Welcome back Rage Against the Machine, and welcome (back) to the Black Parade, My Chemical Romance. We’re so pleased to be going into November with the excitement of the reformation both of these bands at the forefront of our minds.

Anyway, we’ve updated our playlist – give it a listen below, and read a few words on some of our picks from Team Punktastic.

suitor – ‘Deep Sleep’

Hailing from Georgia, suitor. are a newly formed alt band with a great deal of potential, best displayed on their lead single, ‘Deep Sleep’. If the see-saw of clean guitar riffs and fuzz in the intro alone isn’t enough to grab you, then vocalist Casey Smith’s warm, echoing tones certainly will. This is a zinger of a song that’ll follow you around like a shadow for days after listening to it. If you’re a fan of Moving Mountains, Movements, or early naughties post-hardcore, you’ll most likely be into this, so check ’em out.

RENETTE VAN DER MERWE

Happyalone – ‘Colours’

The boys from Cork are back. While their new single ‘Lucifer’ has been certified by the Irish scene as a “Shtone cold banger”, Happyalone are still molding their particular blend of acidic triphop and ambient rock, as can be seen with their debut ‘Colours’. Elements of artists like Amon Tobin and DJ Shadow intertwine with soft rock perfromances that are reminiscent of of a Portishead piece. The trio themselves refuse to place themselves in any particular genre, which is just fine. They’re an incredible new talent regardless.

FIACHRA JOHNSTON

Lazybones – ‘Trash Talk’

When other members of the team tell you about a band you’ll like, purely because they’re from Brighton, you know you’ve got a problem. I don’t know if our Assistant Editor, Gem, listened to Lazybones before chucking them my way or went purely on their hometown but she’s absolutely nailed it. Fuzzy, infectious, and coarsing, there’s a snottiness to vocalist Candi Underwood’s delivery that somehow borders between obnoxious and delicate. I’m going to keep banging this drum – the scene in Brighton is thriving and with bands like Lazybones, Gender Roles, and Something Leather picking up traction, it’s only going to get better.

ANDY JOICE

Twin Atlantic – ‘Novocaine’

It’s been over three years since Twin Atlantic have released new music, and despite an extensive tour upon the release of GLA in 2016, a number of festival appearances, and another lengthy tour last year, it’s been a painful drought for us Twin fans. Now they’re back, and while Twin Atlantic will never lose what makes them special, this new direction shows fearlessness, authenticity and ingenuity. Heavily synth driven, ‘Novocaine’ is catchy as hell, while also maintaining those hard-hitting lyrics and – of course – Sam McTrusty’s telltale Glaswegian accent. If you can go into this with an open mind, you’re sure to find the magic in this new sonic direction. I can’t wait to see what else is yet to come.

YASMIN BROWN

Stray From The Path – ‘The First Will Be Last’

Stray From The Path have returned with yet another barn-stormer of a record, ‘Internal Atomics’. The entire record is a tidal wave of aggression, but their latest single ‘The First Will Be Last’ acts as the perfect wave the ride into it. Colossal and muscular drums, bass tone and riffs to match and Drew York’s signature vocal bite all collide together in three minutes of groove-ridden metallic glory. Listen to this one LOUD.

DAVE STEWART

Bad Religion- ‘You’

I don’t know if anyone noticed, but earlier this month, it was the thirtieth anniversary of Bad Religion’s ‘No Control’. Thirty years. I don’t know if that makes me feel old or young. What it does make me feel is grateful. Without ‘No Control’ and their 1988 album ‘Suffer’, there would be NOFX, no Offspring, no Funeral For A Friend. It’s fair to say, there might be no Punktastic. In classic Bad Religion fashion, ‘You’ is breakneck quick, with rousing melodies and a driving bassline. With Greg Graffin delivering the anti-love song message, it’s potent and powerful. It’s punk at its truest form.

ANDY JOICE

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.

Every time you turn on the news, you are met with the latest catastrophic policy decision by governments over the world; nationalism runs rampant across Europe, the UK is mired in a never-ending Brexit Hell and across the pond they have a reality TV star cum white supremacist-sympathising president in the White House.

‘Age of Unreason’ could not be a more apt title for Bad Religion album number 17. It’s one of the most visceral records the band have produced since 2004’s ‘The Empire Strikes Back’ but is still delivered with that trademark eloquent bow. It’s a pit of boiling anger spun into the big hooks and soaring hooks you would expect from Greg Graffin and Brett Gurewitz.

‘Age of Unreason’ is a record that reflects the sentiment of many people in the world today; from NFL players being booed for making a stand against police brutality to constant demonisation of immigrants to the looming climate crisis, it’s a record that is the head-in-hands disbelief of how our society disintegrated so quickly.

Opener ‘Chaos From Within’ sets a visceral standard with Graffin’s unmistakable vocals telling a tale of a world eating itself. It crashes into the incredibly bleak ‘My Sanity’ which holds the poignant line of “sometimes there’s no sane reason for optimism”, an unusually fatalistic line from a band more used to delivering calls to arms but I guess these are the times we live in.

Amid the myriad of politically charged tracks on ‘Age of Unreason’, it is the pointed ‘Candidate’ which takes the current system to task. Graffin paints the picture of the white knight bellowing “I truly feel your pain/I can make it go away” which sends an icy chill down the spine of the echoes of the current incumbent of the White House’s rally cries.

As we have all found out at our immense expense, the president is indeed what Graffin says, “I am your candidate, I am bloody lips and makeup. I’m your caliphate, opioids and mutilation, a celebrity and my name is competition”.

This isn’t a record made simply to dunk on the current president, that would be too easy. Gurewitz has previously spoken of the level of introspection the album has which is demonstrated in the personal ‘Lose Your Head’ which questions our own role of bringing the world to this point.

Bad Religion join us in the deep sense of foreboding as to what happens next with closing track ‘What Tomorrow Brings’. In the six years since Bad Religion released their last record, ‘True North’, the world has changed. We are a planet in a constant state of crisis and in these moments of crises we need a voice. When everything is in flux, you need a constant and Bad Religion delivers in our hour of need.

When all around is burning, when our values are under attack and hope is starting to fade, maybe punk rock can save us after all. This may be the only sane reason for optimism.

TOM WALSH

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.

Originally released in 1994 through Atlantic Records, the reissue will be released on the 9th March via Epitaph Records.

https://m.youtube.com/watch?v=ZN6kCgMUjFw

Later this year the band are expected to be releasing their follow up to 2013’s ‘True North’.

10 Songs that inspired Giants

https://open.spotify.com/user/punktastic-spotify/playlist/6EThAFIsj9kNQuqTMs89bj

Alexisonfire – ‘Drunks, Lovers Sinners and Saints’

Alexisonfire have always been a massive influence for this band, but I remember seeing them open their set in The Lockup tent at Reading Festival 2006 and it changed my life. The way it just explodes into the most anthemic chorus ever still gives me chills.

Go It Alone – ‘Rapture’

Everything about this band ruled. The guitar tones and lyrical content alone tops any hardcore band of today in my opinion, but it’s the sheer ferocity of the fast punky parts straight into the breakdowns that inspired our writing from an early point right up to writing for our debut album.

Comeback Kid – ‘Final Goodbye’

I don’t think it’s a secret to anyone that we love this band and take a huge influence from them. Touring with them was the greatest honour, they are the best dudes and the sickest live band in the game, almost 20 years into their career. Beast of a band.

Verse – ‘Old Guards, New Methods’

‘Aggression’ was one of the first hardcore records I heard that made me think about pushing the boundaries with songwriting. The melodies achieved in these songs are lush, whilst still being part of a record that sounds aggressive as fuck.”

Bad Religion – ‘Big Bang’

Tony Hawks’ Pro Skater games were the best games of our childhood; the soundtracks introduced me to so many different styles of music. I saw Bad Religion play this year and they killed it. They’re the grandads of hardcore punk and no one does it better.

Rise Against – ‘Collapse (Post Amerika)’

A massive influence on our songwriting and my singing from day one, this band will always be one of my favourite bands. They were one of the first bands I listened to where their lyrics meant something more.

Rancid – ‘Fall Back Down’

Literally the song is about your friends and good people around you having your back and being there for you. No one knows quite what it is like to be in a band, unless you’re in a band. Working hard for nothing, with only your mates and your music to keep you going; that’s how that song speaks to me. That, and c’mon, that bass line, that keys line. It’s a damn good song and that album shaped my perception of what music could be. Blah blah blah it’s only a cliche cause of how damn true it is.

Underoath – ‘Breathing In A New Mentality’

Loads of people prefer this band’s earlier material to their new records, but I always thought they got better with every record. The drums on this album are absolutely insane and were a big influence on our debut album.

Bane – ‘Some Come Running’

When I first heard Bane they had already been a band for 10 years and to hear the passion and message they still had in their music was definitely inspiring. They didn’t care about going from playing their local to a stadium it was all about the music. Geezers.

Incubus – ‘Pardon Me’

The mixture of music style and lyrics, relating to what was being said, opened my eyes to a lot of stuff going on in the world and on a personal level. Incubus influenced a lot of my ideas and style in the way I write lyrics.

All manner of punk t-shirts occupy the crowd, from makeshift TSOL or Negative FX merch to NOFX/Descendants knock-offs, H&M Ramones and Nirvana T’s and the occasional Milk Teeth or Basement extra large tie-dye. A middle aged dude in a denim vest covered in NYC hardcore patches guides his two wide-eyed identical twin sons to settle on the balcony. Interchangeable couples intersect with sullen faced loners on phones, who amble between boozed-up groups of twenty-somethings just out of the office.

Bad Religion have earned this multi-generational crowd due to two very rare traits: consistency and omnipresence. Since their first UK show in 1989, they keep coming back with exactly the same erudite anti-establishment attitude, and through the years they’ve never really changed.

But kicking off the night are Brighton’s melodic punk trio Gnarwolves. With relentless pace and a raw approach to melody, they thunder through a quintessentially English reflection of the headliners, with enough sarcastic optimism and deliberate weirdness to capture the attention of even the most cynical punk.

Opener ‘Straightjacket’ would be a classic if it was released on Fat Wreck in the ’90s, while the band’s undisputed best song ‘Bottle To Bottle’ elicits sparse singalongs from those in the know. Frontman Thom Weeks fills mid-song silence with expert banter about airline pork chops fashioned from mealworms, and it feels like a Stewart Lee bit. Bassist Charlie Piper shrieks like a banshee and drummer Max Weeks hurtles into ‘Boneyard’ with the athletic resilience of a professional marathon runner.

Closing powerfully, the casuals here might be inclined to see this as a passing of the baton. But as the support wander off, their slapdash hand-painted banner drops to reveal Bad Religion’s iconic CrossBuster logo, and a wave of excitement ripples through the room. The drunk twenty-somethings take skew-whiff selfies as proof of attendance, while the sullen-faced loners weave to the centre of the room in trembling mosh pit anticipation. The rest of the room realises they’re about to experience something immortal.

Legendary guitarist/Epitaph founder Brett Gurewitz enters first, looking remarkably unaffected by the previous decade, followed by frontman Greg Graffin, who skips onto stage with two extended middle fingers and launches into ‘American Jesus’ like he’s been frozen in a block of ice since the last show. A career-wide set follows, covering everything from 1982’s ‘We’re Only Gonna Die’ to 2013’s ‘Fuck You’ with a reliable sonic consistency that never once sacrifices energy for musicianship. They retain the band’s signature aloof sense of melody throughout.

There’s also something new at play: every one of Graffin’s Gurewitz-penned political lyrics is enunciated more clearly than usual. It’s as if in the shadow of Trump lines like “sometimes truth is stranger than fiction” and “they hide behind their lies that they’re helping everyone” have a new lease of life.

This same re-energisation is echoed in drummer Jamie Miller’s mechanical stamina, while bassist Jay Bentley acts as second frontman, still beaming like it’s his first show, and the faithful crowd reaction is a welcome surprise. Specific highlights include mid-paced anthem ’21st Century Digital Boy’, which evokes the loudest singalong of the night, and ‘Punk Rock Song’ which encapsulates everything that has given the band such longevity. The closing encore of ‘The Handshake’, ‘Infected’ and ‘Fuck Armageddon… This Is Hell’ whips the pits into peak madness and then the band suddenly vanishes into thin air.

Fire exits fill with the same families and couples and loners as before, but this time it’s quieter. Ironically, a Bad Religion show is a borderline religious experience. Attendees bear witness to something familiar and impossible to forget, leaving with refreshed political and personal tools to live by. The decades have given them a similar reputation to bands like Slayer or AC/DC — a comforting and exhilarating experience, that garners both retrospective acclaim and imprints itself on the present with an ever-shifting sense of socio-political relevance. Maybe the definition of ‘heritage act’ needs a rethink?

LEO TROY

The band released their second album, ‘Outsiders’, this month on Big Scary Monsters and Tangled Talk Records.

On top of this, Gnarwolves will also be playing a couple of headline shows preceding their appearance at 2000 Trees Festival in Cheltenham on the 8th July. You can find all info on these dates below.

JULY
06 WORCESTER The Marrs Bar
07 CHESTER The Live Rooms
08 CHELTENHAM 2000 Trees Festival
AUGUST
01 LONDON O2 Forum*
02 BRISTOL O2 Academy*

* w/ Bad Religion