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 Chicago three-piece have been coming to these shores for almost three decades and a lot of the faces packed inside the famous Ritz ballroom will have been there from the very beginning. Ever since, ‘Stupid Kid’ exploded onto Kerrang! TV screens, this country’s punk scene has been enthralled by Matt Skiba’s penchant for devilish word play and Dan Andriano’s soul-crushing ballads.

Everyone here can pinpoint their favourite Alkaline Trio show whether it be in the sweat stained basements of the nearby university or in the sprawling expanse of a music festival. However, there’s one thing that not many of them can remember – had they ever seen a bad Alkaline Trio show?

Was there ever one that felt a little out-of-step, one where they thought the band were just not feeling it or one where something wasn’t just quite right? The answer is no. This band doesn’t do bad shows and everyone knows that. So much so, that when night one of this tour in Manchester sold out, fans were keen to gobble up tickets for a second show planned for a week prior.

In a weird way, for many here, an Alkaline Trio show is like a warm blanket. Somewhere you know, you’ll be in a room with a bunch of people you’ve met many times before over the past 20 years, belting out the words to a song that depicts a dog having difficulty passing a razorblade.

Tonight will be no different.

Norwegian four-piece Slomosa warm things up with their brand of desert rock. Imagine Queens of the Stone Age riffs but replace the cactus and coyote imagery with frozen lakes and snow-covered fjords and you’re there. It’s a refreshing choice of support act for a show like this instead of the usual paint-by-numbers pop punk band you spend the 30 minutes scrolling through your phone.

However, once Slomosa take their bow, it’s time for the main course. Striding out besuited – a bold move under the increasing heat of the room – Trio meet their adorning public. It’s straight into lead track ‘Hot for Preacher’, fresh from their new record ‘Blood, Hair and Eyeballs’, and we’re off to the races.

It’s a hit-laden set designed to keep even the most diehard Trio fan happy. We’re delving into everything from the lesser-spotted ‘Cringe’, the crowd-pleasers in ‘Armageddon’ and ‘Mr Chainsaw’ to the radio-friendly anthems of ‘Calling All Skeletons’’ and ‘Mercy Me’.

There’s even little gems such as ‘Sadie’ and, arguably one of their best songs, ‘Crawl’. During the latter Andriano drops a few bars of The Smiths’ ‘There Is a Light That Never Goes Out’, a homage to one of his favourite bands that once trod the very same boards as he does tonight.

During the huge closers of ‘Time To Waste’ and, of course, ‘Radio’, the younger fans that have kept tonight’s mosh pit moving all evening climb upon shoulders to croon with their heroes. Those of us with the fading tattoos will forever reminisce about that show in 2000-whatever and now the next generation can talk about this night again and again.

TOM WALSH

Alkaline Trio’s macabre punk vision of the world, one that’s informed a sound beloved by the melancholy for over two decades, is now dangerously close to reflecting reality.

“A lot of the stuff that was inspiring me on this record was this apocalypse culture that we live in,” says guitarist Skiba. “Without sounding trite, it’s the way that we get our information now through social media. There’s always been good and there’s always been horror, but it feels like the horror hits our doorsteps much quicker these days. It gives people the feeling that things are escalating horribly.”

Rather than positioning themselves as prophets who see the vile nature of the world lurking just beneath the surface, ‘Blood Hair And Eyeballs’ sees the band adjust themselves to become commentators on the events of the last five years. No longer acting as lurid soothsayers, they’ve exposed their humanity across eleven songs revealing that they’re just as fragile and preoccupied as the rest of us. Suddenly we’re all Alkaline Trio, and across the distance of contorted beats and flinching guitar they’re reaching out to take our hand. 

Lyrically they’ve matured past their gross-out era; there are no “dogs shitting razor blades” in Alkaline Trio’s new landscape. Even the most slasher-esque track, ‘Break’, for all its reference to paddling pools of blood, is more Lovecraft than Romero in its descriptions of death and decay. In some respects, that’s a shame: part of the pleasure of Alkaline Trio was the way they embraced the sensational. But, then again, when the real world is what horrifies you more than following instructions to slit throats or bathe in blood, you’re likely to thematically prioritise the darkness and alienation that comes from simply existing in 2024.

Despite the tamer themes, this is not a light record. ‘Teenage Heart’, a eulogy for lost optimism, is complex with sinister drops and shouts that flit through the distortion like disenchanted bats. Title track and first single ‘Blood Hair And Eyeballs’ is all insomnia and frustration infused with lightning sharp guitar and vicious desires. The way ‘Hot For Preacher’s rough edges and ferocious memories fade into the playful post punk echoes of ‘Meet Me’ is intoxicating.

However, it’s ’Versions of You’ that offers something distinctly different from the expected Alkaline Trio fare: a fractured internal reflection that’s almost uplifting in it’s key changes.  While there’s no explicit happiness in any song, there is a sense of opening up and letting regrets air like stained laundry. Drummer Derek Grant left Alkaline Trio shortly after the recording of ‘Blood Hair And Eyeballs’ (his spot has now been filled by Atom Willard of Against Me), and knowing that this album signalled a parting of ways makes you wonder how much of their musical sadness is based in real world conflict. “We let the best of us burn out,” they cry on ‘Hot For Preacher’, “We lost our way so long ago, chopping things down before they grow.”

‘Bad Time’ is the song which exemplifies this new direction. For all the discussion of gunfire and combat, it’s a song about being desperate for human contact, a plea for kindness amid discarded punk gang vocals. That’s what this album is all about: finding the humanity amid the fear that permeates the modern world. Alkaline Trio have always been blessed with the ability to see the world differently than the rest of us. For a long time that difference has manifested through tales of terror and violence, but now their lens has turned towards the grim reality of ourselves.

Rather than horrifying or constructing, they’re now reflecting and processing through their music. It’s a comforting record and a intelligent decision to change tactics, proving once again that you can never be alone if you have Alkaline Trio. 

KATE ALLVEY

Warming up Brixton before the co-headliners come onto stage, Californian punk-rockers Destroy Boys bring a visceral and passionate expression of love, loss and the ultimate betrayal through songs such as ‘Vixen’, ‘Crybaby’ and closer ‘I Threw Glass At My Friend’s Eyes And Now I’m On Probation’, putting on a garage punk display,perfectly fitting for what’s still to come.

The first half of tonight’s co-headliners come onto stage with a bang. The lines that act as safety guidelines for the crowd on the slanted floor are packed to the brim and the balcony is at full capacity, and its only 8.30pm. Taking Back Sunday take to the stage, kicking off their co-headliner with ‘What’s It Feel Like To Be A Ghost?’ taken from the band’s third studio album ‘Louder Now’, exuberant vocalist Adam Lazarra having the crowd eating out of the palm of his hands from the get go. 

The set features some absolutely classic Sunday cuts including ‘Liar (Takes One To Know One)’, ‘Cute Without the ‘E’’ and closer ‘MakeDamnSure’, and the live reception they receive brings them bounding back to full life – that classic chorus in the closer “I just wanna break you down so badly/Well I trip over everything you say/I just wanna break you down so badly/In the worst way” receiving a colossal response. The energy levels are beyond electric and the atmosphere is dosed in the fond nostalgia that only a track like ‘MakeDamnSure’ can muster. One of the best Taking Back Sunday sets in the band’s twenty year long career, they’re a tough act to follow and Alkaline Trio certainly have their work cut out for them.

The punk rock times continue to roll as, following the earlier casual appearance of front man Matt Skiba, the rest of Chicago collective Alkaline Trio walk onto stage. A raucous reception rings out for these punk rock mainstays for set opener ‘Private Eye’, an old time classic that provokes immediate sing-a-longs and a “Holy Shit, London” reaction from the band’s very own Dan Andriano at the sight of the impressive turnout for the Trio.  

Second song ‘We’ve Had Enough’ perhaps receives a bigger arms-wide-open welcome than its predecessor, its infamous opening gongs and bongs kicking the energy into absolute madness. Igniting a frenzied mosh pit and hysteric levels of chaos and carnage, ‘We’ve Had Enough’ doesn’t get this crowd saying that just yet. 

 By the time we reach the fifth and sixth songs of the setlist ‘I Wanna Be A Warhol’ and ‘Nose Over Tail’ – the latter a track to which vocalist Matt Skiba introduces as “a song for the people of England’ – the audience are suitably reminsicing in a setlist heavily made up of songs from earlier Trio albums such as 1998’s ‘Goddamnit’, 2001’s ‘From Here To Infirmary’, 2003’s ‘Good Mourning’ and 2005’s ‘Crimson’ to no one’s disappointment in the slightest. 

Keeping everyone on their toes midway through the bands length eighteen song setlist, Trio divert to the classic ‘Armageddon’ and the audience’s reaction is priceless. ‘Armageddon’ – or as Alkaline preferred to refer to it as ‘Camageddon’, renaming the song after someone in the crowd – comes as a pleasant surprise to this Brixton crowd, the classic chorus of “Armageddon, let the light in/Before we say goodbye, give us something to believe in” ringing around the room at maximum volume. 

Ending their run on ‘Radio’ and ‘Time To Waste’, Alkaline Trio round off their time by bringing Brixton’s roof down. ‘Radio’ earns the loudest singalong of the night, most noticeably with the shouts that accompany the former’s opening line “Shaking like a dog shittin’ razor blades”, and ‘Time To Waste’ achieving the exact same.    

“A tour that has been three years in the making”, remarks Andriano, and the wait was worth all those 1,095 days. For both Alkaline Trio and Taking Back Sunday, this returning run overseas has seen two heavyweights from the punk and rock games respectively prove that all these years later, they are still as good live as the first time they stepped onto much smaller stages decades ago. Fun, humour and jubilation in much needed abundance. 

KATIE CONWAY-FLOOD

WORDS: Gem Rogers [GR] (North), Yasmin Brown [YB] (South)
IMAGES: Glen Bollard (North), Penny Bennett (South)

Blood Youth

There can be few better ways to kick start a festival than with a gigantic dose of riffs, and there are few better bands to deliver them than Yorkshire locals Blood Youth. Despite their early start there’s a sizeable crowd gathered in the Jagermeister tent, and it’s the perfect place for anyone looking for somewhere to get amped up for the day ahead – one word from vocalist Kaya Tarsus and a pit swiftly engulfs the floor of the tent, taking full advantage of the aural hammering that is opener ‘Iron Lung’. Elation and excitement fills the air as Blood Youth cover favourites both old and new with incredible precision; from recent single ‘Cells’, to  ‘Starve’ track ‘Spineless’, to the older ‘Playing The Victim’, this is a devastating set, awash with the kind of deep, dark heaviness that stops your heart and immediately starts it again. There is, however, a note of sadness that accompanies the band’s sets this weekend, as they’re also the last for Tarsus. An inimitable vocalist, his presence will undoubtedly be missed, and performances like this show why – but as he says himself, this is far from the end. Blood Youth forever. [GR]

Doll Skin

It felt like we were only just starting to get acquainted with Doll Skin, back on their first tour of the UK in late 2019, when the-thing-that-shall-not-be-named came along and put a two year spanner in the works. Fortunately, Slam Dunk has brought us back together, and you’ll be unlikely to find a more spirited, joyous set today; vocalist Sydney Dolezal is filled with a giddy energy that lights up the whole area, not least when they introduce latest single ‘Eat Shit’ with a guided singalong (is there much better than standing in a crowd of people bellowing swear words at the top of their lungs?!). A few technical hiccups along the way do nothing to impinge on the enjoyment of this set, and Dolezal’s vocals are nothing short of flawless – Doll Skin’s punk spirit and earworm pop melodies make for the perfect festival half hour, and we couldn’t be more delighted to be back in their company. [GR]

HelloGoodbye

Hands up if the name ‘Hellogoodbye’ immediately takes you straight back to 2005. Keep your hands up if you now have ‘Here In Your Arms’ stuck in your head? This has been our constant state since this throwback band were announced for Slam Dunk and after today’s performance, we doubt they’ll ever leave our minds again. It may be a slow starter, but after a while, the words come back to us like old friends and it really is magical to have this band back in front of us playing their fun and folky emo pop to a full crowd under blazing sunshine. Naturally, ‘Here (In Your Arms)’ and ‘Baby, It’s Fact’ receive the warmest welcome, but it’s amazing just how much comes flooding back over the course of the set. Front man Forrest Kline marvels at the sight before him, noting earnestly that he would love to come back a million times and by the looks of things, this Slam Dunk crowd would greet them just as excitedly were that to be the case. It’s been year – over a decade – since Hellogoodbye have graced our shores but we’re left praying that it won’t be that long again. [YB]

McFly

As the day creeps towards 2pm, to say the crowd assembled around the Key Club stage is astronomical still feels like somewhat of an understatement – and with the ‘secret special guest’ band taking to the stage late, there’s plenty of time for more people to join the curious and eager masses in the top corner of the Temple Newsam hill. It’s an eclectic crowd, too, and yet when pop pioneers McFly appear, you’d be hard pressed to find a single frown. Much like when Busted played two years ago, everyone seems, quite honestly, absolutely bloody thrilled. The singalongs to tunes like ‘Star Girl’ and ‘All About You’ are so loud they almost certainly echo all the way to Leeds city centre, and ‘cheesy’ though it may be, this is clearly the exact happiness tonic so many people needed this afternoon. No pressure, Slam Dunk, but… McBusted 2022? [GR]

Lizzy Farrall

It’s no secret that Lizzy Farrall is one of our favourite up and comers in 2021. We are, quite frankly, obsessed, and it seems we’re not alone in that, either. “There are so many people! Fuck!”, she exclaims with the wildest of grins on her face, and as you look around you’ll see that same grin reflected on the hundreds that have turned up to catch her set. It’s her second show back in over a year and a half (the first being at Slam Dunk North the day before), and everyone will be in easy agreement that while the wait was hard, we’re over the moon to be back here today and maybe, just maybe, it was worth it. As she bounces around the stage, you can’t help but notice Farrall’s impressive stamina as she maintains perfect pitch as she executes each of the catchy yet bitter and slightly depressing songs on the setlist. Fans sing along emphatically and you can’t help but dance as the sun continues to beat down, perfectly matching the atmosphere. Friends clamber on shoulders during ‘Balloon’, and Farrall threatens to cry at the sheer magnitude of the response she’s receiving. Closing off with “the one you’ve all been waiting for”, ‘Barbados’, we can’t help but be sad that it’s already over. Here’s to hoping there’s not another 18 months to wait until she’s back on our stages once more. [YB]

Creeper

Up next, over on the main stage, are a band who always help make Slam Dunk feel that little bit more like home – and it’s always a pleasure to see Creeper deliver yet another masterclass in performance. Their punk-infused sound may be more suited to the cover of darkness (though on this cloudy Leeds afternoon, we’re not too far off), but Creeper’s ultra-theatrical stylings feel like an almighty celebration of life today, pulling on material from across their back catalogue to delight their crowd from start to finish. The dual vocals of ‘Midnight’ form a particularly well received highlight, and Creeper continue to go from strength to strength – the top slot on this stage awaits, and we’re willing to bet it won’t be too long before it happens. [GR]

We Are The In Crowd

They might be super late on stage, but after six years of waiting for a reunion, what’s another 20 minutes, right? Right. Absolutely right. Playing right before Mayday Parade on the main stage, this lineup feels like another 2011 throwback – a time when these two bands came hand in hand like peanut butter and jam, or salt and pepper. The fans here today are choosing to skip out on a surprise performance from the McFly boys, a British staple, so there’s a lot to live up to and We Are The In Crowd do not disappoint. A cheshire cat smile sits unwavering on the face of vocalist Tay Jardine as she acknowledges the sight before her, only growing wider as it becomes blatantly clear that those in attendance aren’t merely here to kill time. It’s been a while, sure, but how could we forgot the lyrics to what were our favourite songs as we made our way through high school and into university. There’s unspoken but unanimous agreement that we’re all absolutely delighted to be here as bodies fly into the air and tears unexpectedly roll down cheeks at the realisation that this reunion is happening. Jardine’s voice has aged like a fine wine over the years, still working in perfect harmony with co-vocalist Jordan Eckes. Claiming to have brought the sun with them from New York, it’s another sweltering performance, but neither fans nor the band themselves could care less as they throw themselves into this set entirely. What a flawless reunion for what has always been a flawless band – it’s taken a long time to get here but we couldn’t have hoped for more. [YB]

Trash Boat

On paper, Trash Boat are probably one of the least heavy bands to grace the Jagermeister tent this weekend – but as anyone who’s seen this band live will attest, they can more than hold their own on any stage, and the power they bring into their live performance is second to none. Not only is this Slam Dunk set no exception, but Trash Boat feel almost like a different band entirely, in the best possible way. Yes, their recent sound has changed – as vocalist Tobi Duncan acknowledges mid-set – but with it has come a whole new level of confidence, transforming Trash Boat into a band who quite simply decimate this tent with the most glorious ease. Armed with undoubtedly the best and clearest sound of the weekend, this set is a wild ride from start to finish as the crowd revel in the bold, igniting tones of the likes of ‘Don’t You Feel Amazing?’ and ‘Bad Entertainment’, and bring full throttle pit mayhem for old favourites like ‘Tring Quarry’. Today’s crown, though, without question belongs to the tracks from latest album ‘Don’t You Feel Amazing?’ – with the force of this new sound, Trash Boat have delivered one of the standout sets of the weekend, and it’s one that’s sure to be remembered for a long time. [GR]

Mayday Parade

It’s doubtful that there will ever be a time when Mayday Parade are not seen as a pop-punk favourite among those of us who were there to experience them in their heyday circa 2007, and they’ll always be at the top of our list of must-see bands when they appear on festival lineups. Today is no different as they take to the stage right after their friends in We Are The In Crowd to play the second of their first shows in almost two years. How lucky we are that they chose us for their comeback! Throughout the set, it’s easy to see that most fans are here for the older songs – those from ‘A Lesson In Romantics’ or ‘Anywhere But Here’, but in reality, some of Mayday’s best music came in the early 2010s and if the singalongs to songs like ‘When You See My Friends’ or ‘Oh Well, Oh Well’ are anything to go by, our favourite Mayday songs may still be to come. As front man Derek Sanders delicately puts it, “we all needed this”, and it’s clear to see that every member of this band is truly embracing the experience, not really knowing for sure when the next one might be. Never one to ignore a fan gift, Sanders quickly puts on a T-shirt that’s thrown onto stage, depicting a rainbow cat riding a shark, rocking it proudly for the last few songs. It’s not Mayday Parade’s best performance by any stretch of the imagination, but it really doesn’t matter. Just having them back on stage is quite enough for now. [YB]

Funeral For A Friend

If anyone ever fancied testing the limit of capacity in the Jagermeister tent, Welsh legends Funeral For A Friend seem more than happy to help this afternoon. Thousands of fans spill far outside the tent, and though arranging the lineup for this year’s festival was surely a significant (and unenviable) task, it’s hard not to think that such a momentous set would have been far better with the unrestricted space of the main stage. It’s not the only issue this set faces – for anyone towards the back and sides of the tent, the sound is disappointingly poor and muddy, such that at times the only way to identify the song playing is by the singalongs that manage to spread throughout the space. The end result is, sadly, underwhelming, through no real fault of the band – that said, the finale trio of ‘Roses For The Dead’, ‘Into Oblivion (Reunion)’ and ‘Escape Artists Never Die’ is something to behold, even in a set that’s already packed with beloved classics. ‘Into Oblivion (Reunion)’ feels especially potent today, and as thousands of voices come together in an outpouring of blissful emotion, we’re reminded once more of the power of live music – and of Funeral For A Friend. [GR]

Skindred

There’s a reason that Skindred rarely switch up their festival performances and it’s simply that it always goes down spectacularly well. While the inside of the tent is not an ideal environment for these showmen, it doesn’t deter fans from cramming in, with hundreds of others spilling outside just to catch a glimpse or engage in a singalong. The band’s reggae metal goes down a treat on the Jagermeister stage, and even those who may not know the band are eagerly drawn in. Performed to sheer technical perfection, you simply cannot fault Skindred at any single point, the only potential downfall being the sheer difficulty of performing the Newport Helicopter in such close confines. They may not have released an album in three years, but they still remain one of the most popular bands on any lineup, and today is no different. As the sheer delight filters through the crowd, we hope it always stays this way. [YB]

State Champs

The sun may not be shining on Temple Newsam today, but it’s hard not to feel warm when State Champs roll around with the very best pop punk in town (and hey, at least it’s not raining). Never a band to scrimp on energy levels, ‘Elevated’ gets the set off to a suitably buoyant start, and the crowd take full advantage by descending into immediate, delirious chaos. God, we love live music… In amongst the likes of ‘Losing Myself’, ‘All You Are Is History’ and ‘Secrets’, there are a few special treats in the form of the debut play of ‘Just Sound’, and the even newer, unreleased single ‘Outta My Head’. Playing a wholly new song at a festival is a bold choice, but when you’re a band like State Champs, you can’t go too far wrong – and sure enough, ‘Outta My Head’ is not only instantly memorable, but also utterly easy to fall in love with. If there’s a downside to today’s performance, it’s that front man Derek DiScanio has some occasional and uncharacteristic vocal issues throughout, but none are significant enough to have any real impact on what is otherwise a thoroughly uplifting set. [GR]

Vukovi

If you haven’t yet heard of Vukovi you may well have been living under a rock. At the bottom of the ocean. Making their way onto every relevant festival lineup this summer, this is a band that are demanding to be heard and goddamn are they worth listening to. Fronted by Janine Shilstone, Vukovi ooze fun and silliness, and yet when it comes to their music you would be a fool not to take it seriously. The moment Shilstone takes to the stage, you sense her fierce presence and you’ll struggle to look away as she starts to attack the setlist with stunning force and accuracy, despite spending most of the performance floating around in the crowd somewhere, rather than being confined to the stage. Fans soon follow suit as crowd surfers emerge en masse before circle pits take over during the chaotic performance of ‘Claudia’. Despite the apparent ease with which Shilstone hits every note, just two songs from the end she breathlessly states, “I’m fucked”, and it becomes clear that however many shows they’ve played during these past few weeks of freedom, nothing compares to the stamina you build over months of relentless touring. Regardless, the band executes their music to perfection and the smile on drummer Martin Lynch’s face shows just how much fun they’re having – however tired they may be. Closing off with fan fave ‘La Di Da’, Wargasm’s Milkie Way joins them on stage for a hug and it’s a true delight to see two women who are storming our industry in one place – a reminder that women really do rule the world. Long may they reign. [YB]

Normandie

The Key Club stage is often home to some of the strongest rising acts in our scene – the ones picking up the dedicated fanbases, delivering exciting new sounds, and paving their way to future main stage slots. Sweden’s Normandie comfortably fit that label, with third album ‘Dark & Beautiful Secrets’ seeing them expand their reach this year, and though the impact of the first few tracks is dulled a little by some unfortunate sound issues, it by no means dampens the enthusiasm of the gathered fans, or the band’s ability to fuel it. New tracks ‘Holy Water’ and ‘Hostage’ sound especially gigantic, the perfect blend of heavy hitting riffs and soaring melodies, while older tracks ‘White Flag’ and ‘Collide’ bring some joyous singalongs (alongside a fair helping of crowdsurfers). Normandie have more than proven themselves today, and with songs and performances like these, taking main stages by storm will be an easy task. [GR]

Alkaline Trio

Seven years is a really bloody long time to wait to see a band. It feels longer still when it’s for a band as beloved as punk rock kings Alkaline Trio, so it’s not too surprising that the crowd at the Punk In Drublic stage stretches back a long, long way – and even a half hour delay to the start of the set doesn’t seem to deter anyone. Hey, we’ve already waited this long, right? When the infamous Trio finally take to the stage, they bring with them a set packed with favourites – it would be hard not to, with so many to choose from – but the delight is especially evident when tracks like ‘Armageddon’ and ‘Emma’ make an appearance. Best of all, the band sound perfectly on form, despite their lack of rehearsal – “We practiced twice, by the way,” Skiba jokes in defence of earlier suggestions that it had only been the once. Though the volume could do with being cranked up a few notches or ten, this is the comeback set that dreams are made of, and makes the news of a 2022 UK tour all the more welcome. [GR]

Holding Absence

To see Holding Absence live is to transcend to another world. They have, as they gently put it, been “grinding this shit” for years, slowly rising through the ranks at Slam Dunk Festival since the band’s early days and it has been a delight to see just how much they’ve grown. Today, there’s just one band ahead of them on the Key Club stage lineup and within seconds, it’s glaringly obvious as to just how much they deserve this slot. Front man Lucas Woodland has a voice that can be rivalled by none. It seeps into your soul and fills you with glitter and gold until it simply must flow out of your eyes in the form of salty tears. The words are important, of course, but it really is the music that does the talking for Holding Absence – Woodland’s melodies included – and this is only more powerful in a live environment. Desperate to exert this emotion in whatever ways they can, fans throw themselves into intense circle pits and launch themselves on top of one another, crowd surfing across a sea of willing supporters with no two songs receiving a more excitable response than ‘Like a Shadow’ and ‘Beyond Belief’. Woodland echoes everyone’s thoughts when the emotions get too much and he claims he “could do this for the rest of my life until I keeled over and died”, a sentiment that may sound dramatic when taken out of context, but in the moment feels like a perfectly reasonable comment and one with which we are all in agreement. 

Emotions aside, the performance is technically perfect, too – the precision with which each song is played is genuinely mind boggling, particularly when you’re reminded that for anything off of April’s ‘The Greatest Mistake of My Life’, this is only their fifth outing in a live environment. With just one song left to go, the sombre ‘Wilt’ seems like an odd choice, particularly for a festival, but in reality there couldn’t have been a stronger choice. Friends clutch one another as they sing along through their tears and in this moment, we couldn’t possibly love them more. [YB]

Boston Manor

It’s been mere seconds since the chaotic notes of ‘Everything is Ordinary’ first blasted our eardrums, but from the depths of the Boston Manor pit you already have to fight for air. Of all the festivals you may have spotted this Blackpool five-piece over the years, Slam Dunk really does feel most apt for their somewhat unplaceable sounds, and the crowd’s response is only cementing that suspicion. As the not-so-secret headliners of the Key Club, Boston Manor have a lot of pressure on their shoulders but they carry it with ease, performing each of the seven songs on their setlist with as much enthusiasm and energy as the last. This is a band that have performed in countless venues of varying sizes over the years, but somehow they feel most comfortable here – even more so in some ways than at their own headline shows. In fact the crowd is so enticing that front man Henry Cox dives in himself, performing ‘You Me & the Class War’ from the circle pit he’s just commanded open. Slowly but surely, he amps up the crowd as they chant the bridge increasingly aggressively, supported by his band mates on stage, until permission is given to lose their minds. The set continues in much the same way, with both crowd and band throwing all they have into the short but intense set – from crowd surfing to mosh pits to screaming ourselves hoarse and everything in between. The sense of pride they have at closing off this stage shines through as Cox shouts out as many bands as he can recall that have played there across the day, and affectionately referring to Slam Dunk as a “festival full of greebos” before allowing said greebos to carry him to the edges of the crowd and back again during what may forever be the fan favourite, ‘Halo’. 

It’s over too soon, as it always is, but we can think of no better way to see out the Key Club stages – which have been home to so many incredible acts today – than with our favourite miscreants in Boston Manor. [YB]

While She Sleeps

For as long as they are a band, ‘Sleeps Society’ will always be the perfect set opener for the Sheffield-based five-piece While She Sleeps. It’s a song that encompasses everything they are and, most importantly, sets the scene for the raucous performance that is inevitably to follow. And if that’s your expectation for today, you won’t be disappointed. This idea of a ‘society’ makes for a powerful fanbase – bringing fans and band members together in a community without boundaries – and it’s clear from today’s performance just how powerful this community really is. At the helm, backed by red WSS flags, is front man Lawrence ‘Loz’ Taylor and he leads by perfect example, his energy never once waning as he commands the stage, conducting the crowd as he does so. It’s sweaty and exhausting, but with fan favourites aplenty (will ‘Guilty Party’ ever get old?), you simply don’t want it to end. But end it must and as sweat continues to pour down our faces and we can physically scream no more, the last notes of ‘Nervous’ and ‘Systematic’ still ringing clearly in our ears, we know we’ll be smiling at the memories for a long time to come. [YB]

Don Broco

If any band have long been destined for a Slam Dunk headline set, it’s Bedford (where’s Bedford?) legends Don Broco. The quartet don’t have a reputation for phenomenal live shows for nothing, and tonight feels like the most magnificent culmination of all their years of graft, bringing their unique blend of electrifying, mosh-inducing rock together with dazzling visuals that feel like the ultimate finale to an incredibly special day. It’s impossible not to be swept up in the excitement, and the ground at Temple Newsam is almost definitely on the verge of an earthquake under thousands of jumping, dancing feet. ‘Pretty’ makes short work of re-energising anyone feeling the effects of a long festival day, and from here on out, there’s no real chance to catch your breath. Let’s hope everyone stocked up on the Red Bull for this one, then.

Stage presence is in no short supply here, either, with vocalist Rob Damiani wrapping the crowd around his little finger – it’s hard to tear your eyes away, their music embodying the same attitude with which they command the stage. Above all else, it’s just really damn good fun – recent single ‘Gumshield’ is a beat driven monster, while the dancy groove of tracks like ‘Automatic’ and ‘Priorities’ remains as irresistible as ever. It’s in their new songs, though, that some of the standout moments of the evening come – when While She Sleeps’ Loz Taylor and Waterparks’ Awsten Knight take to the stage for ‘Action’, it’s hard to imagine anything more fantastically chaotic, and it’s followed by the stadium-esque ‘One True Prince’, feeling unlike anything we’ve heard from this band before. The next evolution of Don Broco is well underway, and it’s looking better than ever.

By the time we reach the encore one-two hit of ‘Everybody’ and ‘T-Shirt Song’, there’s still no sign of anyone tiring – as darkness has closed in and left only the illumination from the stage, the fans in front of the main stage have become one in a constantly swirling sea of movement. It’s not only the pits that are keeping things going, either, with the dancing and t-shirt swinging stretching back far beyond the food and ice cream vans – a true sign of a thoroughly enjoyable (and thoroughly enjoyed) headline set. Exhaustion and aching feet are but a small price to pay for a weekend spent relishing the triumphant return of one of our favourite festivals, and there could be few better ways to round off the day than these final few hours with Broco. Welcome back, Slammy – we missed you. [GR]

It’s a sound that many Trio fans may have wondered if they’d ever hear again. With Skiba seemingly defecting full time to You-Know-Who, and both Andriano and drummer Derek Grant keeping busy with their own solo projects, things had been quiet for years – until, that is, a US tour announcement in June, followed by the surprise drop of new single ‘Blackbird’ in July.

Five years is a long time to be away – So where does the Chicago band’s first album since 2013’s ‘My Shame Is True’ take us, and can they reclaim their horror punk crown?

Title track ‘Is This Thing Cursed?’ doesn’t provide the most abrupt of starts, choosing instead to waltz in on a mellow piano and Andriano’s relaxed tones. A song that feels a little bit Trio-by-numbers in places, it’s nonetheless dripping in the big choruses and hooks the band have become known for. The album maintains the slick production of previous releases, yet as dark lead single ‘Blackbird’ is followed by jangly and poppy ‘Demon and Division’, before diving immediately into the outrageously fun and punky ‘Little Help’, a feeling is generated that was absent from the likes of ‘This Addiction’ and ‘My Shame Is True’. It’s hard to pinpoint; but what’s immediately clear is that life has been injected back into a band who couldn’t previously quite recapture the heights of the first half of their career.

There’s something to please all Trio fans in the thirteen tracks presented on ‘Is This Thing Cursed?’. From the fun, 80s pop style ‘Sweet Vampires’ – marred only a little by some slightly clumsy lyrics – to the quick hit, thoroughly enjoyable punk of ‘Little Help’ and ‘Pale Blue Ribbon’. There’s real familiarity to this sound and a few moments evoke strong memories of eras past; the staccato guitar of ‘I Can’t Believe’ is truly classic Trio.

A more even split of lead vocals from Andriano and Skiba is also intensely satisfying. Andriano’s gritty, warm tones accompany emotion-filled and deeply human lyrics; ‘Stay’ is a particular highlight, a heartrendingly beautiful, stripped back track with a big chorus and a subtle tie to an earlier Trio song – “let’s try to crawl out from under our breath / we can never break up, so I’ll love you to death”.

This is the kind of album that presents highlight after highlight, and the final four tracks are a shining example of this. If you think you’ve landed on the best song when Skiba’s silky vocals tell a tale of drugs, death and woe on ‘Heart Attacks’, give it a minute – there’s more coming. Penultimate track ‘Throw Me To The Lions’ will also throw you back to Alkaline Trio circa 2003, before merrily dropping you off into the acoustic, singalong-worthy ‘Krystalline’.  A classic love song overlaid with a few vocal and electronic effects to add a sinister edge, these build after the final chorus into an altogether unsettling finish. Maybe this thing really is cursed… and it’s worth a warning that it may not be a good idea to listen late at night when you’re dropping off to sleep. Unless you enjoy crippling fear and night terrors.

This album is not what you might expect. It is everything that Alkaline Trio once were, and everything they now are, brought together in a beautifully crafted blend to create not only one of their best releases in recent memory, but one of their best ever. ‘Is This Thing Cursed?’ is exciting, invigorating, and well worth every moment of the five year wait.

GEM ROGERS

Check out the video below.

‘Is This Thing Cursed?’ is set for release on CD/Digital on August 31, with vinyl to follow on October 19. You can pre-order the album here now.