Fresh off their chart-topping ‘The Sky, The Earth and All Between’ release (number two in the UK, cheers very much), Architects roll into Greenwich with American heavyweights Wage War and rising stars House of Protection in tow. By the time the lights dim at 9pm, the arena is already buzzing with anticipation.

Wage War and House of Protection both earn their spot on this tour. Wage War bring their brand of American metalcore intensity, warming up the crowd with relentless energy. House of Protection prove why they’re ones to watch, holding their own in front of an arena crowd and making it clear they won’t be playing support slots forever.

Architects open with Oasis’s ‘Fuckin’ in the Bushes’ on tape ramps up the tension before the band explodes into ‘Elegy’. No warm-up, no gentle introduction; just diving straight into the deep end. The production is huge, all thundering drums courtesy of Dan Searle and those signature tech-death-meets-melody riffs. ‘Whiplash’ and ‘when we were young’ keep the momentum brutal, before ‘Black Lungs’ gives everyone a moment to catch their breath. The emotional weight of the set is tangible throughout; you can feel the moments where thousands of people connect to something bigger than just heavy music.

What’s clever about this setlist is how seamlessly the band weave their newest material in amongst the established classics. ‘A Match Made in Heaven’ flows naturally into ‘deep fake,’ proving that ‘The Sky, The Earth and All Between’ is an album that holds its own in the live setting. When Wage War vocalist Briton Bond joins for ‘Impermanence,’ the place erupts. The middle section, which includes ‘Red Hypergiant’ and ‘Gravedigger’ – both part of arguably one of the best metalcore albums of all time – features House of Protection, displaying Architects at their collaborative best; still hungry, still experimenting, still pushing forward rather than just milking the hits.

‘Brain Dead’ goes off, and the snippets of older material peppered throughout keep long-time fans satisfied. ‘Doomsday’ is the inevitable tear-jerker moment, hitting exactly as hard as it needs to. By the time ‘Animals’ closes the main set, the pit is a write-off and everyone’s voices are shredded – but nobody is leaving without the encore. ‘Hereafter’ and ‘Meteor’ send everyone home spent, before a remix of ‘Everything Ends’ plays them out.

This show proves, if proof were ever needed – which it’s not – that Architects have the technical chops, the emotional depth and the determination to keep evolving. The O2 Arena is a beast of a venue to fill, but they make it feel intimate when it needs to be and massive when the moment calls for it. Condolences to anyone that missed this one.

KATHRYN EDWARDS

Click the image below to see all photos from this event.

Upon listening to the album, it’s almost unbelievable that this is Architects’ 11^th album. It would be easy for them to create a carbon copy of their previous album; their fans would love it, regardless. But the group have refused to let their music become stale, and it’s evident that they’re continuously working to keep their music fresh and invigorating.

But, during opening track ‘Elegy’, there’s a lingering feeling that Architects almost feel downtrodden – lyrics such as, “Cause I gave you all a part of me / I found you at the murder scene / You questioned my integrity again” are delivered in an almost weary, pleading tone. On the flip side, the line of “You’ve written out my elegy / Written out my elegy again, again, again” is almost a triumphant pushback. An elegy is typically a lament for the dead, but it’s as if Architects are showing that they are far from dead.

Singles ‘Whiplash’ and ‘Blackhole’ are both ambitious and aggressive, pumped with complex and bruising guitar riffs. Then there’s ‘Everything Ends’, which is the perfect stadium anthem; with more electronic-based undertones, this track allows Sam Carter to (yet again) show off his flawless range. His clean vocals are staggering and truly soar – hearing Carter’s range broaden over the years has been breath-taking, and this song is a fantastic example of how he has learnt to command his vocals and what he can offer when fully unleashed.

‘Brain Dead’, featuring House of Protection, crushes brutal drum work and frenetic energy into this colossal powerhouse. Cries of, “Can anyone handle the pressure?” and pleas of “Stay away, stay away, stay away” are monolithic, creating a frantic and desperate atmosphere.

It’s difficult to fully describe the feelings and emotions that ‘Evil Eyes’ invokes upon listening to it. Yet again, the chorus is simply huge, and Carter’s vocals are a force to reckon with; the easy switch from his guttural screams to his powerful clean vocals elevate this track. It doesn’t hurt that you can easily identify the electronic elements from Jordan Fish, but that’s not a bad thing – it adds another layer to this already stunning track. This can also be applied to ‘Broken Mirror’ – Architects haven’t been afraid to bear their hearts even more on their sleeve.

‘Landmines’ is packed with beautiful breakdowns and anger, and then there’s ‘Judgement Day’, which features jaw-dropping guest vocals from Amira Elfeky – they’re ethereal and soft, providing a fantastic contrast against Carter’s furious vocals.

‘Curse’ and ‘Seeing Red’ are rapid-fire tracks, brimming with visceral power and pummelling guitar work. The latter is a clapback to critical fans, demonstrated with the sarcastic line of “I’ll never grow tired of your great advice.” But fans, even the most critical, will find themselves easily falling in love with this release – every track is stunning, and easily demonstrates Architects mastery.

‘Chandelier’ signs off ‘The Sky, The Earth & All Between’ with a beautiful flourish, and simply confirms why Architects are firm favourites within the metal scene. Despite some familiarity, this album shows the band’s innovative flair – filled with intense energy and clout, Architects have created something quite special.

JESS TAGLIANI

Words: Fiachra Johnston and Lisa Fox.  Images: Penny Bennett, Jemma Dodd and Download Festival  / Abbie Shipperley / Todd Owyoung / James Bridle

Stand Atlantic

It’s never easy opening the main stage but if anyone can stay cool under the heat, both metaphorically and literally, it’s Sydney’s Stand Atlantic. It’s an easy going affair but by no means a static one, with ‘Wavelength’ getting the crowd up and moving. Vocalist Bonnie Fraser sticks to the front of the stage, feeding off the early afternoon crowd’s emerging energy as she leads their most loyal fans in a savage rendition of ‘Deathwish’. Stand Atlantic are one of those acts you see live that feel like they belong on the Vans Warped tour on a sunny California day, and while they need to settle for a swampy day in Donington, their pure pop punk style makes for a great first show of the day. As WARGASM’s Milkie Way says during the Kerrang interlude adverts constantly on shuffle every 15 minutes says “You’re all looking sufficiently sweaty right about now.”

Nova Twins

Where Stand Atlantic feel like a VWP classic, the music of Amy Love and Georgia South – aka Nova Twins – belongs to crowded punk basement venues. Though Love whirls across the stage wildly, and South absolutely kills it in the bass solos, they are let down somewhat by the massive stage and its sound mixing, the minute details of the performance lost to its sheer size. That by no means slows the Twins down, and their energy is still infectious. ‘Antagonist’ is the best sounding of the seven song set, its deep and chunky bass ends reverberating throughout the arena and amps up the crowd even more as the duo lose themselves in the madness of ‘Choose Your Fighter’. It’s more a mark on the festival for misplacing Nova Twins than the duo themselves, and had this taken place in one of the tents, who knows what kind of havoc they could wreak.

Hot Milk

Apex stage really belonged to the women of rock today as Han Mee leads Hot Milk up to the base plate alongside co-vocalist Jim Shaw. Though it’s an early show, Hot Milk crank up the heat with some unexpected pyro throughout their set, as ‘Wide Awake’, true to name, perks up the crowd. Mee picks up the pace to respond, a symbiotic energy forming, and at one point she busts open her knee on the guardrail. Caked in blood and surrounded by flames? Not a bad way to cement yourself in the annals of Download history. Shaw also kills it when it comes to mixing rap into tracks like ‘Candy Coated Lies’, however some poor sound mixing means his most powerful moments are regretfully diluted. It’s not the first time this has happened on Apex, and it mires an otherwise tremendous set.

Demob Happy

The Avalanche suffers greatly from the heat throughout the week but being the most available source of shade, it still draws many people under its awning which in turn means more eyes than usual on smaller acts. Despite only having six songs to turn the mood in the Avalanche around, the suave trio immediately set to work revitalising a waning crowd. How Matthew Marcantonio is able to perform vocalist duties in a full purple suit in the muddy humidity of the tent is anyone’s guess, but the crowd are appreciative of the daring fashion choice in 25 degree weather during, ‘Succubus’, the wailing open guitars cutting through the heat. Delayed by nearly 40 minutes due to a medical emergency, the boys of Demob Happy still manage to give an absolute riot of a performance and turn a crowd originally just escaping the heat into loyal fans.

Crawlers

Though they came to fame recently through TikTok, Crawlers no less deserve the crowd they’ve drawn at the Avalanche than any of the other tenured bands that came before. Draped in a lesbian pride flag plucked from the crowd, Holly Minto gushes about the  group’s opportunity to be here. To mark the occasion, a special heavy rendition of ‘Come Over (Again)’ is played, to the delight of the crowd. It’s a love-filled set, the crowd both receptive and giving throughout the short but impactful six song outing. On what is the start of a weekend long stifling heat, Crawlers and their audience turn the tent into their own personal oasis.

The Blackout

The Blackout, The Blackout, The Blackout. Oh how you’ve been missed. From the moment the band’s banner is unfurled, chants of “We are the dynamite” blast forth from an excited crowd. Packing as big a punch as the last time they played Download (way back in 2010), Wales’ finest blast right out of the gate. ‘Children of the Night’ has the audience in a frenzy, which threatens to burst when vocalist Sean Smith jumps into the crowd.

It’s not long before Gavin Butler jumps in too, much to everyone’s delight. Bouncing around the stage, the sextet have all the energy of a band in its heyday and they have the crowd in the palm of their hand. Mics are spun, mullets are slammed, middle fingers are raised, crowd surfers surf, and everyone is in ectasy. The crowd might be a few years older (and we even spy some kids belting out lyrics with them) but for 40 minutes we are transported back eight (or is it seven, Gav?) years. It’s like The Blackout has never been away.

Emotions are running high, both on the stage and in the audience as Sean Smith declares “I’ve got goosebumps.” The packed tent is treated to banger after banger. ‘ShutTheFuckUppercut’, ‘I’m A Riot? Youre a Fucking Riot!’, ‘Higher & Higher’ – and then, all too soon, it’s over. Closing with ‘Save Our Selves (The Warning)’, including the whole tent kneeling and erupting (which saw more than one set of old knees crack), the crowd are left hungry for more. Hopefully this isn’t the last we hear from boys from Merthyr Tydfil, because it’s clear The Blackout still means everything to a hell of a lot of people. In fact, from the sounds of it we won’t have long to wait before they’re back. What a treat! [LF]

Empire State Bastard

If you wandered into Dogtooth just to see what a band named Empire State Bastard’s deal is, your first thought may have been “Is that Simon Neil from Biffy Clyro?” and, well, it is! Neil’s newest project, alongside touring guitarist and Oceansize frontman Mike Vennart, aims to get as heavy as his voice allows, and believe us, it is heavy. While they only have two singles from their future record out for streaming, their set is filled with incredible content we can’t wait to get our hands in, though some unfortunate feedback issues mean both Neil and Vennart suffer from blown out mics at one point (near unavailable with the black metal screeches coming out of Neil). It’s an incredible set that showcases abilities Neil and Vennart have only been able to demonstrate occasionally, with vocals that are going to blow folks away come their full debut.

Architects

It’s been a long time since opening for Bring Me The Horizon’s first ever headline show (In vocalist Sam Carter’s words, “I wasn’t even in the fucking band yet”), and in the ten years since their appearance at a UK Download, Architects have changed so much. They deserve all the hype on the big stage now just as much as they did back then. While there’s not a lot to remind us of days gone by, bar a ripping version of ‘Nihilist’ and the evergreen ‘Doomsday’ and ‘Royal Beggars’, Architects are happy to evolve with the times, Carter chugging spirits and strutting in sparkling sequins while the band absolutely shred the singles of the last two records. Guitarist Josh Middleton is sorely missed, but it does not dampen the heaviness on ‘Impermanence’, or the closing chugs of ‘Animals’. As the energy only grows and grows in the crowd you start to wonder why it took so long for Download to bring them back.

Carpenter Brut

With the crowd for Amy Lee and Evanescence at Opus fit to absolutely burst, we look next door. Alongside Perturbator yesterday, Poitiers artist Carpenter Brut brings synthwave to Download, turning the Dogtooth into his own personal 80’s slasher flick. He’s an unusual pick for the festival, but the energy is fantastically unique within the tent, an engrossing neon lightshow pairing up with the mix of 80’s glam metal and disco, with suitably epic guitar and drum solos from Brut’s backing band. Brut spreads his set out between his albums, pulling from both the acclaimed EPs of ‘Trilogy’ to the glitter-dipped horrors of ‘Leather Terror’ and ‘Leather Teeth’, even dipping into some live rarities like ‘5 118 574’ and ‘Chew Bubblegum’ and, of course, the ever popular cover of Michael Sembello’s ‘Maniac’. Despite never uttering a word, Brut’s set drives the crowd into an absolute fervor, a suitable communion for the main event that is to follow…

The Church Of GENXSIS

Bring Me The Horizon did not come to Donington alone. If you attended this year you will invariably have seen the roving bands of hooded individuals and on-screen ads during the intervals of a mysterious man inviting you to a specific part of the Arena (“Where can I get some good fish n’ chips?” playing over the speakers will be burned into the memory of every attendee for years to come). The location? An unremarkable shipping container. Solving the treasure hunt tucked away in the Download Arena provided those dedicated enough with a coin that gained entry into the container. One concertgoer described entering, having their tarot read with a uniquely themed deck, before being led into a dingy bathroom scene and signing their name with your fingers on the wall. Attendees left with the coin and a necklace for the church, suitably confused by the affair, but left with a feeling that some large announcement was coming from the band.

Bring Me The Horizon

The church has been established, it’s time to go to mass. Bring Me The Horizon are the dark horses of this weekend, despite their ever growing success over the last two releases. While Slipknot and Metallica are prime candidates for headlining a Download weekend, BMTH felt a little off theme for what is usually a more classic metal/rock show. It marks a noticeable shift towards more scene and modern ‘core’ music compared to previous years, and it was anyone’s guess as to how festival goers would take to Oli Sykes and co’s electronic-infused rock, especially in their upcoming EP, which was formally announced just after this show.

However, as the opening drop of ‘AmEN!’ hits, to the closing samples of ‘Steal Something’, BMTH’s ninety minute set have the crowd completely enamoured. Our host tonight, aside from frontman Oli Sykes, is head of the Church of Genxsis, Parasite Eve-L, whose takeover of the human race is told throughout the show’s setlist. BMTH’s set up helps tell this story, a two level screen setup shifting from grand cathedral aesthetics to shivering tundra wastes, and even fleshy, mechanical behemoths in the case of ‘Kingslayer’. From the classics of the ever popular ‘Sempiternal’ such as ‘ House of Wolves’, to more recent work off the ‘Post-Human’ EP like ‘Teardrops’ and the newer ‘LosT’; every track feels like it’s meant for the grand Apex stage. ‘Dear Diary’ sets the entire stage alight in pyro, and proves that Sykes is well and truly back when it comes to live screaming. There’s little bits of banter here and there, the gang immediately making fun of their acoustic cover of ‘Follow You’ (it’s a bit Coldplay, but…), and expertly balance moments of chaos in tracks like ‘MANTRA’ with the slower, emotional beats they spend with the crowd in ‘Drown’. BMTH have the crowd in the palm of their hand, the group swaggering across the stage with all the confidence required in a Download headliner.

It wouldn’t be an anniversary without a reunion though, and returning to join on their respective guest tracks are the Nova Twins and Amy Lee. ‘1×1′ never felt the same without Love and South, and their misfit energy mirrors Sykes’ as they blast across the stage. Lee remains hauntingly beautiful for ‘One Day the Only Butterflies Left Will Be in Your Chest’. We even get a spectacular rendition of ‘Nihilist Blues’ with Lee taking over the duties of Grimes, as she builds up to a huge drop that incites even Oli (“Jump you little shits!”).

As they finish on the classic ‘Can You Feel My Heart’, Eve-L is finally prevented from exterminating the crowd with a simple onscreen captcha, closing out the night in typical BMTH sardonic fashion. While it would have been nice to have seen some classics from the first two records for the sake of Download, Bring Me The Horizon stand by their recent work, and with good reason, it’s utterly fantastic on the Apex stage. Concocting one of the weekend’s most hypnotic, inventive, and explosive sets, Metallica and Slipknot have been put on notice. If you didn’t think the boys from Sheffield belonged here before, they’ve given you ample evidence on the contrary.

Bar some rather ridiculous lines for merch and water, and some occasional tech issues, Friday is about as successful as it could have been. Bring Me The Horizon and a host of younger bands have proved they belong as much as any classic punk or metal band does, and the positive reaction here ensures they’ll be welcome back for a while to come. As Saturday approaches though, the real question remains: can this quality keep up for two more days?

The first single, ‘when we were young’ is one of the most polished songs of their career, and sets out their mission statement from the off. They’re not just a technical metalcore band anymore, and are a fully fledged metal giant, willing to expand their sound. Electronics aren’t new to the band, but on ‘when we were young’ it’s an example of their growth in their usage. Only appearing in the background of the chorus, it makes the song feel more expansive, showing a less is more mentality and has become a firm fan favourite already.

Drawing influence from Nine Inch Nails isn’t a new thing for Architects – it could be seen on the previous record in patches, but here, the band use industrial like beeps & blips to great effect. ‘deep fake’ starts with these building up before the riff kicks in and for an album opener, it’s a great start, referencing the evidence that mankind has given up on preserving the planet for future generations. Vocalist Sam Carter employs a whisper halfway through that sounds more menacing than most of the screams he’s used in the past. ‘tear gas’ continues this trajectory, with industrial influenced riffs before a radio friendly chorus that has a sing-song element. This makes it more memorable, feeling out of place whilst also making all the sense in the world. 

Of course there are riffs throughout the record, ‘living is killing us’ and ‘a new moral low ground’ are the real highlights, showing off the abilities of Josh Middleton & Adam Christianson. Dan Searle is an absolute powerhouse throughout, and with every record, has shown his dedication to improving as a drummer. Sam Carter famously said that he didn’t want to be known as the ‘blergh’ singer and this record makes it clear he’s not – instead delivering a vocal performance for the ages. His clean singing has improved whilst his screams are as recognisable as ever. 

The last three records have closed with a melancholic, introspective ballad. That formula is abandoned here with the brutal ‘be very afraid’. A blast of everything Architects are lauded for, having the potential to be their quintessential song. This is the third record released since the death of Tom and it looks set to be a career highlight. Architects look to have found the sound that suits them best and ‘classic symptoms of a broken spirit’ is the logical next step in their evolution. 

Overall, this is another instant classic and continues their run of incredible records. This is a band who deserve to be at the top of the festival bills and headlining the biggest arenas available. A record that will appeal to the radio audience worldwide and keep their current fan base happy. They are a group who have worked hard, sacrificed a lot and always stayed true to themselves. As we come to the business end of the year, album roundups are being drawn up, and this record makes a strong bid by adding to the best kind of headache a listener can have.  

ADAM ROSARIO

Opening the night are Malevolence from Sheffield, melding brutal riffs with big choruses. They fire up the crowd well, inciting circle pits at the front of the venue, proving to be a shrewd booking.  After a speech about the importance of mental health, they ask for the crowd to “light the venue up like a Drake concert” before the closing salvo of ‘The Other Side’ and ‘Keep Your Distance’ end the set on a high. Malevolence are a band who deserve to be watched closely – they have a bright future ahead.

The main support slot belongs to one of the most talked about bands of the recent past. Sleep Token have captured the imagination of the scene – shrouded in secrecy, all of the members play in cloaks and masks and there’s no wasted speech throughout. For a band to have zero crowd interaction, they sure know how to firmly keep the crowd’s attention. Airing songs from both of their records, they show off almost their complete artistic palette, receiving a huge reaction to their efforts. ‘Alkaline’ fills the room with riffs before ‘The Love You Want’ switches the set up, eliciting a singalong from the crowd. They close on ‘The Offering’ and tonight that offering acted as a strong audition to be headlining rooms this size very soon. 

The main event for the evening however is of course Architects, who are now very seasoned as an arena band. The first time they headlined this venue, it felt like the celebration of one of Britain’s best bands after a horrible event and since that night, they’ve seemingly used that experience to craft songs that are fit for this setting. They launch into ‘Black Lungs’ and the venue collectively becomes one, full of limbs, screams and circle pits. Sam Carter prowls the stage, egging the crowd on while giving one of his trademark vocal performances. Metal singers aren’t given their due for their talents but Carter’s ability to mix his screaming with growls and cleans shows that he’s one of the most talented singers in the world today. 

The set list leans heavily on the last two albums, with ‘Impermance’ seeing Carter give his best Winston McCall impression during the guest verse while the arena-ready ‘Discourse is Dead’ almost takes the roof off. There’s barely time to breathe throughout the middle of the set with ‘Royal Beggars’ inciting more circle pits, just before ‘A Match Made In Heaven’ and ‘Mortal After All’ lay waste. Carter speaks to the crowd, telling them about his joining of the band & the brotherhood they’ve formed. Having lost Tom Searle, a very key member in their history, these speeches are always very poignant, as is the ‘T//S’ emblem that appears after ‘Gone With The Wind’. 

The main set closes with their finest moment in ‘Doomsday’, which marked their first release after Tom’s passing. This song should never leave their set list, always offering the crowd and band a moment of catharsis, indicating how far everyone in the room has come. The encore sees the start of a new era, with latest single ‘when we were young’ being played. Having already gained prime time radio play, the new single is pushing them into the role of leaders of British metal. More bands will be copying this style of song, and that can only be a compliment. 

The enormous ‘Animals’ closes the show and clangs through the venue, towering above everyone in attendance. With that the show comes to an end, as does another chapter on Architects story. Based on the small sample we’ve been given tonight, the future for this band is just getting brighter. Architects are ready to take their rightful place at the top of festival bills worldwide, following on from the success that the likes of Bring Me The Horizon have enjoyed. “Rock is dead” is a phase which has been thrown around more commonly in recent years, but those that believe it are wrong. Rock is alive and metal especially is thriving. Architects are the leaders of this new generation of British metal and no other band comes close.

ADAM ROSARIO

The atmosphere within Pryzm is one of excitement. There are singalongs as songs play over the PA, people hugging, joking and drinking. As soon as the lights go down, however, all attention is focused on the stage, with the soft vocals of Sam Carter playing the band on stage with ‘Do You Dream of Armageddon?’, building to an impressive crescendo of horns and strings. Once all on stage, they launch into ‘Black Lungs’ to start the set proper, with Dan Searle’s drums crashing through the room and all three tiers of the audience instantly becoming an ocean of flailing limbs. While tonight’s intimate setting seems perfect for ‘Black Lungs’, it’s just one of the newer Architect songs Architects that you can easily see being translated to arenas and festival fields around the world, too.

During the Royal Albert Hall livestream, Architects debuted new tracks from their record that promised to become setlist staples. ‘Discourse Is Dead’ is the first of these to arrive, with pulsing electronics filling the nightclub alongside another arena-ready chorus. This song looks set to be the one to really set the tone of the night for tours to come as Carter’s vocals shines brightly here, with harmonies from Josh Middleton and Adam Christianson’s adding an extra layer. Throughout the set, the band play nine of the fifteen songs on the new album, each one sitting comfortably alongside the older material and never seeming out of place.

While the new material has choruses that would bother God, the older material has the riffs to keep up. ‘Nihilist’ brings with it the usual chaos, while ‘Gravedigger’ still elicits a mosh pit and singalong, as well as being the oldest song played tonight. ‘A Match Made In Heaven’, which for years was an end of the night song, is now found in the middle of the set, but sees Carter hit another level with his vocal performance; ‘For Those That Wish to Exist’ sees him explore his clean, melodic singing a lot more prominently than ever before, but this proves he can still growl and scream with the best of them. 

‘Hereafter’ is still as emotional as when it was released, seemingly giving the band and audience a chance to connect and decompress, and it’s a real moment to witness. Carter gives the crowd a speech about the importance of mental health, especially during these uncertain times, before expressing his gratitude to the fans for choosing to spend their evening with them. ’Little Wonder’ and ‘Impermanence’ follow, with Carter filling in for Mike Kerr of Royal Blood and Winston McCall of Parkway Drive’s guest spots with ease. The band bring their main set to an emotional climax as ‘Gone With The Wind’ goes back to back with ‘Doomsday’ and gains the biggest reaction of the night so far. ‘Doomsday’ will always be a special song, being the first release after Tom Searle passed away, so it’s a cathartic moment every night between the band and audience. Architects and their fans have always held a deep connection, and it’s at the forefront throughout the entire set. 

The encore consists of radio ready single ‘Meteor’ and the industrial leaning ‘Animals’, both of which are tailor made to send the crowd home happy. As the room empties, the atmosphere has turned euphoric. Live music is back, and the crowd tonight have been able to watch this country’s premier metal band doing what they do best. They’ll be making their festival headliner debut at the end of August at ALT-LDN, bringing with them a set that is sure to impress the uninitiated members of the audience they’ll draw in. Architects are armed with a number one record and an arena tour in 2022, and are on course to grow bigger than ever before. 

ADAM ROSARIO