Words: Ellie Odurny; Images: Penny Bennett

The Hara

It’s 2022, and the era of social media. Manchester trio The Hara have developed quite a following on this ever-growing space on the internet and return to Donington in 2022, having played the Pilot last year. Opening with a somewhat ostentatious entrance, the classic groove and rock beat of ‘Black Soul Ceremony’ is a bold beginning; there’s no shortage of conviction from all three members of the band, with drummer Jack Kennedy hitting the kit with as much energy as guitarist Zack Breen churns out riffs and frontman Josh Taylor commands the microphone. You get the impression that Taylor, dressed in skin tight leather trousers and braces and brandishing the mic stand as a phallus, was born to perform, but this confidence seems at times rather larger than the quality of musical output. The tunes aren’t terrible but aside from a small group of super-fans clinging to every syllable, it might take a little more work in the studio and a little less time in hair and makeup to wow the masses.

Phoxjaw

Arriving on the Dogtooth stage to the sound of the Greek guitar of Zorba’s dance, it’s apparent from the beginning that Bristol four-piece Phoxjaw relish the unexpected. Switching clunkily to the down-tuned bass and dark, anguished vocals of opener ‘You Don’t Drink a Unicorn’s Blood’, any sense of kitsch has vanished as we’re dragged into the macabre world of experimental alt-indie doom-metal. Truly genre-less, it seems like anything goes in the writing process of a Phoxjaw track, with eerie synth and reverb layered over big, thumping bass, the odd mid-song tempo change and moments of straight-up rock. The transition between tracks feels a little awkward at times, and there’s definitely some room for the band to develop their unique sound into something a little more assured and refined, but as unpredictable and fascinating bands go, Phoxjaw are leading the charge.

Rise Against

There’s a sizeable crowd gathered for politically-charged Chicago outfit Rise Against. Loved by many for their singalong punk-rock anthems of rebellion and compassion, the band open with the emotive ‘Prayer Of The Refugee’. With a ten-song set covering a variety of music from the bands’ back-catalogue along with newer releases, there’s something powerful about the number of people joining in with the calls for revolution; the sense of togetherness in the community shining through the collective voice. Somehow perfecting the marriage of punk-born anger against a corrupt system and a plethora of catchy melodies, Rise Against once again deliver a set jam-packed with immense anthems of political passion.

Baroness

Somehow, Georgia metallers Baroness seem to have pleased the gods of wind and their set on the Opus stage manages to caress the airwaves free of any major sound interference. Opening with the soaring harmonies and gigantic riffs of ‘Take My Bones Away’, they sound resplendent in the perpetual sunshine that’s been present for almost the entire weekend. Matching the gloriousness of their sound is their energy, with the whole band looking positively ecstatic to shred away the late afternoon. A headbanging Gina Gleeson adopts a classic guitar power-pose to jam with John Baizley in penultimate hit ‘Shock Me’, and you get the sense that this is one band who genuinely love performing together. This isn’t the band to start a frenzied circle pit, but if beautifully-crafted, heavy melodic rock is what you’re after, Baroness are some of the best in business to provide.

Spiritbox

Probably the most hotly anticipated set of the weekend, there’s already a multitude of bodies trying to get into the tent down at the Avalanche stage long before Canadian trio Spiritbox are due to appear. For such a grand level of expectation, ‘Circle With Me’ creeps in with a surprisingly quiet introduction but the moment the clean vocals switch to screams, the tent erupts with elation to be finally experiencing this long-awaited UK debut performance. “We’ve been waiting for this moment since March 2020 when we were supposed to play our first show in the UK”, declares vocalist Courtney LaPlante, and it’s clear from the reaction that everyone here feels the same way. The heavily distorted guitars and thrashing drums underpin excellent screaming vocals from LaPlante, although there are one or two moments where the cleaner vocals are slightly lacklustre, though the talent is there and one imagines the skill in balancing the two vocal styles will only improve with time. The three-pronged offensive of ‘Hurt You’, ‘Yellowjacket’ and biggest hit ‘Holy Roller’ send the pits into a total commotion, with nearly as many limbs in the air as on the hard-stomped ground. Closing their short set even before their allotted time is up with the gentler title track from 2021’s album ‘Eternal Blue’, Spiritbox have certainly made an impression. Judging by the sweat-soaked, starry-eyed fans drifting out into the daylight, when Spiritbox are inevitably invited back to the UK festival scene, they’ll need a bigger stage and a longer set time.

Trash Boat

British rockers Trash Boat have all but ditched any of their older, more pop-punk stylings in favour of a set taken almost entirely from their latest album ‘Don’t You Feel Amazing’. The heavier beats and catchy choruses possibly seeming more suited to the Download crowd, with a regular appearance from Wargasm’s Milkie Way going down a storm with those present. They’re not the first band over the weekend to complain about the control of mainstream media either, although this time it feels slightly mis-directed, with a quip about a fragrance with Russia in its name eliciting more than a few confused expressions around the outskirts of the tent. Odd spoken interludes aside, rousing screams of “you’re a fucking idiot” to ‘Alpha Omega’ demonstrate frontman Tobi Duncan’s ability to stimulate the crowd, and they finish the set with renewed bravado from the die-hard fans’ enthusiasm.

Korn

Korn haven’t played in the UK since 2017, and they chose their triumphant return to deliver just over an hour of their greatest hits to a hungry and grateful crowd of old metallers and Nu-metallers alike. They’ve had mixed receptions over the years, but today the sound is on point, everything is in tune and spirits seem to be high in the Korn camp. Following on from the fierceness of opener ‘Here To Stay’ are favourites ‘Got The Life’ and ‘Falling Away From Me’, and the trip down memory lane just doesn’t stop. The bagpipes make an appearance for ‘Shoots and Ladders’, and heads are banging along to the grinding bass and bendy down-tuning so characteristic of these godfathers of nu-metal. The absence of long-standing bassist Reginald “Fieldy” Arvizu, who is taking some time off for personal reasons, is probably only noticed by the most ardent of fans, with the tiniest hints of a safer, less distinctive bassline growling beneath the guitars. By the time we get to the band’s first ever single, ‘Blind’, to close the set, we’ve all been reminded just how many hits Korn have produced over the past three decades, and they’ve delivered them today with confidence and style.

Yonaka

With a large number of the old guard of heavy metal fans leaving the site after Steel Panther, it’s refreshing to see a packed tent for Brighton quartet Yonaka. Vocalist Theresa Jarvis is poised to belt out the powerful ‘Ordinary’, and stragglers around the Dogtooth stage are rightfully craning their heads to see what all the fuss is about. With thumping beats and slick electronic twists, their half-hour set is a well-rounded exhibition of expertly crafted rock. Jarvis’ vocals are at times mighty, at times haunting, but always captivating, backed up by tight drums, crunchy guitars and resounding bass. Dedicating the touching ‘Call Me a Saint’ to anyone going through a tough time, there’s an evident connection between the crowd and the band, and it feels like tonight’s performance has gained a few new fans. Closing on the exultant ‘Seize the Power’, we would defy the last of the Dogtooth’s audience to leave Yonaka’s set not feeling even slightly more empowered than when they went in.

Biffy Clyro

Those remaining in the arena are a noticeably sparser crowd compared to the previous nights but that doesn’t detract from the power with which Biffy Clyro perform their closing set for Download 2022. The gentle introduction of the opening segment of ‘DumDum’ isn’t fooling anyone, and following track ‘A Hunger in Your Haunt’ from latest album ‘The Myth of the Happily Ever After’ slaps with ferocious intent, guitar licks and crashing drums ringing out across the Derbyshire countryside. Always displaying the sharpest rhythmic prowess, the breakdowns and offbeat time signatures tonight are no exception, with drummer Ben Johnston hitting every beat with precision and skill.

Foregoing the over-the-top theatrics of the previous two night’s headliners, Biffy are accompanied on stage by nothing but their instruments and a spectacular light show. This means there’s nowhere to hide and all focus in on the performance alone. For Biffy Clyro, this isn’t an issue, as they’re one of the best live bands in recent history. From the savage force of the end of ‘Bubbles’ to the heart-wrenching emotion of ‘Machines’, the set is a victorious display of musical proficiency and enough stage presence to reach the farthest depths of the campsites. They might not have had the same number of fans in attendance as Kiss or Iron Maiden but those who stayed were treated to a remarkable demonstration of what the next guard of headline-worthy acts can achieve. Mon the Biff indeed.

Opening proceedings come in the form of Bob Vylan, the punk-rap duo who until recently were thought to be untouchable by the media due to their controversial lyrical content… Bob Vylan are contemporary and a much needed act in the times we live in – calling out racism and the police, they rattle through a nine song set, playing seven songs from their independently released EP ‘We Live Here’, bringing boundless energy to the room. ‘Pulled Pork’ which features Jason Aalon Butler on the recorded version sees them at their best, before a crushing ‘We Live Here’ ends the set on a high. With thought provoking songs delivered with zero fear, Bob Vylan are a duo to be watched.

Tonight, though, belongs to one band and one band only. The pandemic has seen Biffy rescheduling tours a number of times, eventually cancelling their arena tour in support of last years superb ‘A Celebration of Endings’. After a string of bad luck, this current tour dubbed ‘The Fingers Crossed Tour’ was announced in the hope that booking smaller rooms would allow them to actually play, before rescheduling one final time.

Initially intended to support ‘A Celebration of Endings’, there was a last minute change in plan as Biffy have been busy and released another record, ‘The Myth of the Happily Ever After’. Thirteen songs from these two records make up the set list tonight. Biffy stride on stage, wearing suits with no shirts, looking all business as ‘DumDum’ opens the set with an atmospheric and cinematic tone. ‘A Hunger in Your Haunt’, the lead single for the latest record picks up the pace and is an early contender for song of the night. Biffy have become very astute in dressing up pop choruses in big rock songs and in a perfect world, Radio 1 would be playing these songs all day every day. ‘Tiny Indoor Fireworks’ is the best Foo Fighters song, not written by the Foo Fighters, and maintains the pace before the first truly magical moment of the night happens.

It’s not often that the adjective ‘Biblical’ really lives up to the meaning, but the singalong for ‘Biblical’ easily lives up to its name and it’s deafening inside The Forum. ‘North of No South’ follows all riffs and angles before segueing into fan favourite ‘That Golden Rule’ which incites pits and head-banging aplenty. Considering the intimate size of the venue, the light display is of very high quality, bathing the band in red during the breakdown, flashing in time with the riff and drum hits. ‘Instant History’ was seen as a slight misstep when it was released due to the radio friendly sheen it has on record but in a live environment, the guitars are higher in the mix, bringing a heavier feel to proceedings. When the opening piano line for ‘Mountains’ delicately hits the speaker, the Forum explodes into pandemonium and it’s in this moment that you realise Biffy Clyro are now in a position to play what they want, when they want during their sets.

‘Unknown Male 01’ is the perfect blend of Biffy, and nails the ‘quiet into loud’ song structure with ease, ending with a crushing breakdown in a similar guitar tone to the late Black Peaks. ‘Machines’ provides a poignant moment for the crowd, with frontman Simon Neil playing acoustically with only drummer Ben Johnston on stage for light percussion. While primarily they are a rock band, Neil has proven he can write very delicate ballads which resonate with the crowd, perfectly demonstrated with ‘Space’ later in the set. ‘Slurpy Slurpy Sleep Sleep’ may be the most out there song title of all time, solidified as the band repeat the title over and over before the guitars kick in. Biffy have written another all-time classic for their setlist with this song, and it’s bound to go down well with people who know nothing of Biffy, demonstrating their quirks and talent at the same time.

The main set closes with what is the strongest three song run of the night. Old classic ‘Living is a Problem Because Everything Dies’ is still monstrous and the timing of the band is second to none and as always, it’s a pleasure to see them pull off this song perfectly. ‘Bubbles’ follows with one of the greatest teases in modern music, the build-up for the breakdown seeing the band false start before unleashing an incredible guitar solo. ‘Many of Horror’ closes the main set with aplomb, the crowd singing every word back to the band before a two song encore of ‘Black Chandelier’ and ‘Cop Syrup’ closes the night, the latter highlighting the Nirvana inspiration that the band have cited as their reason to become a band. Neil does his best Kurt Cobain impression with the screams of ‘F**k everybody, woo’, shredding his vocal chords like the late great frontman.

Biffy Clyro are without doubt a rare band in the world today – one that can turn up any venue, play any sized stage and be the band of the night. When they’re on top form as they are tonight, no one can touch them. 2022 sees them head back to Download’s headliner status which feels like unfinished business for them after previously being met with abuse for ‘not being metal’ but if anyone can turn Download from a straight ahead metal festival into the celebration of rock, alternative and metal that it should be, it’s Biffy. In Simon Neil, they possess one of the best song writers in modern history, and show absolutely no fear with anything they put their name to. This is a band who should be celebrated by everyone.

ADAM ROSARIO

Words: Yasmin Brown; Images: Tash Greene

Hot Milk

Sundays at Reading Festival are best spent powering through the mightiest of hangovers, leaning heavily on hair of the dog to survive, and this process is significantly easier when the first bands of the day are as energetic and motivational as Hot Milk. Despite the somewhat off key vocals of co-vocalist Jim Shaw, the band comes in all guns blazing, as his counterpart Han Mee fights hard to further raise the spirits of the modest yet enthusiastic crowd that stands before them. It’s her charisma and attitude that carries the band today, encouraging more cheers and bouncing around the main stage with all the energy of Tigger on drugs. That’s not to say, however, that Shaw doesn’t also bring the energy, but with his “fucked” voice, there’s something lacking that it feels Mee is forced to make up for, which she does so with apparent ease. Hits such as ‘Candy Coated Lies’ and ‘I JUST WANNA KNOW WHAT HAPPENS WHEN I’M DEAD’ go down a treat with this early crowd, and suddenly we don’t feel so hungover anymore. 

The Hunna

The Hunna are no strangers to Reading Festival and today it’s clear just how much of a following they’ve built for themselves over the years as the main stage crowd fills rapidly and excitedly ahead of their highly anticipated performance. Their signature sound immediately incites carnage, with dust flying and lungs reaching full capacity as every word is screamed aggressively from the second the band kick off with ‘I Wanna Know’. After Leeds Festival, this has been their first full show back since 2019 and since the release of their third album, ‘I Would Rather Die Than Let You In’, and the passion and effort that’s going into the performance is already tangible. Despite the break from touring, The Hunna remain one of the most talented live bands on the Reading Fest bill, a fact that’s only cemented during the Joshua Dun co-write, ‘Dark Times’, where front man Ryan Potter shows just how talented he really is, hitting that long note and causing jaws to drop crowd-wide. The only moment that sees fans take a break from singing along is during the band’s performance of a currently unreleased song with friend Kelsy Karter, but they dance along all the same, loving every moment of it, resting their vocal chords for the inevitable performance of ‘She’s Casual’. It finally comes hand in hand with the sun, as friends clamber on each other’s shoulders to really make the most of the moment – the most emotional part of the set so far, but still nothing compared to what was to come when Potter mentions the recent death of ‘King Kev’ – a brother in law who would always be in the crowd for these shows. As Potter screams ‘King!’, the crowd responds with ‘Kev!’, a beautiful nod to the late family member, and one that is enough to bring tears to even the most hardened of us. As the band closes out their set, one thing is clear: The Hunna really are one of the best bands this stage has seen across the weekend, and it won’t be long until they rise up to the top of the bill. An honour that once achieved will be more than deserved. 

Lauran Hibberd

The BBC Introducing stage is well known for hosting artists that go onto be global superstars, and today, as Lauran Hibberd jumps around in her vibrant green tutu, you can’t help but feel she may well be one of them. When she addresses the crowd, she’s chatty, excited and even a little awkward at times, but the moment the music starts, her game face is on and the amount of attitude she exudes is immediately enough to make you want to be her best friend. Not only is she insanely talented but she’s just so damn cool, too. With the crowd that gathers around this small stage, you’d never believe Hibberd needed introducing at all, and it does feel like this may be one of the last opportunities we get to see her perform in such an understated and intimate setting. With an undeniable talent and a personality that’s so charming a likeable, Lauran Hibberd is absolutely one to watch in the coming years. 

Baby Queen

You’d never guess, but today is Baby Queen’s sixth show. Like ever. It’s amazing, then, that she’s brought in a decent sized crowd before she’s even appeared on stage, and the buzz that is leading up to her performance sees the tent almost vibrating with excitement. This only escalates when she does show, dressed in an adorable patchwork dress and donning high pigtails, this artist is not to be underestimated. You can tell she’s a little overwhelmed by the sea of people before her – her biggest crowd yet – but if she’s nervous, it doesn’t show at all as her faultless voice never once falters as she makes her way through her setlist, playing what are already verging on hits such as ‘American Dream’. Baby Queen’s pop rock sound is relatable and accessible yet still unique in many ways and even as she leave the stage, you’ll find yourself sufficiently endeared and desperate for more. She may only be six shows in, but if today’s response is anything to go by, there are almost certainly thousands ahead of her. She is going to be amazing. 

Bloxx

Two years ago, Bloxx played to a tiny crowd in this very field. It was a name few had heard of, let alone invested in, yet here we are today in 2021, and it’s clear that this band have made waves over the past two years, despite the majority of that time being spent indoors. Today, they play to a comfortable crowd who sing along proudly to the songs being played on stage, calming the nerves of the very anxious vocalist, Fee Booth and provoking the biggest of smiles on the face of drummer Joe Kinton. This progress is so well-deserved, as made evident through the perfectly executed performance, endless energy, and overarching personality that defines this young band. They are open and relatable, with Booth explaining just how much ‘Everything I’ve Ever Learned’ means to her, as well as awkwardly joking about the unfortunate acronym that is their latest single ‘Pop Culture Radio’; this is a band you want to love and it is far too easy to do so. After a set to remember, the band leave the stage on a high, and the crowd is left longing for more.

Yungblud

Fitting in perfectly with the Reading Festival decor, Yungblud leaps onto stage all dressed in red, supported by a giant red punk-style rubber duck, red amps and red hair. Because why not, right? Say what you will about this northern artist but there’s no denying he knows how to not only make an entrance, but hold your attention too. Within three songs, he’s calling for a pit in his overtly brash accent and begging for the creams that, quite frankly, he more than deserves. His late afternoon main stage slot calls for more than your average stage setup, and the use of pyro only adds to the theatrics that made this show so special. From front to back of this sea of people, fans are jumping relentlessly, their energy more than matched as Yungblud runs across the stage with a level of stamina rivalling even the fittest of runners. With a fairly extensive catalogue of music, every song is a hit and each is met with equal enthusiasm as he makes his way through his set, fans eating out of the palm of his hand as in between songs he continues to shamelessly demand attention. With Machine Gun Kelly being stuck in the US and dropping out of the festival last minute, their collaboration of ‘I Think I’m Okay’ takes place via video, with MGK appearing on the huge screens either side of the stage. This really is the kind of performance we should be seeing on the Reading Fest main stage in 2021, and with an ever growing fan base it wouldn’t be a surprise to anyone if we see him headlining in the not-too-distant future. 

Biffy Clyro

It’s finally dark on the final day of Reading Festival and the crowd for co-headliners Biffy Clyro already reaches back as far as they find themselves faced with the extravagant stage setup – a multi level situation that allows for a far more dynamic presence than the stage would ordinarily allow. It’s the band’s entrance, however, that really sets the tone as we’re met with every colour imaginable and Frank Zappa playing over the speakers, and we prepare ourselves for 90 minutes of sheer perfection. And boy do Biffy deliver. This crowd doesn’t just look huge, it feels it too, as every fan from the front to the back is heavily engaged, singing along as if their lives depend on it. It’s a rock show, for sure, but Biffy never shy away from the softer songs such as ‘Biblical’ or long time favourite, ‘Mountains’, and it’s these moments that really hit hard, creating a more intimate feel despite the magnitude of the performance. Nothing hits harder, though, than the stunning string arrangement that accompanies ‘Space’ or that follows ‘Many of Horror’, and nothing makes you want to dance more than the über catchy and subsequently chaotic ‘Bubbles’ – this is an effortlessly dynamic performance that sees Biffy at their absolute best, proving that ‘their absolute best’ can be found in almost any side of this versatile band. Closing the main stage with ‘Machines’, the band set off fireworks just in case you haven’t quite had enough excitement for one evening, and it suddenly hits you just how perfect this entire experience has been. This is a band that somehow continue to improve with every year that passes, and to see them here tonight is nothing short of magical. We couldn’t possibly love them more. 

Mon the fucking Biff.

Girl in Red

Closing off our Reading 2021 experience is the unbelievable Girl In Red. Despite her late night performance, the Festival Republic tent is probably the busiest it’s been all week, and suddenly it’s clear that the girl that’s been going under the radar since 2018 isn’t quite the underdog anymore. She doesn’t even make it past opening song ‘Serotonin’ before crowd surfers start flying, and in barely any time at all there’s a fan on stage, delighted at having her boobs signed by Marie Ulven Ringheim herself. The whole thing feels manic in the best way, with no warm up time required, and Ringheim interspersing each song with rapidly spoken anecdotes or random thoughts – often unintelligible among the chatter and cheering coming from the crowd. ‘Summer Depression’ sees the crowd being asked to get low before jumping up excitedly for this 2018 hit, and ironically spritely move considering the sombre context. In fact not once do you feel anything other than absolutely euphoric as dancing and singing is mixed with laughter at this endearing artist before us. It’s a celebration of being open about mental health and of queerness, as Girl In Red speaks openly about both, launching into ‘girls’ with a very simple, “Speaking of gay… let’s go” and later wrapping herself in a rainbow flag just for good measure. The set coincides directly with main stage headliner Liam Gallagher, and his fireworks coincide perfectly with the final chorus of Girl In Red’s ‘We Fell In Love’, only increasing the sense of celebration as though it were all perfectly planned. ‘Bad Idea’ sees the biggest mosh pit of the set right before she closes off with ‘i’ll die anyway.’ – an interesting choice to close out the evening, but one that works exceedingly well. It may be one of her first few performances in the UK but Girl In Red is clearly a favourite, and her popularity is rising fast. Other than a short pause to allow a passed out fan to safely leave the crowd, the set is built on foundations of happiness, acceptance, and chaos and we could not wish for a better way to see out the weekend. 

Bands are nothing without their fan base, and it’s something that Sheffield’s metalcore heroes While She Sleeps are incredibly aware of. They’re displaying their gratitude in the most refreshingly beautiful way, like no other band has expressed it before. They haven’t just made a record for their fans, they’ve made a record BECAUSE of them. If you’re reading this and you already support the band, it’s because of you. The ‘SLEEPS SOCIETY’. They even named the record after you. They must really like you, because the record is quite something, too.

With deep roots in self-belief, personal growth, and conquering hardships when the cards are stacked against you, While She Sleeps make the album’s mission statement known from the off on opener ‘ENLIGHTENMENT (?)’. Gigantic walls of guitars stampede at an infectious pace, with the dual vocal attack of front man Lawrence Taylor and guitarist Mat Welsh declaring “If you feel like giving up, there’s something I need you to know – that I’m here for you.” They’re beginning the record by reaching out their hand to you, and the rest of the record sees them strengthening their grip.

‘KNOW YOUR WORTH’ is a feral anthem of perseverance led by the riffs of Welsh and fellow guitarist Sean Long, providing an aural onslaught that highlights the importance of digging deep and staying strong. ‘YOU ARE ALL YOU NEED’ is a furious pit-hungry beast, driven by the relentless rhythm work of bassist Aaron McKenzie and drummer Adam Savage as they champion self-worth. ‘SYSTEMATIC’ is an industrial-tinged rager, ‘DIVISION STREET’ is a raw and honest ballad that pulls at all your heartstrings, the title track is an ominous and dark entity – there’s a lot of variety here, but it all slots together wonderfully.

There’s some guest spots on offer here too. One is from Biffy Clyro’s ever wonderful front man Simon Neil on ‘NERVOUS’ whose silky and emotive tones add an extra layer of goosebumps to its already spine-tingling atmosphere. Another is from Sum 41’s legendary Deryck Whibley on ‘NO DEFEAT FOR THE BRAVE’, an enormous metalcore gem that harks back to their ‘Brainwashed’ days, and that Whibley’s distinctive voice fits like a glove.

The show stealer, though, is the one that has a guest spot from, well, you guys. ‘CALL OF THE VOID’ features members of While She Sleeps’ very own Sleeps Society, the whole process coming full circle as the band lend their platform to amplify their fans voices. Few bands have this kind of connection with their audience, and even fewer could pull something like this off.

While She Sleeps are in possession of an identity that is wholly, unmistakably theirs. They’re at the point in their career where you can listen to one of their songs for a few seconds and confidently know it’s them, a trait that every band dreams of. ‘SLEEPS SOCIETY’ displays that in troves, the band in total control of each component of their machine and pushing it to perform its optimal level. The riffs are colossal, the melodies even more so, and the vocals have more depth to them than they’ve demonstrated before, flitting between velvety, jagged, and dream-like textures throughout.

On top of all that, the message embedded within the record is truly special. A sincere and genuine recognition of everything their fans enable them to do, interwoven with reminders that, no matter what life throws at you, you are enough and you really are all that you need – something that closing track ‘DN3 3HT’ discusses, as each member of the band details what being able to live their dream means to them as well as saying thank you to everyone that’s helped them keep it alive. About as honest and heartwarming as metalcore can get, executed by one of the Crown Jewels of the UK’s music scene. Did you really expect anything less?

DAVE STEWART

That’s why it’s perfect for tonight’s lineup of Biffy Clyro and Jimmy Eat World; two bands that, while quite different in sound, will always find themselves the well-deserved subjects of equal and unwavering praise from music industry professionals across the world.

For support act Jimmy Eat World, it’s three days until the release of their 10th studio album, ‘Surviving’, and we’re lucky enough to be treated to three new tracks from this album, one of which – the stunning and synthy ‘555’ – had before tonight been previously unheard by the general public. 

While Jimmy have unquestionably earnt themselves the title of being one of the best rock bands formed in the past 25 years, the crowd tonight is disappointing, giving little feedback to what is by anyone’s standards an exceptional live performance. It’s difficult not to feel a grin forming on your face as an unexpected saxophonist joins the band on stage for ‘All the Way (Stay)’, however, and old favourites ‘Sweetness’ and ‘The Middle’ will always be met with unadulterated excitement, even if in this setting at least, it’s only because there’s something recognisable being played on stage.

This response is not a reflection of the talent that exudes from the members of the band on stage. Jimmy Eat World are never anything but mind blowing, and tonight is no exception, but support slots are hard no matter how exceptional you may be, and Jimmy sadly have to face this fact tonight.

As it grows ever closer to the main event, the floor pads out and members of the audience find themselves with increasingly less personal space, allowing levels of excitement to rise by the minute, despite the uncomfortable environment.

The simple staging does nothing to predict the performance that lies ahead, with both band and crowd instantly throwing themselves into the set the moment Biffy Clyro take to the stage to the opening riffs of ‘Balance, Not Symmetry’. The lull that set in during Jimmy Eat World’s set was long forgotten, and it’s clear that while Jimmy are well-loved, tonight this is the Biffy Clyro show.

Pulling from their extensive discography, each song is met with almost equal enthusiasm, but there were – of course – clear fan favourites. Whether it’s ‘Mountains’ or ‘Bubbles’ from ‘Only Revolutions’, or ‘Black Chandelier’ taken from 2013’s ‘Opposites’, the crowd’s momentum never once wavers across and it’s clear that this band’s long career has brought them a loyal and immovable fanbase. 

Even softer moments, such as with ‘Fever Dream’ – a performance that feels very far removed from what you might expect from a Biffy show – and ‘Adored’ are met with undivided attention, every audience member is entirely entranced by the scene on stage. These moments are tender and allow for a short respite from the mayhem that both precedes and follows them, while also highlighting the versatile nature of this band. When you think of Biffy, it’s easy to think of the faster paced songs such as ‘Born on a Horse’ or ‘Booooom, Blast and Ruin’, but their more vulnerable moments are just as impactful – both on record and in a live environment such as tonight. 

The only disappointment comes if you take a moment to glance up at the balcony, where almost everyone remains seated – a rarity at such an otherwise uninhibited rock shows such as this. While those on the floor lose their minds, flinging their bodies around and barely allow themselves  a second to breathe, those on the balcony seem to miss out on exactly what it is that makes a Biffy Clyro show what it is. Fortunately, the stationary half of the crowd does nothing to deter the rest of us, and it certainly doesn’t slow the band down even a little bit. 

As expected, Biffy Clyro’s most mainstream song ‘Many of Horror’ was the last played by the band before a short encore, and despite its popularity, this doesn’t take away from the crowd’s enjoyment as the band highlights just why the song became so well-known in the first place. Mixed, unintelligible chants enticed the band back on stage to treat us to three final songs, closing with 2013’s ‘Stingin’ Belle’ and leaving us mostly satisfied – our only wish being that it never has to end.

The entire evening was an overwhelming melting pot of excitement, sweat, and mind boggling talent, and one that every member of this sold-out crowd will be talking about for years to come. 

YASMIN BROWN

Tickets are only available to those who’ve signed up to the band’s mailing list. More info can be found here. Last year the band released their seventh album ‘Ellipsis’ on 14th Floor/Warner Bros. Records.

The band will be releasing their upcoming debut self-titled album on the 4th August via Vertigo.

You can find more info on these dates, as well as Fangclub’s other shows, below.

JULY
09 DUBLIN, IRE Trinity College w/ Pixies
19 LONDON Black Heart*
20 SOUTHAMPTON Joiners*
21 ALDERSHOT Westival*
24 NOTTINGHAM The Bodega*
25 MILTON KEYNES Craufurd Arms*
26 ST ALBANS The Horn*
AUGUST
05 CORK, IRE Indiependence
23 BELFAST Vital w/ Muse + Biffy Clyro
SEPTEMBER
02 BINGLEY Music Festival

* w/ Big Spring

The song is taken from their seventh album, ‘Ellipsis’, which was released last year on 14th Floor/Warner Bros. Records.

The Scottish alt rockers will also be playing the following UK dates.

MAY
27 HULL Radio 1’s Big Weekend
JUNE
10 DONNINGTON Download Festival
21-25 PILTON Glastonbury Festival
JULY
09 GLASGOW TRNSMT
AUGUST
23 BELFAST Vital Festival