Words: Ben Williams

Nothing

Operating at the more direct end of shoegaze, Philadelphia’s Nothing revolves largely around Domenic Palermo. His on-stage persona is retiring. Head down, he studies his guitar almost as much as his effect’s pedals, something he has in common with his bandmates who are similarly indifference to ostentatious showmanship. Conversation is kept to a minimum too. We learn that Palermo doesn’t like the heat: “the sun sucks,” he says obliquely, but that’s about it. Nothing are simply content with creating foggy landscapes of distorted guitar the pass by meditatively, something that they do rather well.

End It

Given that End It recently became notorious for a mid-gig confrontation between the band and a man dressed as a banana, the enormous crowd they draw is expected. But those hoping to see another fruit-related incident were instead treated to the most faithful of hardcore bands. Indeed, the word “hardcore” is used so frequently during frontman Akil Godsey’s stage patter that it begins to sound like gibberish. It’s a volatile performance. During an opening monologue, which somehow namedrops both Jesus and Stalin, Godsey informs everyone to expect “25-27 minutes” of hardcore; and that is what happens. Everything about the performance feels dangerous, even down to the animated devils that hold the band’s projected logo behind them. It all feels rather more serious than it perhaps should be, but there’s a refreshing honesty with which End it pay tribute to the genre.

La Dispute

Jordan Dreyer is a natural storyteller. The La Dispute frontman’s charisma is tangible as he traverses songs from the Michigan band’s 2025 album ‘No One Was Driving The Car’, with highly conceptual and impressively complex song structures. What results is a performance that isn’t as confrontational as it is introspective, with the content of Dreyer’s lyrics forming the fundamental centrepiece for the performance. This is epitomised by ‘King Park’, a heartbreaking song from the band’s second album ‘Wildlife’ that is devastatingly visceral. And as Dreyer’s imagery comes to life, the bleakness of his lyrics are every bit as affecting as the musicality on display.

Snail Mail

Standing out as one of the festival’s stranger bookings, Snail Mail’s comparatively gentle indie rock is pleasant in the sunshine. Effectively a Lindsey Erin Jordan solo project, Baltimore’s Snail Mail does admittedly possess a fragile approach to lyricism that’s akin to the festival’s opening night of emo opulence. When performed live, her songs also evoke the sounds of slacker rock, which gives her guitar playing a groovier feel than on record. It cannot, however, be ignored that the paucity of festival-goers watching Snail Mail is due to an abundance of attendees watching Hatebreed at the smaller indoor stage, which is promptly closed to avoid over-crowding. It’s always pleasing to see something different on the lineup, but the scheduling of these two artists feels unfortunately misguided.

Trapped Under Ice

Trapped Under Ice’s three albums in almost 20 years sounds unproductive. Yet considering how busy the band are with their other projects (Angel Du$t, Cold Mega, Turnstile) it’s remarkable they’ve found any time to play at all. It’s a performance of merciless aggression. This is hardcore punk that is upfront and hostile; there’s as consistent a stream of stage divers as there’s been all weekend to prove it. Justice Tripp’s vocals are as gnarled as barbed wire. His growl roars from the speakers with a fierce intent. Occasional interruptions to this take place only in the form of the audience members who periodically acquire Tripp’s microphone. These vocals are a little less impressive but stand as a reminder that hardcore is egalitarian. Band and audience are at one, as proven by the lack of barrier between them.

Suicidal Tendencies

Mike Muir is the only original member of Suicidal Tendencies. He is at once a frontman, a hype man and the glue that keeps the legendary project alive. Known for creatively combining elements of punk and trash, the band now have a legacy to uphold, but solemnity is not in their wheelhouse. Instead, there’s something wonderfully silly about much of the performance. Muir’s rambling political addresses wouldn’t hold to scrutiny, but chants of “SC” and a David Byrne vocal style are enough to delight this weary Sunday crowd. The combination of “You Can’t Bring Me Down” and a head-banging Muir is a joyous sight. It isn’t the slickest of performances but it might be the most fun anyone has all weekend.

Basement

Basement are Outbreak regulars. They headlined in 2024, having played numerous times before then. It makes them a somewhat uninspired booking, but the fact they’re tried-and-tested helps them deliver a crowd-pleasing hour of alternative rock/emo. Having released their last album ‘WIRED’ earlier this year – their first in eight years – there is added impetus to the show. That said, it takes time for Basement to warm up. A string of new songs leaves everyone waiting for the jubilation brought by older songs like ‘Covet’ and ‘Spoiled’. There are many attendees sporting Basement T-shirts today, but the lack of a reaction to songs from ‘WIRED’ suggests that not all of their fans are here for Basement’s new music. Then again, to end Outbreak Festival 2026 – which celebrates its 15^th anniversary edition with one eye looking into the past – with a band who are veterans of the festival feels thoroughly apropos.

Title track and lead single ‘WIRED’ presents all the elements of the album’s writing and production that make it work. A jungle-esque beat drives the verses, steely, overdriven bass and cleaner guitars layering on top of each other, before the chorus kicks in, drops down, builds up and releases tension with the regularity of breath. The only moments where the instrumentation drops down are filled with distorted feedback, keeping the tension high. All of this happening alongside Andrew Fisher’s emotive and at times soaring vocals.

The urgency of the album’s opening two tracks – ‘Time Waster’ and ‘WIRED’ bubbles to the surface throughout. ‘Pick Up The Pieces’ starts with Fisher’s distorted vocals and alternates between a bouncing drum-and-bass led verse and a roaring chorus. ‘Sever’ is a stabbing number, with a more open chorus contrasting its unrelenting verses, eventually fully opening in the song’s final moments, before Fisher’s vocals crash into white noise.

When the energy is dropped, it’s for a quieter, moodier, atmosphere. There is a consistent tonal through-line which carries the album between its faster and slower paced moments – ‘Broken By Design’ and ‘Head Alight’ are certainly quieter than ‘WIRED’, but they all feel part of the same family. A large part of this is production choices, leaning into a dirtier bass and slightly subdued vocals across the album, but the songs themselves avoid sounding sluggish, instead settling into their own grooves.

Those tamer, slowcore grooves run through the album – in the case of ‘Deadweight’, literally slowing the song down for its choruses – which keeps ‘WIRED’ humming with a dancing rhythm regardless of tempo. Hooks rise and fall, vocals alternate between clean and distorted, creating an elevated sonic space which is as comfortable with harshness as it is with Basement’s catchier side. Songs like ‘The Way I Feel’ hold these two juxtaposed elements in accord with each other, allowing the vocals in the chorus to become distorted to the point of being illegible – what is left is the tune and the groove, and both wash over you with the waves of fuzz and gain.

‘WIRED’ comes to a close with ‘Summer’s End’, a distinctly nineties song. The bass is still steely, but with a touch of chorus to give it a Cure vibe, which complements the upbeat drums. Fisher floats above and below the music, his vocals swimming with a fuzzed-out lead guitar soloing its way through the second half the song. It’s a summery song, dripping with a nostalgic poppy energy, and a simple and infectious rise and fall vocal line which becomes inescapable by the song’s end.

As rebirths go, ‘WIRED’ is a worthy one. Easily more adventurous than ‘Beside Me’, with a dedication to pushing both songwriting and sonic textures, this is Basement finding what worked for them in the past and holding on to its core while jettisoning anything that would push them into self-pastiche. A band returning from a break must be able to answer the question of whether it was worth it. Basement have answered with a resounding yes.

WILL BRIGHT

This evening’s show marks the official start of the band’s touring for 2025, coming off a momentous year that saw them put out acclaimed third album ‘You Won’t Go Before You’re Supposed To’ to plaudits from across the music industry, scare mainstream America with their visceral performance on Jimmy Kimmel, and receive their first Grammy nomination. The tour package they’re taking out with them on this run of UK and EU shows is a mix of exciting names from across hardcore’s subgenres, both old and new.

“This may be the biggest stage we’ve ever played” exclaims Pest Control vocalist Leah Massey-Hay midway through their set. You wouldn’t have thought that was the case with how at home the Leeds quintet look and sound on said stage, as the openers rip through their back catalogue of headbang-inducing crossover thrash bangers. It’s a performance which cements their reputation as one of UK Hardcore’s rising stars.

Following them, Harm’s Way waste no time turning Brixton Academy into a cacophony of noise, with vocalist James Pligge a hulking presence as he stalks across the stage, clenched fists pumping, as the band’s chugging riffs reverberate around the room. The Chicago crew are the closest thing to no-nonsense hardcore on the bill, however the droning menace of slower-tempo ‘Temptation’ showcases their more industrial side, ending their crushing set on the crowd-pleasing ‘Infestation’ that sees Pligge bust out his infamous “Running Man” two-step.

The cheer that goes up as Basement’s backdrop is raised tells you the regard that the Ipswich post-hardcore group are held in. Tonight is their first performance in the English capital in over six years and the reaction they receive is one of cathartic release from those in attendance, who sing every word of ‘Whole’ back at vocalist Andrew Fisher with gusto. While they are the most melodic of tonight’s four acts, that doesn’t take away from the sea of movement on the floor, with bodies bouncing across the room. The biggest singalong is saved for closer ‘Covet’, as the crowd belt out the opening vocal hook in one united voice in celebration of one of the UK scene’s fan favourites.

As the lights go out – save for those on the iconic crucifix from the ‘You Won’t Go…’ album cover at the back of the stage – the eerie intro of ‘Thirst’ sets the tone before Knocked Loose unleash the full force of their fury onto the capacity crowd. The sheer explosion of sound from the stage as Bryan Garris’ vocals pierce the air underlines the heft behind their newest material, while ‘Deep In The Willow’ sees his call of “From the bottom to the top, say my fucking name” met by the deafening response of “KNOCKED LOOSE MOTHER FUCKER”.

The frontman of Oldham County’s finest darts about the stage throughout proceedings, leading the way in directing the sea of chaos that erupts on the floor as multiple pits open up from back to front. The tsunami of crowdsurfers that claw their way towards the barrier during ‘Don’t Reach For Me’ looks more like a zombie horde, with guitarist Isaac Hale also delighting in riling the crowd into a frenzy throughout the night.

Live staples including ‘Mistakes Like Fractures’ and ‘Deadringer’ are met with glee, but this evening is truly about the Kentucky outfit showing off their newest album, with all but one of its tracks getting an outing. The feeling when you press play on the record that you’ve been transported into the soundtrack for a haunting slasher-film translates to the live environment, from the sub-one-minute assault of ‘Moss Covers All’ to the flashing red strobes that accompany the unsettling build of guitar and drum fills during ‘Take Me Home’.

While everyone gets a respite as the band head offstage to take a breather following ‘Everything Is Quiet Now’, it’s a short one at that, as impending riffs signal the start of ‘Blinding Faith’ and with it a ferocious final run of song. Garris drags out his guttural pig squeal during said track for an impressive length of time, whilst it wouldn’t be Knocked Loose show without the entire room belting out “Arf Arf” at the top of their lungs for the iconic ‘Counting Worms’. Loathe’s Kadeem France turns up for a quick guest spot during a blistering final verse of ‘Billy No Mates’ whilst Grammy-nominated ‘Suffocate’ sends the crowd into an all-out frenzy.

Before closing the night on ‘Sit & Mourn’, Garris comments that, “this is day one of our touring for the year, and you have set the bar high for the rest of this year”. In truth though, the same can be said about Knocked Loose themselves after this evening’s display of excellence. The Kentucky crew’s meteoric rise has significantly raised the bar their peers in hardcore & metalcore should aspire to, showing them all what can be achieved without the need to compromise on the heaviness of their sound – if anything doubling down on that aspect. The end result is an early contender for gig of the year, whetting the appetite for those with tickets to Outbreak Festival this summer when they return to decimate these shores once again.

WORDS: BRAD STRATTON

PHOTO: JARED LEIBOWITZ

Whilst the show hasn’t sold out, there’s a sizeable amount of fans lining up before doors or fleeing from the cold at various pubs around Camden. The demographic appears to be a fair amount of people who most likely would have been fans since their ‘Colourmeinkindess’ era, rather than hoards of teenage pop-punk bands in maroon 2012 hoodies. Of course, no one really grows out of emo, so it’s nice to see that ‘Beside Myself’ and ‘Promise Everything’ didn’t abandon their roots into a watered down mainstream sound – unlike other artists that have been inspired by them.

Joyce Manor have only been around for a year longer than Basement, but are just as beloved by modern emo and punk rock communities. Their relatable quips about friendship and heartbreak that tug at your heartstrings are even more meaningful in their live shows, and tonight solidifies that on a much bigger stage. Whether it’s the euphoric chorus of Tumblr friendly anthem ‘Constant Headache’  or the wholesome vibes of ‘Heart Tattoo’, they really are the best band to soak in with your friends so you can shout angsty musings back at each other.

There seems to be a consensus with the music press and Joyce Manor fans alike that the quality of each album can wildly vary, but it’s agreed on that their self-titled release has still yet to be topped. Be that as it may, cramming 17 songs into a co-headline slot as Tigers Jaw did two years ago is an impressive feat. Especially since the only time vocalist Barry Johnson and bassist Matt Ebert really address the crowd is to acknowledge that we don’t celebrate Thanksgiving over here, and with that sentiment in mind; “fuck Thanksgiving.” 

On top of that, their guitar licks are memorable and boisterous,  the singalongs are heartwarming, and despite ‘Five Beer Plan’ with its infamous ‘wall of death’ crowd participation being absent from the setlist, ‘Catalina Fight Song’ is a wonderful way to end a set that feels like the time has absolutely flown by whilst we’ve been caught up in all the fun.

After being given a moment to breathe, Basement begin their highly anticipated set with new cuts ‘Disconnect’ and ‘Nothing Left’. Capacity wise the O2 Forum is only a slight step up from Koko and O2 Shepherds Bush, however here it feels like the band is fully making use of the space around them. Guitarists Alex Henrey and Ronan Crix are passionate in their riff delivery,  as well as front man Andrew Fisher interacting as much as possible with the youthful crowd screaming back his every word. 

It’s easy to compare Basement’s seminal sound to the likes of Jimmy Eat World and Nirvana, but ‘Beside Myself’ does far more than simply recycle homages to these bands. Thematically, ‘Be Here Now’ deals with not being able to enjoy the present (ironic considering how many fans took videos during it). ‘Ultraviolet’ is particularly hard-hitting performance wise as it deals with Fisher watching the news of the 2017 London Bridge attack whilst living in America. It would be understandable with other bands for audience members to maybe not be as enthusiastic for newer material, given how highly regarded ‘Colourmeinkindness’  and ‘I Wish I Could Stay Here’ are – however, tonight they are transfixed with everything the Ipswich emos have to offer.

With only a handful of pre-hiatus hits in the set, the brief stripped back number ‘Changing Lanes’ is showcased with lighters and phones filling up the room, solidifying how much Basement gigs unify their fans. This is followed by the noisy Deftones worship anthem ‘Stigmata.’ By this point, there’s more than enough crowd-surfers to keep security busy, and a friendly push pit opens for ‘Promise Everything.’ Tonight was their biggest show to date, and it’s exciting to find out how they can possibly top such a stellar performance.  It’s safe to say that they’re not an ’emo revival’ band anymore; they’ve made it into the legendary status of the genre itself.

ASHWIN BHANDARI

The Ipswich five-piece’s fourth studio album ‘Beside Myself’ is the latest step on this evolution. It brings together hints of those tropes displayed in 2011’s ‘I Wish I Could Stay Here’ and blends it with a more mature, considered sound. It is a slick production with polished notes and builds on where 2016’s ‘Promise Everything’ left off.

The self-imposed hiatus four years ago and relocation to the US has seemingly recalibrated Basement, and ‘Beside Myself’ demonstrates a band hitting the peak of their powers. It is a heartfelt record, and while they have previously stressed that it is not a concept album, it focuses on the struggles that many people face in an uncertain world.

Opening track and lead single ‘Disconnect’ speaks of feeling uncomfortable about the past and lamenting on things that can no longer be changed. There are hints of Jimmy Eat World mixing with early Thrice, with front man Andrew Fisher’s rasping vocals sitting comfortably with the falsetto harmonies and looping guitar riffs.

The album swings between angst and hope with the tremendously foreboding ‘Nothing Left’ wrapped in the confusing sense of loss, while ‘New Coast’ searches for contentment in a dark world. The rage and noise have become more refined as Basement have progressed and where once it felt as if these tracks would be screamed into a, well, basement, they now could easily be held up as stadium anthems.

There are tender moments with acoustic song ‘Changing Lanes’ while the closer of ‘Right Here’ is an achingly beautiful wish to be able to live in the moment.

‘Beside Myself’ feels like an important moment for Basement. Building on the rounded rock sound of ‘Promise Everything’, it lays down a poignant marker for the five-piece and whets the appetite for their next move.

TOM WALSH

Ex-Heck members, Tom Marsh and Matt Reynolds’s, new band Haggard Cat kicks off the final day on the Main Stage. Though there are now only two of them in the band, they still manage to generate just as much noise as before, Reynolds piping layers of fuzzy distortion through the speakers to produce a fat and chunky sound, and Marsh backing him up with hard hitting drums. It’s refreshing to see a band simply plug in and play on the Main Stage which is usually home to various layers of backing tapes and big production; Marsh and Reynolds have played together for so long that they’re naturally in sync, needing no assistance from anything but their conjoined musical brains. The southern rock guitar riffs and frantic pace makes Haggard Cat seem like a British version of ‘68, which is definitely no bad thing. Fans of Heck will be surprised to see Reynolds stay on stage through the whole set, but while he remains fairly contained, he ensures the crowd move around enough to compensate. It’s a fantastic start to the last day and sets the energy levels high.

As we enter The Cave to see COVE, we have to check we haven’t got our schedule wrong, as an unfamiliar front man steps on stage to lead the band out, offering only “you may see some old faces and some new today” as the explanation. The set gets off to a laboured start, the bass heavy mix rendering the guitars barely audible and it taking the band a while to warm up before they get into their stride. The band’s newly promoted front man does his part to stir the crowd, asking for some head banging and participation, before the inevitable request for a circle pit comes in. COVE are at their best when crafting heavy riffs to bang your head to, but their limited back catalogue doesn’t have enough of these yet, so the set drags as it goes on. There’s definite potential here though and if this new blood is a permanent fixture, it may inject a new lease of life into the band’s sound.

Funeral Shakes are the first band we’ve seen at the festival with a band uniform, the Watford quartet looking well presented in their matching black and white outfits. Their attire gives them a nostalgic look, placing them in a bygone period and their sound is something of a throw back too, focusing on the beautiful simplicity of poppy rock songs that are made to get your feet moving. Their quick tempo, light-hearted tracks are played well and Calvin Roffey and Em Foster harmonise brilliantly to maintain high energy and enthusiasm. We’ve given their recent self-titled debut a lot of love at Punktastic and this live performance shows why: Funeral Shakes bring a party atmosphere to the Axiom Stage and the foot tapping in the audience says it’s gone down well.

On day three of a festival that’s been largely drenched in sunshine, it’s natural for energy levels to deplete and over at The Cave, Woes can’t inject enough of it into the crowd  as more than half of the people in the tent choose to remain seated throughout their set. The quintet check off the components of a standard pop-punk formula, with fast tempos, simple chord progressions and dual vocal harmonies, but it’s this later element that lets them down. The vocals are hit miss through the set, often out of tune and out of breath, which sadly isn’t enough to get bums off the floor as the performance goes on.

Dream State are having a busy summer; we’ve ready seen the alt-rock quintet at Slam Dunk and Download so far this year, however their festival sets have been so good we didn’t want to miss another opportunity at the Axiom Stage. Sadly though this won’t go down as one to remember as a very poor sound mix leads to an underwhelming performance. The drums are so quiet it’s questionable whether they’re even mic’d up at all, particularly the bass drum which is completely absent from the mix. Guitars and bass overwhelm Charlotte Gilpin’s usually impressive vocals, and when they can be heard they don’t carry the same impact. Dream State are a fantastic live act and this set doesn’t do them justice; hopefully the 2000 Trees crowd will give them another chance next time they’re around.

A massive crowd has gathered in The Forest to see Undead Raisins – an acoustic set from Andy and Colin of Hundred Reasons – and in the brief moments that we can hear them, the hype is certainly justified. The issue with providing such a lush and relaxing atmosphere as The Forest is that people enjoy gathering here to chat and meet up, and unfortunately this chatter rarely ceases, even when an acoustic act is playing. As a result, we’re sadly unable to enjoy the music for most of the set, however Colin announces that more shows will follow in November, so we’ll make sure we get ourselves there for a dose of nostalgia at the end of the year.

The Xcerts at the Main Stage is always a safe bet for an enjoyable, easy listen, their anthemic pop-rock songs being just what’s needed on a sunny Saturday afternoon. Murray Macleod’s vocals are both beautifully soothing and uplifting, leading his band through up tempo tracks that beg to be danced along to. Macleod pays a touching tribute to Frightened Rabbits front man Scott Hutchinson, who tragically took his own life in May, urging anyone in the crowd who feels like they need help to turn to a loved one. It’s a lovely sentiment that emphasises the strength of the 2000 Trees community. The Xcerts go down a storm, as any band with songs this good should do.

In 2016 Basement played to an audience at The Cave that was so full, people were spilling out of all sides of the tent. For their return this year they’re deservedly upgraded to the Main Stage. Like The Xcerts before them, Basement provide a stream of easy listening, crowd pleasing tracks that move along at a good pace, providing a satisfying tempo for dancing and moving around. Andrew Fisher’s vocals are a little shaky in places but for the most part it’s an assured performance, one that the band themselves look to be enjoying and this sensation filters down to those gathered before them.

Penultimate act of the festival Gallops leave it late in the day to make their claim to best set of the weekend and after this absolutely stunning performance, they’re definitely up there with a good shout. The three-piece utilises more equipment than your local music shop can hold, but through the course of their instrumental, electro-dance-rock hybrid they put it all to spectacular use. Loop pedals, synths, drum machines, samplers, plus the mundane basics of drums and guitars, combine to feed the audience a ceaseless stream of insatiable grooves that has the whole tent dancing for what must be one of the best reactions to a band this weekend.

As soon as Gallops finish their inspirational set, a mass of people make their way towards the Main Stage in anticipation of final headliners Enter Shikari. The band are not short of admirers, nor the back catalogue to satisfy them all, and as they make their way through their set, the crowd laps it all up, singing back every word. Enter Shikari have risen in stature considerably since their first record and now with the release of their fifth, they’re able to invest some of their success into the production of their live shows. Featuring some fantastic stage lighting and atmosphere, alongside a massive sound, it’s a gigantic performance that brings a satisfying end to another excellent event at 2000 Trees.

The three day festival will have the Thursday main stage open for the first time ever, with headliners At The Drive In as a UK festival exclusive.

Also announced were:
Creeper, Basement, Arcane Roots, Hell Is For Heroes, Touche Amore, Turbowolf and
Gold Key

Another announcement, including another headliner, is to take place on Weds 31st Jan with Kerrang! Magazine.

From At The Drive In drummer Tony Haijar –
“We are super excited to being playing the 2000trees Festival this year. With the whole festival atmosphere changing in general, it is great to be part of something that still supports rock bands.”

The band will be playing the 2000trees Festival for the very first time, and will headline the Thursday main stage. This will be the first time in the events 12 year history that bands will be playing on the main stage on the Thursday, making 2000trees festival in 2018 a full 3 day event. Look out for more of the bands for the Thursday main stage very soon.

From festival organiser James Scarlett – “We’re very excited to announce that 2000trees Festival is now a full 3 day festival and for the first time ever we’ll be opening our main stage on the Thursday. I can’t think of a better way to do this than with our headliners At The Drive In. Let’s not forget that this is a band that released arguably the most important rock album of the last 20 years (with ‘Relationship Of Command’) and influenced literally ALL our favourite bands in the process. That’s before I even mention their live show. The band are absolutely on fire right now, touring with the also brilliant Royal Blood on their recent UK dates together. At 2000trees Festival they’ll be playing a full length headline set and I for one cannot wait!”

From Creeper frontman Will Gould – “We are thrilled to be returning to 2000trees Festival this year, one of the first festivals we ever played together as a band. We have such fond memories of the festival from playing our first year in a tent and also from playing on the main stage. We’re very excited to be a part of this wonderful festival and can’t wait to return.”

From Arcane Roots frontman Andrew Groves – “2000trees Festival has always been the highlight in our calendar since our band began, and has long felt like the spiritual home for our music. During it’s creation, we frequently envisioned playing Melancholia Hymns live there, and now, safe to say, we’re working doubly hard to put on the very best show that we can. A show that, rest assured, will never be without a surprise or two. We cannot wait to return this year and bring our music home again.”

From Will McGonagle (Hell Is For Heroes) – “2000trees Festival always has the best lineups, and we’re proud to be part of this year’s bill. We’re looking forward to seeing loads of bands, and of course playing some of our favourite tunes too. We might even have something new to play.”

On Weds 31st January 2000trees will also be announcing the Saturday main stage headliner along with 9 other bands confirmed for this years festival, all exclusively with Kerrang! Magazine.

2000trees festival takes place on Thursday 12th / Friday 13th / Saturday 14th July 2018 at Upcote Farm, near Cheltenham, Gloucestershire. GL54 4BL

Ticket Prices:
2day ticket £99
3day ticket £115
Day tickets £60
VIP tickets £185
(Tickets on sale Thursday 1st Feb)

They were due to take place today and tomorrow, but will now be moved to January next year. The band recently shared a video for their new single, ‘Spray Paint Love’, which followed their second album ‘Modern Ruin’ from earlier this year.

As for the supports; Demob Happy recently announced that they will be releasing their second album ‘Holy Doom’ on the 23rd March 2018 via SO Recordings, whilst Dublin band Chinese Newspaper’s latest is their single ‘If Not Now Then When’ from earlier this year.

Preceding these shows, Frank Carter & the Rattlesnakes will also be going on a UK tour with Basement and Ecca Vandal next month. All details on these shows are listed below.

DECEMBER
01 BRISTOL O2 Academy*
02 BIRMINGHAM O2 Institute*
03 MANCHESTER O2 Ritz*
05 GLASGOW O2 ABC*
06 NOTTINGHAM Rock City*
07 NORWICH UEA*
08 LONDON O2 Brixton Academy*
JANUARY 2018
27 BELFAST Mandela Hall^
28 DUBLIN, IRE Tivoli Theatre^

* w/ Basement + Ecca Vandal
^ w/ Demob Happy + Chinese Newspaper