WORDS: JESSICA MCCARRICK; IMAGES: EMMA STONE

Frank Carter & The Rattlesnakes

Opening mainstage could have easily been a detriment to the punk rock band, but as soon as the distinctive whirring of ‘My Town’ erupted from the stage, the time of day was forgotten. The band often advocate against sexism within music spaces, with one of their most iconic choices being to enforce an all girls mosh. It was no different today, with Carter christening the moment with the line “You’ll not see a happier mosh pit all weekend.” Let it never be said that they don’t put on one hell of a show and their crowd interaction is second to none as their forceful tracks electrified the air. In grandiose fashion towards the end of the set, during penultimate track ‘Devil Inside Me’, they had the crowd hoisting up guitarist Dean Richardson on the left and Carter himself on the right, as he encouraged a pit to begin circling around them both whilst they continued on with the song, Richardson playing his hypnotic riffs with as much ease as he would on stage. It’s moments like this that you can appreciate the mutual respect between them and us; in so few gigs could you have this take place safely and effectively, but Frank Carter & The Rattlesnakes are no ordinary band. [JM]

Witch Fever

An almost perfect follow up in capability and message to the previous act came Manchester-bred foursome Witch Fever, on the Festival Republic Stage. Watching front woman Amy Walpole is enchanting, championing a fiery intensity as she stalks the stage, eyeing up the crowd with her sharp stare. Then come the heavy hitting brit-punk riffs that suck in the crowd like a whirlpool, being drawn to the heated vocal style and outlandish melodies. Their enviable energy and devilish presence fooled the crowd into thinking this was the Main Stage headliner for the day, and they certainly have the chops for it. Walpole stood on the barrier and just looked at us all; minutes went by, with red triangles accenting her eyes like daggers symbolising her fury as she spoke of the racist and homophobic nature of her industry. We clung to her every word and soon she was accompanied by the furious strumming of her bandmates using utterly indulgent punk rock riffs, the tent erupting into unbridled chaos. The hard hitting ‘Reincarnate’ fuelled a pit that was born of resentment towards the very topic it entails. Witch Fever are not one to miss and Walpole was born to be a front woman. [JM]

Kid Kapichi

Before the show began, there was already an air of anticipation within the tent, slowly building with every minute that passed for the band who have been making quite a name for themselves. Opening with a soundbite of the iconic Will Smith and Chris Rock moment from this years Oscars, it filled the room with a sense of irreverence, presenting a band that don’t take themselves seriously on most accounts (other than the hugely left wing nature of their lyrics that is). The mosh pits were electric the entire time, the crowd listening to frontman Jack Wilson spewing angry offerings fuelled by a lacklustre view of the world. It was seconded by us, chanting the iconic lyric “Is it you can’t change? Or that you won’t change?” from track ‘New England’, clearly showing that the band’s thinking is a shared viewpoint. The two guitars present amongst the foursome are felt and appreciated throughout the set, paving a heavy mixture of layered string pulling that adds tonnes of depth that the bass and drums enhance. Bassist Eddie Lewis was out of control in the best way, taking centre stage for a solo that was met with a typhoon of appreciation from the crowd. Not one person in the tent could look away from the beautifully chaotic amalgamation on stage. [JM]

Circa Waves

The British standard of indie rock, these fellas have been around the block a couple of times, solidifying their names in the genre canon. They are the perfect band to watch in the afternoon sun with drink in hand and friends by your side. Their set was full of crowd pleasing classics like ‘Fossils’ and ‘Jacqueline’, the words of both being loudly echoed by the sea of people watching. Not a band to be outshined by their legacy, the group have an edge to them when playing live; the small twang of the guitar and buzz of the bass gives the performance a little grit and variation from their recorded material. A potential weekend highlight is ‘T-Shirt Weather’; the sun is shining down on us on the last weekend of the summer, and it feels like a momentous shared moment for all of us as we made memories that we could later reminisce on whilst thinking of this track. [JM]

All Time Low

Their foundations are so laden within pop punk history that it would be impossible for this set to not make its mark on the weekend and its attendees. Although the band are a little older, their songs are nostalgia-ridden and ultimately impressive. Though at times a little jarring with americanisms, frontman Alex Gaskarth was an enthusiastic presence overall, at times telling everyone to put their phones away or get on top of people’s shoulders, making the closeness of the crowd palpable. A surprising addition was a cover of The Weeknd’s track ‘Blinding Lights’, adding layers of thick bass and rock to the already melodic tune; it was an interesting choice that they certainly pulled off. An explosive cannon of confetti accompanied the band’s magnum opus ‘Dear Maria’ which inclines even passers by to join in with the iconic chorus. It was a great crescendo for the band that have undoubtedly earned their spot in the punk rock hall of fame. [JM]

Tigress

Opening with a classical piece of music that took the Festival Republic tent by surprise was the playful Tigress, a five piece British rock band that have stirred the scene with their polished sound. The pink hair of frontwoman Katy Jackson is indicative of her performance style that oozes confidence as she spearheads the band’s setlist. With melodic bridges surrounded by classic punk motifs reminiscent of the early 2000s, this band weave a clever story with tracks like ‘Alive’ and ‘Power Lines’ being standouts. The crowd head banged in unison with each beat in utter appreciation of their perfected performance style, able to add a glossy finish to heavy sound that’s unlike other bands in the punk space while managing to remain cheeky and genuine. It has to be noted that the band have been short-changed in this slot, which doesn’t allow their full performance capability to shine, but if they continue down their current path it won’t be a surprise to see them climb up the billing in the coming years. [JM]

Cleopatrick

Cleopatrick wasted no time setting the tone for the 30 minutes that were about to follow. They opened with the high tempo and ravenous ‘OK’, identifiable with the twisted guitar sound that lays waste to its other components. What followed was a sea of sweat drops and hair strands that ebbed and flowed with each riff and track change. The equally heavy hitting ‘GOOD GRIEF’ and ‘hometown’ made a mockery of all music that came before them judging by our collective reaction. It is hard to believe that only two men onstage can create so much noise. When front man Luke Gruntz entered the crowd he was immediately sucked in, only to reappear after a minute to the eruption of applause from everyone in attendance. They are a heavy amalgamation sent from above – not only did they fill the tent, but they commanded it. One only hoped that they didn’t decide to end the world because in that moment, we’d have been with them. [JM]

AS IT IS

A band with a reputation like As It Is possesses has high standards to achieve, and they surpassed them with ease to the joy of their full tent. By all accounts they are a band that achieved success amongst an overcrowded pop punk space, doing a damn good job but never breaking the wheel. However, their discography does not do them justice when comparing them to a live setting. They bring a clarity to their sound that could only be defined by years of honing in on their craft, and when added to the production and showmanship of a live show they are exponentially elevated. The reflective yet heavy ‘I MISS 2003’ was met with furious and melancholic nodding of the crowd, which was as distinctive as the beat drops. Lead singer Patty Walters has a clear and powerful voice that cut through the mosh pits and emotionally delivered astonishing vocals. The lights flickered purple and white as they expressed it’s no longer their show; it’s ours. The sentiment is all but returned to the band that decided to be better than themselves. [JM]

FEVER 333

Fever 333, unsurprisingly, were able to ignite a fire as they blitzed over ‘BITE BACK’, ‘ONE OF US’ and ‘Made An American’ with an anger shared by the crowd. The entire tent became consumed by a huge pit and all were happy to join in because, during that short time, those of us in the tent had a safe space to let go. Their sound is about as far from stale as you can get, with colossal walls of drum patterns and towering guitar motifs being created by the members; hard to follow at times but always intricate and expertly placed behind the vocals. The lyrics themselves are a breath of fresh air, dispelling myths about racism, sexism, homophobia, guns and a plethora of other topics that don’t get brought up in music with the same intensity and knowledge the band possess. Whilst they are an overtly heavy band it never feels gratuitous, it’s always necessary to get the point across, the fights they continue to advocate for cannot be won with meekness. Guitarist Stephen Harrison climbed high into the stage rigging in a final moment of opposition as the band played an encore that they expressed wasn’t planned. We were gifted by a truly unique performance from a band that say all the right things in all the right ways. [JM]

From Fueled By Ramen’s latest success story, Meet Me At The Altar, to our favourite wholesome men in The Maine, to tonight’s main event, the mighty All Time Low, there’s not a moment to rest nor a moment to feel anything but the overwhelming buzz that comes when you’re about to see your favourite band. And this time, that buzz will hit you square between the eyes three times in a row.

The excitable atmosphere in the room is tangible as the crowd, from front to back, embraces the packed, sweaty environment with open arms. The anticipation is all consuming, and when The Maine hit the stage, it’s all we can do to scream, shout and jump as wildly as our bodies will allow. It’s a novel situation to have the lead support be as popular as John O’Callaghan and his pals are tonight, and there are moments where the crowd responds so well to their 30 minute set that you almost forget that this isn’t the band we’re here to see. Playing hits from across their whole discography, The Maine showcase boundless charisma, talent and easy crowd interaction, and the smiles that are still sitting widely on our faces right through the intermission until All Time Low take to the stage only further cement what an incredible band this really is.

But of course, there can only be one headliner tonight, and as All Time Low take to the stage for the second of two sold out shows here at Brixton Academy, our excitement and euphoria really hits its peak. Those at the front of the crowd are already gasping for air, having been waiting for hours for this very moment, while those at the back carefully nurse their beers as they merrily sing and dance along as the set kicks off with one of the band’s most recent hits, ‘Some Kind of Disaster’.

This is the first time All Time Low have been able to visit our shores since the poorly timed release of ‘Wake Up Sunshine’ early last April, and fans are chomping at the bit in excitement as we hear these tracks live for the first time. With many bands who have been around for as long as All Time Low, it’s easy to tell that older releases resonate better with the fans, but this is a band that has successfully maintained enthusiasm with every album they’ve released. This is clear to see tonight as they make their way through a set list made up of tracks from across their whole career, even mixing it up from the previous evening, throwing in curveballs such as ‘Favorite Place’ which are met with as much joy as the singles and other fan favourites such as ‘Monster’, ‘Weightless’ and – of course – ‘Lost in Stereo’. 

Technically, All Time Low are all but perfect this evening, never failing to hit every note with ease and playing together in perfect synchronisation that can only be achieved by a band that have played as one unit for the better part of two decades. You get the feeling that they could pull off a decent show in their sleep, but the effort and energy they still put into every performance guarantees a phenomenal evening, and the crowd are happily eating out of the palms of their hands from start to finish, their dedication to the band mirroring the band’s dedication to their craft. 

It’s hard to articulate just how special this particular performance has been without being in the room, but as front man Alex Gaskarth notes that this is their “favourite show in a long time”, you might just get a notion of just how magical it has been. And, if we’re totally honest, it’s been one of our favourite shows in a long time, too. 

YASMIN BROWN

2017’s ‘Last Young Renegade’, for example, in all its angst and gloom, was (objectively, of course) one of the band’s best releases to date, yet this was the album that saw them depart most sharply from where they first started back in 2003. With ‘Wake Up, Sunshine’, the band maintains this newfound maturity while also revisiting their roots and incorporating many of the sounds that we grew to know and love in the years that preceded ‘LYR’. 

Put simply, this album is everything you’ve ever loved about All Time Low amalgamated into one album. And it. Is. Glorious.

You might think, given the bright nature of the album title, that what’s in store is 15 tracks of joy and sunshine. You would be wrong. There are definitely moments of happiness, hope and inspiration, but All Time Low wouldn’t be All Time Low if they didn’t provoke at least a few misty eyed moments. This record will take you on a journey of emotion and long forgotten memories that you considered to be deep in the past, reigniting old fires and leaving you feeling ready to take on the world.

The likelihood is that you’ll already have had time to familiarise yourself with the first six tracks, the band having drip fed fans over the past few months in a successful bid to increase anticipation. What you’d expect from these teasers would be endless anthemic choruses and pop-punk riffs, as well as impressive bridges and wonderfully implemented synths, and you’ll be well validated in this expectation.

What might not have been immediately obvious from the first half of this record, however, is the theme that runs throughout; of holding onto things that you should be setting free. Whether that be a memory, a friendship, a relationship – you’ll find yourself recalling instances in your own life where you should have let go long before you did, and the consequences of your persistence and loyalty. This theme kicks off with the album with ‘Some Kind of Disaster’ and the idea of wanting someone bad for you, carrying on well into ‘Getaway Green’ that touches on the toxicity of rekindling an old friendship, and how someone can become such a part of you that leaving feels like ripping yourself apart in ‘Trouble Is’.

It’s not all sad though, and after the cute acoustic chorus that sits within the über pop-punk ‘Melancholy Kaleidoscope’, the mood picks up with title track ‘Wake Up, Sunshine’. It’s a sweet track with a well meaning message (if a little lacklustre), standing out – as you’d expect – like a sunbeam through the clouds among its more moody counterparts. 

Most notably sitting in this ‘moody’ category is ‘Monsters’ featuring blackbear, a track that’s so reminiscent of ‘Last Young Renegade’ that you’d be forgiven for mistaking it for a B-side on the 2017 release. As a result, it feels like one of the most dark and mature tracks on the record, its strong bassline and front man Alex Gaskarth’s outstanding vocals inevitably send chills through you as you listen to lyrics that depict a scenario of someone or something having so much control over you that you become reckless. 

‘Monsters’ acts as the perfect setup for the next two tracks, ‘Pretty Venom’ and ‘Favorite Place’ (the latter featuring The Band CAMINO), two very different sounds but when juxtaposed, work seamlessly together. ‘Pretty Venom’ continues to feed into the theme of giving someone too much power, showcasing Gaskarth’s higher vocal range and leaves a temporary heaviness in your heart. It’s a heaviness that’s short lived as ‘Favorite Place’ gives you no time to ruminate, immediately filling your ears with the happiest of riffs. 

The album fits together so perfectly and so smoothly, and despite each track bringing something new to the table, it tells a story so coherent and leaves an image so clear in your mind that you’ll be left with goosebumps multiple times as you make your way through.

While it’s 15 tracks long, never once do you get a sense of monotony or repetitiveness, and as the uplifting anthem ‘Safe’ kicks in, you’ll find yourself feeling glad that there are still five tracks to go. This is just one of the songs that you can easily picture filling a venue, the band filling the stage with energy, needlessly encouraging the already screaming crowd to sing along. It’s one of the few tracks that really seems to encompass the album’s title, a hopeful sensation that is quickly overturned by the more melancholy ‘January Gloom (Seasons pt. 1)’ and ‘Clumsy’.

Sandwiched between the seasons is the wonderfully acoustic ‘Glitter and Crimson’ brings thoughts of luck and love; the excitement and recklessness that comes with adoration. When combined with the bridge and final chorus, this is a track that will undoubtedly have hearts beating hard and fast before slowing down along with its gentle end. As has become a trend on the album, the respite that might ordinarily come with tracks such as these is quickly interrupted by the second of the seasons, ‘Summer Daze (Seasons pt 2.), wherein guitar riffs reign supreme. You might expect this track to feel more lighthearted than its January counterpart, but it feels just as sad in many ways, and ultimately leaves a little rain cloud hanging over you as it fades out.

Closing track ‘Basement Noise’ is truly worth its own review; a throwback to the band’s roots, it’s nostalgic and sweet. All Time Low have been a band for almost two decades, and so a track reminiscing about the boys they were compared with the men they are today feels sincere and worthy of more than the three minutes All Time Low have allowed for. It’s the perfect closing track, written for the fans as much as it is the band – a testament to how far they’ve come since they were just those “stupid boys in the basement”. 

Combining a little bit of everything, ‘Wake Up, Sunshine’ is an album full of fiercely strong bridges and catchy choruses, making it accessible to fans old and new, without losing that special something that’s always helped All Time Low stand out from the crowd, progressing further than many of their peers from 10-15 years ago. The band have clearly worked to each of their strengths, and no single element that makes up this album stands out more than any other, as each works together to create a near perfect work of art. In a gloomy and uncertain time, one thing is for sure: All Time Low will always be around to bring sunshine to your day.

YASMIN BROWN

It takes a fair while for the assembled queue to make it inside the venue, meaning local openers Venus greet the majority upon walking through the double doors – and it’s a warm welcome to what’s set to be a special night. Their punk-infused rock is as fiery as it is melodic and energetic, though it’s a little difficult to discern many of the lyrics; there’s nothing that quite sets Venus apart yet, but it’s still early days for these newcomers, with plenty of potential still to be tapped in the future.

Never has a half hour break before a headliner seemed to last as long as it does tonight, and there’s not much visible floor space amongst the hundreds of impatiently twitching feet as 8pm ticks nearer. It’s a setting that fairly starkly contrasts with the scene that will greet All Time Low the next time they’re in Leeds for the northern leg of Reading & Leeds Festival, and it’s been many years since they graced spaces this intimate on headline tours. From teenagers up to fans from the early days, everyone is infected with the kind of giddy excitement that could only ever come from seeing your favourite band, and sharing that experience with 400 others who love them just as much.

With only twelve tracks to come this evening, there’s no time to hold back – and from the first moments of ‘Weightless’, it looks like nobody is planning on doing so. It might be smaller than Reading & Leeds in here, but between the dancing of feet, screams, and singing along, the noise level could still easily rival it. Remember those videos of The Beatles from the 60s? That’s Brudenell Social Club on this cold, wet Monday night, and the ripples of joy evident in hundreds of gigantic grins feel like a sprinkling of magic as All Time Low dip into a collection of fan favourites.

The announcement of these two one-off shows were accompanied by the release date for album number eight, ‘Wake Up, Sunshine’, and the handful of new tracks that find a place in the setlist make up some of the night’s highlights – not that it’s obvious they’re new, given the volume of the ecstatic crowd. The “really fast” ‘Sleeping In’ and anthemic ‘Some Kind Of Disaster’ have all that signature All Time Low vibrance without sounding like a rehash of previous material; this is a band with plenty of gas still left in the tank, and these arena-ready songs make the most of the incredible sound in Brudenell, filling every inch with electric clarity.

Despite the relatively brief set there is, of course, still plenty of time for the band’s infamous and frequently slightly absurd banter to make an appearance. Ever wondered what happens when you touch a disco ball? You shatter into a billion glittering pieces and form part of the universe forever, apparently. Useful information. Where these interludes have occasionally in the past gone a bit too far, tonight it’s nothing but pure (and very silly) entertainment, featuring heckles aimed at guitarist Jack Barakat’s skill and an inexplicably ridiculous jazz-country version of ‘Dear Maria, Count Me In’. In this small room, the band are able to feed off the audience interaction with razor sharp wit, and it’s a shame they aren’t able to play venues this size more often.

It’s all too short a time to party as the set is brought to a close with ‘Dear Maria, Count Me In’ (in its normal format), but judging by the smiles that remain on the faces of departing fans, it’s a night that will live in memories for a long time to come. There’s a reason All Time Low have remained at the top of a fickle genre for such a long time, and their ability to capture the hearts, energy, and attention of a room is second to none – All Time Low are truly the kings of pop punk, and long may they reign.

GEM ROGERS

The weather is grim (what would a festival be without rain?!) but spirits remain high as we make our way from stage to stage (to stage… to stage…) to enjoy this year’s outstanding lineup.

Words: Yasmin Brown [YB] / Tom Walsh [TW] Images: Penny Bennett / Matt Higgs

It’s always a happy surprise when the first band on your list of acts to see also happens to be one of your favourites, and this was almost certainly the case for plenty of Slam Dunkers this year. Boston Manor are causing a ruckus; ruffling feathers with their controversial yet insightful views about the world today and – of course – those of us who inhabit it. As a result, they’re connecting with their fans in a way they never have before, resulting in absolute mayhem when it comes to their live shows. Taking to the stage with his face covered in a white balaclava, front man Henry Cox is every bit as lively and energetic as you’d expect from someone who wrote the angry lyrics that make up the band’s sophomore album, ‘Welcome to the Neighbourhood’, and the rest of the band aren’t far behind when it comes to energy levels, bounding around the stage and feeling every moment of their 30 minute set right down to their core. And we feel it, too. From a man on crutches fearlessly crowd surfing, to the three minutes of cardio the crowd happily agrees to as one mosh pit turns into an exercise regime, there isn’t a moment of calm. Cox’s vocals are on form, seamlessly transitioning from clean to rough vocals, and the band work tightly together to put on what many might already feel confident in calling the best performance of the day. [YB]

NOFX have brought a little gift to Slam Dunk this year. The Punk In Drublic tour has been making waves across the US and Europe, and Fat Mike has bestowed this celebration of double time drums and craft beer onto Yorkshire and Hatfield. Who better to wake the early crowd from their slumber than Anti-Flag? We’re entering an era where the smell of revolution is thick in the air and Anti-Flag have been a band forever willing to lead the charge. Every song sounds like a battle cry; from the confrontational opener of ‘Die for the Government’, to the raging ‘Fuck Police Brutality’, there is no let up in intensity, even if it is still very early in the day. Closing with ‘Brandenburg Gate’, both bassist Chris Head and drummer Pat Thetic climb down into the crowd to thrash through the last few bars. Just like that, everyone seems very much energised for the day ahead. [TW]

It’s barely 2pm but there’s already strong competition for most energetic performance of the day, as one reunion we all hoped for – but never expected would come to fruition – is realised. Busted are back, baby, and turning up to the Key Club stage just five minutes after the start of the band’s not-so-secret set sees many fans struggling to catch a glimpse of the stage as they sing along to ‘Air Hostess’ from outside the crammed tent. Initially, it’s strange watching pop-punk fans crowd surf to a band whose fanbase in 2003 consisted mostly of 10-year old girls, but when you consider that those 10-year olds are now in their mid-twenties, it all starts to make more sense. Everyone loves a nostalgia trip, and although Busted make sure to add some of their newer releases to the setlist (‘Nineties’ goes down a treat), that’s exactly what this performance is. That’s not to diminish this band’s talent, though. Charlie continues to be host to one of the most recognisably soothing and husky voices in the industry and, as a band, they sure know how to amp up a crowd. As they close the set with ‘Year 3000’ – singing about naked, triple breasted women – it feels as though this is exactly where Busted belong. [YB]

Over at the Impericon Stage, US metalcore band Wage War are laying waste to the tent. It’s an impressive Slam Dunk debut from the Florida natives, as they combine chugging, melodic riffs with the dual vocals of Briton Bond and Cody Quistad. Dipping in to their studio albums ‘Blueprints’ and ‘Deadweight’, it is their latest single ‘Low’ that reverberates around the tent. Wage War do hark back to a metalcore genre of circa 2010, but the soaring clean voice of Quistad provides that stand-out factor. [TW]  

Despite their Australian roots, Trophy Eyes are embraced like family for the duration of their set on the Marshall stage. Not once did the energy let up, with both crowd and band working tirelessly to make this one of the most memorable sets of the day. It’d be easy to assume that smaller stages such as this and the Dickies stage often see fans just passing through, killing time or trying to unearth hidden gems among the bigger names, but Trophy Eyes seem to have pulled in a dedicated fanbase made up of people who connect to this band’s often painful yet incredible music. As the set draws to a close, and Trophy Eyes launch into ‘You Can Count on Me’, there’s a huge sense of togetherness, reflecting the lyrics and creating that safe, comfortable space that so many of us turn to music in order to find. They’re talented musicians, sure, but it’s this ability to create a community that makes them really, really special. [YB]

If you had ever wondered what it would be like to see an amalgamation of a well-built Mick Jagger and Jim Morrison front a hardcore band, Turnstile are here to make that dream a reality. Brendan Yates brings all the sass and swagger that would make these rock and roll icons nod in approval. It feels like a riposte to the often machismo ethos within sections of the hardcore scene to see Yates strut around the stage before hotfooting up the tent support poles. It is not just Yates’ flamboyant performance we’re here to see, Turnstile crank out some delicious chugging and grooving riffs. The thrashing melodies and the guttural screams demonstrate why they are quickly becoming the must-see hardcore band in town. There is an extra treat for the uber Turnstile fans as they end on ‘The Dream’, plucked from their very first EP. [TW]

As streaming and miscellaneous playlists take over from the traditional, structured way of listening to music, genres are becoming muddled. No longer can you honestly say you exclusively listen to pop-punk or hardcore or metal or pop – while many artists have their roots, most are taking influence from elsewhere and Our Hollow Our Home are no exception. Their set is a glorious combination of metalcore and hip-hop, making their heavy sincerity incredibly catchy, too. As a member of the crowd, this means you can dance as much as you can mosh, and they grab this opportunity firmly by the throat, propelling themselves at one another while also fulfilling their dreams of being an extra in the Step Up movies. It’s intense, it’s emotional, it’s raucous and, most importantly, it’s really bloody fun. It’s everything a Slam Dunk performance should be. The wall of death feels anything but frightening as fans help one another off the floor without skipping a beat, immediately throwing themselves back into the pandemonium caused by the equally mad scene occurring on stage. If you haven’t heard of Our Hollow Our Home, it’s about time you rectify the situation. [YB]

The Interrupters’ rise has even taken the band themselves by surprise. “We’re still wondering how we got here”, guitarist Kevin Bivona announces as they begin their short and sweet Punk In Drublic stage set. Their latest record, ‘Fight the Good Fight,’ has gained traction among the punk scene eager for much more of those nostalgia-filled Rancid-esque riffs and anthemic protest songs. It is a hit-laden set with vocalist Aimee Interrupter leading the masses to chant back the words to ‘Take Back the Power’ and ‘She Got Arrested.’ They blend the ska-punk vibes throughout, before ending on the duo of the massive ‘She’s Kerosene’ and the arm-in-arm anthem of ‘Family.’ [TW]

If ever there was going to be a time during the day for a singalong, it was going to be during Simple Plan. Ever wise to their fanbase, their setlist comprises mainly older material, taking the crowd back to the angst-ridden days of their youth. Despite the inherently melancholy nature of songs such as ‘I’m Just a Kid’, ‘Welcome to My Life’, and set closer, ‘Perfect’, front man Pierre Bouvier doesn’t for one second stop smiling, likely due to the “I say jump, you say how high” kind of obedience the crowd are providing him with. This set reminds us exactly why and how this festival started in the first place; it’s the epitome of hating this town (wherever that may be), and feeling misunderstood, yet paradoxically, in this moment, these pop-punk kids have never felt more understood. This much is clear through the passion with which each crowd member sings the lyrics back at the band and how, even after almost 20 years, Simple Plan still draw in the masses as though it’s still 2001. While we know these songs like the back of our hands, there are still some surprises in store, as we see beach balls being launched at us to reflect the theme of ‘Summer Paradise’, and drummer Chuck Comeau switches spots with Pierre, launching himself into the crowd during his five minutes as the ever popular lead singer. If nothing else, this set is proof that Simple Plan are timeless, that we’ll always stay loyal to our pop-punk origins, and that everything is more fun when inflatable beach balls are involved. [YB]

While Slam Dunk definitely has a reputation for being a pop punk festival, it wouldn’t have been the same these past few years without some of the heavier bands that have graced stages such as the Jägermeister, Punk in Drublic, and Impericon. This year in particular, one of the most notable bands that fit into this heavy category is Story of the Year. Effortlessly packing out the Jägermeister tent, they waste no time with slow build-ups, choosing instead to launch straight into it, blowing our minds (and our ear drums, for that matter) the moment they take to the stage. While this band has a back catalogue of five studio albums, there’s a portion of the set where we find ourselves watching an emo cover band taking on all of our favourite tracks of the early 2000s. Story of the Year gave new life to My Chem’s ‘I’m Not Okay’, Taking Back Sunday’s ‘Cute Without the ‘E’’ and The Used’s notorious ‘Taste of Ink’. The highlight, however, is a little more off-brand, as they launch into Yellowcard’s ‘Ocean Avenue’, only to be joined by the pop-punk band’s front man himself – William Ryan Key. While it does seem strange to fill such a short set with covers when your band’s history stretches back 14 years, Story of the Year more than prove their unwavering talent through their unrelenting energy and ability to make old songs feel new again. [YB]

“This is the reunion of the year!”, Liam Cormier triumphantly declares. Cancer Bats are back in the UK for what feels like the thousandth time this year, and they’ve come to party. Cormier is hyped to see all of his friends and the swelled crowd are hyped to one of Canada’s finest exports – after maple syrup and curling. With the pleasantries out of the way, it’s time to get this place moving and Cancer Bats know exactly how to do it. All the stars come out for this 40 minute set with newer tracks ‘Brightest Day’ and ‘Winterpeg’ sounding even more huge. The biggest pops, however, are naturally reserved for the anthemic ‘Hail Destroyer’ and ‘Pneumonia Hawk’, which features a hugely enthusiastic cameo from Pagan’s Nikki Brumen. Cormier has been to this rodeo before and knows how to elegantly command his baying public, and he plays the role of conductor in the breakdown of the homage to the Beastie Boys, ‘Sabotage’. During the breakdown, he implores quiet and you can almost hear the breeze of the oncoming storm waft through the Impericon tent before launching into a rasping scream to signal the crescendo of an end. The chugging riff of ‘Gatekeeper’ brings its all to a close and, yes, now we’re fully warmed up. [TW]

“It’s time to get angry,” declares grandson, aka Jordan Benjamin, as he launches into his 30-minute set inside the Key Club tent. For any fan of grandson, this comment seems redundant, as a large part of his appeal is the anger that infiltrates each one of his songs, but still, we listen, and boy do we get angry. Everything about grandson is incendiary, from his ‘RIP America’ t-shirt, to his speeches about forceful yet peaceful resistance, and it’s only natural that anyone in his presence gets fired up too. If passion is the fuel, the tent is a wildfire, and we are set ablaze. While much of what grandson has to say is fuelled by the dire state in which much of the world currently finds itself, it also encourages positive change, and this is never more apparent than when he asks us to turn on the lights on our phones, and to look around to see just how other people can light up your darkness. There are moments where you might feel bummed out by grandson’s message – and for this he earnestly apologises – but ultimately what this performance is, is a reality check. It opens your eyes to the truth of the world and refuses to allow you to turn a blind eye to the mass shootings, to the systemic traditions that lead to endless cycles of poverty, poor mental health and sheer desperation. As grandson beats his chest and spreads his arms in avidity, you can’t help but feel his passion, too. His performance has all the elements of a great rock show, but it also leaves you feeling empowered, energised, and like you have the ability to make a difference. It’s a rock show, sure, but equally, it’s undeniably a political statement. And for this, as grandson confidently and vehemently states, he will not apologise. [YB]

There is something just effortlessly cool about The Bronx. Whether its Matt Caughthran’s beaming grin and southern Californian drawl, the mustachioed swagger of Joby J. Ford, the grooving tunes, or the raucous atmosphere that their shows create, it’s just done with an attitude oozing cool. The LA hardcore punks stride out on stage and straight into the ode to the working class, ‘The Unholy Hand’. Caughthran’s gruff voice screams of the hardships of being in dead end jobs to make ends meet, before pausing to remonstrate to everyone that we need to “live for today, forget tomorrow, just enjoy everything right here and now”. A huge rendition of ‘Shitty Future’ follows. Caughthran’s presence swings between rock and roll legend to preacher to local comedian, with an aura surrounding him, yet still seeming like someone who’d happily share a beer with you. The Bronx front man continues, “you’ve got a great thing going on here Leeds, there’s so many good and a couple of bad bands, but that’s all cool”, which is met with a knowing laughter from the audience. The Bronx treat us to a rare outing of ‘Cobra Lucha’ before Caughthran drops down into the pit to get up and close with his adoring public, reiterating the mantra of “forgetting tomorrow” before joining the crowd surfers for a celebratory version of ‘History’s Stranglers’. The finale sees him being triumphantly carried back to the stage – this is how a cool party ends, right? [TW]

Four years have passed since Gallows last took to a stage and the rustiness shines through in this highly disjointed set. From the moment they have to stop opener ‘Misery’ so front man Wade MacNeil can join the somewhat static pit, the tone has been set, and bassist Stuart Gili-Ross offers an apology – “sorry, we haven’t played these songs in years.” Fans begin to look on in amusement as Gallows approach the nadir of the set by thrashing into their calling card track ‘Abandon Ship’, only for MacNeil to sing the lyrics for ‘Belly In The Shark’. The faux pas causes another restart and another apology from Gili-Ross. Even the appearance of Liam Cormier to share vocal duties on ‘Last June’ and a shoulder-shrugging cover of The Ramones’ ‘Blitzkrieg Bop’ can’t save a mess of a set. While this maybe a fleeting appearance from Gallows, it is notable that the band opted against airing any tracks from the outstanding ‘Desolation Sounds’ album, instead going for the fan favourites of ‘London Is The Reason’ and ‘Come Friendly Bombs’, which have always felt awkward in the post-Frank Carter era. Ever since the departure of the Carter brothers, Gallows have seemingly struggled to forge a proper identity and break free from a sound that made them so special. While this 12-song set did give fans that pang of nostalgia, it is not one that will have them clamouring for new material. [TW]

With the layout of the Key Club stages, the transition between sets remained smooth throughout the day, with one band setting up on the left, while another played on the right. This means that the aggression and anger that flowed through the crowd during grandson’s set quickly dissipates when LIGHTS takes to the stage, filled with attitude and her sultry and powerful vocals. This is LIGHTS’ first time playing to UK crowd in some years, but you’d never guess that she’s been on a low-key hiatus with the number of fans that fill the tent, singing along in delight to every song. For those who may be unfamiliar with LIGHTS’ music, however, we’re treated to a cover of Cher’s ‘Believe’, ensuring that everyone in attendance felt equally involved as each other. Making her way into the crowd for ‘Moonshine’, gripping onto fans’ desperate hands, LIGHTS proves herself to be an excellent performer as well as a talented musician, and Slam Dunk is lucky to have her. [YB]

As anyone who has been to Leeds Festival can attest, an outdoor music festival in Yorkshire is a blatant provocation to the Rain Gods, and Slam Dunk North’s first open air event falls victim to a springtime downpour as legendary punks Bad Religion take to the stage. A little rain isn’t going to dampen the excitement for one of big hitters of the Punk In Drublic stage, though, as Greg Graffin pokes his head out into the steady rain with a beaming grin before launching into ‘Them and Us’. It is a big year for Bad Religion with their first album in six years, ‘Age of Unreason’, taking a typical repugnant look on the world from one of the original political punks. Even as they near 40 years as a band, there is a still vehement anger and this courses through newer tracks ‘Chaos from Within’ and ‘My Sanity’. The riffs are there in abundance, squealing from the guitars of Brian Barker and Mike Dimkich, while Graffin’s signature vocals are as soaring as ever. They take us on a tour through their extensive back catalogue with favourites such as ‘Generator’, ‘Social Suicide’ and ‘Sorrow’ making the diehard fans forget all about their increasingly damp clothes. There’s even space for a rare outing of the excellent ‘Skyscraper’ and the raging ‘Fuck Armageddon…This Is Hell’. The closing double header of ‘American Jesus’ and ‘Punk Rock Song’ finish a frantic, energetic set, and provide a timely reminder that Bad Religion are the undisputed kings of punk. [TW]

It’s left to the band whose seminal album inspired the name of the stage they stand on to wrap up proceedings on the Punk In Drublic stage. As the rain continues to fall, NOFX struggle to continue the standard set by Bad Religion in a slapdash, plodding set. While they have never been renowned for their live performances, there is something entirely sluggish about tonight’s closing act. Fat Mike’s rambling monologues seem to cause agitation among a now sodden crowd with one audience member exasperatedly shouting “just play a fucking song”. When NOFX finally get into their rhythm there are early renditions of ‘Bob’ and ‘The Brews’, which kind of feel like bargaining chips to keep the hardcore fans interested. Much like Bad Religion, NOFX’s latest record ‘First Ditch Effort’ felt like a sea change in the band’s approach with much more personal and angry tracks. There are airings of the excellent ‘Six Years On Dope’ and the poignant ‘I’m So Sorry Tony’, before which, Fat Mike gives a heartfelt ode to the late Tony Sly, whose death provided the inspiration. NOFX finish on a celebratory note with ‘Linoleum’ and a cover of Bad Religion’s ‘We’re Only Gonna Die’, to rectify what threatened to be a damp squib of a headline set. [TW]

While we’ve been consistently soaked by varying levels of precipitation throughout the day, it turns out that All Time Low might actually be pop-punk’s very own Mother Nature. Not only has the downfall cease just in time for their headline set, but everyone in attendance is delighted to note that ATL have “made a rainbow, you motherfuckers! One whole rainbow!” As well as the stunning scenery that now surrounding us, with it being 10 years since the release of the band’s sophomore album, we’re treated to an ode to what many maintain is All Time Low’s best release to date – playing eight out of the 12 tracks on ‘Nothing Personal’, including a cameo performance from Waterpark’s Awsten Knight on fan favourite ‘Break Your Little Heart’. Tears are cried during ‘Therapy’, but quickly dried when the gates to the stage are opened and countless fans join All Time Low for a manic dance party during 2011’s ‘Time Bomb’. Despite Jack Barakat’s countless inappropriate comments, and minor confusion caused by Rian altering the finale of ‘Lost in Stereo’, it’s an otherwise joyous end to an incredible day. [YB]

Slam Dunk continue to bring in the best bands and artists from our world, and we can’t wait to see what next year has in store for us.

Out of nowhere, our social media feeds were blowing up with the news, which came complete with the release of the band’s first single, ‘Drug’ and a lyric video to match (below).

The track is super catchy, perfectly encapsulating everything we love about both All Time Low and more recent Blink 182, so it’s no surprise that it was hugely popular among the pair’s friends and thus chosen as the band’s first single.

Speaking to Kerrang!, Hoppus explained, “Drug is always the first song we play people when introducing them to Simple Creatures, so it only makes sense that it’s the first single.”

“I love the ratty guitar lead mixed with the thumping kick drum. Lyrically, the song is about being destroyed by the things you love.”

Gaskarth said: “Drug is a song about someone or something you want the most, being terrible for you… Feels great until it doesn’t, but then you can’t stop.

“In the studio it felt immediately like it was the song that best defined Simple Creatures; it’s gritty, grimy, rooted in the musicality we both came up on, but with a twist that takes it away from anything we’ve worked on before.”

Simple Creature’s first EP will be arriving in March with more details to follow soon.