Words: Kate Allvey // Photos: Paul Lyme, Penny Bennett

Call Me Amour

Glittery shirts and a whole lot of love for Call Me Amour kicks off the day, along with what must be the inaugural circle pit. It’s their first time playing any festival at all, and judging by the way ‘Bloom’ gently flowers into a chorus as pretty as its namesake, it won’t be their last. ‘Where’s The Chemistry?’ pulses with dark summer refreshment, and by emphasising the rock end of their sound, we’re fizzing from their Slam Dunk wake up call of a set.

Unpeople

Twiggy Ramirez grooves and summertime anthem energy? Yes please! Unpeople are joyful and heartfelt in their cross-genre rock appeal. ‘Going Numb’s grunge edges fade into indie screams as they take us on a voyage through their own sonic landscape through the dark recesses and sweeter rises of ‘Kangareuben’. They’re a dream of what the nineties scene could have led to had we taken different roads and a hopeful delight from start to finish. 

Cancer Bats

A shot of high-jumping adrenaline, Cancer Bats bring a invigorating and furious thunderstorm of raging punk and outside energy to the East field. It’s been two decades since they released ‘Birthing The Giant’ and they’re determined to celebrate with a set dominated by their debut; ‘Shillelagh’s prowling desert rage blasts with drum-driven intensity, led by an infinitely bouncing Liam Cormier. Their highly refined lack of polish makes for an absolute mid-afternoon kick.

Hawthorne Heights

“I’m not sure if Emo music is the right vibe, there’s blue skies everywhere,” frontman JT Woodruff apologises, but he’s wrong. Hawthorne Heights lure a packed crowd to the far corner of the field, and we sing out the melody to ‘Pens And Needles’ like our lives depended on it, barely recovered after the piercing honesty and stirring honesty of ‘We Are So Last Year’. A full wave transforms this corner into the most sincere pit of the weekend as Hawthorne Heights’ self-proclaimed “Emo throwback bangers” send us back to the happy places of our youth.

Zebrahead

Inflatable grim reapers, an onstage bar and the Team America soundtrack herald the arrival of Zebrahead, a band who have been stuck on the B-List for far too long. However, with punchy solos from the start and ska rhythms illuminating ‘We’re Not Alright’, that’s got to change. Ali Tabatabaee spits bars as crowd surfers flip forward on ‘Hello Tomorrow’ and ‘Rescue Me’ has reached full scream-it-out anthem status, the spectacle of the band obscured by the dust flung upwards by a roaring circle pit. Goldfinger join in for ‘The Perfect Crime’, a highlight of a set that’ll put Zebrahead back on the map. 

Trash Boat

“How the fuck did ten years go past so fast?” Tobi Duncan asks, and he’s determined to celebrate a decade of ‘Nothing I Write Can Change What You’ve Been Through’ ahead of their anniversary show this October. The smallest tent is packed with a fanbase fuelled by devotion, revelling in hearing a setlist that hasn’t seen the light of day in years. ‘Second Wind’s uplifting distortion gives way to the overflow of emotion that is ‘Catharsis’, and ‘Strangers’ feels like an emotional call to arms to send us back into the shocking brightness of the outside world.

Goldfinger

Can anything top ska punk in the sunshine? Goldfinger are just always reliably a good band to catch, and the way ‘Counting The Days’ echoes back across the field would melt the most icy and cynical heart. ‘Freaking Out A Bit’ wraps the jaded lyrics in brassy professionalism, and dropping in covers of NOFX and Metallica adds a jaunty humour to the afternoon. Previous years would have seen them on the corner stage in the ska-punk ghetto, but the decision to give Goldfinger room on the main stage lineup is undoubtedly an amazing move.

Boston Manor

There are two types of festival-goer: those that want the fun, and those that want the heaviness. For today’s crowd, the latter half have eschewed Goldfinger for the emotional earnestness of Boston Manor. With guitar lines like blades and an emotional urgency that demands you take notice, Boston Manor are proving to be the right choice for fans of the assertive, blunt and heavy. For those who opted to attend, ‘Laika’ acts as a reassurance that we were right to be here, as we stand strong in the packed out stage-front.

The Home Team

It’s The Home Team’s Slam Dunk debut and they’re bringing the party. ‘Brag’ grooves are a welcome respite from the heavier music with a focus on pure fun, their boyband energy extended to the most explosive and powerful rock conclusion. From the infinitely danceable ‘Overtime’ to the celebratory, grind-worthy ‘Loud’, each tune is more of a slap than the last, providing the festival feeling we’ve been craving.

Dashboard Confessional

The bustle of the day feels still as Dashboard Confessional present an oasis of semi-acoustic calm with ‘The Best Deceptions’, followed by the resonant universal truths of ‘The Sharp Hint of New Tears’. Of course, as Chris Carrabba explains, they “specialise in singing very sad songs,” but their set becomes a clearing full of joy in today’s forest of bands. 

The Menzingers

We’re hypnotically dragged across the field by the choppy strains of ‘I Don’t Wanna Be An Asshole Anymore’, the sound of The Menzingers unfiltered by sub-genre suffixes. They slide between the nihilistic optimism of ‘The Obituaries’ and the sly connection with the British crowd posed by ‘America (You’re Freaking Me Out)’, plus, of course, the Springsteen-esque realism of new song ‘Chance Encounters’ which gets its UK debut. As Greg Barnett’s roar grips our chests and sends hands aloft, we’re one again fortunate to have caught the Menzingers in their natural habitat.

President

The masked and tuxedoed politicians continue their meteoric rise with a set marked by a lengthy power cut and an absolute wave of devotion from their fanbase. ‘Fearless’ is gritty and explosive, their crashing sound growing in strength with every show, and ‘Dionysus’ smashes beyond the inevitable comparisons to Sleep Token. With unfortunately limited time onstage, they make every second count with some of the most blistering tunes of the day.

Taking Back Sunday

Even vocalist Adam Lazzara is astounded by the love he received from the crowd as Taking Back Sunday weave sophistication into the setting sun over the West field. He shakes his head in disbelief as we take over vocals on their iconic ‘Cute Without The ‘E’’, but how can he be surprised when we’ve already been slamming to the slinky bass permeating ‘Miami’ and rejoicing to the crisp solos in ‘Error: Operator’? The instantly danceable emo hits Taking Back Sunday lay on us are always a winner.

Motion City Soundtrack

‘L.G. FUAD’ is like a firework going off on the Monster stage, a beacon for those of us still up for a party. Motion City Soundtrack know very well how to create fuzzy anthems, ‘My Favourite Accident’ cresting as a wave of positivity, the vibrant guitar keeping our spirits high. There’s no Patrick Stump guesting on ‘Particle Physics’, but who needs him when we’re buoyed aloft by MCS’ sweet and sour tunes to brighten the early evening?

Sublime

It’s Sublime’s first UK show, and with Jakob Nowell taking over his dad’s role on lead vocals we knew all along we were in for a historic treat. They pay homage to the past with the inflatable Lou Dogs onstage, but with an undoubtably modern reinvention; covering Fallen Idols’ ‘Prince Of Sin’ gives Nowell a chance to shine on rapid-fire vocals in a set that dips and weaves between classic South Beach skate punk, dub and stoner rock. ‘Until The Sun Explodes’ might be played extra fast but it’s just as tender, and ‘Santeria’ feels like the homecoming every MTV kid was waiting for.

Malevolence

Rowdy and with a rhythm to shake the earth, Malevolence’s Alex Taylor is ready for anything in his pseudo-bulletproof vest. ‘So Help Me God’ poses and burns, ferocious and compelling, calling forth a colossal circle pit from those who want their evening exceptionally heavy. Their set passes in an instant, the kind of half hour you can lose yourself in, each song a tribute to the power of maximum noise.

Knocked Loose

It feels inevitable that one day Knocked Loose would have festival closer status, and today they’re as glitching and complex as ever, and their sound works tremendously on a huge stage. ‘Don’t Reach For Me’ shocks and jars, a song for a band revelling in their own chaos, and silhouetted by bare lights, we’re confronted by a band who have reached the place that they wanted to be all along. The ‘real’ closers for those flitting between the heaviest bands, Knocked Loose propels themselves through endless raging bass to create a massive hardcore finale. 

Good Charlotte

The Brothers Madden and co are the star attraction at this year’s Slam Dunk with their first UK show in seven years and a setlist that’s crammed full of hits to spark waves of throwback fever. Even when they play their “emotional song”, ‘Hold On’, we’re swept up by their sound blasting into the night to the point that no one dare move to catch an early train home: we’re gripped by their retrospective, from the tightly-plotted ‘Riot Girl’ through to the galactic club energy of ‘The Chronicles of Life and Death’.

While they might be larger than life now, Good Charlotte have kept themselves firmly rooted in their teenage outsider perspective. ‘Rejects’’ dreamy harmonies keep the loner message light, and ‘Little Things’, dedicated to “every kid who ever got picked last in gym class”, slaps hard, the field a sea of glowing hands. “We’re going to turn this into a very 2001 Good Charlotte show right here,” declares Joel Madden, and reliving our teenage years is what we’re here for. We’re word perfect on ‘Lifestyles of the Rich and Famous’ – and we’ll ignore the irony considering the Maddens are married to Nicole Richie and Cameron Diaz when the live version of their hit is this good – and closing out with ‘The Anthem’ is an incredibly satisfying conclusion to our months of anticipation at seeing Good Charlotte live again. Okay, we won’t have too long to wait as they’re back in the UK in November, but as the fireworks send us on our way, we’ve got absolutely no complaints about our pop-punk favourites giving it their all. 

KATE ALLVEY

Opener ‘Burning Heart’ sets the tone of the record – this is Dashboard as you remember them, with guitars that sit front and centre in the mix. It’s the ‘same damn burning heart’ that drove the choruses of ‘Again I Go Unnoticed’ all those years ago and Carrabba sounds as vital as ever. The longing remains, punctured with that trademark crackle in his voice. On ‘Here’s To Moving On’, acoustic guitars shimmer like 2004 never ended. Snapshots of suburban love affairs sprinkle themselves throughout with a chorus that asks for a campfire sing along. Dashboard Confessional have always been masters of capturing that feeling of nostalgic sadness. When the drums kick in on ‘The Better Of Me’ it’s a welcome surprise, echoing the full band versions of songs on the much loved ‘MTV Unplugged 2.0’.

Dashboard rely far too heavily on cliché on occasion, both lyrically and musically. You could fill a bargain CD rack with songs that reference the ‘Sunshine State’ and yet Carrabba squeezes enough feeling into these stereotypical subjects to escape falling too far into becoming a pastiche. It’s a rare lull on an otherwise soaring collection of songs that navigate heartbreak, age, depression and the chaos of modern life. When avoiding the temptation to sing the words you most expect, Carrabba is insightful about the anxieties of growing old. Wisdom accrued over years in the scene shines through with clarity.

We may never know how many old mp3 players sit collecting dust with ‘The Places You Have Come To Fear The Most’ on but the fact that after twenty-two years we are still seeing Dashboard Confessional make engaging and thoughtful albums is a testament to Carrabba’s drive. Forever the driving force behind the band, he is a constant in an ever-changing sea of bands that have come and gone over the years. ‘All The Truth That I Can Tell’ may not tread much in the way of new ground but it is trademark Dashboard Confessional, seamlessly fitting in an iconic discography.

It remains to be seen if this album will make an impact on new listeners in the way that ‘The Swiss Army Romance’ did in the year 2000, but this is definitely an album to be enjoyed by those who already have a relationship with the band. For them, it’s a chance to approach Dashboard Confessional with a fresh lens. The sound is still the same but the subject matter has changed. This is a modern Dashboard with a new set of songs ready to be sung at full volume in a sweaty room somewhere near you.

ALEX SARYCHKIN

It’s not often a support act is greeted with complete, reverent silence in the crowd during their set, and US melody merchant Cory Wells certainly deserves it. This is his first trip to the UK, coming just a few days before the release of debut album ‘The Way We Are’, and he seems just a little nervous – the crowd’s deafening silence might not be entirely helpful, in that regard – but his music speaks volumes for him as he sings about life and love without the sugarcoating. Interspersed with bursts of heartrending cries, there’s a passion and grit to Wells’ vocal performance that keeps all eyes on him – with a UK headline tour coming up in January, this is a talent we’ll be pleased to see more of in future.

Deaf Institute is the kind of room that, when sold out, becomes wall to wall humans, and tonight is very much one of those nights. Anyone arriving after Wells’ set has a squeeze on their hands to find a space, and there’s only 15 minutes to wait before an evening with Dashboard Confessional commences (we can definitely get behind these acoustic tour timings).

It’s not too surprising that the set is kicked off with ‘The Best Deceptions’, and the quiet from earlier persists a little longer than would normally be as the crowd seem to nervously debate joining in – is it rude to join in on an acoustic set? Are we allowed? Will someone tut, Britishly, if we do? Carrabba is having none of it, though, and with his encouragement a gentle choir eventually accompany him through an extended outro before he belts out an unfathomably clear and long final note – Dashboard Confessional has arrived, and it’s everything we always loved and admired.

The benefit of an acoustic set is that Carrabba is offered the freedom of almost his entire back catalogue (there are, as we discover, one or two exceptions), and after this first track he offers the rest of the set up as a requests show – “I will finish with ‘Hands Down’,” he says, “so you can request it. And I will play it. But then it’ll be the end.” This quiet humour carries throughout the evening, Carrabba being almost as much of a storyteller in words as in song (though with an occasional tendency to abandon his stories partway through). It’s a shame that, with the suggestion of requests on the table, he is occasionally drowned out by overenthusiastic and increasingly loud shouts of song titles, but the excitement can be forgiven – this is a rare and cherished opportunity.

The evening is, unsurprisingly, laden not only with fan favourites, but a comforting selection of deep cuts; ‘So Impossible’, ‘Age Six Racer’ and ‘As Lovers Go’ make very welcome appearances in this slightly epic 23 song setlist, while some of the best moments lie in the soft tones of ‘Dusk And Summer’ tracks. Any hesitance when it comes to singing along is long since gone, and Carrabba revels in the joy of it, sharing these much loved songs with 300 people who have grown up with his voice as the soundtrack to their most important moments. There’s a barely concealed surprise on his face, too, when just as many people sing along to 2018’s ‘Heart Beat Here’ as to ‘Screaming Infidelities’ and ‘Again I Go Unnoticed’ – this is an artist still easily capable of creating masterful songs that cement themselves in the hearts of his fans.

It would be difficult to select a highlight in this beautiful, calming hour and a half of music, though the haunting ‘Ghost Of A Good Thing’ offers a particularly heartrending moment, and a cover of Justin Bieber’s ‘Love Yourself’ elicits more than a few laughs (and, though we might not like to admit to knowing the words, it gets its own fairly solid singalong moment). The night must surely belong to the finale, though, as the room is filled with harmonies to ‘Vindicated’ and, of course, ‘Hands Down’. Dashboard Confessional continue to be a musical force to be reckoned with, one capable of generating the deepest feeling of joy and warmth – and with the news that Carrabba will be bringing the 20th Anniversary tour back next year, this is a feeling we could happily get used to.

GEM ROGERS

Any initial sparsity in the crowd can, perhaps, be attributed to many fans no longer being especially young (sorry) and thus not interested in hanging around gig venues too early – but the room does eventually begin to fill, and rapidly, as most have made the wise decision to arrive in time for support act Black Foxxes. The Devon alt-rock trio deliver an almost impossibly tight set with spellbinding precision; first track ‘Breathe’ swells and eases in hypnotic waves, whilst Mark Holley’s vocals have a beauty and strength that comes across even more powerfully in this live setting than on record. This power continues through the set, with the lively ‘Manic In Me’ a highlight of this precision performance by three immensely talented musicians.

As the time arrives for Dashboard Confessional to take to the stage, the room has become quite possibly the largest gathering of overexcited 30-somethings you’re ever likely to encounter. It’s not only down to the bloody long wait we’ve had to hear these songs live again (did we mention it’s been ten years? TEN?); there is something about the music Chris Carrabba has produced that inspires intense loyalty and emotion in those touched by it. For those in the know, it’s unsurprising that this fan base is still around, and as the first bars of ‘The Best Deceptions’ break out, so too do the voices of everyone in the room – these are lyrics imprinted on the souls of all in attendance.

It’s a set that primarily draws on the most familiar of Dashboard’s material, with only a brief nod to this year’s ‘Crooked Shadows’ later in the evening with ‘We Fight’. The full band emerge for the beautiful ‘Don’t Wait’, with singalongs continuing in force – and Carrabba couldn’t look more delighted.

“It’s been a minute since we’ve been here,” he says at one stage, with a smile and a pause, before continuing – “Sorry.” In the moments between songs, Carrabba stops to engage with the crowd and speak with a quiet nervousness littered with long pauses. It’s almost awkward, but his sincerity and humour, combined with the enraptured respect paid by the audience, instead make these moments endearing – and frequently funny.

All that quietness is nowhere to be found the second each song bursts into life, though. The rest of the band, including long time bassist Scott Schoenbeck, are a well-oiled machine, providing a perfect musical backdrop to the beautiful and emotive vocals. A little later in the set, we’re treated to a song Carrabba reveals he “wrote this morning”, yet it fits perfectly amongst the familiar melodies of songs like ‘Again I Go Unnoticed’ and ‘Screaming Infidelities’.

This may be one of the larger venues in the Manchester Academy building, but the atmosphere feels like the most intimate of club rooms, and the night is brought to a magical close with ‘Hands Down’. Singalongs have been constant throughout, with final pre-encore track ‘Vindicated’ being one of the most heartfelt, yet none quite compare to this one last song. The final refrains are extended as Carrabba stands alone on stage to sing with us, the words echoing around the room and in our hearts.

It’s been a surreal and magical evening, a room full of people falling in love all over again with the sounds that got them through their teenage years (and beyond). Dashboard Confessional still have everything it takes to captivate a crowd and put on a memorable show; and though a few more of the recent tracks would’ve been welcomed as a reminder that Dashboard aren’t just a throwback band, it has been as close to perfect a comeback as we could have hoped for. Can we be so bold as to request that the next one is sooner than 2028, please?

GEM ROGERS

NOVEMBER
7 CARDIFF Tramshed
8 BRISTOL SWX
9 PORTSMOUTH Pyramids
11 BIRMINGHAM Digbeth Hall
12 GLASGOW 02 ABC
14 NEWCASTLE Riverside
15 MANCHESTER Academy 2
16 LEEDS Beckett University
18 NOTTINGHAM Rock City
10 LONDON Koko

Chris Carrabba has one of the best and most recognisable voices in rock; his ability to ring every ounce of passion and emotion out of every syllable is the envy of fans and musicians alike. Thankfully, nothing has changed in the intervening years and so the opening notes and vocals of ‘We Fight’ are sure to bring a warm rush of nostalgia back for those who used to sing along to ‘Hands Down’ all those years ago. Musically, it’s the perfectly composed and structured slice of anthemic emo rock that you would expect.

‘Heart Beat Here’ and ‘Open My Eyes’ are reminders of the stripped-back origins of Dashboard Confessional. The latter, featuring Lindsey Stirling, swells to a heart-bursting crescendo, and adds a subtle depth to the often singular voice of Chris Carrabba. Not that ‘Crooked Shadows’ is an album that is stuck in the past; ‘Belong’ is a modern twist on the familiar, complete with neon-coated dance music synth chords. It’s arguably the most experimental song Dashboard Confessional song, and may prove divisive amongst fans.

Another duet, ‘Just What To Say’, closes the album with Chris teaming up with Chrissy Costanza of Against The Current. It’s also the song that perhaps sums up ‘Crooked Shadows’ the best; it pays respect to Dashboard Confessional’s roots, but also shows that Chris isn’t willing to trade on past glories, and that he is aware of how the musical landscape can change following such a lengthy absence. ‘Crooked Shadows’ may not be what everyone wants from Dashboard Confessional, but it is the music that Dashboard Confessional wants to make.

CHRIS HILSON

It is taken from their upcoming seventh album, ‘Crooked Shadows’, which will be released on the 9th February via Fueled by Ramen.

The song is taken from their upcoming seventh album, ‘Crooked Shadows’, which will be released on the 9th February 2018 via Fueled by Ramen.