cement Highly Suspect as one of the greatest rock bands of our generation. Riffs play out as fans watch with awe from the pit, enraptured by just how well these musicians fit together, following each others leads without a word after years of practice – an unquestionably well-oiled machine.

Fuelled by Patrón straight from the bottle, the band wastes no time in getting amongst the crowd as front man Johnny Stevens takes a shot before flinging himself into the crowd during ‘Canals’, all but disappearing as fans eagerly engulf him. His bandmates soon follow suit as guitarist Matt Kofos launches himself on top of the sea of hands waiting to catch him during ‘Claudeland’, only to get his shirt ripped in two (“I just bought that!”) by said hands. 

What follows is a moment to breathe as Rich Meyer takes centre stage solo, to play the acoustic ‘Arizona’. While a stunning performance, the chatter that fills the room suggests that most are here for the chaotic energy that Highly Suspect have become famous for but if nothing else, our lungs are back to full capacity just in time for Stevens’ solo performance of ‘Fly’. 

Kicking this off with a short speech, Stevens notes how he’s experienced anxiety and depression most of his life but how nights like these make him feel “fucking awesome” as we show up to vehemently support him and his bandmates. What follows is a stunning vocal performance from Stevens, with the crowd acting as back up vocalists during the chorus of the overtly vulnerable ‘Fly’ as we emphatically remind him just how loved he is.

This short part of the set leaves a cloud of emotion lingering in the air so it only makes sense that the rest of the evening would return with a bang to business as usual, with more instrumentals and mosh pits than you can count. After the soulful vocals in ‘Fly’, Stevens further proves the versatility of his talent during ‘Look Alive, Stay Alive’ during which we get our first live experience of his growl which he tackles with seamless ferocity throughout the choruses. This is just a taste, however, as Highly Suspect return for a one-song encore in the form of the band’s latest release ‘Pink Lullabye’. It’s here where the growls really come to life, and while it may be a left-field choice for an encore, as we file out of Electric Ballroom onto the still sunny streets of Camden, it certainly sees us out on one hell of a high. 

YASMIN BROWN

Now, after almost three unwilling years away, twenty one pilots have decided that one London show just isn’t enough to mark their return, instead including it in their worldwide ‘TAKEØVER TØUR’ that has seen them settling into one city for a week, making their way through some of the the best venues each city has to offer.

The London tour kicked off last night in Camden at the Assembly pub where they played to no more than 250 of the luckiest fans. Tonight, we ramp things up slightly in the larger but still wildly intimate Shepherd’s Bush Empire and despite holding 10 times the number of fans, in a reality where twenty one pilots easily headline Reading and Leeds Festivals, we still feel just as lucky to be here.

Later on tonight, Joseph will refer to London as “home” and declare through a Cheshire cat smile just how great it is to have live music back after being “dead” for so long. From the response, it’s clear that he and his best buddy Josh Dun sure as hell feel like home to us, too, and we couldn’t be happier to be here for their homecoming. 

While yesterday took pilots and their Skeleton Clique way back to the “Power to the local dreamer” days of 2013, today things feel immediately grander and more polished while still maintaining “the few, the proud and the emotional” community that was prevalent at the start of the ‘Blurryface’ album cycle back in 2015. There’s just about room for a screen on stage, which the band makes great use of throughout, showing footage that adds context and depth to the show, and allows for visual nods to the twenty one pilots lore that fans love to delve into with each new record. Later on, it will also give the newly added touring band members a platform on which to play, all happily and uniformly donning jumpsuits with various symbols that will be instantly recognisable to anyone in this room tonight.

It’s the first time the band have been joined on stage by additional band members, and it’s no secret that fans have been nervous about this change. There was no reason to fear, however, as while they do each get their moment to shine – Joseph takes a moment to introduce each by name partway through ‘Saturday’ later on in the set – Joseph and Dun will always be the stars of the show. This way, however, the live performance is hugely amplified as there’s far less reliance on backing tracks, meaning the sound is stronger and more impactful than ever before. 

The fans in attendance tonight seem to notice this improved sound and are certainly not put off by the change in format. From the get go, they scream the lyrics without needing a moment to think, as the first part of the set sees the band seamlessly making their way through a medley of songs from all eras. At times, this medley gives certain songs no more than one line from a verse; the rap in ‘Fairly Local’ is picked up in less than a beat as Blurryface appears on the screens, the crowd excitedly embracing being “the few, the proud and the emotional” again here tonight, and similarly, the short snippet of 2021’s ‘Redecorate’ is echoed back with ease. 

As you might imagine, a sold out venue of this size combined with one of the most fierce fanbases of our time makes for an unparalleled atmosphere. It’s sweaty. People are packed wall to wall, side to side and front to back and those confident enough to brave the bar find themselves pressed against it while they wait for their beers to be served, only to immediately have the plastic pints knocked from their hands as they re-enter the crowd. The air is sticky (as is the floor), smiles are unwavering and carefree, bodies are slick, and this is exactly how a twenty one pilots show should feel; fuelled by passion, love and a desperate need to let go of the world outside.

While on previous tours the pair have maintained on-stage personas, tonight feels different in that sense, too. Joseph breaks out of character on numerous occasions to confidently chat to the crowd and a smile sits almost permanently on his face as he looks to his bandmate and best friend so that they might drink in the evening together. What better opportunity to do this than when they gather around a ‘campfire’ for a stripped back, acoustic part of the set? Setting the scene by acknowledging that this is their first time experiencing sunshine in the UK, they kick off a medley of sunshine themed covers before transitioning back into their own catalogue with ‘House of Gold’, during which Joseph mentions his mum, who inspired the song, is here in the audience tonight. 

To give tonight the justice it deserves would be to delve into every fibre of its fabric; every second feels intentional. From the smoke that seeps through Joseph’s balaclava to the nods from last year’s live stream, to the pits that open up during the chaotic ‘Jumpsuit’, to the black paint that Joseph coats his hands in prior to performance 2015’s ‘Message Man’ – to every image that appears on the screens on stage and every one of the thousand moments in between. There’s no doubt by the time tonight ends that twenty one pilots are perfectionists through and through, and despite having quickly and easily grown to being a comfortable arena sized band, this 2,000 capacity venue feels just as special and well thought out as those larger venues we’ve become accustomed to. The smiles that sit firmly on Joseph and Dun’s faces throughout are a testament to their endless humility, almost suggesting that it’s these smaller, more intimate moments that mean the most to them – a nod to just how much they’ve grown and a reminder to never forget their roots. 

For many this band feels like a safe space, like an escape from a world that’s otherwise tricky to navigate. They feel understood and accepted and, best of all, they get to experience all of this in a room full of other people just like them, with Joseph and Dun at the helm. As the pair clamber on top of the crowd to close out the set with synchronised drumming at the end of ‘Trees’, and as the rainbow confetti rains down gently on us, this sense of safety feels mutual, with Joseph and Dun needing us just as much as we have ever needed them. 

The following night, twenty one pilots will win the Kerrang! Award for best live act and it’s perpetually clear why this is the case. Few bands can command the crowd in the way Joseph does and few can adapt a show as huge as theirs to feel just as organic in small venues such as Shepherd’s Bush. Tonight has been unique in that it’s been both a trip down memory lane as well as a chance to see just how far this band have come since they last touched down on our shores in 2019. From a new found confidence to the tightest set they’ve ever played, twenty one pilots never fail to amaze and we never fail to find more reasons to love them.

YASMIN BROWN

 It may have only been nine months since we were last here, but today couldn’t come soon enough. Here’s what we got up to…

Words: Yasmin Brown [YB] and Catie Allwright [CA]; Images: Penny Bennett & Slam Dunk

CASKETS

After a forced name change back at the start of 2021, Caskets have returned with a vengeance, with fans quickly forgetting they ever existed under a different alias. Today, they fill the tent that protects us from the intermittent sun and equally threatening clouds at The Key Club Stage, playing to an overly excitable crowd despite this early set time. Even from the back of the tent, the clean and dirty vocals complement one another stunningly, the heaviness never once overbearing the melody and, despite minor setbacks, this is a band who have mastered their sound and will soon be climbing up the ranks at festivals such as Slam Dunk. Today is made for them, and they are made for this crowd – we can’t think of a better way to have kicked off our day. [YB]

CASSYETTE

Hot on the heels of her My Chemical Romance support shows, Cassyette opens the Jagermeister tent with remarkably fierce energy. It’s only midday so we’re still waking up and sipping on our first pints, overlooked by ominously grey clouds, but that’s soon forgotten by everyone listening to Cassyette’s phenomenal, husky voice and getting enthusiastically stuck into a pit. It’s a short but punchy set with popular tracks including ‘Dear Goth’, ‘Mayhem’ and ‘Prison Purse’, as well as her new single ‘Sad Girl Summer’ (add this to your Spotify playlists and thank us later). A regular Slam Dunk punter, this is the 29-year-old’s first time on stage at the festival – but with Cassyette’s voice and energy, it definitely won’t the be the last. And we’re willing to bet that next time, it won’t be a warm-up act. [CA]

THE BRONX

Bringing the California sunshine to Hatfield for their final show of the tour, The Bronx are next on the Dickies stage and are looking positively pumped to be there – despite losing absolutely everything on their flight over from New Zealand. Thanks to the generosity of stage-mates The Suicide Machines, The Dropkick Murphys and Hot Water Music, the quintet make it work with borrowed instruments, proving that the “community of motherfucking punk rock” is very much alive and well. 

Slam Dunk’s ‘rock and roll policy’ wouldn’t allow a charity crowd surf, with $5 donated by The Bronx to mental health crisis centres for every sweaty body lifted over the barrier, so they opt instead for $10 for anyone who climbs onto another’s shoulders. This gets a disappointingly lukewarm reaction, and allegedly the southern crowd can’t bring the noise as loudly as the north the day before, but there’s still a huge circle pit (monitored closely by security staff in high vis). It’s vocalist Matt Caughthran’s goal for everyone to move their bodies and have a good time and we do just that… whilst playing by the rules, of course. [CA]

YOURS TRULY

Fresh of a last-minute support slot for You Me At Six at this same venue just two days prior, Yours Truly are more than warmed up for today’s set. Mixing up the setlist slightly, those in attendance earlier in the week are treated to something new, and those who are catching the band for the first time are certainly seeing Yours Truly at their best today. Front woman Mikaila Delgado, who wastes no time wishing everyone “Happy Pride!”, continues to bring the energy throughout, bouncing around the stage with ease, her charisma overshadowing the fact that her usually ferocious vocals and the vital backing track are disappointingly drowned out by her bandmates. Regardless, the crowd are clearly delighted to be here with this Australian four-piece today, screaming as each next song is announced, for the most part making it easy to ignore any sound issues. Here’s hoping they return soon so we can witness these up and comers reach their full potential. [YB]

HOT MILK

No strangers to festival lineups, it’s been almost a year since Hot Milk opened up the main stage at the Download Festival Pilot in 2021. Since then, they’ve only become more comfortable on such stages, improving as time has passed and building more of a fanbase with every set. Today, they sound stronger than ever, bouncing off the walls for the duration of their thirty minute set. It’s clear today what the fan favourites are – ‘I JUST WANNA KNOW WHAT HAPPENS WHEN I’M DEAD’ and ‘Candy Coated Lies’ to name just a couple – but each song is met with excitement from the busy Rock Scene stage. The chemistry between the band members is tangible, in particular vocalists Han Mee and Jim Shaw, each interacting with each other throughout without missing a beat. As the clouds start to dissipate, fans leave the tent looking delighted with the experience and we can’t think of a more apt way to kick start the bright and sunny afternoon. [YB]

SILVERSTEIN

Back at the Jagermeister stage, which may as well have been dubbed the Canada stage for 2022, Silverstein are here to party with some early emo anthems like ‘Smile In Your Sleep’ and ‘My Heroine’. Slam Dunk always strikes the perfect balance between bittersweet nostalgia and showcasing emerging talent (or just new material), so Silverstein’s hit singles including ‘Afterglow’ and brand new tracks like ‘Ultraviolet’, from the freshly dropped album ‘Misery Made Me’, land almost as well. After making a name for themselves back in the early noughties, Silverstein are now “on their 22nd lap around the scene” and still feel like they’re only getting started. Seeing their lively performance and one of the biggest crowds of the afternoon, it’s more than believable that they really do have so much more to offer. For fans who enjoyed (or missed) the show, be sure to grab tickets for their Camden and Birmingham dates at the end of the year. [CA]

CANCER BATS

Cancer Bats have waited a long time to be back on stage in the UK and it feels “real good” – just take one look at the elated expression on drummer Mike Peters’ face. The hardcore fans of hardcore are familiar to lead vocalist Liam Cormier, who is all too used to seeing their contorted faces screaming back at him, but the wider crowd are formally introduced to the motherfucking Cancer Bats. He calls out the “sick lineup” with so much representation from Canada – Silverstein, Cancer Bats, Counterparts and the world-class headliner Alexisonfire (with vocalist George Pettitt joining for his guest verse in ‘Pneumonia Hawk’). 

Cancer Bats have played at Slam Dunk “7, 8 or maybe twelve times” so it’s an old stomping ground for most of the band, except guitarist Katie Lamond who’s playing in the UK for the very first time. She’s more than up-to-speed with the band’s discography, tearing her way through tracks including ‘Sabotage’, ‘Hail Destroyer’ and ‘Lonely Bong’ from their latest release, ‘Psychic Jailbreak’. For such angry music, it’s an upbeat set with everyone both on- and off-stage absolutely pumped to be there. [CA]

WITH CONFIDENCE

How to accurately convey the joy that With Confidence bring to Slam Dunk? There’s barely a bucket hat in sight at Slam Dunk today and yet front man Jayden Seeley breaks the mould, wearing his with pride, alongside a grin that never once subsides over the 35-minute set – a grin reflected on the faces looking up at the stage. This is Australian pop-punk at its finest and if you close your eyes you could almost be on Warped Tour with the searing heat now beating down and catchy riffs filling your ears. There’s an appropriate level of confidence exuding from the band who seem to know that fans will sing along word for word from the moment they start playing, a well-oiled machine made up of four slick musicians making it very easy to love them. It’s been three years since the band were last here but they’re met like old friends, talking to the crowd as though they are, too – from call and responses to that endearing Australian banter, the time between songs is filled well, making every moment enjoyable and leaving you wishing it might never end. [YB]

HOT MULLIGAN

Hot Mullligan haven’t played a single note yet and they’re already demanding that a pit opens up in the Key Club stage’s crowd. Today’s rammed and already sweaty crowd obliges without question before ‘Something About a Dead Dog’ kicks in and they happily follow yet another request: “If you know the words, sing it”. Beers they’ve queued an hour to purchase for an extortionate price are flung into the air, soaking those below it, and it’s very quickly clear what a chaotic half hour this is turning out to be. You’d never guess from the band’s wild popularity that this is their first time in the UK; as each song passes, increasingly more crowdsurfers sprint out from in front of the barrier, adrenaline coursing through their veins, ready to do it all over again. It’s hard to pinpoint a fan favourite here today, as each song is met with the same level of enthusiasm as the last, and with the four-piece being so perfectly in sync, playing each to perfection, it’s not hard to see why. This may be their first time on our shore but if today proves anything, it won’t be their last. [YB]

THE WONDER YEARS

Under the canopy of the Rock Sound tent, anticipation is palpable as we wait for The Wonder Years to begin their double set. It’s off to a go with a chant for guitarist Nick Steinborn, who was in COVID quarantine until this very morning. And what a day to have the freedom to play again; the album ‘Suburbia I’ve Given You All and Now I’m Nothing’ came out in 2011 and its 10-year anniversary celebration is now long overdue.

With so many changes and hiccups in the band’s formative years, vocalist Soupy (Dan Campbell) admits he wasn’t even sure they’d be on stage a year later. But here they are, coming out swinging to the opening track ‘Came Out Swinging’, with hundreds of people singing along. And not just singing, the kind of screaming that rips from the pit of your stomach through your hoarse throat, with well-rehearsed words that clearly mean so much to every person there.

The Wonder Years are far too humble, claiming to be a band who plays basements rather than festival tents, and are always surprised to see people waiting for them as they walk out on stage. But they didn’t simply play this year’s Slam Dunk, they retained an engaged crowd through two albums played in their entirety – with ‘The Upsides’ (2010) following ‘Suburbia’. So they might be the underdogs, but at Slam Dunk it’s where they belong. As Campbell said himself, it’s here they’re home. [CA]

MAGNOLIA PARK

Somewhat new kids on the block, Magnolia Park have recently made a name for themselves, deservedly picking up a host of new fans, finding themselves on the cover of Kerrang! back in May and collaborating with Mayday Parade’s Derek Sanders. It makes sense then that the band’s set today should go down like a house on fire, with those fans standing front and centre screaming along to each and every word as they make their way through the setlist. A surprise cover of Fall Out Boy’s ‘Sugar We’re Going Down’, while not necessary, picks up those hanging around the edges, bringing them further in and getting them just that little bit more on board. This band pushes boundaries, sounding unlike anything we’ve heard today, and their performance is sure to see them picking up new loyal followers aplenty. Shortly from the end of the set, the band encourage the whole Key Club tent to get down on the floor before jumping up at ‘that moment’ in the song. This energy carries us through to the end of the set and beyond, leaving us more than satisfied and endlessly intrigued to see what’s coming next. [YB]

BEARTOOTH

In your chest, you can feel the power pulsating from the speakers before Beartooth have played a single note. They’re here to do one thing and one thing only, says frontman Caleb Shomo, and that’s “to rip our fucking faces off with rock and roll”. It’s loud and intense and, of course, there’s a healthy amount of naked flame. 

The weight of the music and guttural vocals are beautifully juxtaposed against the grinning face of every single crowdsurfer who’s running past the barrier and diving straight back in to experience it all over again (and again).‘Disease’, which Shomo hates singing alone, and ‘In Between’ get the biggest and most powerful reaction – the crowd is vast and alive. Ending with ‘The Last Riff’ is an unusual choice, with little opportunity for spectators to get involved as the five-piece jam on stage, but maybe this is a moment just for the band.

You can’t underestimate the catharsis of seeing live music, which Shomo talks about, having had conversations with fellow bands about how we’ve all been sorely missing these opportunities to let loose, let go of our bullshit and rid ourselves of everything we’ve been holding in. With it being the first proper festival season since pandemic restrictions were lifted, it has even more gravity this time around. The truth, Shomo says, is that music isn’t just ‘something’. It’s everything: the blood coursing through his veins, his first language and it truly means the world when people come and watch Beartooth play. [CA]

THE STORY SO FAR

Stepping into The Wonder Years’ very big shoes are Californian four-piece, The Story So Far. Rivalling their predecessors for the largest crowd at The Rock Scene stage today, it’s no surprise that this band has been on the scene for 15 years as they receive a roaring welcome when taking to the stage. Today’s set is made up of hit after hit, each seeing the crowd all but drown out front man Parker Cannon (sometimes taking over entirely as in ‘Roam’) as they easily recall the lyrics from their old favourite songs. It stands, then, that the energy never once wanes, arms stretching in the air desperately, reaching for an unknown prize, and crowd surfers’ limbs flailing – an energy that’s matched by those on stage. After 15 years or so of practice, their performance is polished and goes off without a hitch and it’s clear to see how this band have persevered in a cut throat industry for such a long time. Here’s to the next 15. [YB]

ALEXISONFIRE

Today’s strongest performance without a doubt comes from the mighty Alexisonfire. After a hiatus that lasted far too long for anyone’s liking, AOF returned back in 2015 and yet despite a handful of singles, have yet to bless our ears with a new studio album since 2009. This come and go nature generally makes their shows more exciting but today, with their brand new album just weeks away, their Jagermeister stage headline set ignites something brand new in us – a fire that blazes more wildly than ever. 

The three vocalists, George Pettit, Wade MacNeil and Dallas Green complement each other as perfectly as ever, their differing tones each adding more texture to the performance and working together with the excellent musicianship to create something truly magical. Whether you’re singing along to your favourites (hello, ‘Boiled Frogs’) or moving in time to the instrumental opening of ‘.44 Calibre Love Letter’, there’s not a moment during this set where you won’t find yourself truly entranced by the scenes on stage and the sounds hitting our ears. 

As Pride Month is upon us, it’s only right that we feel safe here today, and Alexisonfire’s shows are pinned as such simply by the inclusion of ‘Accept Crime’ on the setlist – an inclusion that has never been limited to the month of June – and with today’s interchangeable weather, it wouldn’t have been too surprising if in this very moment a rainbow had appeared over the stage. The inclusion doesn’t stop there, either, as a call and response ensues during 2006’s ‘We Are the Sound’ before ‘Pulmonary Archery’ takes a beautifully chaotic turn and ‘Young Cardinals’ presents itself as the most impressive performance of the set. 

This band is on top form, better than they’ve ever been even after 21 years – our only complaint is that this couldn’t go on forever and ever. [YB]

NOVA TWINS

Nova Twins have seemingly burst onto the alt music scene since their first release in 2016, and have already secured a well-deserved headline slot today at Slam Dunk. It’s an intimate crowd, in unfortunate competition with the nostalgia trip Sum 41 offer and powerhouses Deaf Havana, but the pair are more than up for partying with the loyal fans who made it to the Key Club stage. As we’ve come to expect from Nova Twins, their set is politically driven and celebrates bodily autonomy, overthrowing oppressive systems and being fearlessly feminine. The crowd, though small, are mighty in their own way, even singing and dancing along emphatically to music that’s never officially been released. It’s clear that the integrity of this Kerrang! cover band has allowed them to grow monumentally since their inception, however their catchy sound and ferocious energy undoubtedly got them on the map in the first place, allowing them to spread their message far and wide. With a new album out now, this band is sure to continue to grow and next time there will be far more there to witness the beautiful carnage.  [CA/YB]

DEAF HAVANA

Like many bands, lockdown wasn’t easy on Deaf Havana, who almost called it quits last year, but today sees them back with a brand new lineup joining brothers James and Matt Veck-Gilodi as they introduce us to a shiny new era. While the sound isn’t quite up to scratch (although James V-G’s vocals are stronger than ever) and, as with Nova Twins, they’re battling the Sum 41 headline set over at the Dickies stage, they’re met with a delighted reception from those fans that are in attendance tonight. That’s not to say the crowd is small, necessarily, but certainly smaller than what you’d expect from a band of this calibre and general popularity, and you can’t help but feel they deserve so much more. With a setlist that spans their discography, there’s something for fans old and new, with 2018’s ‘Rituals’ songs ‘Worship’ and ‘Sinner’ in particular receiving some of the fiercest responses across the set. The newer material shines brightly through the falling sun, with many fans already knowing all the words to the fresh songs that have made it onto the setlist, some of which have barely been a month or so at the point of playing. With a headline tour coming our way in November, this is a perfect warm up and introduction to this new era of Deaf Havana – we’re very excited to be aboard this ship with them. What a way to end a truly glorious day. [YB]

Rather than make today all about them, however, the YMAS boys have curated themselves a mini festival, bringing with them four of their favourite (almost exclusively British) bands to warm up this already very toasty crowd ahead of their headline set.

Opening today are last-minute additions, Yours Truly, an Australian four-piece whose recent collaboration with Mr Josh Franceschi himself seemingly earned them a spot on the lineup after Yonaka pulled out due to an illness in the band. Led by the ever-charismatic Mikaila Delgado, these guys bring an epic combination of electronic and rock music, filling the stage with energy and psyching up the already dense crowd. Despite the sound setup letting them down slightly  – Delgado’s usually fierce vocals are somewhat drowned out here – they still provide the perfect start to what will soon reveal itself to be the perfect day.

Following close behind are post-punk Kid Kapichi. Hailing from Hastings, this band is here to get you thinking, combining their refined sound with striking political lyrics to successfully rile the crowd up in an entirely different way to anything else we’re set to experience today. Fresh off a UK tour, this band’s following is growing by the minute and in a country populated by increasingly disenchanted citizens, it’s easy to see why. Today’s performance is tight and sees an even greater crowd gather than Yours Truly as more fans start to trickle through the gates and make their way to the stage. If this is just the beginning, we daren’t imagine what’s coming next but we’re sure as hell looking forward to it. 

Looking at the slightly less distant future, however, next up tonight is the mighty Holding Absence – easily one of the greatest live bands in the UK right now and the perfect addition to this already stellar lineup. Fronted by powerhouse Lucas Woodland, it’s impossible not to find yourself drawn into this set as goosebumps cover your skin and tears inexplicably run down your face with every song that passes. The band’s already stunning music was made for a live environment and here you can experience all of your favourite songs in a whole new setting, as though hearing them for the very first time. Despite their supporting status tonight, there are fans screaming every lyric back without a second thought, leaning into this ferocious performance. This performance is only further elevated by the unexpectedly strong backing vocals of guitarist Scott Carey, furious drumming of the unbelievable Ashley Green, and driving bass of newcomer Benjamin Elliott – together they can only be described as flawless. With a seemingly unending and mind blowing talent for songwriting, it would be no surprise to see Holding Absence headlining a show like this themselves in just a few short years – and we’ll be the first ones in line for tickets. 

Of course, it wouldn’t be a festival in 2022 without The Hunna – a band who have been dominating our summers for years now, this Watford four-piece’s vibrant presence means they’re simply made for the field. Easily capturing the crowd from the moment they take to stage, the chaotic energy The Hunna exude is contagious and whether you’ve heard of them or not, you’ll find a grin spread across your face and feel an undeniable desire to dance. As much as this is a special night for us, it can only mean more to this band who admit to, like us, having grown up on You Me At Six, bringing them full circle this evening. With that in mind, they seem to throw themselves into their set more than ever, mixing it up with old favourites such as ‘Dare’, ‘She’s Casual’ (complete with the usual crowd singalong) and ‘Bonfire’, as well as treating us to some new songs from their upcoming fourth album. Given The Hunna already have quite the following, they’re the ideal choice for main support today and by the time they leave the stage, this crowd is more ready than ever to relive their teen years.

Bring it on, You Me At Six.

And bring it on they do, leaping onto stage just as the sunlight starts to fade slightly, preventing the chill from having so much as a chance to touch us. Still reeling off the anti-discrimination message that filled the screens ahead of the music starting, this crowd is feeling nothing but excitement and acceptance, all of which only increases when those first notes of ‘Loverboy’ hit our ears. 

The band makes it through this first part of the set with apparent ease, a well-oiled machine, they take cues from each other perfectly and perform almost without a hitch – a surefire sign of a band made up of best friends who clearly feel as much love for this decade old album and the songs that make it as we do. There’s so much emotion within its parts, from loss to longing to anger to love to frustration… and all of it is captured as You Me At Six revisit every dark and dirty corner of their early twenties. Just as the members of the band are taken back in time, so, too are the fans, recalling who they loved and who they lost back in 2011 when this record was first released. It’s a nostalgia trip, sure, but also an ode to how far we’ve all come as we’ve aged, and as every word falls effortlessly and without thought out of our mouths, everyone here tonight has fallen in love with ‘Sinners Never Sleep’ all over again. 

The album’s two collaborations, ‘Bite My Tongue’, featuring Bring Me The Horizon’s Oli Sykes, and ‘Time is Money’ – a particularly heavy venture with Parkway Drive’s Winston McCall – go down particularly well, the only potential complaint being that the respective collaborators appear on screen while their vocals play over the speakers. While having them here in the flesh may have been a little (okay, very) ambitious – McCall in particular comes from Australia – you still find yourself somewhat aware of how even more incredible this might have been had that been the case.

It’s a silly complaint, really, and one that’s easily overshadowed by the rest of the set. From being reminded of hidden gems such as ‘Little Bit of Truth’ and ‘The Dilemma’, to the slight fumbling over lyrics in ‘Crash’ (referred to later as a “monstrosity” by frontman Josh Franceschi), to the raw emotion felt venue-wide during ‘When We Were Younger’ (wherein Franceschi’s vocals are undoubtedly strongest), there are so many golden moments to reflect on both throughout the set and once it’s over, too. Just as the band does, the crowd throws themselves emphatically and desperately into every second of this set, knowing full well it may be our very last chance to catch some of these songs performed live. The atmosphere is tangible, built up of true joy that seeps out of everyone in attendance. This album is beyond special and it’s a genuine delight to be here experiencing it with like minded individuals who have grown up with you – even if they didn’t know it until now. It’s a truly magical and rare experience and looking around, no one either in the field or on stage are taking a second of it for granted. 

All of this magic comes before a second, shorter part of the show, that sees a four song encore made up of new material and that finds the crowd dancing again after the melancholy closing track of ‘Sinners’, ‘When We Were Younger’, plays out. These four songs are kicked off with the extremely dancey ‘SUCKAPUNCH’, the title track from the band’s latest album that allows Franceschi to encourage the crowd to “get down” and subsequently get the fuck back up. It’s the perfect re-energiser and means that what comes next is even more well-received. Enter ‘The Swarm’ – a song that was released alongside the opening of the ride of the same name at Thorpe Park back when ‘Sinners’ was released and that has been paid dust ever since. Tonight, however, it’s justice for ‘The Swarm’ as it makes it way happily back onto the setlist to the delighted reception of this crowd.

With just two songs to go, it can only be a more recent fan fave, ‘Beautiful Way’ and the old trusty, ‘Underdog’, the combination of which leaves us reaching brand new heights this evening, and wishing it might never end.

The show ends with a promise of new music, some of which plays as the crowd files out of the park, adrenalin still coursing through our veins. Here’s hoping we’re all here again in another 10 years, celebrating another of our favourite albums.

YASMIN BROWN