Back for its seventh instalment, the festival with the largest inflatables budget in the South West only ever seems to get bigger and weirder, and what’s clear, this year more than ever, is that Burn it Down is no longer just putting Torquay on the map. The work is done – it’s already been scribbled there in Sharpie, and is arguably now a bigger draw for touring bands than nearby cities that are double its size.

With last-minute curveballs including a fourth stage, an indoor halfpipe, a wrestling tournament – and oh, an entirely unexpected bonus third day (not reviewed here) – the team are at it again.

Friday

prom

Brighton three-piece prom are one of Friday’s first bands  in The Attic, the upstairs venue traditionally reserved for the festival’s heaviest bands (and its rowdiest crowds). Their energetic brand of grungy post-hardcore is piercing and immediate enough to make sense in this setting, going down well with the early crowd, despite the fact that they’ve been releasing music for only just over a year.

Tropic Gold

Graduating from the festival’s smallest stage in the Apple & Parrot, Tropic Gold are back for their second Burn it Down in as many years – this time with a main stage slot. Having recently played (and sold out) their debut headline show at Camden’s Black Heart pub, after many years of festival and support slots, the band’s blend of mournful electronica and riffs like landslides is a comfortable fit for this nightclub setting. The band’s EP, ‘SICK TO DEATH OF EVERYTHING’, released in March of this year, forms the basis of their energetic set. On this showing it’s hard to bet against seeing them back here in future.

Still in Love

With former members of Dead Swans, Bring Me the Horizon, Throats and more in their ranks, and arriving at Burn it Down after a summer that saw them link up with Architects’ Sam Carter (on recent single ‘Preserve & Cherish’, which received airplay on Radio One) and ex-Funeral for a Friend vocalist Matthew Davies-Kreye (as their UK/EU booking agent), it’s easy to see why Still in Love have drawn a curious crowd to The Attic.

Unfortunately, some flailing limbs in the crowd land in some unwelcome places early on, and things threaten to bubble over on several occasions. This leaves some of the more casual attendees a little distracted, and in no mood to agree to vocalist Nick Worthington’s repeated requests to step further forward into the bullring. Regardless, Still in Love are on the rise and in fine form. Their set scratches all the itches you’d think it might, given the collection of bands that have led to Still in Love’s forming. Ahead of the imminent release of debut album ‘Recovery Language’, their set is lively and engaging. Ones to watch for sure.

God Complex

The crowd emerges from the chaos of The Attic and filters down to the main stage – but just like Kevin McCallister stepping into that Central Park taxi in Home Alone 2, it soon becomes clear that ‘it ain’t much better in here, kid’.

God Complex are not here to mess about. They probably don’t know what messing about is. Likely the heaviest band to ever grace the stage at The Foundry, their bruising set of sludgy metalcore is quite frankly terrifying. It’s hard to argue that letting the heavier bands invade the bigger stages this year wasn’t the right call, given the committed reaction from the sizeable crowd, but there is noticeably more ‘Burn’ for your buck at the festival this time around – whether that was by design or coincidence. I guess we’ll find out next year.

Glare

On paper, and even on some other surfaces, Glare’s blissed-out shoegaze might feel like an odd fit for sub-headliners in a venue that has previously witnessed Elmo and the Cookie Monster two-stepping on this very day – but their lucid, contemplative set offers some much-needed diversity and feels like an opportunity for the crowd to reset. That’s probably a good thing for all concerned, not least the tireless security team.

Playing cuts from well-received debut full-length ‘Sunset Funeral’, initially delayed due to the pandemic, as well as plenty of older material like early career standouts ‘Blank’ and ‘Void in Blue’, the Texan natives cover a lot of ground during their hour-long set. Still adjusting to performing as a four-piece after parting ways with vocalist and founding member Christian Resendez earlier this year, the band are surprisingly tight, making it work with two guitars rather than three, while also sharing vocal duties. An atmospheric rendition of ‘Sungrave’ brings things to a close, but the feeling of quiet contentment that their music instils will linger only for as long as it takes to change the stage over.

Static Dress

Another band making their return to South Devon, Static Dress are stepping up to the plate as headliners, promising a special performance of debut album ‘Rouge Carpet Disaster’ in full. However, it becomes immediately apparent that there’s still room for a little bit of creative license here, as the band open with their most recent single ‘face.’, followed by fan favourite ‘clean’, before the record we’re technically gathered to celebrate gets any flowers whatsoever. Later on, a touching rendition of the ballad-like ‘marisol’, complete with fake snow, acts as a set closer, before the band re-emerge to finish the job with the actual last song on the album, ‘cubical dialogue’. Technically, this is played as part of the encore – which also includes a new song – before the band bring down the curtain with the anthemic 2024 single ‘crying’.

Album sets can sometimes feel a little disjointed. Not every song translates well to the live setting, and setlists seldom naturally mirror an album’s tracklist. Static Dress are admittedly helped by the fact that ‘Rouge Carpet Disaster’ is already a much-loved entry into the canon of British post-hardcore, but by refusing to play it completely straight, the band ensure we get the best of both worlds. It’s a triumphant return to the Torquay stage, and a perfect example of what a successful ascension to a festival headline slot looks like.

Saturday

Mouth Culture

Mouth Culture are in many ways the perfect Saturday afternoon main stage band. Their soulful and anthemic melodic rock is well-received by good-natured push pits, a myriad of crowdsurfers and various unusually-dressed characters on the dancefloor. Opening with recent single ‘Regret 101’ and ‘Sharkbait’, there are arms aloft and singalongs aplenty. ‘Ratbag’ and set closer ‘Don’t Pull Up’ also illicit strong reactions.

Blood Command

Crawling onto the stage on all fours, Blood Command vocalist Nikki Brumen is clearly in as mischievous a mood as ever. Decked out in their traditional all-Adidas stagewear, most of which Brumen will shed before the end of the set, the (mostly) Norwegian riot-starters launch into the snaking ‘Ctrl+Art+Del’, followed by a thumping rendition of ‘Cult Drugs’, before turning their focus to newer material. With her guitarists flanking her on either side like lane bumpers, Brumen is a human bowling ball careening straight for the crowd. True to form, she is chaos personified. Mid-set stomper ‘Forever Soldiers of Esther’ is a particular highlight, as is the closing one-two punch of ‘A Villain’s Monologue’ and ‘Cult of the New Beat’. It’s a cool, confident, barely contained set that acts as a shot in the arm for anyone daring to let the early afternoon languor creep in.

Guilt Trip

Billed as the festival’s first-ever ‘no barrier’ main stage set, Guilt Trip’s sub-headline slot attracts probably the biggest crowd of the weekend. A large percentage of those in attendance are warmed up, well lubricated and ready to get involved, but even in the wings there’s plenty of general curiosity surrounding the success of the barricade-less experiment, and what that means for the festival going forward. Taking their cue from Outbreak festival, a half-height platform has been installed in front of the stage, and after a shaky start when the crowd gather on the platform rather than stage dive from it (vocalist Jacob Valentine does his best to sum up stage-diving etiquette for the uninitiated), things start to flow and it feels like the situation is self-polices itself pretty well.

The set itself draws heavily from the band’s 2023 album ‘Severance’, a record that Valentine says “changed everything” for Guilt Trip, but there’s room for some older material and even a Machine Head cover. Overall, it’s hard to describe their pulsating set as anything other than a festival highlight and a resounding success.

Karen Dió

Closing out the evening in the Apple & Parrot, Karen Dió is keeping things breezy. Her elastic pop-rock, backed by husband, writing partner and Dinosaur Pile-Up frontman Matt Bigland, is making waves at the moment. Coming off the back of a busy summer of support slots and festival appearances, her setlist and stage patter has been sculpted into shape and feels sharp and engaging for the most part. Opening with the melodic power trio of ‘My World’, ‘Stupid’ and ‘Cut Your Hair’, she stalls a little toward the mid-point of the set before bringing things back on track with a Chappell Roan cover. She definitely has the energy to headline this stage, but if we’re being completely honest, she doesn’t quite have the songs yet – perfectly illustrated by the fact that biggest single to date, ‘Sick Ride’, gets played twice to close the set, simply because she’s run out of material. Nevertheless, it’s a fun 45 minutes that does nothing to harm the likeable Brazilian’s continued upward trajectory.

Cancer Bats

When Cancer Bats were announced as Saturday night headliners, it’s fair to say that a few eyebrows were raised. For a festival that digs deep into the UK underground, it felt slightly unexpected to see a road-worn Canadian band at the top of the bill – particularly one playing their only UK set of the year. Then again, unexpected is what Burn it Down does best.

One of the highlights of the traditional Burn it Down festival experience is being able to scientifically observe the reaction of international touring bands to giant inflatable ducks. As is customary, one such floaty fellow gets hoisted airborne during the early set highlight ‘Hail Destroyer’, much to the delight of the crowd, who afford their returning hero the respect he deserves by repeatedly crowdsurfing on top of him.

Halfway through, things do start to get a little flat, particularly when compared to the absolute carnage of Guilt Trip just an hour or so earlier. That being said, Cancer Bats know how to sit at the top of a Saturday night festival bill, and it’s the closing salvo of the Beastie Boys’ ‘Sabotage’, their own swaggering anthem ‘Lucifer’s Rocking Chair’, and Black Sabbath’s ‘War Pigs’, dedicated of course to the recently departed Ozzy Osbourne, that really gets the crowd riled up – how could those three songs not? Overall, despite feeling like a slightly strange headline booking, the band’s party vibes and likeable personas win almost everybody over.

It’s been another great year of music and madness, and tickets for next year’s instalment, confirmed once again to take place over three days, are already being snapped up.

We’re going to need a bigger duck.

Surely, for many, waking up on that Friday morning was no mean feat. That Silent Disco is just too good to refuse, right? One day of festivities down, two to go – suck it up. Oh, and bring sun cream.

Words: Aaron Jackson.  Images: Paul Lyme and Penny Bennett

The St Pierre Snake Invasion

Tasked with the midday slot, the sun was already beating down on the exposed lawn of the main stage as The St Pierre Snake Invasion stepped up. In releasing ‘Galore’ earlier this year, they’ve already entered the album of the year conversation, so to hear renditions of ‘Kracked Velvet’ and ‘Submechano’ amongst others live was a right treat to start the day. Stylised vocals drenched in distorted noise carried over crashing instrumentation that brushed away any cobwebs left over as a result of the previous night’s party.

Unfortunately, their set was cut short, according to frontman Damien Sayell because they had too much gear and spent too long getting ready. However, there was still time to close it out with the rambunctious ‘Rock ‘n’ roll Workshops’, during which Sayell was joined by his young son. Proud as punch, he held onto his boy like a trophy as he screamed his head off like a maniac (Sayell senior, that is). It was a wholesome end to a wholly impressive performance.

BLACKGOLD

Something’s happening here. A nu-metal revival of sorts. Hailing from London but with all the pomp and swagger to garner attention from across the globe (including from genre godfather Fred Durst himself), BLACKGOLD take to The Cave with an air of intent about them. Dressed up to the nines, complete with black and gold masks, it’s a cool aesthetic but they must have been sweating up a storm under there.

The industrious blend of hip-hop and hardcore was impossible to resist, particularly throughout the copious fat breakdowns which elicited mass movement throughout the audience. Anonymous as individuals, but expect to be hearing the name BLACKGOLD plenty soon.

Heriot

Without a shadow of a doubt one of the most brutal bands on the bill, Heriot take no prisoners wherever they go, regardless of the size of the stage. Tanking through juggernauts like ‘Enter The Flesh’ and ‘Profound Morality’, there’s a gravity to this music that belies the breakneck speed at which it’s delivered. 

Debbie Gough (guitarist/vocalist) and Jake Packer (bassist/vocalist) exchanged vocal blows between themselves, each one more guttural than the next to shake onlookers through to their core. While the crowd may have been sparser than one would hope (possibly due to the time of day and the heat), there was a healthy nucleus of devoted Heriot fans front and centre that were insatiable in their appetite for heavy music. Flailing limbs aplenty, Heriot made their mark and then some.

Heart Attack Man

Embracing their first UK festival appearance, and a second visit to the land overall, with heaps of energy is Ohio four-piece Heart Attack Man. They bound into their set with ‘Freak Of Nature’ – the titular track of their brand new LP. Only in the public domain for a couple of months, the catchy choruses on album cuts such as ‘Like A Kennedy’ and ‘Stick Up’ ensure that plenty in the crowd are singing every word back to frontman Eric Egan.

‘C4’ was an explosive inclusion that sparked a fiery circle pit in The Cave, satiating a crowd aching for an excuse to get rowdier. There’s a case to be made that the edgier, heavier numbers from Heart Attack Man’s oeuvre would’ve been embraced with open arms in this setting – the likes of ‘Puke’ for example. However, pop-punk anthems like ‘Pitch Black’ and ‘Leap Year’ still had plenty of bite in them for Hammy to hold their own on this turf.

Origami Angel

What a stage for the final show of a first-ever UK tour. The eclectic and bordering on prodigious Washington D.C. duo made up of vocalist/guitarist Ryland Heagy and drummer Pat Doherty were clearly relishing this experience. Spotted on the side stage the previous day cheering on their tour mates Prince Daddy & The Hyena, they delivered a whirlwind set on The Axiom with the same smiles beaming across their faces.

Buckets of variety between the surfy ‘Thank You, New Jersey’, the angsty ‘JUDGE’ and of course, the anthemic ‘24 Hr Drive-Thru’ ensured that there was something for everyone on offer. Each song was expertly executed with the two members sonically bouncing off of each other in perfect unison, all the while fans went frankly rabid at points. The cherry on top was some great news for fans both existing and new when Heagy revealed (after receiving permission from The Wonder Years’ Soupy) that his band would be returning to the UK in November to support TWY on tour. We will be there.

Joyce Manor

Taking to the Main Stage in the blazing sunshine, Joyce Manor looked at home in a setting of such grandeur. Understandably unphased by the intermittent British summer, the Californian quintuplet strolled straight into their 18-song setlist – an incredible feat considering their 45-minute time slot. The set consisted of hits that spanned from 2012’s breakout ‘Of All The Things I Will Soon Grow Tired’ all the way through to 2022’s impressive ’40 oz. To Fresno’, delivering a little bit of everything to the sizable crowd that had assembled in the rolling Gloucestershire hills.

The band rattled through their set at an electrifying pace, calling for inspiration from the crowd for song requests – a theme common on Joyce Manor shows, supported by their short, succinct songwriting style. Of course, hits such as ‘Leather Jacket’, ‘Eighteen’, ‘Constant Headache’ and ‘Catalina Fight Song’ drew the biggest singalongs,  affirming the band’s status as one of the genre’s most beloved cult bands.

Zulu

One of the most anticipated sets across the whole weekend belonged to scorching hot trailblazers, Los Angeles’ Zulu. Largely thanks to the quality of their debut full-length ‘A New Tomorrow’ which dropped earlier this year, the band have a record that has rippled seismically throughout the scene. Moving at an unrelenting pace, all five members displayed unmatched energy as they tore through hit after hit, the likes of ‘Where I’m From’ and ‘Fakin’ Tha Funk (You Get Did)’.

The dual vocals between the principal vocalist Anaiah Lei and the drummer/vocalist Christine Cadette (whose performance stunned from start to finish) hit just as hard in a live setting as they do on the record. The whole experience felt as though it lasted five minutes, each crushing breakdown more doom fuelled than the next, completely capturing the attention of all onlookers. Bowing out with ‘52 Fatal Strikes’ it was a fleeting yet delightful encounter, with a fair few fans stumbling out of The Cave ever so slightly worse for wear than they were 30 minutes prior.

Microwave

There was a palpable air of relief from the Atlanta, Georgia four-piece Microwave as they settled into their slot on The Axiom. Two cancelled UK tours off the back of 2019’s ‘Death is a Warm Blanket’ felt like a significant setback at the time. It had been a long wait, but Microwave seized their opportunity to reacquaint with a British audience in a determined and convicted manner.

Traversing between the grit of ‘Mirrors’ to soothing stoner numbers like ‘keeping up’ later on in the set demonstrated the versatility of the band. Frontman Nathan Hardy even donned an acoustic guitar, rarely sighted outside of 2000trees’ picturesque Forest stage, as he strummed through newer cut ‘Straw Hat’. Microwave’s ability to evoke sunny imagery was the perfect compliment to that late summer afternoon described as “spicy” by Hardy.

Usually, the band would leave their audience with the visceral climb at the conclusion of ‘Vomit’, however, they had five minutes in spare change at the end of the set. A solo acoustic rendition of ‘Something Right’ instead marked the end of a well-rounded performance from a band with such a rock-solid discography on an elegant and poignant note.

The Xcerts

Beloved mainstays of 2000trees, endearing trio The Xcerts are back and toeing their way through a brand new era for the band. It’s been over five years since the release of their previous record ‘Hold on to Your Heart’ and, while there was plenty of space across the 50-minute time slot for old favourites, it was the brand new ‘GIMME’ that fans were greeted with. Frontman Murray Macleod was having great fun with his autotune machine, beaming and bouncing around the stage as he chanted his way through the 90-second flash of dirty pop-rock. 

Making light of internet trolls and the band’s apparent insistence on committing “career suicide” with recent directional choices shows just how confident The Xcerts are with their new output, and so they should be. That said, the nostalgia of older cuts like ‘Slackerpop’, ‘Crisis in the Slow Lane’ and the utterly timeless ‘Aberdeen 1987’ is unmatched and therefore marked the highest points of the set. Being part of a crowd in the thousands singing “I’m your new best friend…” in unison, will forever be one of this festival’s champagne moments, regardless of the year.

Employed To Serve

Walking out to a surprisingly humble crowd in numbers, it didn’t take long for The Cave to fill out once Employed To Serve built into the cascading, crushing brilliance of ‘Universal Chokehold’. The instrumentation throughout the set was airtight, with a special mention for Sammy Urwin whose speed up and down his fretboard was implacable. Fronted by the powerhouse that is Justine Jones, her voice was impeccable as she tore through some of the most aggressive and expressive music of the whole weekend.

There was some exquisite headbanging on display from the band and audience members alike, the lightning pace of the music resulted in hair whipping all over the place and, no doubt, some very sore necks. Mind you, would it even be possible to listen to ‘Force Fed’ or ‘Mark Of The Grave’ without throwing the skull around? Doubt it.

Empire State Bastard

Perhaps a small handful of onlookers stumbled to the Empire State Bastard set having heard that Mike Vennart and Simon Neil (from a little band by the name of Biffy Clyro) would be performing, in a tent, in 2023. Those unfamiliar with the nature of the project were knocked for six as the experimental outfit launched into one of just two songs that have been released for public consumption to date. ‘Harvest’ is the perfect introduction to this off-the-wall cacophony – it’s chaos, but it’s brilliant. The following ten songs are no different.

Even in the weirder early years of Biffy Clyro, this is Neil like never seen before – in fetching short shorts, launching himself across the stage while screaming like a bobcat. What a spectacle. The only disappointment was that legendary percussionist and Empire State Bastard regular Dave Lombardo was unable to attend, as he was away on a US tour with Misfits. That said, the replacement was a fucking animal on the tubs. There were few bells and whistles, just really heavy music to which a core nucleus of the crowd pitted hell for leather on every song, whether they were familiar with it or not. The rest stood and watched, awed by the noise surrounding them.

Cancer Bats

Bodies were spilling out of The Cave to catch a glimpse of seasoned pros Cancer Bats headlining the stage. Knocking about for almost 20 years now, the Canadian outfit have been firmly established as a household name in the hardcore scene and it was a busy festival for them. The previous night saw them perform under their, by now well known, alias Bat Sabbath and delivered a set packed with tributes to metal forefathers Black Sabbath, It was, by all accounts, a fantastic experience.

Funnily enough, it was another cover performance in The Cave on the Friday night that stood out amongst the rest – Cancer Bats really do a mean ‘Sabotage’ by Beastie Boys. Fans of the band will know what they’re getting from a Cancer Bats show, but that never stops it from hitting as hard as it does. Jay R. Schwarzer’s swashbuckling riffs, paired with Mike Peters threatening to beat his kit so hard that it collapses the entire stage creates a colossal sound that rattled the whole field to its core. Of course, always impossible to ignore, was frontman Liam Cormier who never once stopped for breath in between songs, let alone during them – a tireless performance from one of the most consistent acts out there.

Bullet For My Valentine

There were plenty of moments throughout the 90-minute headline slot for Welsh metal outfit Bullet For My Valentine that proved why they are held with such legendary regard across heavy music fans. Filling the stage out, complete with an elevated drum platform and vivid light show, the setup couldn’t have been more opposite to the raw simplicity of Soft Play the night before. Armed with timeless hits like ‘Your Betrayal’, ‘Hearts Burst Into Fire’ and ‘Scream Aim Fire’ (for all the guitar heroes out there), each song was executed with the flawless proficiency of a band that have remained at the top of their games for literal decades.

It was their first time at the festival and there was a bit of a foot-in-mouth moment from frontman Matt Tuck as he pontificated about how Bullet were probably the heaviest band to ever play 2000trees. If he’d caught Heriot or Zulu earlier in the day, then he would’ve quickly realised how silly a claim that was. Things did kick up a notch however, when fans were treated to an impromptu AxeWound reunion as Cancer Bats frontman Liam Cormier was back again, this time on the festival’s biggest stage. Running through ‘Cold’, Cormier’s energy was simply unmatched and made the rest of the band look static in comparison, though he would have this effect on most artists out there.

With ‘Tears Don’t Fall’ ageing into something of a seminal track for the band, it marked a huge moment in the set that will stay with fans, both old and new, for a long time after the final note had rung out. ‘Waking The Demon’ was the perfect closer, standing as something of a quintessential Bullet song – blistering verses fuelled by a storm of riffs and a gigantic chorus that opens up, allowing Tuck to let his voice soar and soar it did. Perfectly suited for the biggest stages, Bullet were built for the occasion and delivered appropriately.

AARON JACKSON

So, with this year marking 20 years of Download Festival –  and 53 years of festivals at the esteemed Donington Park – how did Download fair with so many eyes turned towards the fabled Apex stage? It certainly wasn’t an uneventful weekend, as the usual classic rock and metal of past festivals was instead blended with a cavalcade of new genres and some surprising new faces. While our sunstroked staff couldn’t cover every blistering high and searing low over the weekend, we did have some favourites in between lashing on SPF 50…

Words: Fiachra Johnston.  Images: Penny Bennett and Download Festival  / Andrew Whitton

Cancer Bats

If you want a Download started properly, you bring in Cancer Bats. This is their sixth go around at the festival, and despite working with equipment borrowed from their friends in Graphic Nature, Liam Cormier and the Ontario outfit are just as explosive as they were in 2007. ‘Sorceress’ gets the crowd into a suitably aggressive mood, with the energy only spiraling upward as Cormier incites them to form greater and greater pits during ‘Let It Pour’. The band are just what a sleepy Thursday afternoon needs, with even tracks like ‘Radiate’ from their newest record resonating with a hungry audience. Their thundering cover of Beastie Boys’ ‘Sabotage’ isn’t meant to be their closing track but alas, before they have a chance to launch into finale, ‘Hail Destroyer’, they are cut off due to time constraints. Undeterred, they press on – cut off by the sound team but still just about audible over the roar of a supportive crowd – until at last they are forced to move by an oncoming stage tech team. They won’t be the last to suffer the curse of the Opus this year, with many groups taking to the second stage suffering from a swathe of technical issues and delayed sets, but if you thought a band called Cancer Bats were ever going to surrender the stage without a fight, well, that’s on you.

The Bronx

As you’ll see from a lot of our choices for Thursday, Opus stage is where the energy is at. While Haken and Perturbator turned Dogtooth into Download’s own underground club, and State Champs cranked up the heat at Avalanche, Matt Caughthran and The Bronx are whipping up the first of many dust storms to come. The always popular ‘Heart Attack American’ sees the crowd properly dive into the chaos that is Californian punk rock, guitarists Ford and Horne’s riffs throwing the crowd back to the days of Tony Hawks’ Pro Skater 2. ‘Knifeman’ sees Caughthran jump into the crowd to supervise the circle pit himself, much to the chagrin of the poor stagehand left to figure out how to stop 30 feet of microphone wire becoming a 40 person tripping hazard. Sadly, their eight track set contains nothing from their three albums of mariachi music, so we have to settle for the otherwise gnarly, dusty and manic punk set that aptly sets the tone for the rest of the weekend.

Jinjer

The Apex stage was no letdown on day one, with Download classics such as Halestorm and Alter Bridge making their return to Donington for its anniversary. You’ll no doubt hear about how wonderful their sets were (with good reason; Lzzy and Myles rarely disappoint), but in what will be one of the Apex’s most underrated performances, Jinjer – on tour as ambassadors of Ukraine – make quite the statement, launching into ‘Perennial’ as if they’ve always been a DL mainstay. This year saw Download’s signature lineups of classic metal acts merge with more ‘scene’ genres and bands, and with their blend of melodic metal and Tatiana Shmailyuk’s truly impressive hardcore vocals, both young and old show-goers are invigorated as ‘Colossus’ puts Apex’s speaker system to the test. Shmailyuk marches across the stage during ‘Copycat’ and ‘Teacher, Teacher!’ as if she’s the main event of the night, promoting peace in their country throughout the show but causing an absolute riot in the pit with her vocal performances. It’s a short set but an impactful one and while they might have come into this show as an afterthought, Jinjer leave day one as a future must see.

Puscifer

Maynard James Keenan is a weird fellow, but he by no means rests on his laurels. Between a deluge of hobbies and three touring bands, he still finds time to attend Download, added to the lineup with the cancellation of their Brixton date. Maynard and Puscifer, or rather, Agent Dick Merten and the spooks from the “TMZanon Division of Pusciforce” take to the Opus stage looking for signs of alien life in the crowd. In between conspiracies that singer Wendy O Williams faked her death and returned as the frontman of Tool, and fellow agent and frontwoman Carina Round squat-lifting the frequent “alien visitors” that attempt to interrupt their set, Puscifer finds time to deliver an altogether excellent performance of both newer tracks and remixed renditions of older classics, such as the Versatile mix of ‘Momma Sed’. The multileveled stage setup, the multimedia aspects, and some truly incredible riffs from guitarist Mat Mitchell (‘The Remedy’ live is something that must be see to be believed) all support Round and Keenan’s antics. Their manic energy and choice of the band’s most off-kilter tracks such as ‘Apocalyptical’ and ‘Man Overboard’ leave this one of the weekend’s most surreal experiences, only hindered by how much needs to be cut from their usual set to fit the festival time limit.

Skindred

Oh Benji, what would Download be without you? The Opus stage headliners aren’t even meant to be here, filling in at the last minute for a sadly unavailable Five Finger Death Punch. This brings Newport’s resident rockers to Download for an incredible fourth year in a row. Of course there are people who may be displeased but most, if not all, complaints melt away the second Skindred take the stage. Charismatic to the nth degree, Benji Webbe holds the crowd in the palm of his hand like no one else can, deftly moving between tongue-in-cheek Harry Styles samples to heartfelt monologues to their classic reggae infused metal. With a new album on the way, new songs like ‘If I Could’ and ‘Set Fazers’ inject new life into an otherwise ancient setlist, and not content to leave DL20 without a surprise, Apex stage’s Lzzy Hale joins them in a hellacious rendition of ‘Warning’. It isn’t the second stage headliner we expected, but there’s a reason Skindred are Download’s MVP.

Metallica

Eight headline shows. Eight. If there’s ever a band that embodies the spirit of metal at Donington Park, it would be Metallica. First appearing at 1985’s Monsters of Rock, James Hetfield and co have spent the better part of four decades thrashing their way into our hearts. It’s unknown if the end is near in sight for juggernauts of thrash; if the M72 World Tour, with its massive schedule of double shows spanning the length of 2024 signals some kind of last hurrah, but for tonight at least Metallica are content to remind the world while they are one of the greats.

As AC/DC’s ‘It’s a Long Way to the Top (If You Wanna Rock ‘n’ Roll)’ blares over the speakers, a montage of tour photos from the last 20 years appears on each screen, slowly dissolving into Metallica’s tradition Ecstasy of Gold intro, before all hell breaks loose as the opening ‘Creeping Death’ sets the crowd alight.

Yeah, Metallica still have it. Hit after hit, nary a word said until ‘King Nothing’, where the introductions are brief before Lars counts the crew into a double hit of new material in ‘Lux Æterna’ and ‘Screaming Suicide’, tracks that, despite their youth, flow surprisingly well into their classic material. Metallica still have an aura like no other, commanding the stage with the stoic presence of a steel giant, but there’s perhaps a sense of seriousness that separates it from previous tour sets. James makes some wisecracks at Lars’ utterly mangled snare after ‘Fade To Black’, and a jab at their newest line of merch (“Yellow on a t-shirt, it’s… eh it’s maybe not our best”), but otherwise they are wholly focused on the performance tonight. There are any number of factors for the lack of levity, but it is missed, and when it makes its return on the Saturday set (spoilers!), even for a brief moment, it’s much celebrated.

There’s a little bit of something for everyone tonight. ‘Orion’ makes a welcome return to the setlist, and a ripping rendition of ‘Blackened’ manages to keep the crowd alight even after a near two hour performance. Yet even after closing with the ever popular ‘Seek and Destroy’ and ‘Master of Puppets’, this may go down as the weaker of the two sets. Even then, nearly 40 years removed from ‘Master of Puppets’, Metallica deliver one of the most impressive live performances in the industry. The titans of thrash are beyond needing to prove themselves at this point, and as the last of the pyro turns whatever clouds remain in the midnight sky into vapor, we leave Thursday wondering how we could ever have doubted them.

If you were unfortunate enough to have been caught up in the hell that was Wednesday’s rush for parking and camping space, Download’s first day provides ample opportunity to recover. Cooler, calmer, and shorter than the following three days. It’s no secret that this extra day only exists to support Metallica’s current schedule of two shows per tour location, but given the quality of the acts Download has built around it, the fortuitous timing of the festival’s anniversary and how hectic the remaining days were expected to be, this day makes for a well needed buffer to allow the crowd to truly get into the festival spirit.

 It may have only been nine months since we were last here, but today couldn’t come soon enough. Here’s what we got up to…

Words: Yasmin Brown [YB] and Catie Allwright [CA]; Images: Penny Bennett & Slam Dunk

CASKETS

After a forced name change back at the start of 2021, Caskets have returned with a vengeance, with fans quickly forgetting they ever existed under a different alias. Today, they fill the tent that protects us from the intermittent sun and equally threatening clouds at The Key Club Stage, playing to an overly excitable crowd despite this early set time. Even from the back of the tent, the clean and dirty vocals complement one another stunningly, the heaviness never once overbearing the melody and, despite minor setbacks, this is a band who have mastered their sound and will soon be climbing up the ranks at festivals such as Slam Dunk. Today is made for them, and they are made for this crowd – we can’t think of a better way to have kicked off our day. [YB]

CASSYETTE

Hot on the heels of her My Chemical Romance support shows, Cassyette opens the Jagermeister tent with remarkably fierce energy. It’s only midday so we’re still waking up and sipping on our first pints, overlooked by ominously grey clouds, but that’s soon forgotten by everyone listening to Cassyette’s phenomenal, husky voice and getting enthusiastically stuck into a pit. It’s a short but punchy set with popular tracks including ‘Dear Goth’, ‘Mayhem’ and ‘Prison Purse’, as well as her new single ‘Sad Girl Summer’ (add this to your Spotify playlists and thank us later). A regular Slam Dunk punter, this is the 29-year-old’s first time on stage at the festival – but with Cassyette’s voice and energy, it definitely won’t the be the last. And we’re willing to bet that next time, it won’t be a warm-up act. [CA]

THE BRONX

Bringing the California sunshine to Hatfield for their final show of the tour, The Bronx are next on the Dickies stage and are looking positively pumped to be there – despite losing absolutely everything on their flight over from New Zealand. Thanks to the generosity of stage-mates The Suicide Machines, The Dropkick Murphys and Hot Water Music, the quintet make it work with borrowed instruments, proving that the “community of motherfucking punk rock” is very much alive and well. 

Slam Dunk’s ‘rock and roll policy’ wouldn’t allow a charity crowd surf, with $5 donated by The Bronx to mental health crisis centres for every sweaty body lifted over the barrier, so they opt instead for $10 for anyone who climbs onto another’s shoulders. This gets a disappointingly lukewarm reaction, and allegedly the southern crowd can’t bring the noise as loudly as the north the day before, but there’s still a huge circle pit (monitored closely by security staff in high vis). It’s vocalist Matt Caughthran’s goal for everyone to move their bodies and have a good time and we do just that… whilst playing by the rules, of course. [CA]

YOURS TRULY

Fresh of a last-minute support slot for You Me At Six at this same venue just two days prior, Yours Truly are more than warmed up for today’s set. Mixing up the setlist slightly, those in attendance earlier in the week are treated to something new, and those who are catching the band for the first time are certainly seeing Yours Truly at their best today. Front woman Mikaila Delgado, who wastes no time wishing everyone “Happy Pride!”, continues to bring the energy throughout, bouncing around the stage with ease, her charisma overshadowing the fact that her usually ferocious vocals and the vital backing track are disappointingly drowned out by her bandmates. Regardless, the crowd are clearly delighted to be here with this Australian four-piece today, screaming as each next song is announced, for the most part making it easy to ignore any sound issues. Here’s hoping they return soon so we can witness these up and comers reach their full potential. [YB]

HOT MILK

No strangers to festival lineups, it’s been almost a year since Hot Milk opened up the main stage at the Download Festival Pilot in 2021. Since then, they’ve only become more comfortable on such stages, improving as time has passed and building more of a fanbase with every set. Today, they sound stronger than ever, bouncing off the walls for the duration of their thirty minute set. It’s clear today what the fan favourites are – ‘I JUST WANNA KNOW WHAT HAPPENS WHEN I’M DEAD’ and ‘Candy Coated Lies’ to name just a couple – but each song is met with excitement from the busy Rock Scene stage. The chemistry between the band members is tangible, in particular vocalists Han Mee and Jim Shaw, each interacting with each other throughout without missing a beat. As the clouds start to dissipate, fans leave the tent looking delighted with the experience and we can’t think of a more apt way to kick start the bright and sunny afternoon. [YB]

SILVERSTEIN

Back at the Jagermeister stage, which may as well have been dubbed the Canada stage for 2022, Silverstein are here to party with some early emo anthems like ‘Smile In Your Sleep’ and ‘My Heroine’. Slam Dunk always strikes the perfect balance between bittersweet nostalgia and showcasing emerging talent (or just new material), so Silverstein’s hit singles including ‘Afterglow’ and brand new tracks like ‘Ultraviolet’, from the freshly dropped album ‘Misery Made Me’, land almost as well. After making a name for themselves back in the early noughties, Silverstein are now “on their 22nd lap around the scene” and still feel like they’re only getting started. Seeing their lively performance and one of the biggest crowds of the afternoon, it’s more than believable that they really do have so much more to offer. For fans who enjoyed (or missed) the show, be sure to grab tickets for their Camden and Birmingham dates at the end of the year. [CA]

CANCER BATS

Cancer Bats have waited a long time to be back on stage in the UK and it feels “real good” – just take one look at the elated expression on drummer Mike Peters’ face. The hardcore fans of hardcore are familiar to lead vocalist Liam Cormier, who is all too used to seeing their contorted faces screaming back at him, but the wider crowd are formally introduced to the motherfucking Cancer Bats. He calls out the “sick lineup” with so much representation from Canada – Silverstein, Cancer Bats, Counterparts and the world-class headliner Alexisonfire (with vocalist George Pettitt joining for his guest verse in ‘Pneumonia Hawk’). 

Cancer Bats have played at Slam Dunk “7, 8 or maybe twelve times” so it’s an old stomping ground for most of the band, except guitarist Katie Lamond who’s playing in the UK for the very first time. She’s more than up-to-speed with the band’s discography, tearing her way through tracks including ‘Sabotage’, ‘Hail Destroyer’ and ‘Lonely Bong’ from their latest release, ‘Psychic Jailbreak’. For such angry music, it’s an upbeat set with everyone both on- and off-stage absolutely pumped to be there. [CA]

WITH CONFIDENCE

How to accurately convey the joy that With Confidence bring to Slam Dunk? There’s barely a bucket hat in sight at Slam Dunk today and yet front man Jayden Seeley breaks the mould, wearing his with pride, alongside a grin that never once subsides over the 35-minute set – a grin reflected on the faces looking up at the stage. This is Australian pop-punk at its finest and if you close your eyes you could almost be on Warped Tour with the searing heat now beating down and catchy riffs filling your ears. There’s an appropriate level of confidence exuding from the band who seem to know that fans will sing along word for word from the moment they start playing, a well-oiled machine made up of four slick musicians making it very easy to love them. It’s been three years since the band were last here but they’re met like old friends, talking to the crowd as though they are, too – from call and responses to that endearing Australian banter, the time between songs is filled well, making every moment enjoyable and leaving you wishing it might never end. [YB]

HOT MULLIGAN

Hot Mullligan haven’t played a single note yet and they’re already demanding that a pit opens up in the Key Club stage’s crowd. Today’s rammed and already sweaty crowd obliges without question before ‘Something About a Dead Dog’ kicks in and they happily follow yet another request: “If you know the words, sing it”. Beers they’ve queued an hour to purchase for an extortionate price are flung into the air, soaking those below it, and it’s very quickly clear what a chaotic half hour this is turning out to be. You’d never guess from the band’s wild popularity that this is their first time in the UK; as each song passes, increasingly more crowdsurfers sprint out from in front of the barrier, adrenaline coursing through their veins, ready to do it all over again. It’s hard to pinpoint a fan favourite here today, as each song is met with the same level of enthusiasm as the last, and with the four-piece being so perfectly in sync, playing each to perfection, it’s not hard to see why. This may be their first time on our shore but if today proves anything, it won’t be their last. [YB]

THE WONDER YEARS

Under the canopy of the Rock Sound tent, anticipation is palpable as we wait for The Wonder Years to begin their double set. It’s off to a go with a chant for guitarist Nick Steinborn, who was in COVID quarantine until this very morning. And what a day to have the freedom to play again; the album ‘Suburbia I’ve Given You All and Now I’m Nothing’ came out in 2011 and its 10-year anniversary celebration is now long overdue.

With so many changes and hiccups in the band’s formative years, vocalist Soupy (Dan Campbell) admits he wasn’t even sure they’d be on stage a year later. But here they are, coming out swinging to the opening track ‘Came Out Swinging’, with hundreds of people singing along. And not just singing, the kind of screaming that rips from the pit of your stomach through your hoarse throat, with well-rehearsed words that clearly mean so much to every person there.

The Wonder Years are far too humble, claiming to be a band who plays basements rather than festival tents, and are always surprised to see people waiting for them as they walk out on stage. But they didn’t simply play this year’s Slam Dunk, they retained an engaged crowd through two albums played in their entirety – with ‘The Upsides’ (2010) following ‘Suburbia’. So they might be the underdogs, but at Slam Dunk it’s where they belong. As Campbell said himself, it’s here they’re home. [CA]

MAGNOLIA PARK

Somewhat new kids on the block, Magnolia Park have recently made a name for themselves, deservedly picking up a host of new fans, finding themselves on the cover of Kerrang! back in May and collaborating with Mayday Parade’s Derek Sanders. It makes sense then that the band’s set today should go down like a house on fire, with those fans standing front and centre screaming along to each and every word as they make their way through the setlist. A surprise cover of Fall Out Boy’s ‘Sugar We’re Going Down’, while not necessary, picks up those hanging around the edges, bringing them further in and getting them just that little bit more on board. This band pushes boundaries, sounding unlike anything we’ve heard today, and their performance is sure to see them picking up new loyal followers aplenty. Shortly from the end of the set, the band encourage the whole Key Club tent to get down on the floor before jumping up at ‘that moment’ in the song. This energy carries us through to the end of the set and beyond, leaving us more than satisfied and endlessly intrigued to see what’s coming next. [YB]

BEARTOOTH

In your chest, you can feel the power pulsating from the speakers before Beartooth have played a single note. They’re here to do one thing and one thing only, says frontman Caleb Shomo, and that’s “to rip our fucking faces off with rock and roll”. It’s loud and intense and, of course, there’s a healthy amount of naked flame. 

The weight of the music and guttural vocals are beautifully juxtaposed against the grinning face of every single crowdsurfer who’s running past the barrier and diving straight back in to experience it all over again (and again).‘Disease’, which Shomo hates singing alone, and ‘In Between’ get the biggest and most powerful reaction – the crowd is vast and alive. Ending with ‘The Last Riff’ is an unusual choice, with little opportunity for spectators to get involved as the five-piece jam on stage, but maybe this is a moment just for the band.

You can’t underestimate the catharsis of seeing live music, which Shomo talks about, having had conversations with fellow bands about how we’ve all been sorely missing these opportunities to let loose, let go of our bullshit and rid ourselves of everything we’ve been holding in. With it being the first proper festival season since pandemic restrictions were lifted, it has even more gravity this time around. The truth, Shomo says, is that music isn’t just ‘something’. It’s everything: the blood coursing through his veins, his first language and it truly means the world when people come and watch Beartooth play. [CA]

THE STORY SO FAR

Stepping into The Wonder Years’ very big shoes are Californian four-piece, The Story So Far. Rivalling their predecessors for the largest crowd at The Rock Scene stage today, it’s no surprise that this band has been on the scene for 15 years as they receive a roaring welcome when taking to the stage. Today’s set is made up of hit after hit, each seeing the crowd all but drown out front man Parker Cannon (sometimes taking over entirely as in ‘Roam’) as they easily recall the lyrics from their old favourite songs. It stands, then, that the energy never once wanes, arms stretching in the air desperately, reaching for an unknown prize, and crowd surfers’ limbs flailing – an energy that’s matched by those on stage. After 15 years or so of practice, their performance is polished and goes off without a hitch and it’s clear to see how this band have persevered in a cut throat industry for such a long time. Here’s to the next 15. [YB]

ALEXISONFIRE

Today’s strongest performance without a doubt comes from the mighty Alexisonfire. After a hiatus that lasted far too long for anyone’s liking, AOF returned back in 2015 and yet despite a handful of singles, have yet to bless our ears with a new studio album since 2009. This come and go nature generally makes their shows more exciting but today, with their brand new album just weeks away, their Jagermeister stage headline set ignites something brand new in us – a fire that blazes more wildly than ever. 

The three vocalists, George Pettit, Wade MacNeil and Dallas Green complement each other as perfectly as ever, their differing tones each adding more texture to the performance and working together with the excellent musicianship to create something truly magical. Whether you’re singing along to your favourites (hello, ‘Boiled Frogs’) or moving in time to the instrumental opening of ‘.44 Calibre Love Letter’, there’s not a moment during this set where you won’t find yourself truly entranced by the scenes on stage and the sounds hitting our ears. 

As Pride Month is upon us, it’s only right that we feel safe here today, and Alexisonfire’s shows are pinned as such simply by the inclusion of ‘Accept Crime’ on the setlist – an inclusion that has never been limited to the month of June – and with today’s interchangeable weather, it wouldn’t have been too surprising if in this very moment a rainbow had appeared over the stage. The inclusion doesn’t stop there, either, as a call and response ensues during 2006’s ‘We Are the Sound’ before ‘Pulmonary Archery’ takes a beautifully chaotic turn and ‘Young Cardinals’ presents itself as the most impressive performance of the set. 

This band is on top form, better than they’ve ever been even after 21 years – our only complaint is that this couldn’t go on forever and ever. [YB]

NOVA TWINS

Nova Twins have seemingly burst onto the alt music scene since their first release in 2016, and have already secured a well-deserved headline slot today at Slam Dunk. It’s an intimate crowd, in unfortunate competition with the nostalgia trip Sum 41 offer and powerhouses Deaf Havana, but the pair are more than up for partying with the loyal fans who made it to the Key Club stage. As we’ve come to expect from Nova Twins, their set is politically driven and celebrates bodily autonomy, overthrowing oppressive systems and being fearlessly feminine. The crowd, though small, are mighty in their own way, even singing and dancing along emphatically to music that’s never officially been released. It’s clear that the integrity of this Kerrang! cover band has allowed them to grow monumentally since their inception, however their catchy sound and ferocious energy undoubtedly got them on the map in the first place, allowing them to spread their message far and wide. With a new album out now, this band is sure to continue to grow and next time there will be far more there to witness the beautiful carnage.  [CA/YB]

DEAF HAVANA

Like many bands, lockdown wasn’t easy on Deaf Havana, who almost called it quits last year, but today sees them back with a brand new lineup joining brothers James and Matt Veck-Gilodi as they introduce us to a shiny new era. While the sound isn’t quite up to scratch (although James V-G’s vocals are stronger than ever) and, as with Nova Twins, they’re battling the Sum 41 headline set over at the Dickies stage, they’re met with a delighted reception from those fans that are in attendance tonight. That’s not to say the crowd is small, necessarily, but certainly smaller than what you’d expect from a band of this calibre and general popularity, and you can’t help but feel they deserve so much more. With a setlist that spans their discography, there’s something for fans old and new, with 2018’s ‘Rituals’ songs ‘Worship’ and ‘Sinner’ in particular receiving some of the fiercest responses across the set. The newer material shines brightly through the falling sun, with many fans already knowing all the words to the fresh songs that have made it onto the setlist, some of which have barely been a month or so at the point of playing. With a headline tour coming our way in November, this is a perfect warm up and introduction to this new era of Deaf Havana – we’re very excited to be aboard this ship with them. What a way to end a truly glorious day. [YB]

The self-proclaimed ‘road dogs’ are back, refreshed after the long Covid-induced break and ready to rip your face off once again with album number seven – ‘Psychic Jailbreak’. The Canadians are now veterans of the hardcore scene, and their penchant for pumping out fast and furious tracks with just the right amount of hip swinging is showing no signs of weakness.

However, ‘Psychic Jailbreak’ is their first without founding member and formidable axeman Scott Middleton. The guitarist decided to step back from Bats duty in late-2021 and his departure has signalled a bit of a re-think in terms of songwriting. Working once again with producer JP Peters (Propaghandi), following 2018’s ‘The Spark That Moves’, the band hasn’t dropped a beat in the intensity and heaviness that they have become renowned for.

Bassist Jaye Schwarzer has taken up guitar duties and from the word go, ‘Psychic Jailbreak’ is an almighty powerhouse of a record. The door hinges are ripped off from the first chords of opener ‘Radiate’, which comes with Liam Cormier’s signature howls and evokes a sound reminiscent of their much earlier work, particularly 2006’s ‘Birthing The Giant’.

There is no time to breathe as it slams straight into the double-header of ‘The Hoof’ – where Cormier eulogises about his life “being saved by a skateboarder” – and ‘Lonely Bong’, an ode to life on the road. For a band so accustomed to touring the globe, a pandemic put them at a weird juncture, so it’s a love letter to the better days where they were, as Cormier puts it, “melting faces in Milton Keynes” and “shooting fireworks in Aberdeen”.

Sonically, Cancer Bats lean on their punk and hardcore sensibilities much more in this record. While previous works have trodden into metal and doom-rock, ‘Psychic Jailbreak’ has a break-neck tempo, demonstrated aptly on the sizzling guitar solo on ‘Friday Night’. It also permeates through ‘Shadow of Mercury’, which is a burning ball of rage that wouldn’t have felt out of place during ‘Hail Destroyer’-era Bats.

There are moments of the grooving stoner rock we have become accustomed to from the Bats in recent years in the shape of ‘Hammering On’. Cormier teams up with folk singer-songwriter Brooklyn Doran to create haunting vocal harmonies – another sign of the ambition to try something a little different on this record.

While the seventh album of a band’s career is not usually seen as the one that defines them, Middleton’s departure meant Cancer Bats had to go for something new. The excitement the remaining trio – Cormier, Schwarzer and drummer Mikey Peters – had going into recording shines through, and this is a band that feels as though they’ve fallen right back into their songwriting groove.

It encapsulates the party atmosphere, positivity and goddamn heavy riffs that only Cancer Bats can produce. As they return to the ‘road dog’ life, this record is one that will reverberate across all the sweat-stained pits the world has to offer. And, hey, maybe it’ll be your hometown that gets name-checked in album number eight.

TOM WALSH

For a band so accustomed to travelling to every corner of the globe on a daily basis, this pandemic-induced downtime has allowed some room to breathe. In ‘You’ll Never Break Us: Separation Sessions Vol. 1’, you find a side to Cancer Bats you probably would never have imagined while bouncing around sweat-stained pits in the underground clubs of provincial towns.

The EP, from which all proceeds go to Water First NGO, sees a level of experimentation we’ve not really heard from the Bats before. Front man Liam Cormier’s vocals, while taken down a couple of notches, have the same gruff intensity we know and love, while the unforgettable licks from guitarist Scott Middleton have swapped over to the acoustic guitar to create an almost country vibe.

As with all Cancer Bats records, there is plenty of swagger involved. ‘Lucifer’s Slightly Less Rocking Chair’ takes the ultimate fan favourite ‘Lucifer’s Rocking Chair’ and adds an unmistakable groove. It paints a picture of crossing the open roads of America’s western deserts, where the only shapes on the horizons are those of coyotes and vultures.

There’s still the trademark Cancer Bat energy coursing through the more up-tempo ‘Road Sick Sick Sick So Stay Home’ and ‘Darkness Lite’, while ‘Deathsmarch To A New Acoustic Beat’, featuring Ojibway singer-songwriter Nick Sherman provides an excellent juxtaposition between Cormier’s growls and Sherman’s elegant croon. The current predicament also gives the line of, “Hey world, you’ll never break me, try your hardest”, an extra layer of poignancy.

When you follow a band like Cancer Bats for so long, nothing should really surprise you – but with ‘You’ll Never Break Us…’ the band have pulled another rabbit out of the hat.

TOM WALSH