Off the bat, standout moments are, naturally, found on the singles released in the run-up to the album’s release. ‘me vs me vs all of y’all’ and opener ‘Nowhere, Ohio’ boast bouncy verses, colossal choruses and enough gritty venom throughout to ensure the whole thing doesn’t sound too squeaky clean. As an extra treat for fans, axeman Danny Rico has published guitar tutorials for both of these tracks on the band’s YouTube channel, making for compelling viewing. Rico also provides interesting insights into songwriting, gear details and the studio process. The videos are worth a watch, and hopefully, there are more to come.

Akin to the previously mentioned singles, the cathartic ‘ELIMINATE’ has enough beans to whip any crowd into a frenzy and provides a welcome injection of pace and energy towards the latter stages of the tracklist. Oppositely, bowing out with the (kind of) eponymous ‘thx but no thx’, is a sobering end to the album. The motif “I’ll say goodbye for the last time / Don’t keep any lights on, I’m not coming back” is a pretty haunting closing sentiment.

It’s in the forlorn that Can’t Swim so often thrive, and that’s no different here. The first single dropped from ‘Thanks But No Thanks’ was the devastating ‘i heard they found you face down inside your living room’. Make no mistake, it’s brilliant, but it’s also the most emotional and sombre piece that the band have penned, bar none. The lyrics tackle processing the suicide of a loved one, and feelings of being unable to live without them. It’s an important moment in the band’s discography, with vocalist Chris LoPorto explaining “I hope it can provide some sort of comfort to others who have gone through this similar circumstance.”

All that said, the band’s historically dark iconography which often embraces the macabre is, for the most part, alleviated in this latest venture. Speaking about the record, LoPorto reveals “This was honestly the most fun we’ve ever had making an album. We’ve reached a point as a band where we’re able to stop overthinking and instead just do what feels right. I think it’s brought a lot of joy back into our music.”

Therein lies the crux of this album. With ‘Thanks But No Thanks’, they have loosened the shackles around their craft, and the result is a record that sounds more casual, in a positive sense. Can’t Swim are truly coming into their own, and enjoying the process. With an upcoming 25-city US tour in support of contemporaries Free Throw, and the band teasing “some UK shows” recently on Twitter, it’s set to be a busy year.

The future remains bright for a band relishing the present. ‘Thanks But No Thanks’ captures this notion swimmingly.

AARON JACKSON

Words by Yasmin Brown [YB] and Catie Allwright [CA]. Photos courtesy of 2000Trees

Holding Absence

It’s only Thursday afternoon and we’ve barely even managed to pitch our tent yet, but 2000Trees might have already peaked. A latecomer to this year’s line-up, Holding Absence were asked a week ago to play and of course they said “fuck yes”. This is their fifth time to grace the festival’s stage, for them the best weekend in the UK, and something will have gone hideously wrong if they’re not back to perform on the Main Stage (their last to tick off) in 2023. Just like 2000Trees itself, which has been steadily growing in popularity and reputation year-on-year, Holding Absence have been taking the alternative music scene by storm – and they truly deserve all of it and more. 

Despite the slightly sketchy sound emanating from the Axiom Stage, and even though we’re only just getting warmed up, these five incredible musicians from Wales have us screaming, dancing and sobbing our hearts out. Their latest album ‘The Greatest Mistake Of My Life’ came out last year, which almost everyone in the tent has clearly memorized from start to finish, but there’s no better set-closer than the devastatingly beautiful ‘Wilt’ from their self-titled release in 2019. Vocalist Lucas Woodland said we’d been perfect – but we’re just mirroring what’s in front of us. [CA]

Can’t Swim

The tent might not be packed, but those who are in attendance for Can’t Swim’s set today aren’t messing around. These New Jersey natives immediately rouse the crowd and in no time at all, arms and legs are swinging at breakneck speed as fans lose themselves in their favourite songs. Most apt is ‘Set the Room Ablaze’, taking from the band’s latest album ‘Change of Plans’; today’s relentless head combined with the raucous nature of Can’t Swim’s discography has certainly ignited a fire in us all.

Frontman Chris LePorto sweetens up the non-male portion of the audience, dedicating ‘My Queen’ to “the ladies” (a nod to the LGBTQI+ community, perhaps, given the rainbow bandana tied around his arm), before playing one of the band’s most revered songs from 2018’s ‘This Too Won’t Pass’ with circle pits aplenty before the set takes a turn, becoming increasingly heavier with each song that passes. Shoes start to fly as this more chaotic part of the set ensues (if “more chaotic” is even really possible) as the band launches into ‘Prick’ and their favourite of all Can’t Swim songs, ‘Power’. 2000Trees marks their 8th time in the UK and it’s clear they feel comfortable in front of a British crowd, and as they close out their set with fan favourite, ‘Stranger’, we can only hope they’ll be back for a 9th time very soon. [YB]

Dinosaur Pile-Up

“Oh shit”, says lead singer and guitarist Matt Bigland. In his words, Trees is a fucking ace festival with nice people – but the setting sun is melting the eyeballs out of his face. That’s apparently only the first challenge as a shot of tequila just minutes before gracing the stage might have been a mistake. We almost have to serenade a very public vomit, but Bigland manages to hold it together through 50 minutes of rock and roll (the same can’t be said for drummer Mike Sheils who breaks his snare drum, which apparently happens at every gig). 

The band may have gone through some changes in members over the years, but there’s a maturity to Dinosaur Pile-Up’s sound and performance… and a grassy open-air stage in Upcote Farm is the perfect place to enjoy it. Whether the aggressive riffs throughout songs like ‘Thrash Metal Cassette’ and ‘Stupid Heavy Metal Broken Hearted Loser Punk’ send you straight into a pit, or the velvety grooves in closing track ‘11:11’ create ripples through your limbs, there’s something for everyone from this grungy, angsty, melodious trio. [CA]

Lonely the Brave

Sauntering onto stage supported by a long track introduction, it’s clear that Lonely the Brave have been much anticipated by Thursday’s crowd. Things quickly fill up as they launch into their afternoon set as fans sip on increasingly warm cans of beers and inhale fast-melting ice creams under the protection of the tent, kicking off with the ever-loved, ‘Backroads’, much to the delight of those already in attendance.

With (not-so) new singer Jack Bennett at the helm, the setlist is made up of a combination of old and new songs, with Bennett clearly leaning into those he had a hand in writing and producing himself. With some time behind them, these newer songs see the crowd just as animated as those from previous albums, as clapping immediately to the likes of the first live performance of ‘Distant Light’. Lonely the Brave are a softer choice for 2000Trees but this crowd never misses an opportunity to crowdsurf, whatever the situation, and ‘Bound’ from 2021’s ‘The Hope List’ turns out to be such an opportunity part way through the set, setting the tone for the remaining few songs which were executed with a childlike energy. With just a couple of shows under their belt with Bennett leading the charge, it’s hard to believe these guys don’t have years of experience under their belt; so tight is their performance and so powerful are Bennett’s vocals. With a headline tour upcoming, they’re only set to get stronger and we’re excited to be here for the ride. [YB]

Creeper

The heat is lingering well into the evening and the crowd is swelling in anticipation of our cult favourite, Creeper. Walking around the festival, the “goth punk” quintet’s merch can be seen on what feels like every other person – so there’s absolutely no hesitation getting stuck in. Lead vocalist Will Gould seems in delighted disbelief at the crowd’s response to ‘Down Below’ – thousands of slightly-sunburned faces shouting back at him on cue – although no-one’s voice can compare to his deep, dulcet tones or those of the incredible backing vocalist Hannah Greenwood (whose stripped-back rendition of ‘Crickets’ is haunting).

Creeper’s most recent album ‘Sex, Death & The Infinite Void’ was released during the “troubled times” in 2020, so we’ve had plenty of time to familiarise ourselves with hit tracks including ‘Cyanide’, ‘Born Cold’, ‘Annabelle’ and almost country-esque ‘Poisoned Heart’, accompanied by plenty of well-worn favourites from ‘Eternity, In Your Arms’ (2017). This is a band that doesn’t simply play music, which would more than stand up in its own right. Their performance is a feast for the senses, erring just on the right side of gimmicky with costume changes, pyrotechnics and drama – and they clearly relish every second of their time on the Main Stage. Dracula is even roped in at the end to warn us that there’s evil afoot, and it’s very important we aren’t at Camden’s Roundhouse in November (unless you’d like to see Creeper’s biggest headline show to date, in which case tickets are on sale now – but it’s “laced with malice” so attend at your own risk). [CA]

Cassyette

A guttural scream emerges from the stage and it’s plain to see that Cassyette has arrived. This powerhouse has taken the UK by storm over the past year, becoming a frequent name on festival lineups and with her crowds increasing with every set. Today, her fans are eating out of the palm of her hand, screaming along with her and attempting to match the dirtier features of her vocals, unsurprisingly failing miserably given her unmatched ferocity. Fans climb on each others’ shoulders of their own volition, so desperate are they to feel more involved in the set, and while Cassyette encourages circle pits to open, it’s far from necessary as bodies are launched at other bodies freely and without hesitation. The only possible complaint is that today’s set ends a little sooner than expected, leaving us feeling robbed of another song or two, but as with any good performer, Cassyette left us wanting so much more and we won’t stop until we get it. [YB]

Jimmy Eat World

For a band that have been going for as long as Jimmy Eat World, it’s hard for them to find new ‘firsts’ to experience. Tonight, however, is one of those moments as the band headlines a festival of this size for the first time ever. They’re as humble as ever, of course, as frontman Jim Adkins marvels at the sight before him: “Oh my God, there’s so many of you”. And there are so many of us – all here to witness that glory that is Jimmy Eat World playing a headline set.

Never a band of many words, the four-piece make their way seamlessly through a 21 song setlist, pulling hit after hit from their extensive 23-year-long discography. The sound, as ever, is flawless and you can’t help but feel awestruck as freshly blown bubbles float overhead, popping gently above us. Songs such as ‘Futures’ and ‘Bleed American’ are played in stark contrast to this picture perfect scene, whereas the likes of ‘Blister’ (led by “your favourite member of Jimmy Eat World”, guitarist Tom Linton), the ever-emotional ‘Hear You Me’ and ‘23’, and a stunningly acoustic solo version of ‘555’ lend themselves perfectly to this movie soundtrack moment. Humble from start to finish, Adkins can’t help but repeat his gratitude as he looks out once more at the crowd before him. He admits they’ve never done a show like this, and it feels more special than ever – both for the band members on stage and every doting fan that gazes up at them. However many times you witness a Jimmy Eat World show, each feels more spectacular than the last. This one, however, will be tough to beat.  [YB]

Think back to just over a year ago; Can’t Swim had released the totally left-field ‘Foreign Language’ EP, and for the first time we heard an aggressively heavy side to this band. It’s an EP that arguably earned them a slot on the Counterparts tour here in the UK, and yet it came just months before the release of the exceptionally delicate ‘When the Dust Settles’ EP, home to a number of reworked fan favourites. The stark contrast between these two – particularly when juxtaposed with the band’s previous material – acted as fierce proof that this band is yet to follow a sonic path that doesn’t work for them, fearless in their approach to their art.

And as if we needed further proof of that fearlessness, just a year later we have another new release and another polarising sound in the form of ‘Someone Who Isn’t Me’. Embracing synths and a little bit of dubstep, opening track ‘Someone Who Isn’t You’ will have you begging for the drop you never knew you needed from this band. It’s as dancey as a pop-punk track can get, and yet the subtle screaming elements of Chris LoPorto’s vocals add a heavier element that sees it remaining firmly wedged in the rock category, too. 

While sonically the opening track is the most jarring on the record, ‘Who’s Happy?’ introduces LoPorto as we’ve never heard him before. His vocal tones are familiar, of course, but for the first time in the band’s career, there are moments where this track sounds like a straight up pop number – never more so than when the chorus kicks in. Yet, just before we hit the final chorus with a sigh of “oh fucking shit”, it’s suddenly so undeniably Can’t Swim that you can’t imagine the band ever having existed before now. It slots perfectly into their existing portfolio, building on their sonic experience and further cementing their talent.

We’re offered just a short respite before the band ramps it up again as things mellow out slightly with ‘Casey’, the consistent synth beat carrying the song alongside an underlying guitar riff which, while secondary, is oh so important for this track. The melancholy loss conveyed in the lyrics (loss being a common theme throughout the EP) are supported by vocal effects and an emotive yet slow build up of instruments that pack a punch straight to the heart. Written during the pandemic, it’s unsurprising that this record is filled with words borne out of rumination, and with a strong focus on missing someone and feeling lost without them, you’ll never feel that pain more than in this track. 

Even as the pace picks up again with ‘Floor 71’, the heavy weight in your chest will remain until the chorus implores you to close your eyes and picture the perfect club scene, emphatically screaming the chorus of “I’m falling more in love” at your best friends, drink in hand, sloshing around carelessly as inhibitions are left at the door. Every sensation this EP evokes was made to linger in your bones long after each song ends and by the time you reach the acoustic closer ‘Tiny Hands’, your body will be reeling and tingling with every second that has passed until now. The track exudes a gentle vulnerability that can only come with loving someone so deeply that you never want them to be upset, yet still making the decision to leave them behind. There’s a real beauty in this being the EP’s finale, as with every ounce of sadness that endures, a new sense of hope that some love can last forever rises until all you’re left with is an overwhelming sense of peace.

Every one of Can’t Swim’s releases have marked a cornerstone in their career, and ‘Someone Who Isn’t Me’ is no exception. Try not to get too attached to this sound, though. We never know what might come next.

YASMIN BROWN

A lot of you would be spending the coming weeks prepping for festival season were it not for the pandemic pulling the rug from under it, but that doesn’t mean that the bands that would’ve been gracing the stages are going to go down too. Can’t Swim are one of the bands that are standing tall and providing your eager ears with a new soundtrack in the form of an EP, ‘When The Dust Settles’, and it’s coincidentally very fitting for the current times.

Life is different for everybody right now, all of us adapting to a new way of living and evolving as things change around us. ‘When The Dust Settles’ demonstrates the band reinventing some of their most loved songs, undergoing an evolution of their own and producing a moving collection of songs that have the potential to resonate with every person that they reach in a fresh, new way.

Opening with ‘sometimes you meet the right people at the wrong times’, you’ll find yourself greeted by an elegant piano and muted drums, the delicacy of which is enhanced by the luscious, reverberated tones of lead vocalist Chris LoPorto. The re-imagining turns the song from a cry of frustration and resentment to one of reflection and remembrance, gently flowing from every chord and massaging the pain away. ‘Death Deserves A Name’ follows a similar formula, swapping the distorted guitars and pounding drums of the original for understated synths, choir-like vocals and wonderfully spacious production to transport you to another plane entirely.

Fan favourite ‘Stranger’ is even more heartbreaking than the original, with the stripped back instrumentation heightening the emotion in the lyrics to all new levels. LoPorto applies a much softer approach to this revisited version, switching from subtle and fragile to bold and robust in all the right places. ‘My Queen’ closes out the EP, boasting the most rich instrumentation of all the songs and using it beautifully. The string sections add an almost romantic vibe to the music, gradually adding more and more layers until they’ve created a tidal wave of intensity that crashes the EP into a dramatically stunning end. A short but very sweet change of pace from one of pop-punks brightest lights.

All four of the reinvented tracks still tightly grasp their foundations and thematically stay true to the original pictures, but allow a softer palette and more delicate tools to colour the canvas. The end result is incredibly serene and heartwarming, creating something that is relaxing and meditative as well as oddly resonant with the current situation that surrounds us all. ‘When The Dust Settles’ is a beautiful little gem that will have you head over heels. Just make sure you listen to it in direct sunlight to get the full effect. Trust me.

DAVE STEWART

Tonight, Norwich’s Waterfront Studio is cold – a rarity at a hardcore gig such as this, where you’re usually unable to breathe through the stench of sweat and beer – and as Chamber take the stage, less than a handful of people fill the glaringly empty space in front, as punters choose instead to stand at the back, drink in hand, nodding along nonchalantly. Despite the band’s ample efforts, this feeble energy remains throughout the short set, and seeps sadly into the next performance by main support, Can’t Swim.

Seeming to have purposely chosen to play songs from the heavier side of their discography in order to better appeal to this crowd, Can’t Swim throw all they have into this performance, but aside from a few fans at the front – fans that refuse to let the atmosphere stop them from making the most of this half hour set – the floor remains otherwise empty. It’s clearly uncomfortable for the band on the small stage, whose incredible presence and faultless repertoire of music deserves far more than the reception they receive. A few nervous laughs from front man Chris LoPorto, and a relentless thirty minutes later, Can’t Swim promptly leave the stage with what could easily be construed as relief. It’s a reaction that’s far from reflective of who this band are and what they’re capable of, and we can only hope that the rest of their tour treats them with more enthusiasm and kindness. 

Thankfully, by the time it comes to Counterparts’ turn to to perform to this shambles of a crowd, the energy starts to pick up, with the split between the front and the back of the crowd slowly closing to create a more communal atmosphere. As the band makes their way through the set, chaotic pits made up of flailing limbs emerge and bodies launch themselves aggressively at the barrier, forcibly singing every word. As the atmosphere transforms monumentally, front man Brendan Murphy takes a moment to congratulate the crowd for this extreme Monday night energy, and it finally feels like a hardcore gig as his powerful screams entice the crowd to embark on an evening of pure mayhem.

Despite the nature of Counterpart’s music making it hard to decipher lyrics, tonight’s audience shows their dedication to the band as they continuously partake in singalongs – sometimes coming out louder than the band themselves. Around the venue you’ll find signs politely asking that fans don’t crowdsurf and, as the evening goes on, it’s a rule that’s rebelliously ignored. This behaviour only further instills confidence in the band, whose performance never misses a beat as they move from one song to the next with only a handful of anecdotal intermissions causing any kind of disruption in the chaos that lies both on stage and on the floor. 

Every time the crowd cranks up the energy, they’re only encouraged to do more, and as the encore of ‘Choke’ and ‘Disconnect’ rolls around, fans have gone beyond taking hold of the microphone, instead choosing to crowd surf on stage only to dive off again. Murphy urges the pile of bodies to “take full advantage” during this “last fucking chance”, and oh boy do they do just that. 

As a band that started off their live career in the UK with bands such as Your Demise, it’s humbling to see how far they’ve come on their own merit. To have taken a crowd that started off half asleep and turn them into a crowd to be remembered for years to come is no mean feat and is a true testament to their stage presence, charisma and sheer hardcore talent. The Waterfront may have been cold before, but we’re all walking out dripping with sweat now.

YASMIN BROWN

These are the bands who’ve made their start in this decade, but are set to take the 2020s for their own – the ones to watch, the ones to listen to, the ones to love. Mark our words, these are names set to become wonderfully familiar over the next ten years for a whole wealth of reasons across myriad genres, and come 2030 they’ll be making appearances on all our (and your) ‘Best Of’ lists. We present to you the most important bands of the next decade.

Don’t forget to check out our Bands Of The Decade and Albums Of The Decade articles.

Contributors: Liam Knowles [LK], Renette Van Der Merwe [RVDM], Dave Stewart [DS], Tom Walsh [TW], Gem Rogers [GR], Yasmin Brown [YB], Fiachra Johnston [FJ], Andy Joice [AJ], Greg Hyde [GH], Romy Gregory [RG]

Conjurer

UK sludge-metal outfit Conjurer may have only released their excellent debut album ‘Mire’ in 2018, but already they’re being compared to genre giants like Mastodon and Gojira, and are expected by many to rise to the same level as those bands in due course. The UK heavy music scene is very healthy at the minute, with bands like Ithaca, Employed To Serve, Palm Reader, and Black Peaks all producing stellar albums, but Conjurer feel like THE band to have taken the scene by the horns and ridden it into battle. In their relatively short career they’ve played pretty much all the major metal festivals, supported huge bands both in the UK and overseas including two successful American tours, and recently completed a seven-date UK headline tour, of which six shows were completely sold out. This is a band that grafts as hard as they can, and they’re also clearly a band who recognise that the modern audience is not one who sticks to one genre; young people in particular are more musically open minded, and more willing to give time to bands who experiment with their influences and unapologetically. They’re also a band who don’t take themselves too seriously, as is obvious from their social media presence and the Carly Rae Jepsen-themed merch they did last year, and this is very welcome in a genre that can at times feel quite stuffy and humourless. Calling Conjurer ‘the future of metal’ feels like hyperbole, but also doesn’t feel wrong – if they carry on this trajectory there’s no telling what heights they might reach. [LK]

MOST NOTABLE TRACKS: Choke, Retch, Thankless

Fever 333

Ok, so Fever 333 are already huge, right? Made up of Jason Aalon Butler (letlive), Stephen Harrison (The Chariot) and Aric Improta (Night Verses), they already have an enormous following, hugely renowned for the ferocity and chaotic nature of their live shows. Their mark has been well and truly made. BUT. They only have an EP and an album under their belts so far. This is just the beginning. There’s a buzz that surrounds everything that they do, contagiously spreading through everyone it touches and continuously growing in potency. The upcoming decade is sure to see them take their already devastating formula and tweak it further into something even greater. If you aren’t already in possession of a ticket to the hype train, now’s the time to snag one. There’s a fever coming. [DS]

MOST NOTABLE TRACKS: Burn It, Prey For Me, The Innocent

Lakes

DIY to their core and fiercely independent, Lakes emerged with a stunningly assured debut with the gorgeous ‘The Constance LP’ in August this year. Lakes are perhaps one of the greener bands to grace this list, but with the sheer talent that oozes from ‘The Constance LP’ and their two EPs ‘The Tahoe EP’ and ‘The Geneva EP’, it’s hard to look past their potential as future frontrunners of the UK emo scene. With nods to midwestern emo giants in American Football and Braid, Lakes create a truly unique take on the genre with their trademark “glock rock”; interlacing shimmering glockenspiels, beautiful harmonies and pop sensibilities in everything they do. Lakes are only just introducing themselves to us, but no doubt we’ll be hearing plenty from them in the decade to come. [RG]

MOST NOTABLE TRACKS: Geneva, Tahoe, Como

Creeper

Not since My Chemical Romance has a punk band captured the imagination quite like Creeper. Emo for the Snapchat generation, they have created a masterful cult that has brought lost souls together under the banner of the Callous Heart. Their initial series of EPs demonstrated an affection for full throttle punk, melodic hooks, and the crooning vocals of Will Gould, and culminated in the knock-out debut record ‘Eternity, In Your Arms’. What sets Creeper apart from their contemporaries is innovative motifs and a willingness to constantly challenge the genre. The campaign around the disappearance of James Scythe, the 1967 Southampton World Fair, and their Theatre of Fear shows highlight a band thinking outside the box. Having recently returned with a new look – featuring Gould resembling a millennial Robert Smith – and a follow-up record in the works, their army of fans will carry them to yet more success. The beauty of Creeper is that they could go on to assume My Chem’s crown, or decide to disappear completely. Each step is one to be watched with intrigue. [TW]

MOST NOTABLE TRACKS: Hiding With Boys, Misery, Black Mass, Black Rain

The Murder Capital

It’s such an exciting time to be a musician in Dublin. Despite the myriad venue issues and slow gentrification of the city, it’s a blossoming location for aspiring and small time bands to explode onto the scene. The modern age of Punk thrives here, both celebrating and rebelling against the Fair City it grows up in, and The Murder Capital are the poster boys for this movement. Making a name touring with other celebrated punk groups of the last few years such as Slaves and Fontaines D.C, The Murder Capital are still relatively new, but have already made waves with their debut LP ‘When I Have Fears’, a cynic’s nostalgia trip that hammered home generational plights in shades of brown and grey. They’ve only just begun, yet with the recent success of multiple Irish bands on a global scale in recent years, it’s easy not just to claim they are one to watch in the next few years, but also to wish the best for them. [FJ]

MOST NOTABLE TRACKS: More Is Less, Green and Blue, Don’t Cling To Life

Gender Roles

It’s difficult to understate the rise of Gender Roles in their practically infantile lifespan. Formed in 2017, they’ve released just two EPs and dropped debut album ‘Prang’ in 2019. In that short time, they’ve cultivated a frenzied following, thanks in part to their frantic live shows, stupidly good songs, and being understatedly wholesome, all while creating grunge pop that feels unique yet nostalgic. Having supported the likes of PUP, Boston Manor, and Touche Amore, they’re destined for bigger things. And despite this cataclysmic rise, they still remain humble and grateful, throwing thanks to both Brighton’s DIY scene as well as all those who’ve championed them – from their individual fans, to notable DJs like Annie Mac, Steve Lamacq, and Daniel P Carter. If 2019 is anything to go on, Gender Roles will be making huge steps forward in the next decade, creating new fans through their effervescent personalities and hypnotic music. [AJ]

MOST NOTABLE TRACKS: You Look Like Death, Teeth, Bubble, About Her

Dream State

Wales has a pretty solid track record of providing some of our favourite bands – The Blackout, Funeral For A Friend, Kids In Glass Houses, Skindred… It’s a pretty major reputation to live up to, but the last two years have seen the exceptionally well deserved and astronomical rise of a young band from Swansea who could easily surpass all those who’ve come before. Each release from these four so far has shown a leap in maturity and sound, and none more so than their recently released debut ‘Primrose Path’; this is a band with breathtaking passion and strength, and watching their crowds grow with them over the last few years has been a true pleasure (not least because it means we’re at a Dream State live show, and that is always a good place to be). The 2020s are Dream State’s for the taking, and boy are we looking forward to seeing them do it. [GR]

MOST NOTABLE TRACKS: Twenty Letters, Hand In Hand, White Lies

Movements

2019 felt like a significant step towards smashing the stigma surrounding mental illness, and although we’ve still got a way to go in creating a society where everyone feels safe talking about it, it’s still a victory. The role music has played in this is undeniable, and a band like Movements is especially vital in the coming decade. What started as a post-hardcore outfit on their debut album morphed and really clicked into place as an emo-revival band on their notable 2017 release, ‘Feel Something’, depicting vocalist Patrick Miranda’s experience with anxiety, depression and OCD in a relatable, understandable and beautiful way. The lyricism is incredible and honest, the instrumentation clear and swelling, and Miranda’s range is impressive, but their trump card lies in how it all comes together effectively. [RVDM]

MOST NOTABLE TRACKS: Protection (Demo), Worst Wishes, Colourblind, Suffer Through

Chapter And Verse

A band need to be pretty damn special to earn the accolade of being one of Punktastic’s most important bands of the next decade before even releasing an album – but if anyone has shown themselves to be more than deserving of such a title, it’s Chapter And Verse. Forming a community around the band – known as ‘The New Breed’, after their early track of the same name – Chapter And Verse have a unique and captivating energy that, once seen and heard, cannot easily be forgotten. 2019’s immaculate ‘Glow’ EP has been followed up with two singles that comfortably prove this five piece have plenty more to offer; coupled with some of the best live performances you’re likely to see in any decade, this is a band ready to surpass any and all expectations over the next ten years. The best time for newcomers to start listening? Yesterday. The second best time? Right. Now. [GR]

MOST NOTABLE TRACKS: The Casket, Bad Blood, The New Breed

Selfish Things

Selfish Things are a band with their heart on their sleeve. Originally started by vocalist and multi-instrumentalist Alex Biro in 2015, it went from a solo project to a four-piece band a year later and they’ve since toured with the likes of Simple Plan, Boston Manor, and numerous others, whilst also putting in an acoustic performance at last year’s Slam Dunk festival. But all of those achievements are easily overshadowed by their phenomenal debut album. Released back in September, ‘Logos’ touches on everything from relationships to self love, humanity’s frailty, but also its arrogance, and it’s all presented with such sincerity that it’s like reading a page out of Biro’s journal. Alt-rock at its core, it dips into pop punk and piano-led love songs, but all delivered in Biro’s beautiful voice. There’s a million-and-one reasons why this band is and will be exciting in the upcoming decade, but we think you should discover them for yourself. [RVDM]

MOST NOTABLE TRACKS: Spooky Action at a Distance, Hangman, Rowen, Synaptic

Boston Manor

Two albums in and Boston Manor are already making waves. They’re not holding back on saying exactly what they think and, as a result of this fearlessness, have become one of the most relatable and authentic bands on the scene right now. Selling out shows both across Europe and the US, it’s easy to see that Boston Manor are building an almost cult-like following – a result of their incomparable live shows and hard hitting music – setting them up perfectly to take their influence even further over the next decade. [YB]

NOTABLE TRACKS: Laika, Halo, The Day I Ruined Your Life, Lead Feet, England’s Dreaming

Can’t Swim

New Jersey natives Can’t Swim have truly made the UK a home away from home this past year, amassing a dedicated, ever-growing fanbase anticipating their every move (even if they’re in the dark – extra points if you get the reference). When they released their five-track EP ‘Foreign Language’ back in October, one thing was abundantly clear – they’d changed direction. Angier and more urgent, they were tackling injustice instead of lamenting over lost love – not that we don’t love the latter, but the new material felt bigger than anything that came before, like it could become a movement. Now, at the dawn of a new decade, it’s anyone’s guess what’s next, but we’re sure excited to find out. [RVDM]

MOST NOTABLE TRACKS: Your Clothes, Stranger, What Have We Done?, Filthy Rich

Holding Absence

One incredible Welsh band releasing their debut album in 2019 is a blessing enough – with two, we’ve been thoroughly spoiled. After a selection of incredibly well received tracks and 2018 split EP ‘This Is As One’, hopes and expectations for Holding Absence’s debut full length were high, but we never could’ve dreamed just how good it would turn out to be when it reached our ears in March this year. With immersive and expansive soundscapes melding into their intricate, heartfelt lyrics, even the most painful of emotive moments are draped in beauty (‘Wilt’, ‘You Are Everything’) before delving into irresistibly uplifting earworms (‘Like A Shadow’, ‘Monochrome’). On top of all this, we’ve already lost count of the times we’ve been floored by their staggering live show – there are few who can maintain such a deep connection with their fans and audiences whilst delivering such utterly note-perfect, moving performances. If you haven’t fallen in love with Holding Absence yet, it’s only a matter of time. [GR]

MOST NOTABLE TRACKS: Your Love (Has Ruined My Life), Monochrome, Wilt, Saint Cecilia

Spanish Love Songs

If you’re into achingly self reflective pop punk and you haven’t listened to Spanish Love Songs, stop what you’re doing and check them out immediately. They’re they sort of band that make you feel anxious, neurotic, and somehow, totally embraced. Relatable to the point of mimicry, vocalist Dylan Slocum holds a cracked mirror to us, showing our wounds, our scars, our faults, and a path to acceptance. If it’s not songs about being brokenhearted, the state of society or how shit you feel, it’s stories from Slocum’s life. After the release of sophomore album ‘Schmaltz’, they’ve been touring heavily throughout the US and Europe and, almost without exception, every venue they’ve played to has erupted into singsong choruses harmonising Slocum’s strong voice. It’s feel good sad songs and we utterly dig it. [AJ]

MOST NOTABLE TRACKS: Buffalo Buffalo, Sequels Remakes & Adaptions, Joana In Five Acts, The Boy Considers His Haircut

Loathe

There’s a cult following that surrounds Loathe that, if it continues to grow at it’s current rate, will soon be too big to call a cult following. Their unique, raw, melodic and cataclysmic sound has taken metalcore by the throat, and their grip on it is tightening with every single release. Their live show is just as furious, enhanced by a flurry of unnerving projected imagery and drenching themselves in moody red lighting as they skulk across the stage. With songs like the Deftones-influenced ‘White Hot’, the pounding ‘It’s Yours’, the intense ‘Dance On My Skin’ and the face-scrunching riff-fest ‘Servant And Master’, they’re continually adding powerful weaponry to their ever growing arsenal. In the short time that they’ve been a band they’ve managed to carve themselves an identity, and have already begun to develop that sound into something even bigger with a brand new record due in early 2020. The next decade is going to be incredible for metal, and Loathe are sure to play an enormous part in that. [DS]

MOST NOTABLE TRACKS: It’s Yours, Servant And Master, Loathe, New Faces In The Dark

Tunic

Amid all the impressive new punk bands that have emerged over the last few years, one hit the scene this year that really stood out among the crowd: Winnipeg’s Tunic. In February they released their debut album ‘Complexion’, which now stands as the year’s best noise punk album. Sounding like a cross between Future of the Left and KEN mode, the album comprises 11 tracks stuffed full of noise and anger. The trio play so well that you feel like you’re listening to a band who’ve been in the game for years, not one making their debut. Tunic are only just starting to build up a following so there doesn’t seem to be much sign of them heading over to Europe for a tour yet, but if the high standard set by ‘Complexion’ is anything to go by, this is sure to change over the next decade. Watch this space. GREG HYDE [GH]

MOST NOTABLE TRACKS: Nothing Nothing, Dry Heave, Pores, Frontal Lobe

grandson

Any band that gets picked up by Fueled by Ramen is bound to gain followers at an unprecedented rate, but few have deserved it more than grandson (aka Jordan Benjamin). His fierce approach to music has seen him pick up traction faster than most, major label or not – pulling influence from a number of genres including rock and hip-hop, with lyrical content almost exclusively addressing the increasingly dire state of the world over the latter half of the decade. The result? Some of the most painful yet important tracks released by any artist in recent years, encouraging fans to think about how they can take the messaging in these songs to make a difference. grandson isn’t only going to make a difference in the music industry over the next 10 years, but in society, too. [YB]

MOST NOTABLE TRACKS: Blood // Water, Is This What You Wanted, 6:00

Microwave

Currently out on tour supporting Boston Manor, Microwave have gone rather quickly from just another band on the bill to not only being one of the few support bands to receive an encore, but also securing their own UK headline run next spring. It’s unsurprising when you look at their incredibly solid live performances, and even less so after they put out one of the most impressive albums of the year. ‘Death Is A Warm Blanket’ traded off the uplifting melodies of ‘Stovall’ and ‘Much Love’ for something gloomier that may sound like the soundtrack to the apocalypse, but really signals the next chapter of a band who have so much left to give. [RVDM]

MOST NOTABLE TRACKS: Lighterless, The Fever, Leather Daddy, Part of It

Ithaca

Blending extreme dissonant metal with brutalising hardcore, Ithaca’s ‘The Language of Injury’ is a truly stunning debut from South London’s finest. The impact of ‘The Language of Injury’ should not be diminished; they are the first Holy Roar band to be reviewed in Pitchfork, and the only British metal band to be reviewed on the site this year. While not the traditional barometer for success for more heavily inclined bands, it signals that innovation within the genre can cause ripples with unexpected audiences. Their caustic live shows are a force to be reckoned with, and with spots at ArcTanGent and Boomtown under their belts, it’s surely only a matter of time before the bigger stages at major UK festivals beckon. With a debut record as bold, innovative, and diverse as ‘The Language of Injury’ is, it seems the sky is the limit for Ithaca. The UK metal scene has never looked more promising with them here to blaze the path forward. [RG]

MOST NOTABLE TRACKS: Impulse Crush, The Language of Injury, Clsr., Better Abuse

Normandie

When it comes to our most important bands of the next decade, there’s a common theme – outstanding live performances. And there’s few who can excel in that category as much as Sweden’s Normandie, who have built themselves one hell of a reputation for explosively energetic shows and mind-melting vocals since their first trip to our shores three years ago; it’s safe to say you haven’t truly lived until you’ve heard front man Philip Strand belt out the finale of 2017 single ‘Ghost’ (seriously, trust us on this). These performances are backed by releases that continue to go from strength to strength, with 2018’s ‘White Flag’ cementing their identity in songs that range from fiery, breakdown-packed behemoths to soaring, life-affirming anthems, never settling for safe sounds. With a third album in the works for 2020, you can bet you’ll be hearing plenty more from our Scandinavian friends over the next ten years. Christ, we’re excited. [GR]

MOST NOTABLE TRACKS: White Flag, Dead, Collide, Moth

Crystal Lake

Crystal Lake are one of those bands that have that “something special” about them. You can hear it in their music, oozing from every thunderous riff, meteoric drum hit, and impassioned, tortured vocal. You can see it in their intense and devastatingly tight live performances, rife with boundless energy and a gigantic pulsing heart. But, more importantly than all that, you can feel it in everything that they do. You can feel the ritualistic fury bubbling in ‘Hail To The Fire’, the poignant helping hand reaching through ‘Devilcry’, the swathes of positivity surging through ‘Apollo’. Every emotion is driven home by pristine, polished, accomplished and often baffling musicianship – something that becomes even more baffling when you witness it happening live, faultlessly unfolding in front of you. When you listen to their songs and attend their shows you really feel like you’re a part of something, regardless of whether it’s your first time or your hundredth. With this kind of power in their grasp, it’s only going to grow. The only way is up, and their ascension has already begun. [DS]

MOST NOTABLE TRACKS: Apollo, Lost In Forever, Aeon, Six Feet Under

That’s not to say that ‘Foreign Language’ is destructive, per se – but it is aggressive, verging on violent from the offset, and the subjects of these tracks are far from being painted in a positive light (see specifically track five, simply yet effectively titled ‘Prick’). 

Can’t Swim have always been a band with something to say – although never with as much unapologetic bluntness as this – and they’ve brought in friends such as Taking Back Sunday’s Adam Lazzara and Frank Carter (minus his Rattlesnakes) to assist them in conveying a message of dismay, disapproval, and disgust.

The beauty here is that while these tracks are clearly aimed at a particular person, or group of people, they’re also vague enough that you can easily apply the lyrics to your own life, too, making it both an accessible and cathartic piece of art. In releasing this EP, Can’t Swim have allowed themselves a new outlet, and they’ve provided one for us as well.

While front man Chris LoPorto has in the past been known to gently scatter dirtier vocals throughout the band’s music, this latest release is almost entirely made up of his shoutier, angrier side. He’s not alone in this change, though, with gritty riffs and manic drum beats perfectly accompanying these more militant tones. Even without taking into account the accusatory lyrics, there’s no chance of misunderstanding here; Can’t Swim are raging, and they have quite clearly had enough of avoiding this fact. 

Make no mistake, this is Can’t Swim as you’ve never heard them before. Don’t expect another ‘Stranger’ or ‘My Queen’ – you won’t find them here. It’s a diversion from the path that this band has otherwise been travelling down, to the point where it almost feels like a side project – a testament to their versatility – but to call it anything other than outstanding would be to do Can’t Swim a disservice. 

Honest and unfiltered, many fans may well find that ‘Foreign Language’ is their favourite release yet, forging an even stronger connection to what is one of the most exciting rock bands on the scene today.

YASMIN BROWN

From the peaceful and emotional sets that took place under a canopy of trees, to the raucous mayhem over at the main stage that had us thrown into the most fun pits we’ve ever experienced, this festival really does have it all.

Lucky for us, we were there to check out the whole thing, braving the heat and having the time of our lives.

Words: Yasmin Brown [YB], Gem Rogers [GR] Images: Penny Bennett [PB], Matt Higgs [MH]

Sweden’s Normandie have spent the last few years steadily ticking off the UK festival circuit, and after a triumphant set at Reading + Leeds in 2018, it’s now 2000trees’ turn to see what the four piece can do. Blending rock, pop and metal sounds, Normandie are masters of all they turn their hand to, and it results in a thoroughly upbeat and enjoyable set with a true festival vibe. Heavier tracks like ‘Dead’ bring monster mosh pits into The Cave tent, while set closer ‘Collide’ is a beautifully uplifting dose of pop rock; their experience on stage is evident as they lace the air with energetic fun, and the packed tent is full of smiles and singalongs that stretch all the way to the back. It’s the perfect start to our final day at 2000trees, and main stage slots will surely be coming Normandie’s way in future. [GR]

After two wonderful yet tiring days, Scottish delights Vukovi are the perfect band to revive you. Their vibrant and humorous set entices aimless wanderers to position themselves purposefully in front of the main stage. Front woman Janine Shilstone carries the band on her back, the combination of her charisma and flawless powerful vocals a definite highlight of the weekend. Those in the crowd who have up until now been seated quickly rise to their feet, intrigued by the rough and ready Glaswegian accent that fills the field in between sweetly sung songs. Shilstone’s personality never shines through quite as much as it does when she first spots ‘Mr. Fridge’, however – an apt (if a little unoriginal) name given to a crowd member who is, indeed, dressed head to toe in a cardboard fridge-freezer, his head popping out of the open freezer door. She’s so excited, in fact, that she commands a circle pit to open around ‘Mr. Fridge’. It’s a pit made up of just two rules: “Keep Mr. Fridge in the middle and keep Mr. Fridge safe'”. The entire set is the very definition of a delight, made up of wonderfully catchy music and inexplicably cool characters that you can’t help but give into, setting a high bar for so early in the day. [YB]

Following Vukovi’s vibrant and entertaining set, Muncie Girls is unfortunately met with little enthusiasm. With the very nature of their music being more serene, the atmosphere mellows as they make their way through the afternoon set. While the Exeter trio are undeniably talented, their presence on the main stage seems out of place, and the lack of enthusiasm throughout the crowd highlights that perhaps they’d be better suited to festivals with more indie lineups than the heavier, more energetic vibes we have come to expect from 2000trees. [YB]

Hello – did anyone order an extra large helping of Incredibly Loud and Crushingly Heavy? Because it’s just been delivered (albeit a few minutes late) to The Cave in the form of Glasgow five-piece Lotus Eater, and you’ll definitely want to come and get it. This set is absolute mayhem, with riffs that climb in to rip out your eardrums and a rhythm section that rattles the hell out of (what’s left of) your bones; each song is a short, sharp hit to the senses, with that energy mirrored in the pits in front of the stage. This is an impressive, rage-filled set from a band who are only just beginning – Lotus Eater could well be one of the best breakout bands of the year. [GR]

Cold Years know exactly how to work a festival, not taking for granted the fact that the crowd may just be killing time between sets and wandering into their tent by pure chance. Before the set even starts, front man Ross Gordon demands that everyone in attendance comes forwards to the stage, so as to see “the whites of your fucking eyes”. The soft aggression in this command results in total compliance, and as Cold Years make their way through the set, their outstanding performance sees the tent quickly fill up. More commands are met with obedience as the crowd claps along in time with the beat, and while Gordon finds himself restricted behind the microphone, bassist Louis Craighead has enough charisma to carry the whole band, likely being the main reason the crowd eventually loosens up and lets go. [YB]

Back in the forest, we’re in for an emotional rollercoaster as Norwich-based Ducking Punches take to the small stage for a stunning acoustic set. There’s no setting more appropriate for this duo, bringing with them an acoustic guitar and violin to ensure that there isn’t a dry eye under this shaded canopy of green. While following the acoustic nature of this particular stage, there’s still something unquestionably punk about Ducking Punches, not least when Dan Allen takes a moment to discuss the importance of mental health and suicide, particularly among men, before dedicating their song ‘Six Years’ to Scott Hutchison of Frightened Rabbit. This is particularly poignant given Frightened Rabbit’s band’s history at 2000trees, with Scott’s death coming just before they were due to play last year. Silent tears roll down cheeks, drying only during ‘Big Brown Pills From Lynn’, inciting the loudest singalong the forest has seen yet. [YB]

As it nears the start time of Deaf Havana’s set in the forest, the floor becomes a carpet of people, until it’s soon standing room only at the back – and even that’s only if you’re lucky. It’s a solo show today from vocalist and guitarist James Veck-Gilodi, and when he finally appears ten minutes late, he gives profuse apologies – in an incident that most festival goers can probably relate to, he’s had the “chicken wing shits”. Whoops. He then confesses that he’s not sure what to play, not wanting to ruin Deaf Havana’s headline set later – before realising that “we don’t have that many good songs, or at least that I know the lyrics to”. Of course, that’s just not true, and we’re treated to some soul-mending renditions of tracks like ‘Sinner’, ‘Fools And Worthless Liars’, his soothing voice blending perfectly into the beautiful surroundings. It feels personal, relaxed, and elating, and ends with brother Matt Veck-Gilodi taking to the stage to join James for a rendition of classic singalong Robbie Williams track ‘Angels’. The Forest Sessions are one of the most special parts of 2000trees, and sets like this are exactly why it is so loved. [GR]

Can’t Swim seem to have appeared out of nowhere, launching themselves into the scene without taking a moment’s breath. With numerous UK festival slots and headline shows under their belt, they’ve picked up one hell of a British following with only two albums released to date. Their afternoon set at Trees as a testament to this, as the crowd refuses to let up, persistently throwing themselves around, not least when guitarist Danny Rico throws himself into the crowd during ‘sometimes you meet the right person at the wrong time’. The energy wanes slightly when it comes to front man Chris LoPorto, who stands stationary with his hands behind his back for the majority of the set, only seeming to relax part way through the set during ‘$50,000,000’. This doesn’t deter the rest of the band or, indeed, the crowd, however, and the set is a strong contender for being one of the most manic of the day. [YB]

Sadly, The Bottom Line lets down an otherwise outstanding day. Their performance is entertaining, yet the music itself feels stuck in 2002 with early Simple Plan and Sum 41. While most bands have matured and developed their sound to grow with their fans, The Bottom line have unfortunately remained stagnant, and it shows through the response to their set. Even those stood at the barricade are hesitant to get involved and an attempt to get the crowd clapping along with the beat is met with a painful reluctance. It’s not a great sign when a band has to explicitly coax a crowd forward midway through a set, but sadly it perfectly sums up the set. [YB]

When it came to Every Time I Die’s exceptional and noteworthy set at this year’s 2000trees – featuring ‘Hot Damn!’ in full – it seemed only right to hand over the mic (or keyboard) to our resident ETID expert, for a very special look at a set that was not only a powerful experience for all in attendance, but held extra significance and meaning for many. Head here for Liam’s moving report on a set that will be remembered for many years to come.

Finishing up The Cave’s weekend is a man who needs little introduction; now performing as Frank Iero and The Future Violents, third album ‘Barriers’ was released in May, an authentic and well-received collection of punk-infused rock and roll. Despite the band’s status and excellent performance, though, the tent is relatively empty – though the front few rows are crammed in with enthusiastic fans. It feels almost like Iero has a battle on his hands to break through the expectations that come with his role in seminal emo band My Chemical Romance, and it’s a shame – his performance is incredibly slick from start to finish, with sublime harmonies from guitarist Evan Nestor. It’s a set that could do with a bit more variety in pace at times, and doesn’t always feel as exciting as it should, but there’s plenty of love from fans gathered near the stage and there can be no doubting the band’s skill; Frank Iero and The Future Violents are well deserving of your attention. [GR]

Through little fault of their own, Deaf Havana’s headline set falls flat. With technical issues that means the sound doesn’t travel much further than the first few rows in front of the main stage, it’s hard to command the crowd in the way we know they can. The drums sound like they’re five miles away, failing to cause that thumping in your heart that allows you to feel the music as well as hear it, and you can’t help but feel that nothing about this set up is doing this usually incredible band any justice. With that said, front man James Veck Gilodi’s voice is as strong as ever, belting out tunes from across the band’s discography with ease, and there has clearly been a lot of thought put into the set with extended intros and outros highlighting the band’s strengths.

Ultimately, it’s evident that both the Deaf Havana boys and their fans are having the time of their lives. From a blow up sex doll gracing the stage, to humble and sincere expressions of gratitude (“Thank you for supporting us. I don’t have any other skills”, states Veck Gilodi), the set has all of the fundamental tools of a great show and is embraced by the majority. Most of the crowd seem oblivious to any issues and spend the evening screaming the lyrics back at the band, never louder than when Veck Gilodi’s memory fails him, undeterred by the slight imperfections in his performance. There’s no doubt that Deaf Havana have been stronger than they are tonight, but it’s still a monumental end to what has been a near perfect weekend. [YB]

There’s so much on, it can be difficult to choose who to see – so here’s some of our top picks for the weekend to get you started!

THURSDAY

WSTR

Main Stage, 12:50pm

After opening the main stage at Slam Dunk this year, WSTR are back to do the same for 2000 Trees – and what better way to start a festival than with punchy, riotous pop punk? Keep comparisons to Neck Deep away; WSTR have an attitude and energy that’s all their own. Make sure your tent is up nice and early, and get down for a bounce around.

Phoxjaw

Neu Stage, 1.20pm

After an absolute beauty of a debut EP in ‘Goodbye Dinosaur…’ and tours aplenty, Phoxjaw are ready to make a few waves this year. Their second EP is set for release a few days before 2000trees begins, with new singles ‘Monday Man’ and the darkly fascinating ‘Melt, You’re A Face Of Wax’ proving that the Bristol four piece have plenty more to offer. Heavy, progressive, atmospheric, and just a little bit unpredictable, Phoxjaw are to be missed at your peril.

Puppy

Main Stage, 3.50pm

If you haven’t heard of Puppy yet, you can’t have spent much time on the internet since they released debut album ‘The Goat’ last year. Every man and his, er, puppy is raving about this band, and no wonder, with thundering heaviness, gorgeous harmonies, and chunky riffs seeping from every pore. Puppy do exactly what they want to do, usually with a fair dose of good humour, and it’s earning them legions of fans – this has all the hallmarks of being one of those sets that everyone talks about, and you’d hate to be the person who couldn’t join in, right?

Blood Youth

Neu Stage, 7.10pm

Harrogate racket-making mob Blood Youth are on a roll this year. Leaning away from the melodic hardcore of their debut and picking up some distinctly nu-metal sounds for sophomore album ‘Starve’, the band have established an altogether more powerful and unique identity. Explosive, heavy riffs, emotive lyrics, and phenomenal vocals from front man Kaya Tarsus will be order of the day over on the Neu Stage for this 40 minute set. Let’s mosh.

Holding Absence

Neu Stage, 8.50pm and Forest Sessions, 3.05pm

Let’s make one thing clear – Team Punktastic love Holding Absence. A lot. And so should you – their soaring, immersive post-rock taps into every emotion with a delicate subtlety and heaps of heart, while never neglecting a solid anthemic chorus – see ‘Your Love (Has Ruined My Life)’ and ‘Monochrome’ for reference. With this headline set there’ll be plenty of time to absorb the intense experience of a Holding Absence live performance, and it’ll be the perfect chance to see just about every song in their current back catalogue. We’ll be down the front, having a cry as we sing until our lungs collapse. Please join us.

FRIDAY

PENGSHUi

The Cave, 12.25pm

If holding one of the best band names of 2019 isn’t enough to tempt you in for this set, we don’t really know what to tell you. Actually, we do – get up early (ish), and get to The Cave for a unique blend of grime, punk, and metal that’s heavy on the bass and beats. If that sounds like a ridiculous combination, all the more reason to let PENGSHUi show you just how well it works, as they form such a cohesive sound you can only wonder why nobody’s done it quite like this before.

GroundCulture

The Cave, 1.20pm

Newcastle’s GroundCulture have already been demonstrating their strength on the festival circuit this year, having opened Download’s Dogtooth Stage only a few weeks ago – now, it’s 2000trees’ turn to see what they can do. With an EP packed with heavy, uplifting melodic hardcore, the five piece are well on their way to proving themselves across the country, and they’re more than capable of bringing every bit of that energy to the stage. The Cave is the place to be for mosh pits and face-crushing riffs aplenty on Friday afternoon.

Dream State

Main Stage, 2pm

Only two EPs into their career – though there is, happily, a full length album in the works – Dream State have already proven themselves to be nothing short of titans on stage. Heartfelt, honest lyrics coupled with vocalist CJ Gilpin’s passionate performances have allowed the band to form a deep connection with their fanbase, while their post-hardcore riffs give plenty of opportunities for some almighty pits and dancing. Expect one of the most inclusive, empowering sets of the weekend from this Welsh group.

Hands Like Houses

Main Stage, 4pm

Bringing a firmly international flavour to Friday’s proceedings, Aussies Hands Like Houses are almost guaranteed to give you the bangover to end all bangovers – hopefully you’ve recovered from any actual hangovers by this point of the day, otherwise… Ouch. Their combination of insane riffage and Trenton Woodley’s unbelievable vocals, not to mention their electric stage presence and the serious singalong potential on tracks like ‘Colourblind’ and ‘Monster’, is not to be missed.

Watercolours

Forest Sessions, 6.10pm

After a high energy afternoon of headbanging chaos and plenty of sun (and there WILL be plenty of sun…), what better way to wind down than with some dreamy, atmospheric indie pop? With beautiful layering and electronic elements linking soaring choruses, local trio Watercolours are true to their name – soothing and colourful, this will be the perfect half hour to lose yourself in the forest.

SATURDAY

Normandie

The Cave, 1.50pm

In the three years since the release of debut album ‘Inguz’, Normandie barely seem to have stopped to catch a breath. After a support slot on Yellowcard’s final European tour put the Swedes firmly on the map in late 2016, they’ve completed more than a few laps of the UK for both tours and festival appearances and released their mammoth sophomore album ‘White Flag’ in October 2018. This is their first appearance at 2000trees, and it’ll be jam packed with anthemic choruses, elevating riffs, and thundering breakdowns, topped off with mindblowing vocals from Philip Strand. If you want a new favourite band, we’ve probably just found it for you.

Lotus Eater

The Cave, 2.45pm

If you like your music technical, disgustingly heavy, and with just a dash of destruction about it, Glaswegian metal quintet Lotus Eater will answer all your prayers. And then some. Sophomore EP ‘Social Hazard’ only just scrapes past the fifteen minute mark, but it’s an aural assault from start to finish, and their live performance brings just as much ferocious energy to the stage – it’s lucky they’re playing on the final day, because The Cave may not be left standing after this one.

Ducking Punches

Forest Sessions, 4.15pm

One-time solo project and now four-piece folk rock group, Ducking Punches will be bringing some of the most emotive tracks of the weekend to their Forest Sessions set. Dan Allen’s lyrics are frequently brutally honest, set to foot tapping beats and lively riffs that are sure to be magical in this intimate woodland setting.

Delaire, The Liar

Neu Stage, 4.35pm

There may only be two of them, but Londoners Delaire, The Liar know how to make plenty of noise. Vocalist Ffin Colley is nothing short of astounding and Delaire’s live sets have a tantalisingly wild quality about them – unique and genre-defying, they are quite simply Delaire, The Liar. Missing this set would be nothing short of a mistake.

Can’t Swim

The Cave, 5.50pm

With a sound that pulls on the heavier elements of pop-punk and even dips into the punk rock style of Alkaline Trio, New Jersey quartet Can’t Swim have a rawness and honesty that speaks to all troubled souls. There’s huge power in these haunting melodies and creative instrumentation, and their audience are equally passionate – come down to The Cave for a thoroughly therapeutic singalong, and you won’t regret it.

Every Time I Die

Main Stage, 7.50pm

‘Hot Damn!’ in full. Do we actually need to say anything more? This will be loud and riotous. Be there.

For an even bigger taster of what’s in store at 2000trees, we’ve put together a massive Spotify playlist to whet your appetite – check it out below, and we’ll see you this weekend!