In contrast to other dates who’ve had Guilt Trip as openers – still an excellent band in their own right – tonight’s crowd is lucky enough to have Boston Manor supporting. They’re exactly the right band to be here. It can’t be easy playing to a crowd this impatient; everyone’s here for one thing, and it isn’t subtle, but Boston Manor don’t try to outpace it. Instead, they lean into their strengths. Their sound is darker live, punchier, more layered than you might expect if you’ve only heard the records in passing. There’s a sort of controlled chaos to what they do, tight as anything but still emotionally raw.

Henry Cox holds the stage without needing to shout for attention. There’s a quiet intensity to him, and when he lets rip, it hits. Songs like ‘Foxglove’ and ‘Carbon Mono’ punch through with real weight, and you can feel them winning people over as the set goes on. It’s not just filler; they’re the calm before the storm, but with their own thunder built in. The crowd is fairly still, but this is probably more down to the fact that it’s boiling, everyone’s exhausted, and people are conserving their energy for the main event.

Then the lights go black and it’s time. A Day To Remember hit the stage like they’ve been shot out of a cannon. No easing in, no slow burn, just bang, straight into the chaos with ‘The Downfall Of Us All’. Jeremy McKinnon’s voice sounds ridiculously good. It’s one thing to sound tight in the studio, another thing entirely to belt it out like that live, night after night, with that kind of power, especially when considering that this is show 26 of 28.

After the opener, McKinnon takes a second to look around, visibly moved. “This is where it all started – the rest is fucking history,” he says. It’s a real moment, and then they slam into an early classic, ‘I’m Made of Wax, Larry, What Are You Made Of?’ like they’ve still got something to prove. They don’t. But they play like they do.

What follows is the kind of set that feels designed to wear you out in the best way possible. There are three separate circle pits at one point. Confetti cannons go off multiple times. Beach balls fly. McKinnon calls for “as many people crowdsurfing as humanly possible” and gets his wish. It’s carnage – but it’s joyful carnage, the kind where no one really gets hurt and everyone goes home grinning.

There are quieter moments too, somehow. McKinnon talks about going home to Florida, seeing his parents, and thinking, ‘How the fuck did this happen?’ The honesty lands. It sets up ‘All Signs Point To Lauderdale’ perfectly, though they don’t play it just yet. He’s too clever for that. Keeps it in his back pocket for later.

There’s a surprise guest: Bobby Lynge, apparently fresh to the lineup and having learned the whole set on short notice. McKinnon asks him what song he wants to play and Bobby picks one Jeremy’s apparently said “fuck no” to for years. It’s ‘Since U Been Gone’ (allegedly), and it absolutely goes off. Even though it’s a cover, the band are clearly astutely aware that it’s one of their biggest hits – if and when it would be played has definitely crossed every person in this room’s mind at least once.

Later, McKinnon introduces a song that “people normally just stare at us for.” He tells us we hold its destiny in our hands, and for one glorious minute, you’d swear every single person in Brixton knows every word. It’s ‘Paranoia’. This is not just nostalgia, it’s participation. It’s buy-in. It’s the kind of communal noise that sticks with you.

There are a few newer cuts peppered in; the likes of ‘LeBron’, ‘All My Friends’, and ‘Miracle’ are weaved seamlessly into the set; for an album that only came out this year, fans are already very familiar with the tracklist. Though it’s not as well known (YET) than something like ‘Homesick’, ‘Big Ole Album Vol.1’ is soon to be a timeless classic.

The encore is all feeling. Following the acoustic ballad ‘If It Means A Lot To You’ that everyone came to belt out together, brought to a conclusion with the ‘All Signs Point To Lauderdale’ performance we’d all been craving.  No one’s faking it. No one’s phoning it in. This is a band that still cares about their craft and it’s abundantly clear. 

There’s a lot of talk about legacy bands becoming stale, going through the motions. But this? This is not that. A Day To Remember might’ve started well over a decade ago, but tonight proves they’re still writing new chapters and Brixton’s more than happy to be part of the story.

KATHRYN EDWARDS

Words: Kate Allvey   Photos: Penny Bennett, Abbi Draper-Scott

The Meffs

“All we had to do is say we were a skate punk band and they let us in,” laughs drummer Lewis Copsey, but the Meffs are fooling no one. Their brand of old school punk renewed and boiled down to its essentials is a political wake up call, all shouted slogans and wobbly, ominous guitar solos from Lily Hopkins. “We’ve never seen a mosh pit in the morning time before,” she grins as we get in our first slam of the day to their cover of the Prodigy’s ‘Breathe’.‘Deathwish’ gets fists raised before we boo in ‘Broken Britain, Broken Brains’, rife with strong political statements and no compromise. The Meffs are effortlessly rowdy and purposeful, which is what makes them so powerfully dangerous to the establishment.

Dream State

Opening with a scream, Dream State deliver a rousing lunchtime boost, causing a waving sea of hands disproportionate to their time slot. Circle pits ripple as as Jessie Powell sweeps into the melody of ‘Still Dreaming’. “We have no management, we have no record label, we’re an independent fuckin’ band!” she screams as the synths rise on ‘Bloom’. It’s an admirable showing both for the pull on the crowd and a band who pour a drop of early originality into the day. ‘White Lies’, ferocious and introspective, sparks the first rave moment of the day, setting us up for more excitement.

Point North

Past and future combine with spacey effects and classic pop punk energy for Point North’s ‘World Vs Peace’. Spring loaded and caffeinated, they offer scant pauses but throw in big numbers one after another for their second trip to Slam Dunk, gathering enough fans along the way to cram their corner of the field. ‘Into the Dark’ belts out appealing melodic echoes and shred like a plane taking off and ‘Bring Me Down’’ cuts a bit deeper with a bass focus and a heavier darker breakdown, while a man dressed as a giant lobster crowd surfs merrily in front of this very promising early band. 

Movements

‘Afraid to Die’ slices into resonating sincerity as Movements appear on the main stage. They’re dwarfed by the setting but their sound is huge, ‘Lead Pipe’ booming out, carried by the rising wind.Slightly lofi and desperate with touches of desert rock,’Fail You’ bursts into realism, swerving in and out of focus. Movements boast a subtlety in their alt sound, ‘Full Circle’ an emotional stream of consciousness with cantering drums before ‘Colourblind’ jolts into life, illuminating the afternoon.

Heart Attack Man

They might be half an hour late onstage, but the Hammy Nation don’t care in the slightest. Heart Attack Man kick off with ‘Pitch Black’, more soulful than we remember and packed with good honest yelping plus enough guitar to shake the roof. ‘Leap Year’ with its maximised nineties guitar is a party song live, stacked with purity and joy in each note. We dance in the face of our own mortality to ‘Joyride the Pale Horse’ as Eric Egan bounces above us, one hand tucked behind his back. “This next song’s about dying!” The vocalist jokes, going double time through ‘Lay Down and Die’, giving us a brief space to air our resistance to the inevitable through the happiest nihilism of the day.

Rain City Drive

The crowd is massive and we’re bathing in the super atmospheric watery chimes of Rain City Drive’s ‘Lose My Composure’, complete with with pop droplets rising through depths of emotion. ‘Over Me’ booms heavy and light with stadium potential, channeling dreamlike nightclub energy with a sense of motion and a lovely acoustic finish before whirling straight into  ‘Wish You The Best’. All in black, they’re almost lost against the backdrop, their music speaking for itself.

Stray From the Path

If you’ve ever wanted to see an ocean of people losing their damn minds while Drew York spits bars, you need to catch Stray From The Path drop ‘Needful Things’ at Slam Dunk. It’s so dark, with threatening Freak On A Leash tuning that almost causes the clouds to break. ’May You Live Forever’ burns with combative cohesion, as York whirls onstage, a swaggering tornado, before ‘III’s air raid siren guitar kicks off the pit. Stay From the Path wear their hearts proudly on their  tattooed sleeves and we’re on the same wavelength for one of the tougher sets of the day. 

Mouth Culture

Grinding, vitriolic and glorious, Mouth Culture spill out of punkish britpop with glitching movie soundtrack rage. They’re eloquent and furious with the occasional fuzzy pause, and as a band they’re only getting stronger with each show. The smallest tent is packed out for their Slam Dunk debut, heads bouncing to ‘No Shame’ as vocalist Jack Voss shouts out his frustrations. ‘Dead in Love’ is full of noughties cuts with a harsher indie acidity and feathery guitar, the strange delicacy to guitar that reveals dramatic bass, and while it’s their first time here, we know for a certainty that Mouth Culture will be back.

Hot Mulligan

The appearance of Nathan ‘Tades’ Sanville on the main stage sparks a mass migration across the field, his first scream on ‘How Do You Know It’s Not Armadillo Shells?’ speeding up our feet. ‘Drink Milk and Run’ eases us into Hot Mulligan’s set with just a touch of whimsy, open and resonant with a seismic bass boom that skips into guitar waves. “Banter is hard and so am I,” jokes Sanville, his words appearing in full caps in our imagination. ‘Fly Move (The Whole Time)’ fits perfectly into a set that stretches across their back catalogue and is far too good for their time slot, wrapping us in the complex, honest embrace of Hot Mulligan’s vibrant world. 

Streetlight Manifesto

Bouncing back from their time away stronger than ever, the band with the biggest brass section in modern ska know how to bring it. ‘The Three Of Us’ sends them crashing into view: it’s incredibly tight, Tomas Kalnoky’s slightly rough around the edges vocals, their take still innovative and narrative-focused. Their small but determined cult following are absolutely overjoyed to hear ‘We Will Fall Together’ as spontaneously dancing stretches out to the back of the tent, the song faster than we remember but just as fast as it needs to be. Streetlight Manifesto have been away for far too long and we’re as desperate for their idiosyncratic ska professionalism as ever. 

The Used

“Tonight, we are celebrating 25 years of the Used,” declares Bert McCracken, and “celebrate” is the right word. Even if you’ve said goodbye to your teenage emo self, you’re drawn to the Used in full force today. ‘Let It Bleed’ sparks a rapturous dance before ‘All That I’ve Got’ builds to a solemn and sincere singalong, a beautiful moment in remembrance of how we survived the bad times. The frontman knows how to play us with his trademark good-humoured antagonism, slowing, breaking and rebuilding each song before encouraging the old tradition of booing. The Used have found a niche as elder emo icons and reliably put on a show that brightens our blackened hearts.

Less Than Jake

There’s a small corner of the world for whom Less Than Jake are incredibly important, and that segment of the punk population are out in force today. The tent is rammed long before opening classic ‘Gainesville Rock City’, and it’s not pure nostalgia that’s driving us. As Chris DeMakes puts it, they’re “still Less Than Jake”, capable of turning any show into a mini stadium. ‘Lie To Me’ sparks into ‘Johnny Quest Thinks We’re Sellouts’ as beachballs bounce across the pit, and new song ‘Walking Pipebomb’ proves Less Than Jake are still a powerhouse capable of bringing the good times. 

Electric Callboy

We expect maximalism from the Germans, but somehow we were still unprepared for how much they threw at us. For many, Electric Callboy were the band of the festival, and the sight of the vast Main Stage West crammed with neon fans jamming to self-described porno-metal was the stuff that festival dreams are made of. ‘Elevator Operator’ sends the fireworks flying and the highlighted fringes from the dual vocalists flicking as we’re ‘Dancing Like A Ninja’ to their irreverent pop gold. Their brief moments of seriousness are iconic: as they’ve roped in Frank Zummo, ex-Sum 41, on drums, why not drop in a cover of ‘Still Waiting’? It’s the perfect song to resonate with the nostalgic crowd. Equally perfect is their setup for a romantic, campfire cover of Linkin Park’s ‘Crawling’, and the waves of recognition as we get the joke feel like a communal hug. New single ‘Revery’ gets it’s live debut, fitting in seamlessly to a rare set where every single song is a banger. 

Alkaline Trio

Confetti dropped during ‘Hypa Hypa’ drifts into the Monster Stage tent like ashes as the darker corner of Slam Dunk is illuminated by Alkaline Trio. ‘Time To Waste’ sets the tone with greater emphasis on harmony and realism for a very straightforward set with a focus on the music, the same energy they set out on their last album. Far more punk than they’ve been in a long time, ‘Armageddon’ is played with pauses to make the song about our response as vocalist Matt Skiba lets out rough screams on each chorus before ‘Bad Time’ screeches into life, a welcome, chunky addition to their classics. Take away the shiny production, as Alkaline Trio have today, and they’ve still got a punk ethic that hits hard. ‘Stupid Kid’ blends into a ringing, optimistic take on ‘Calling All Skeletons’ before the elder statesmen of the day slow ‘Sadie’ for maximum goth drama. As ever, Alkaline Trio are a black coffee, refreshing and bitter to finish a rich day of music on the second stage. 

Hot Milk

“This song is a social commentary about the state of England: it’s called ‘Gone to Shit’,“ screams Hannah Mee, tougher than she seemed on Hot Milk’s last trip to the South. Sure, the majority of the crowd today are headed to the biggest stages but those who are crammed in for ‘Horror Show’ are loving the intimate set addressed to them, Hot Milk’s intensity razor sharp. As the lights glow purple, she’s clearly entered her goth era, all steely focus for ‘I Just Wanna Know What Happens When I’m Dead’. ‘Zone Out’ gives an opportunity to shows off her pipes for a closeout dark rave that starts a jump for those who feel the emotion that is Hot Milk.

A Day To Remember

The boys from Florida have one mission; to keep the party going for as long as possible. Of course, some festival=goers have called it a day by now, but it’s worth braving the inevitable transport chaos to see A Day To Remember doing what they do best. ‘Bad Blood’ streams into a slapping, assertive ‘Paranoia’, and their take on ‘Rescue Me’ shows they are capable of brining a prettiness to their metalcore / pop punk mashup, their synths lost in smokes and hoards of bouncing inflatables. In some ways, this feels a little understated compared to Electric Callboy, but A Day To Remember are providing what we need right now: an afterparty before the afterparty, a boost of closeout energy. ‘Have Faith In Me’, dedicated to the ladies in the crowd, is uplifting and joyous.

The sense of simple fun that A Day To Remember bring to their show is what makes them such a good final act. We completely embrace their cover of Kelly Clarkson’s ‘Since U Been Gone’ as Cookie Monster crowdsurfs to the front, before ‘All My Friends’ pushes out waves of euphoria across the darkened field. ‘You Be Tails, I’ll Be Sonic’ feels like a metaphor for the whole day: casually presented but the finest quality, occasionally whimsical and always tempting you to slam.  Frontman Jeremy McKinnon dares us to ‘crowd surf on top of a crowd surfer’ during the pop punk life goal that is ‘LeBron’, and that blend of appealing immaturity mashed into the pyro emotional freedom of ‘Resentment’ is what drives A Day To Remember are still a top-tier headliner. 

The band themselves seem to acknowledge this in the opening words of ‘Make It Make Sense’ – a softly spoken “You want it, you fuckin’ got it,” leading straight into the heavy riff that drives the album’s opener, it’s dirty, filled with ghost notes, driving and groovy. As if to nail the point home, we’re seamlessly hit with the first catchy chorus of a record that’s chock-full of catchy choruses. A punchy breakdown, layered with sonic flourishes, secures the nail in place. It might be formulaic, but it’s a formula that’s served the band well for two decades strong.

The first single released from the album was ‘Miracle’, which has been out for almost three years now. Anthemic choruses, melodic verses, and a filthy, extended breakdown – if the band wanted to signpost a return to form ahead of time, this would be the song. Despite that, it’s the second single, ‘Feedback’ – also the album’s second track – that is the overall winner of the record. It’s high-octane, relentless, punky, the album’s shortest song, and catchy as fuck. ‘Lebron’, released the same day as ‘Make It Make Sense’, feels like the most Fueled By Ramen track, including a very Patrick Stump vocal line and is easily the most successful straight pop-punk song here.

I say easily because the album’s low points are where they lean into their pop-punk side and away from heavier elements. ‘All My Friends’ is a fairly anodyne pop-punk anthem – catchy, yes, but overshadowed in an album filled with better songs that are more striking. The same goes for ‘Flowers’ and ‘Die For Me’. They’re not bad songs by any means, but a little toothless here, feeling a little like mid-album filler. Ironically, these songs beg the ironic question of whether ‘Big Ole Album’ wouldn’t be a bit tighter if it were less big.

It’s in the well-trodden blend of metalcore and pop-punk that the band are clearly in their element. ‘Bad Blood’ powers through, high-energy, heaviness and catchiness balanced well. ‘To The Death’ may well be the album’s heaviest track, the poppier chorus here offering a brief gulp of air before diving back into screams and chugs. On the flip side, ‘Same Team’ is generally a far poppier affair, though not lacking heavy, rhythmic guitars and a post-chorus that elevates the song as a whole, setting up the breakdown. ‘Silence’ is the song that challenges ‘To The Death’ for heaviest song, though it’s a very different beast, slower and more doom-laden. In fact, it may be the one song to flip the formula on its head here, saving the darkness for the chorus and letting the verses breathe. 

While ‘Feedback’ is a choice for the album’s winning track, ‘Closer Than You Think’, the closing song, is a close second. It sits on the other end of the spectrum to ‘Feedback’, the album’s longest song, and the one that most bucks the wider genre trends, veering into a kind of pop-rock that causes nostalgia of mid-00s band Switchfoot. Hinged around a deceptively simple guitar hook, it offers a break with the formula at the perfect point.

‘Big Ole Album, Vol. 1’ is an enjoyable return to the style of music that made A Day To Remember darlings of the emocore scene over the past two decades. It’s polished, catchy almost to a fault, and while it doesn’t push many creative boundaries, it has everything fans will want – big singalong choruses, rhythmic breakdowns you can throw down to and filthy riffs throughout.

WILL BRIGHT

Originally scheduled for release in 2019, ’You’re Welcome’ is their first release on Fueled By Ramen and the resulting sound ⁠— intentional or not⁠ — is reminiscent of some of the label’s roster and alumni. The pop element of their sound is definitely more in the foreground here which isn’t a bad thing by any means, but in some places it feels as though they’ve either tried too hard or not tried quite hard enough. The end result is an album that’s a little all over the place with some standout tracks sat alongside some really big flops.

The good moments of the record shine brightly and they’ll have fans globally hammering the repeat button over and over. ‘Last Chance To Dance (Bad Friend)’ is one of their more traditionally styled tracks and it doesn’t disappoint. Heavy hardcore riffs evil enough to summon the devil and growls so rabid they’d scare him off, it’s sure to be both a crowd and a pit pleaser. ‘Permanent’ is another belter, boasting an instantly addictive chorus and a masterful grasp on rise and fall dynamics that make it feel like a real rollercoaster ride. The riotous and pessimistic ‘Brick Wall’, the undeniable anthem ‘Degenerates’, the bittersweet ballad ‘Only Money’…⁠ There are loads of satisfying moments here, but there are also a lot of bad ones.

There are some really uncomfortable, almost awkward sections of this record, often coming across as either uninspired or rushed. ‘F.Y.M’, for example, is musically a modern-day dream-pop re-work of their ‘Over My Head (Cable Car)’ cover, with Jeremy McKinnon’s leading chorus line of “wait ’til I get some fuck you money” really lowering the tone to an immature, almost lazy teenage level. A similar thing happens in ‘High Diving’, a pleasant pop-rocker with a groan-worthy chorus “it’s hard to practice what you preach when life is a beach”. A pun that will tickle dads and disappoint kids everywhere.

Then there’s the song about being drunk in Mexico aptly titled ‘Viva La Mexico’, a straight-up carbon copy of the Fall Out Boy formula on ‘Bloodsucker’, the Avril Lavigne-esque closer ‘Everything We Need’ – it’s all a little scattered. Songs about online criticism, money, getting wasted, more money, regrets, nostalgia, memories, something about money ⁠— it’s a lot harder to connect with this record than it has been with a lot of their back catalogue because it’s trying to be too many things. Without a doubt, the music is great and adventurous throughout, but the lyrics often feel a little tone-deaf.

There’s enough good stuff on this album to make it worthy of a spin or two, and newer fans of the band will get a kick from the infectious melodies and good vibes that they’ve gotten oh-so-good at radiating over the years. Long-time fans of the band, however, might have a harder time falling in love with it. It’s odd that seven records into their career there are moments where they’ve never sounded so immature or petty, and it turns what could’ve been a nice and smooth crossover into new territory into a collection of hits and misses. Not a complete disaster, but a very long way from being their biggest triumph.

DAVE STEWART

Pulling from all of Punktastic’s very favourite genres, it’s one of our most anticipated times of the year, and 2019’s line-up had us drooling with excitement for months before the bank holiday weekend rolled around. Regardless of the weather, we love Reading, and this year the sweltering heat (coupled with litres and litres of water), made for an unforgettable weekend – one we can’t wait to repeat all over again in 2020.

Words: Yasmin Brown [YB], Catie Allwright [CA]; Images: Tash Greene, Matt Higgs

White Reaper

Sunday kicks off with a little indie-rock provided by the wonderful White Reaper. It would be brilliant (and well deserved) if everyone in The Pit / The Lock Up tent was here to see the band on stage, but realistically, a large portion of the crowd are sitting down and seeking respite from the sun. Either way, they couldn’t have chosen a better band than White Reaper to accidentally stumble upon. Upbeat, summery garage punk, they’re a little bit heavier than your standard indie band with some rock and roll riffs from vocalist and guitarist Tony Esposito, guitarist Hunter Thompson, and bassist Sam Wilkerson. Everyone taps their feet along to the beat of Nick Wilkerson’s drums and you can’t help but dance to Ryan Hater’s keys. The set peaks, however, during the performance of ‘Judy French’, taken from their 2017 album ‘The World’s Best American Band’ – it’s clearly their best-known track, perfectly setting Reading up for another afternoon of fun. [CA]

SWMRS

If there’s any one band on today’s lineup that was built to open main stage slots at festivals such as Reading and Leeds, it’s SWMRS – at least in regards to their fanbase. Their early main stage slot brings in the masses, all of whom seem unconditionally loyal and dedicated to this band. Accompanied by weird and wonderful background graphics, SWMRS are perfectly in sync with one another, highlighting the time spend perfecting this set. Met with an insanely loud crowd, SWMRS are given the opportunity during this set to be the pop-punk/rock band they aspire to be, and while there are moments where it feels authentic, when you take away the enthusiasm of the crowd, there are moments in which this label feels forced and disingenuous. The band’s music does stand out among the masses, particularly with hits such as ‘Trashbag Baby’, but it may be a while before SWMRS find their feet in regards to performing in a way that seems defined by them, rather than fitting into a label with which they’d like to identify. [YB]

Mayday Parade

Comparatively, Florida’s favourite pop-punk band, Mayday Parade, know exactly who they are after over a decade of writing and playing music together. The main stage backdrop simply reads, ‘Mayday Parade is an emotion’, and boy do we concur. As always, frontman Derek Sanders bounces across the stage barefoot, donning a t-shirt that bluntly states, ‘Thank God for good people’. Again, we are in agreement. Despite the fact that the band’s longtime drummer, Jake, isn’t in attendance, the band are as put together as ever, blasting through their hits during a set that feels far too short for a band of this calibre and who have so much more to share with this Reading crowd. It’s a shame, then, that they use 3 of their precious minutes to play a cover of The Killers’ ‘Mr Brightside’, rather than pulling another song from their own lengthy discography, however it works in getting passive bystanders involved, and so while it’s a shame for fans, Mayday Parade definitely know how to command a festival crowd. [YB]

The Faim

As you wander around the festival grounds, it’s impossible to miss the endless promo for Aussie pop punk band The Faim. The hype pays off, too, as there’s a big crowd and even bigger energy at the BBC Radio 1 stage during their early afternoon slot. Josh Raven’s vocals sound extremely similar to Brendon Urie – which can only be a compliment – with the instrumental quality and a sense of fun from the band to back him up. Raven dances, jumps and runs through the crowd amidst orange and yellow strobe lighting, matching his yellow jumpsuit and the huge band logo, met only with enthusiasm before the set finishes with the 2018 track ‘Summer Is a Curse’, rounding off a memorable performance with a bang. [CA]

Stand Atlantic

Everyone seems to know the opening track from Stand Atlantic, a pop punk quartet from Sydney. Vocalist Bonnie Fraser encourages us to crowd-surf, with guitarist David Potter threatening to come and show us how it’s done. Somehow, the majority of The Pit / The Lock Up tent ends up sitting in lines on the ground and rowing. Demanding this level of movement from the crowd seems to work, as everyone is having a good time and singing along to tracks from last year’s album release, ‘Skinny Dipping’, and the 2017 EP ‘Sidewinder’. Overall – kudos to their ability to work a crowd, but the music itself doesn’t stand out as anything spectacular. [CA]

Yungblud

The sun continues to beat down on the main stage as Yungblud takes to the stage in a black, silk slip, which is just about all anyone can bear to have on their bodies in this heat. His energy is unwavering from the very first to the very last moment of his set, and his pure happiness at the scene in front of him is contagious, with each grin that spreads on his face quickly appearing on the faces of the crowd members, too. A definite highlight of the set comes as Machine Gun Kelly appears to perform the pair’s collaboration (alongside Travis Barker), ‘I Think I’m Okay’ – an appearance that sees the crowd lose their minds even more than they had been just seconds earlier. The more Yungblud gives, the more his fans reflect this energy. Yungblud is clearly overwhelmed by the turn out, and by the number of fans screaming back the lyrics, and he gives his all, pushing through the heat as though it’s not awfully uncomfortable to be leaping around the stage as he is. This all goes a long way in making him all the more likeable, and while his music is certainly niche, there’s simply no way you could walk away from this set without your heart feeling a little warmer for this Yorkshire lad. [YB]

nothing, nowhere.

Sadly, over in The Pit, nothing, nowhere. is held up, meaning that what should have been a 30-minute set is just four songs long. That said, he gives his all to what little time he’s able to offer us, slowly gaining confidence and moving his eyes from the floor to the crowd in front of him. It’s a shame we’re not able to enjoy this set for longer, as nothing, nowhere. proves himself to be even more fierce on stage than on record, inciting more emotion than you could think possible through the power of his voice combined with the hard-hitting lyrics of songs that explicitly broach his struggles. ‘hammer’ undoubtedly receives the greatest response from the crowd, and by this point, nothing, nowhere. is seemingly more comfortable on stage and encourages a pit – a request to which fans are quick to oblige. With faultless execution of each of his songs, never missing a breath as he raps through his four most popular songs to date, the set brings about emotions that you feel yourself holding onto long after nothing, nowhere. walks off stage. Our only criticism is that it wasn’t longer. [YB]

Amazons

If you haven’t made it to the Radio 1 tent with plenty of time before the Amazons take to the stage, you’re out of luck, as the tent overflows to the point that there are just as many fans watching the screens outside as there are watching the stage under cover. For the Amazons, this is a hometown show, and it’s clear their southern fanbase is overjoyed to catch them on such a momentous occasion. The band is powerful, and it’s evident that in the past 12 years, as they’ve gone from fans crushed against the barrier to performers on this very same stage, they have grown and matured monumentally over time. With a surprise appearance from Yonaka’s Theresa Jarvis, the set reaches its peak shortly before it draws to a close, at which point fans watch as Amazons’ drummer Joe Emmett proceeds to all but destroy his kit. Actions like this make it hard to respect bands, particularly when most start as artists struggling to afford even one kit, and it puts a dampener on an otherwise spectacular set. [YB]

Anteros

In contrast to Amazons’ disappointing finale, Anteros are truly a pleasure to watch. Laura Hayden floats around stage in a black puffball outfit, flicking her hair and singing from the front barrier while adorning the crowd’s bucket hats. Anteros’ debut album ‘When We Land’ was released a few months ago, featuring funky indie pop gems like ‘Afterglow’, ‘Fool Moon’, and ‘Breakfast’, which pepper their Reading set list. Naturally, many artists use their Reading platform to send a message – Anteros’ is that we need more women in music, more festivals supporting female artists, and more women supporting women to give them freedom to be whoever the fuck they want to be. Amen to that. [CA]

Frank Carter & The Rattlesnakes

19 years ago, Frank Carter came to Reading Festival as a “small, ginger, much less tattooed man”. Third on the main stage lineup were Foo Fighters. Fast forward to 2019 and the Foos are headlining with Frank Carter & The Rattlesnakes taking the third spot, which also happens to be the last night of their tour together. As this legendary British punk rock band deserves, the crowd is vast, and Carter has the charm to command it; cheekily blowing kisses, keeping us bouncing and introducing us to “the most beautiful girl in the world”, his daughter. Guitarist Dean Richardson is clearly having the time of his life, playing behind his head and joining Carter as he crowd surfs before returning safely to the stage: “We’re only as strong as our foundations. And if you people are our foundation, we’re going to be just fine”. ‘Wild Flowers’ is dedicated to the women in the crowd, particularly those who have suffered at the hands of men (including domestic violence, sexual harassment and misogyny), and women are encouraged up as the only crowdsurfers in a safe environment. The best moment of the set is during ‘I Hate You’ when, without any verbal explanation, a dedication to the UK government appears on screen, followed by reeling through quotes from Prime Minister Boris Johnson and his cabinet. Let’s just say, these quotes don’t paint them in a favourable light. Carter’s music has always been politically charged, so it’s unsurprising that the closing screen is about how we can create change together, with a call to arms for people to register to vote. Given the younger audience of Reading Festival, this is exactly the kind of message they should be hearing and acting upon. [CA]

FIDLAR

There’s barely room to squeeze into The Pit / The Lock Up for FIDLAR, and the tent is filled with cameras as the LA-based punk rockers are allegedly filming for Netflix. Some post-festival research suggests this might be a regular trick to get the crowd hyped, but if that’s what it takes to get us chanting and causing a scene – so be it. Blasting tracks from the new album ‘Almost Free’, as well as some classics from 2015’s ‘Too’ and 2013’s self-titled ‘FIDLAR’, their lyrics strike a balance between drinking and partying, and the “tragedies and irritations of modern life”. It’s clear how much some songs mean to the crowd, judging by the sing-back during ‘40oz. On Repeat’: “Everybody’s got somebody, everybody but me. Why can’t anybody just tell me that I’m somebody’s?” Following in a similar vein to Frank Carter, lead vocalist Zac Carper opens a ladies-only mosh pit – and we’re at that point in the festival that everyone is exhausted, but only a few hours remain, so there’s nothing left to do but let loose and enjoy ourselves. [CA]

A Day To Remember

Despite arriving on stage 10 minutes late, A Day to Remember are an undeniable highlight of the day. They clearly know their audience well, pulling mostly from their older albums as they make their way through the set. The performance can be said to reach its peak as we’re treated to a surprise inclusion of ‘Sticks and Bricks’, as Jeremy notes that even “if you’ve seen our band before, you probably haven’t seen this before”. Cue a deafening roar emerging from the guts of each crowd member. From the (very) dangerous ‘crowd surfing on top of a crowd surfer’, to the copious amounts of pyrotechnics, to the momentary appearance of a t-shirt canon during ‘Degenerates’, to rolls of toilet paper flying around during ‘All Signs Point to Lauderdale’, this is a performance to remember. It’s not only a whole lot of fun, but it’s also well put together and thought out, with each song more well-received than the last – ensuring that as the set draws to a close, we’re only left wanting so much more. [YB]

Enter Shikari

Sunday is nearing its close now, and Enter Shikari are back for the third time, ready to take on The Pit. Today’s sweaty mayhem is a stark contrast to yesterday’s sweet acoustic set, as Rou Reynolds wastes no time in running around the tent and climbing the staging, shirtless and wearing a bucket hat. The seemingly endless supply of streamers, as well as the culmination of sounds created both on stage and in the crowd, are manic – to the point of being overwhelming – yet there’s not a single moment in this set where you find yourself wishing any part of it would stop. This is the kind of set that suits Shikari best, taking you back to the club gigs where fans were given finger lights long before Coldplay ever brought in those light up bracelets. While Reynolds comments on the nerves and butterflies that inevitably precede playing Reading Festival, the band have never looked so comfortable and at home as they do right now. The set comes to a close under a confetti rainfall as we scream along to ‘Live Outside’ for the final time this weekend. It’s clear we can all agree that the beauty and diversity that Reynolds speaks of in relation to Reading Festival is now present in us all. [YB]

Basement

Basement have played Reading three times before and the sparse crowd are ready to welcome them back again, this time on the Festival Republic stage. An inflatable ball has migrated over to the Festival Republic stage from A Day To Remember’s earlier set, but this isn’t an audience that needs gimmicks. It would be hard to call this a ‘fun’ set, but it’s certainly heartfelt and it’s apparent by the response that those in attendance are genuine fans. The set list digs deep into the British punk band’s repertoire, with tracks from the 2018 album ‘Beside Myself’ all the way back to ‘Colourmeinkindness’ from 2012. Basement are potentially a better when headlining their own show, but an opportunity to see them live in any setting shouldn’t be sniffed at. [CA]

Foo Fighters

If you can think of a single better way to end your weekend than spending three hours with the almighty Foo Fighters, we’d like to hear it. There are fireworks from the moment they take to the stage, ensuring we’re well aware this is going to be a show to remember (as if we didn’t already know), with guitar and drum solos increasing what would otherwise be four minute songs to nearly 10 minutes each. If you went into this evening wondering how the hell the Foos were going to stretch out their set to the full three hours, the first 30 minutes answer this question. The drum kit seems to stretch the full width of the stage (the bass drum features an image of Noel and Liam Gallagher in what seems to be a Reading-wide petition to get Oasis back together…), and drummer Taylor Hawkins makes sure to use every element of the kit throughout the band’s time on the main stage.

The night is made up of good spirits, good humour, and really fucking good music – a trio that’s more than enough to ensure everyone in attendance feels that their time is being well spent. From a dedication to Keith Richards (“I wanna see some Prodigy shit”) during ‘Run’, to covers of Queen’s ‘Under Pressure’ and AC/DC’s ‘Let There Be Rock’, to a duet of ‘Never Gonna Give You Up’ with the one and only Rick Astley, this set isn’t just an ode to Foo Fighters, it’s an ode to rock music as a whole. We don’t even mind the side steps away from the Foos’ own music, as with the set being so long, this tactic perfectly involves everyone in attendance and guarantees that the crowd stays jam packed from start to finish.

Foo Fighters are nothing if not versatile, bringing with them to the stage a team of back up singers to accompany their band – an unusual sight at a rock show. But that’s just it, this isn’t ‘just’ a rock show. It’s a blues show and a comedy show, too, and whether you’re a longtime fan of the Foos, a casual fan, or just along for the ride, there is something for everyone to enjoy over the course of the evening.

We are blessed to have this band, and the fact that we are lucky enough to be able to close our entire weekend with such legendary musicians is not lost on us. There are times you find yourself pinching yourself as a reminder that, yes, that really is the Dave Grohl, and yes, we are stood in a field of tens of thousands of people who are just like us. Music – and, in this instance, Foo Fighters in particular – brings people together in a way very little else can, and we live in a time where our weekends can be made up of every sub-genre under the ‘alternative’ umbrella – and we are so very grateful that Reading Festival continues to thrive. May next year (somehow) be even greater. [YB]

Click here to view the full final day gallery.

Following Dan P. Carter’s opening DJ set, with a remix of Marilyn Manson’s ‘Fight Song’ and Blur’s ‘Song 2’ being the highlight, ADTR take to the stage and launch into a crushing ‘2nd Sucks’, setting the tone for the night. The band are in fine form, sounding tight and energetic; front man Jeremy McKinnon stalks the stage, switching between his signature growl and singing voice with ease. ‘Right Back At It Again’ contrasts with the opener, showing the history of the band and their ability to switch out metalcore for straight up, fun pop punk. The chorus is screamed back at the band in a room that is heating up with every second that passes.

The three song run that ADTR then embark on puts many bands who consider themselves to be metal to shame. From the punk thrash of ‘Paranoia’, to the ludicrously heavy ‘Mr Highway’s Thinking About the End’, finally leading into a song that has been essentially pulled out of the vault – McKinnon credits their guitar tech as the reason that ‘Sticks & Bricks’ gets a rare outing, but the reaction the crowd gives shows that it should’ve been in the set all along.

The band have so far released two new tracks this year, and both are played tonight – the first being Marshmello collaboration ‘Rescue Me’, which goes down a storm with the diehard fans and sees the guitars really come to the fore in this live setting, giving the song a bigger sound against the electronics. Second new track ‘Degenerates’ has been out only days by the time of this show, but the crowd already knows all the words. Having signed with Fueled By Ramen, this song really emphasises the band’s pop punk side, full of bounce and melody. That said, whilst these new songs are integrated well into the set, it’s the old classics that really take centre stage.

‘Have Faith In Me’ gives way to ‘I’m Made of Wax, Larry, What Are You Made Of?’, which sends the crowd into hysteria, whilst ‘Sometimes You’re the Hammer, Sometimes You’re the Nail’ opens the pits up the biggest of the night before the closing double act of ‘All I Want’ and ‘The Plot To Bomb the Panhandle’. The encore of ‘If It Means a Lot to You’ starts with McKinnon acoustically solo before bringing the full band in at the climax, sending shivers down the spine. A crushing ‘The Downfall Of Us All’ closes the night and really puts ADTR in good stead for their sub headliner position at Reading & Leeds.

During the set McKinnon announces the band’s new record label, as well as letting slip that the new record will be out “at the tail end of the year” and will be titled ‘You’re Welcome’. ADTR have a history of writing intricate albums, bursting with big songs – if ‘You’re Welcome’ follows this trend, they’ll have to start playing even longer sets to be able to fit in the multitude of classics they have in their catalogue. They’ve sub-headlined at Download and will sub-headline again at Reading & Leeds, so it’s almost certain this band are destined to be a headliner in their own right. “The heaviest pop punk band” may also be the best pop punk band.

ADAM ROSARIO

Header Photo: Derek Bremner

Tickets for this special gig, taking place next Wednesday, 21 August, will be available here from 5pm on Friday 16 August, and they’re sure to go quickly, so don’t hang about. The show will be 18+, and there’s a limit of two tickets per person – check the poster below for all the essential details, and prepare yourself to grab tickets to one of the hottest gigs of the summer!