One of the most socially conscious bands in punk rock, Anti-Flag take on that challenge with their new album ‘20/20 Vision’. Filled with spite and protest, each track takes no prisoners – from gun-lobbyists to the alt-right, there’s no holds barred, and their main target couldn’t be clearer. Opener ‘Hate Conquers All’ begins with a soundbite of the usual waffle that comes out of Donald Trump’s mouth; featuring a fist in the air hook followed by a chorus that could soundtrack riots, Anti-Flag don’t waste time in stirring up political venom.

‘You Make Me Sick’ features no fluffy metaphors, no vocal acrobatics, just a pure punk rock hate song. Front man Chris#2 says what the rest of the world is thinking about Trump, and their vitriol could only be topped if the band shoved the US president in a cannon and blasted him out of the White House.

Anti-Flag’s straight to the point lyrics are what make their message so easy to digest and get behind. For example, the rebellious and anti-authority ‘A Nation Speaks’ screams out “In a society that abolishes all things, to abolish society is the only thing.” By making what can be confusing politics into thought provoking, gritty, and even eye-opening music whilst throwing a middle finger to a bigoted culture at the same time, Anti-Flag lay everything out in their music in an effort to inform, inspire, and perhaps make a difference too.

‘Don’t Let The Bastards Get You Down’ is a surprisingly upbeat reminder that there’s still hope beyond racial, social, and economic injustice. ‘Christian Nationalist’ spits truth towards “white neo fascist supremacists” and ‘The Disease’ will go down as one of Anti-Flag’s greatest tracks. Toeing the line perfectly between the soundtrack of a government beheading and an anthemic singalong, crowds will soon scream to the line “apathy is feeding the machine” whilst air-guitaring to Justin Sane’s perfectly timed solo.

Chris#2 and Sane’s dual vocal style is now a vital feature of the band’s repertoire, with the gang vocals adding a lease of life to every track. While ’20/20 Vision’ may be one of the finest albums in terms of its message and cut-you-like-a-knife lyrics, the album does lack musicianship and rather sticks to the same design that they have become known for, leaving it to drift into previously covered territory. Aside from some added brass and violin parts, the album is very one dimensional.

Not everyone may agree with all of Anti-Flag’s hard left politics, but their message of love and unity through the medium of hard-as-nails punk rock is inspiring. While many aspects of the world look like all hope is gone, ‘20/20 Vision’ is a call to arms to stand up to hatred and discrimination, and not to let negativity get the best of you. The album asks you to always keep fighting for what you believe in. Lyrically and emotionally, Anti-Flag have created a punk rock album that speaks not just for a nation, but for a whole generation.

LOUIS KERRY

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.

The impressive new announcement sees the already confirmed NOFX and Bad Religion joined by Less Than Jake, Lagwagon, Millencolin, The Interrupters, Mad Caddies, Anti-Flag and The Bombpops.

The festival will this year be held at Temple Newsam Park in Leeds on Saturday 25 May, and Hatfield Park on Sunday 26 May. Tickets are available now here.

The first of tonight’s headline acts is Canadian hardcore sweethearts Cancer Bats, who are positively alight with energy from the second they burst into ‘Gatekeeper’ and don’t let up at all, hammering through the first four tracks without so much as a breath between them. Unfortunately the crowd don’t have the same vigour, with incandescent vocalist Liam Cormier having to state that they’ll pretend the first four songs didn’t happen if the crowd gets moving from this point forward. Lucky for him, ‘Hail Destroyer’ is next in the set and it’s medically impossible to stand still during that song. That unmistakable ‘yep, we’re at a Cancer Bats show’ vibe is finally there as the pit opens up and the crowdsurfers start coming.

It’s been 10 years since the ‘Hail Destroyer’ album came out and it’s clear to see the love that people still have for it, with ‘Lucifer’s Rocking Chair’ setting heads a-banging and ‘Pray For Darkness’ creating a frantic circle pit, just like it always does. We’re also treated to a fair amount of material from this year’s ‘The Spark That Moves’, including the irresistible bounce of ‘Brightest Day’ and a huge singalong to ‘Space and Time’. Top that off with choice cuts from across their back catalogue and the excellent cover of the Beastie Boys classic ‘Sabotage’ and you’ve got all the makings of a great show – but despite the band themselves being excellent, which they consistently are, there’s definitely something missing from tonight’s performance. Whether it’s the fact that the majority of the crowd are there for Anti-Flag, or the fact that hardcore never translates as well in large venues with big gaps between the band and crowd, this definitely wasn’t the show that everyone knows they’re capable of. Thankfully they’re coming back in the new year for a solid 20-show (!) run of intimate venues, and that’s always the setting in which you’ll see Cancer Bats at their most majestic.

Bands like Cancer Bats might struggle in larger venues, but Anti-Flag are more than at home in a room this size, and easily fill it with their politically-charged brand of melodic punk rock. The band walk on stage to a mixture of speeches from Charlie Chaplin in ‘The Great Dictator’ and Martin Luther King, before launching headfirst into ‘Die For The Government’ from their 1996 album of the same name. It’s easy to forget just how long Anti-Flag have been around, considering the youthful energy they still radiate as they play and how spirited they still sound. All their set staples are there, including ‘Broken Bones’ and the anthemic ‘The Press Corpse’, and the enthusiastic crowd holler back every word like their lives depend on it. In terms of pure enthusiastic energy and the ability to write memorable choruses that can fill any venue, there are very few who do it better.

The only real issue with Anti-Flag is that, regardless of how much fun they are, their whole shtick just feels a little forced. The political speeches as they walked on, the flags that adorn the stage, the on-the-nose anti-government rhetoric – it’s difficult to disagree with their stance, of course, but it’s laid on so thick that they almost become a meme of themselves, especially when hating Trump at a punk rock show is such a given and going for him really feels like going for the lowest hanging fruit. This, combined with their ‘looks spontaneous but is definitely choreographed’ audience interaction and the fact that there’s a random bloke with a microphone hidden behind one of the amps who seems to exist solely to give the gang vocals a bit more oomph, just makes the whole thing feel a bit more disingenuous than a punk show should feel. There’s no doubt whatsoever that the Anti-Flag fans in the room had a great time at this show, but the band could likely strip back all the above and people would enjoy it just as much, if not more, due to the additional authenticity it would add to their performance.

Tonight’s show wasn’t perfect, but it was a great opportunity to see two very different bands do their thing, and whilst the crowd may have been weighted in Anti-Flag’s favour both bands will have definitely won over some new fans from each other. As for all the other stuff – there’s always the chance that regularly writing about music turns you into a moany old git, so go and check out all these bands and decide for yourselves if they tick your boxes.

LIAM KNOWLES

Anti-Flag have always been at the forefront of the fight back, championing left-wing politics, anti-war activism, and human rights. In the decades gone before their records have reflected the times we live in, with 2006’s ‘For Blood and Empire’ raging against the George W. Bush presidency, while 2009’s ‘The People or the Gun’ came in response to the financial crash of 2008.

As we live through some of the most turbulent times, Anti-Flag dished out the quick-fire release of 2015’s ‘American Spring’, followed by ‘American Fall’ two years later. While not the strongest output the band have produced in their career – lacking the veracity and rage, synonymous with their earlier work – they remained passable albums.

It feels rather strange, however, that the Pittsburgh punks felt the final installment of this trilogy needed to be an acoustic compilation. ‘American Reckoning’ takes a pick and mix of tracks from its two predecessors and strips them back to deliver an uninspiring and ultimately boring half hour of music.

From the offset, ‘American Reckoning’ feels like a band on auto-pilot. Acoustic punk records rarely translate an effective message and all the, albeit limited, snarl and energy from the originals has been completely neutralised. Where there may have once been defiance, it now feels like we’re sat arm-in-arm singing around a campfire and toasting marshmallows.

There is a lack of originality seeping throughout the record, with the acoustic adaptations rarely deviating from its electric counterpart. The visceral ‘When The Wall Falls’ sounds exactly the same, while the incendiary ‘Racists’ loses all form of poignancy as the intense drum beats and heavy guitars are completely lost.

Likewise, ‘The Debate Is Over (If You Want It)’ and ‘Trouble Follow Me’ sound far too much like a band playing it safe, rather than attempting a different arrangement akin to Alkaline Trio’s ‘Damnesia’. ‘American Reckoning’ then sluggishly lurches into a trio of covers to end including John Lennon’s ‘Gimmie Some Truth’ and a closer of Cheap Trick’s ‘Surrender’, a choice that highlights just how much Anti-Flag have decided to phone this one in.

While ‘American Reckoning’ is a fairly inoffensive record and it will appeal to the hardcore Anti-Flag base, therein lies the problem. It is inoffensive – something this band has strived for so many years not to be, lacking any real purpose or message. A bland, paint-by-numbers, instantly forgettable record, which questions why it was even made in the first place – not the record that fuels the counterculture in troubling times.

TOM WALSH

The track is featured on their latest album ‘American Fall’, which was released last year on Spinefarm Records.

The song is taken from their tenth album ‘American Fall’, which was released last month month through Spinefarm Records.

The song is taken from their tenth album ‘American Fall’, which was released earlier this month through Spinefarm Records.

Drug Church – ‘Weed Pin’

‘Weed Pin’ is the new single from the Albany quintet. Another huge tune to add to their already impressive catalogue. Catch them on tour all over the States this month.

Turnstile – ‘Real Thing’

Put this on and bang your head. ‘Real Thing’ is the first new single since signing to Roadrunner Records. Turnstile are currently on the road throughout the USA now.

Anti Flag – ‘The Criminals’

The Pittsburg punk-rock legends have the fire back in their bellies. Having just finished up on the ‘Fireball Fuelling The Fire Tour’ in the UK, their new album ‘American Fall’ is out now through Spinefarm Records.

The Run Up – ‘WKND’

‘WKND’ is the lead single from Bristol-based The Run Up’s self-titled debut LP,  which is released next week through Real Ghost Records. A fine slice of melodic punk rock.

Old Wounds – ‘Only Your Enemies Leave Roses’

A punishingly heavy new tune from the New Jersey crew, out now through Good Fight. Think Converge meets Poison The Well. They’re back on the road for a handful of shows across the North West of the US before the end of the year.

Phinius Gage – ‘Battered And Bruised’

Having split up back in 2008, after touring an insane amount since their formation in 2002, the Brighton-punks are back together and active again. ‘Battered And Bruised’ is taken from a best-of collection, out now through Disconnect Disconnect Records.

Thrice – ‘Red Telephone’

Thrice are just awesome. Originally a B-side from the 2009 album ‘Beggars’, ‘Red Telephone’ has been given a proper release, which it truly deserves. Currently on tour in the US with Circa Survive.

Random Hand – ‘Anger Management’

Random Hand are back together and active again after a few years away. Fantastic news for UK ska punk. The first announcement is an appearance at Manchester Punk Festival in April.

Waco – ‘Mother Mercy’

Truly one of the jewels in the crown of the underground scene in the UK. ‘Mother Mercy’ is taken from ‘Deathless’ – out now through Venn Records. Catch them at The House Of Vans, London on November 15.

Dinosaur Pile-Up – ‘Red And Purple’

Dinosaur Pile-Up are currently smashing their way through an extensive UK tour. Be quick and make sure to make it to a show! Riffs and melodies galore! ‘Eleven Eleven’ is out now.