Oh, British summertime. One day, you’ll be soaking up a harsh sun, slow-roasting in your own juices and sitting at a pretty shade of lobster pink. The next, ferociously blinking away the spray and spittle of sideways rain, propelled by gale force gusts, trying not to slip over and eat shit in front of all your mates. There was no need for sun cream on the final day of 2000trees. Indeed, it rained and it poured. Tents flooded, fields turned to mud baths, and the festival goers all got a much-needed free shower.

The elements were no match for the music, however, as the festival concluded without a hitch. “You can’t kill the metal. The metal will live on.”

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

Witch Fever

Taking to the main stage right around the same time as the first break in the morning rain could not have been a more convenient start for Witch Fever. “We made the rain stop for our set, obviously” teases vocalist Amy Walpole, who fronts a band that have climbed from strength to strength since their inception. Last year saw the release of striking debut full-length album ‘Congregation’ to notable acclaim and, as Walpole skulked through ‘I Saw You Dancing’ from the off, the quality is abundantly clear.

Alisha Yarwood and Alex Thompson’s sludgy guitar and bass tones gave the music a rich texture that sounded full-bodied on this festival’s biggest stage, bedded in by a complete performance on drums from Annabelle Joyce that is at points poised and patient but also the catalyst for the band to detonate in unison. The double-barrel hit of ‘Reincarnate’ and ‘Bully Boy’ from 2021’s ‘Reincarnate’ EP were particularly explosive, the latter of the two a scathing rendition that was delivered with a venom recognised and appreciated by every onlooker. “Off with his head, let’s see how he burns” is simply a fantastic lyric.

High Vis

There was certainly a buzz of anticipation about the High Vis set on that Saturday afternoon. Words on their performance at Manchester’s Outbreak festival just a couple of weeks prior had travelled far and wide. Plenty turned up to see just what the fuss was all about. Described by frontman Graham Sayle as “just a bunch of dickheads doing music”, there are truly no bells or whistles about High Vis. Instead, they have buckets of raw intensity and a commitment to the ideologies behind the music.

A rousing number about tackling tough times, ‘Out Cold’ left a lasting impression as did ‘0151’ – both proper punk songs uniquely stirred with just a twinge of 90s Britpop. It’s ‘Trauma Bonds’, however, that will stick with anyone it touches. Emotional lyrics driven by an authentic and passionate ensemble performance from the band is High Vis in a nutshell. Despite the humble figures they cut, this is an important band, with a crucial message to spread.

Dead Poet Society

Those familiar with Dead Poet Society might have had early concerns about whether they’d have enough bite to hold their own at a festival with such a heavy spine. Quite the opposite. Circle pits and crowd surfing aplenty, this Massachusetts four-piece delivered one of the liveliest sets of the day, giving the crowd plenty of incentive to move, despite the standard lethargy that can arise on the final day of any festival. Spearheaded by Jack Underkofler, there was little room for respite as he took full control of the stage, orchestrating the mayhem that was about to ensue.

On occasion, the subtle tones of Underkofler’s vocals got lost in the mix in favour of the beefier noise from the instruments, but when he let the pipes soar they landed every time. The swanky ‘.CoDA.’ especially showcased why vocals are at the forefront of this band’s dynamic as Underkofler crushed each line with the conviction of a master of their craft. ‘.SALT.’ was another cut that sounded especially rich, with guitarist Jack Collins’ ceaseless chugging on an obscenely downtuned guitar being the driving force behind hundreds of approving head nods. Thanks to the quality of this set, plenty of idle bystanders will have Dead Poet Society at the top of their list of bands to check out when they’re back in the real world.

Koyo

Taking to The Cave in the slot directly following current tourmates Fleshwater, New York quintet Koyo are another band electing to conclude a European tour at 2000trees. Yet to even release an album, the pull of this band is quite astounding. A packed-out tent is enthralled by their beefy take on a genre often discussed as being saturated, Koyo are taking the fundamentals of pop-punk and adding the bite of hardcore to create an exciting blend that is built for environments such as this.

‘You’re On The List (minus one)’ is a new release plucked from the forthcoming debut album ‘Would You Miss It?’ which got the crowd moving plenty – an exciting sign of what’s to come for fans. This set’s closer was ‘Ten Digits Away’ which is, to date, the catchiest song released from the band. Finger pointing aplenty, there weren’t many in attendance that weren’t belting the chorus back at frontman Joey Chiaramonte. Koyo truly have the world at their feet, they’re already making massive strides, and they’ve barely gotten started.

Holding Absence

Garnering comfortably the biggest crowd of the day so far, for Cardiff quartet Holding Absence, playing 2000trees’ main stage must have felt like a lap of honour. Having conquered every other stage the festival has to offer in years gone by, they truly have grafted their way to the top. Relishing every minute and deservedly so, frontman Lucas Woodland sincerely claimed that 2000trees feels “like home” to them.

Aside from a typically tireless performance from Woodland, a special mention must go to drummer Ashley Green who was flawless in his performance. Until experiencing Holding Absence live, you might be forgiven for not recognising just how crucial Green is to their dynamic, but stripped away from the studio mix, it was so frequently the percussion that stood out and wowed the crowd. ‘Gravity’ was especially punchy, and capped off by a trademark anthemic chorus. In a similar vein, ‘Afterlife’ will always mark a high point in the set, with only a small minority of the crowd not belting out the lyrics in unison.

An affirming and emphatic performance on a huge occasion for Holding Absence, they made that stage their own and delivered a performance that will stay in fans’ memories for a long time.

Dream State

Gleefully stating “I’ve never played to this many people in my life”, Dream State’s Jessie Powell is entirely in her element. Fresh off the back of a sold-out UK tour and enjoying a rebirth under this new, refreshed, line-up, this Welsh four-piece take to The Cave with a point to prove. “We are Dream State and we’re here to stay” affirms Powell after delivering one of the standout performances of the entire weekend. Meandering between delicately nuanced to devastatingly visceral with apparent ease, the vocalist dominated her stage and her audience every step of the way.

‘Chin Up Princess’ is their most recent release, and fans have already taken to it swimmingly, with the nutty breakdown eliciting something close to pandemonium in the crowd. Someone was crowd surfing inside a pop-up tent which was, no doubt, useless thanks to the inclement weather. Older cuts were also well received, with Powell adopting a commanding approach to songs that she is still relatively new to adopting. It’s an exciting time for Dream State and, if their set at 2000trees is anything to go by, they’re not just back in action, they’re better than ever.

Deaf Havana

Driven by brothers James and Matthew Veck-Gilodi, Deaf Havana have been an ever-present force in these circles. Despite a myriad of line-up changes, the pair are nothing if not persistent in their craft. Today feels a world away from breakout record ‘Fools and Worthless Liars’ and even further from the outright hardcore debut ‘Meet Me Halfway, At Least’ but it’s no wonder, that was over a decade ago. Diversifying and eventually settling into their current pop-rock dynamic made for comfortable listening, the focal point of their performance clearly being the vocals of James Veck-Gilodi which have evolved to be nothing short of excellent.

While the brothers have very similar voices, Matthew more than capably props up his brother to take centre stage, with ‘Hell’ in particular standing as a proper showcase of just how much value can be found in these voices. Unfortunately, an already relatively sparse crowd for the main stage was only thinned out further when the heavens opened up and the rain started lashing down. Many swiftly bailed to seek shelter and it was clear that the band didn’t blame them one bit.

Frank Carter & The Rattlesnakes

Tasked with capping off the entire weekend, Frank Carter has been a servant to the scene for decades and fewer deserve this platform more than him. A master frontman, one of the greatest to ever do it, he works his audience with expert precision, all the while delivering a set that sounds infinitely more colossal in a live setting. Having stripped away the edge to their music in recent years, it was refreshing to hear that the band still have an abundance of bite left as they launch through ‘Tyrant Lizard King’ with as much vigour as the likes of ‘Devil Inside Me’ and ‘Juggernaut’.

Complete with a pyro show, confetti, and a cameo from the ever-striking Lynks on ‘Bang Bang’ and ‘Go Get A Tattoo’, the entire performance had an air of grandiose fitting for such an occasion. Bowing out with the iconic ‘I Hate You’, there is always a morbid beauty to this song; lyrics so spiteful sung so passionately by so many voices. While the earlier onslaught of rain may well have resulted in the crowd being sparser than it would have been on another day, thousands of cheers still rattled through the rolling Cotswolds hills for one last time with the magnificent Frank Carter & The Rattlesnakes the perfect orchestrators to see us all out.

Words: Fiachra Johnston and Lisa Fox.  Images: Penny Bennett and Download Festival / Abbie Shipperley

Polaris

If I had a nickel for every time an Australian band opened up the Apex stage at Download Festival I’d have two nickels, which isn’t a lot, but it’s strange how it’s happened twice in two days. Maybe it’s the way they can get a crowd moving at 12 in the afternoon? Polaris start up the dust storms that will continue throughout the day with a rendition of ‘Hypermania’ that immediately puts the speaker system to the test. It’s a basic but effective set, a classic explosion of metalcore as vocalist Jamie Hall violently wheels around onstage. This is sadly one of the last shows on their EU tour before having to recuse themselves due to the passing of their guitarist Ryan Siew. We send them all the love in the world, and we cannot wait to have them back with us soon.

Stray From The Path

Long Island residents Stray From The Path know where they are, and how to get the crowd moving. Right from the start of ‘Needful Things’, the vicious nu-metal throwbacks have the audience on their side, with front man Drew Dijorio directing them in a storm of circle pits. Launching into the ever-relevant “Goodnight Alt-Right” with a statement that minority communities that “will always be welcome at a SFTP show” and that “Nazi punk motherfuckers” will promptly meet a metaphorical boot heel only gets people going even more. Maybe this is how Dijorio is able to inject enough energy into a dust-covered, already exhausted crowd into bouncing for ‘Guillotine’. SFTP perform like they’re the last act of the day, and the crowd move as if they don’t have another 10 hours to go. Will it come back to bite us as we dredge through the 25 degree wasteland without shade? Absolutely. Was it worth it? Most definitely.

Ice Nine Kills

Half of the enjoyment of an INK set comes from vocalist Spencer Charnas’ antics on stage, and there are antics abound as they took to the Apex. From his role as a psychotic hostel customer in ‘Wurst Vacation’, to murdering a poor misfortunate banker in ‘Hip to be Scared’, to full on knife crime against the Download Dog for ‘The Shower Scene’, INK’s set is as much a horror film as it is a musical performance, one we can’t tear our eyes away from. Musically, they’re as talented as they’ve ever been, though they only pull from their two ‘Silver Scream’ albums, avoiding their more classic work in favour of further cementing themselves as a full-force, blood-fuelled, horror-themed band. Charnas kills it (pun intended) on vocals, the action on stage not detracting from the vicious breakdowns and tight guitar lines that avoid many of the tech bungles that other bands have been plagued with on the Apex.

Still, we feel bad for the poor Download Dog. Wonder what poor shmuck they roped into climbing into that thing…

Bob Vylan

Passing by Bob Vylan in the Avalanche tent, you can’t help but grin ear to ear. Bobby and Bobbie have turned the fit to burst Avalanche into a madman’s disco, with Fever 333 joining briefly for ‘Pulled Pork’ and nearly blowing out the nearby sound systems with ‘Wicked and Bad’. The announcement they would be doing an after hours set “well after Metallica’s bedtime” is met with raucous applause, and you can’t help but wonder how big Bring Me The Horizon’s Church of Genxsis could really be in comparison to the duo’s cult of personality. We later hear their secret set went so long security came to shut them down, leading them to crowdsurfing offstage by an enthusiastic crowd to further party elsewhere. Now that’s punk.

Motionless In White

It’s their fourth go around at Download, but it is always a joy to see Motionless In White at Donington. Evidently, many share the sentiment, as even before the first notes of ‘Disguise’ drop, the jam packed crowd is electric. Ever the burst of charisma, Chris Motionless celebrates the year anniversary of their latest record by conducting the crowd through ‘Scoring The End of the Word’. ‘Slaughterhouse’ sets the Opus alight even without Knocked Loose’s Bryan Garris, its breakdown maybe the most violent of the day, and ‘Reincarnate’ draws exclamations of joy as the 2014 classic adds a layer of nostalgia to the electricity onstage. It’s a pretty standard MIW set, not reinventing the wheel but never letting the energy fall below manic levels, and there’s no doubt Chris and co. will be more than welcome back with the crowd they’ve drawn.

Kid Kapichi

Kid Kapichi may not think they belong, with lead singer and resident “old man in a young man’s body” Ben Beetham’s little spots of self-derision throughout the set (“We probably sound like Miley Cyrus compared to what you’ve just heard but thanks for giving us a chance”) but the crowd certainly do by the time thudding bass of ‘Rob The Supermarket’ hits. The Hastings group are full of love for a receptive crowd, losing themselves at how packed the tents gets as their open, airy guitars cries out in ‘Death Dips’. There’s so much charisma on stage, its hard not to see why they were Frank Carter’s band of choice for his birthday, and as ‘Smash The Gaff’ is launched into with a battle cry of “What the fuck is up Denny’s?”, its clear that the mix of humour, sincerity and old school bash-your-head-in punk rock will carry this relatively young band a long way.

Alexisonfire

Alexisonfire are, like Bring Me The Horizon, something of an odd pick for Download 20, though only a few weeks off from the release anniversary of ‘Otherness’ – their first record together in over a decade – the Ontario post-hardcore outfit also have cause for celebration. Their scale certainly fits the Apex, and after combating with the sound system a bit with ‘Sweet Dreams of Otherness’, they settle into a rhythm. Apart from a few cursory introductions and crowd check-ins, vocalists George Pettit and Dallas Green are rather taciturn and clinical in their onstage performance, giving the crowd something of a breather in between some rather heavy hitters. It’s a solid set, one perhaps most mired by the heat of the day and some unfortunate mixing by the tech crew but the most dedicated of us are bellowing along to ‘We Are The Sound’, and the quintet enthusiastically retort with a powerful rendition of ‘Blue Spade’. Though they wouldn’t have been many’s first pick for a slot at the Apex, they certainly made their mark.

Deaf Havana

Fresh off a secret set last night at the Sidesplitter stage, Deaf Havana are here to nurse our hangovers. Sadly, there’s a frustrating amount of mic issues for the Veck-Gilodi boys and their backing members, impacting the otherwise wonderful renditions of ‘Fever’ and ‘Hell’. This doesn’t stop a loyal crowd from singing along to every hit however, heat and tech issues be damned. It’s cathartic then, when the issues are wrangled under control ‘The Present is a Foreign Land’, and much like their late night set the night before, the curious blend of folk and alt-rock makes them one of the unique sounds in the metal-laden Donington.

Monuments

Monuments have some of the most unfortunate luck, starting their set surprisingly late due to ongoing tech issues in the Dogtooth stage, yet it doesn’t dampen the audience spirit, continuously chanting for the band and hollering with glee when vocalist Andy Cizek pops on to help with mic setup. Cizek has only been with the band since 2019, but the man can scream. In what may be one of Download’s most eardrum-busting sets, Monuments absolutely hammer home how cohesive their current lineup is, debuting ‘Nefarious’ live for the first time to rabid reaction. The crowd is equally here to prove something, keeping the energy high, forming pits aplenty as ‘Lavos’ threatens to tear the tent of its supports. Somehow, the mass of bodies in here forgets about the stifling heat for one moment, resulting in a set that could have kept on the entire night if not for a frantic stagehand trying to keep sets on time. Please, if you get the chance, see these boys live, they will not disappoint.

Creeper

If people were angry about the Coheed and Cambria/Placebo clash before, the announcement of a surprise set by Creeper at the same time drove most over the edge. Of course, we couldn’t resist attending Fright Night at the Dogtooth and despite a late start similar to Monuments, it was worth every second. The tightly packed crowd is enamored as Will Gould and the band’s unique brand of goth punk sweeps through the tent, bringing out the live debut of a new track, ‘Sacred Blasphemy’ to a stellar reaction. The set will of course garner comparisons to tomorrow’s Opus headliners Ghost, but the suave nature of the band, how they go from the ‘Cry To Heaven’ to monstrously vampiric in ‘Poison Pens’ makes the tent wholly theirs. Criminally, the set is cut to shreds for time to make way for the headliners over at Apex, leading to ‘Annabelle’ being cut and a shortened version of ‘Hiding with the Boys’ (dedicated to the equally macabre Ice Nine Kills) before sending the crowd home ghoulishly grinning with ‘Misery’. As far as Download secret sets go, Creeper have carved their name into the annals succinctly but savagely.

Metallica

Throughout the day there has been a sea of camping chairs turning the journey to the front of the Apex stage into a human slalom course. With the heat sucking the energy out of every person in Donington (which no one can be faulted for), it makes navigating throughout the day feel like an escapade within a people-littered hedge maze. Fortunately, as what feels like the entire population of the festival descends on the main stage, the chairs are packed away, as everyone rises for Metallica’s second set of the weekend, and their record tenth Donington show.

Compared to Thursday, Metallica are praetorian in their performance, immediately picking up the pace from their entertaining, but slightly hollow Thursday show. ‘For Whom The Bell Tolls’ comes early and hits hard, reinvigorating a sun poisoned crowd back into life. ’72 Seasons’ like it’s Thursday brethren from the titular record, is as devastating as any classic Metallica track, feeling right at home on a big stage. The most noticeable change is how at home the demiurges of destruction now feel onstage. The band poke fun at this only being Lars ninth outing at Donington (“He’s playing with every band tomorrow to catch up) and making light at the bands weaker moments, as Hetfield compares a snare test to St. Anger: “Please stop, it’s torture”. Some dad jokes are thrown around (“the crowd at Download are in-tents!” to a chorus of groans). James struts and puffs gusts of smoke as the chug through ‘The Call of Ktulu’, and a little girl brought on stage bursts into tears standing next to Lars (poor guy can’t catch a break). It’s a energetic, charismatic outing that reminds us how the four of them have stayed in the hearts of so many for so long: this is ultimately a rip roaring gig.

Darkness finally envelopes Download to the chorus of ‘Wherever I May Roam’, and ‘Moth to a Flame’ incites the largest pyrotechnic display of the night, the funnels of flame able to be felt from the back of the park. Their rendition of ‘Whiskey in the Jar’ incites some pride in the Irish festival goers next (Is deas i gcónaí cuimhní baile nuair atáthar thar lear). James lets loose with a surprisingly animalistic scream for ‘One’, something we haven’t heard in a long, long time while ‘Enter Sandman’ gets the crowd moving for one final time. Of course, an explosive firework sendoff is in order as we walk away from the arena, and its deserved. Ten outings at Donington and Metallica have given a clinic of a performance. Three days in, against a crowd with dust in their lungs and sunburn on their backs, yet the quartet’s masterful command of the show make them seem like they were in the prime of their career. It’s easily the weekend’s most dynamic, and largest attended, performance.

Then again, Corey Taylor waits patiently in the wings.

 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]

With the rise of streaming, the 2010s have seen the subtle merging of genres, making what might be the most interesting decade for alternative music yet. With that in mind – and with a lot of difficulty narrowing down the potential candidates – the Punktastic team have taken a look back over the past decade and picked our favourite albums of the era.

Check it out. The most unmissable albums of the decade according to Punktastic.

Don’t forget to read our Bands Of The Decade and Bands Of The Next Decade articles.

Oathbreaker – ‘Rheia’ (2016)

Oathbreaker’s 2016 opus ‘Rheia’ would turn out to be the last thing they released before an as-yet unfinished hiatus, but good lord did they leave us on a high point. The Belgian quartet, headed up by the captivating and enigmatic Caro Tanghe, served up a bewildering and gut-wrenching slab of post-black metal delivered with all the fury and indignation associated with the hardcore and punk scenes in which they cut their teeth. The one-two punch of ’10:56′ into ‘Second Son of R’ is one of the most impactful openers in alternative music history, soaring from sombre serenity into unbridled panic with very little warning, and the rest of the album that follows is stellar right up to the last gasp. The band recently teased a comeback with a single released through Adult Swim, so hopefully it won’t be long before we see a proper follow up to this breathtaking album. LIAM KNOWLES [LK]

MOST NOTABLE TRACKS: Second Son of R, Needles In Your Skin, Immortals

Rolo Tomassi – ‘Time Will Die And Love Will Bury It’ (2018)

To say that Rolo Tomassi have undergone a transformation over the years is somewhat of an understatement. From their beginnings as mathcore synth-heavy makers of noise, they’ve slowly but surely refined their craft into what it is today, creating moody and flowing sonic soundscapes that have the power to both summon demons and slay them. Their 2018 record ‘Time Will Die And Love Will Bury It’ is a masterpiece, not just setting a career high bar for their own discography but hugely raising it for all of their peers, too. It’s one of those albums that begs to be listened to from beginning to end in order to fully appreciate the sheer beauty of the ebb and flow of the album. From the black metal-tinged onslaught of ‘Rituals’ to the soaring epic walls of tone in ‘A Flood Of Light’, the record masterfully drifts in and out of the aggression and the serenity like child’s play, taking you on an intense and often magical journey through musical genius. This isn’t just one of the best records of 2018 – it’s one of the best of the entire decade. Simply extraordinary. DAVE STEWART [DS]

MOST NOTABLE TRACKS: The Hollow Hour, Rituals, A Flood Of Light

The Dillinger Escape Plan – ‘Dissociation’ (2016)

The influence that The Dillinger Escape Plan has had on extreme music is entirely undeniable. They established themselves as rule breakers and equipment breakers from a very early stage, stunning audiences and panicking venue owners all over the world with their unmistakable brand of chaotic, raw and mind-bending noise. They started out as a band doing things differently and became legends over time, every album release further cementing their legacy. ‘Dissociation’ was their final record, marking 20 years of the bands existence and putting a heavy and definitive bookmark at the end of their phenomenal career. From the white knuckle rollercoaster of ‘Limerent Death’ and the shrilled stabs of ‘Honeysuckle’ to the subtle and serene title track, and the bipolar mind bender ‘Surrogate’, it rounds off their career in the best way possible. It not only shows how much they grew as musicians over the course of their career, but it also effortlessly showcases that they’re still very much in touch with their roots and haven’t lost a shred of the unpredictability that brought them to everyone’s attention in the first place. A frenzied, intense and poignant final note for one of the most unique bands of this generation. [DS]

MOST NOTABLE TRACKS: Limerent Death, Symptom Of Terminal Illness, Honeysuckle

The Heavy – ‘The Glorious Dead’ (2012)

Combining hard-rock and soul, on paper, sounds awful and it would be, had the quartet from Somerset not spent the past five years perfecting it. Despite not being a metal album, The Heavy deliver just that with their third album – a weighty fusion of genres that is as unpredictable as it is enjoyable. Samples from old grindhouse horror in ‘Can’t Play Dead’, wailing backup vocals mixed with teeth-chattering percussion in ‘Same Ol’’, and the kind of riffs that reverberate in your chest on ‘What Makes a Good Man’ make for the kind of album that feels all over the place, but whose core ideas connect ten energetic tracks into something truly pulse-pounding. It’s bluesy, it’s pompous, but somehow also wonderfully self-reflective and introspective when it wants to be. It’s a style no band has been able to replicate, and it remains The Heavy’s magnum opus seven years on, an unmissable sound of the decade. FIACHRA JOHNSTON [FJ]

MOST NOTABLE TRACKS: What Makes A Good Man?, Same Ol’, Curse Me Good

Idles – ‘Joy As An Act Of Resistance’ (2018)

This doesn’t need explaining. It’s not often a punk album gets nominated for a Mercury Award but that’s exactly what happened with Idles sophomore album ‘Joy As An Act Of Resistance’. Politically charged from the outset, it contains all the cynicism from their debut ‘Brutalism’ and even more societal observations. What it adds in spade is singsong choruses. The likes of ‘Danny Nedelko’ and ‘Samaritans’ offer stunningly visceral social observations but contain choruses you can picture arena sized crowds screaming, while ‘Never Fight A Man With A Perm’ has the perfect combination of wit and venom, not to mention some feet stomping rhythms. It wasn’t really considered for our Album Of The Year in 2018 but it should have been. And it should have won. ANDY JOICE [AJ]

MOST NOTABLE TRACKS: Never Fight A Man With A Perm, I’m Scum, Danny Nedelko

Gojira – ‘Magma’ (2016)

Nobody, not even the most determined of metalheads, could make a case for technical progressive metal being the most accessible of genres. Although popular in its own way, it has always felt like something that will remain more of a niche sound – that is, until Gojira came along. The band have been masters of their craft since their beginnings nearly 20 years ago, but 2016’s ‘Magma’ is their true piece de resistance. Brimming with gut churning heaviness and an introspective darkness, there is tremendous pain reflected in many places – driven by brothers Mario and Joe DuPlantier losing their mother – building in phenomenally powerful layers, topped by Joe DuPlantier’s haunting vocal performance. It offers a more ‘radio-friendly’ version of their progressive metal, if radio-friendly could ever be the right word for such a crushing sound; with beautifully constructed riffs and melodies, it’s only right that this was the album to elevate this magnificent band to festival headliners. Quite frankly, we don’t deserve metal this good – but boy are we glad we’ve got it. GEM ROGERS [GR]

MOST NOTABLE TRACKS: Silvera, Stranded

The Hotelier – ‘Home, Like Noplace Is There’ (2014)

Unrelenting in its voice of despair, tragedy, reminiscence, pain and its desperate attempts to heal, ‘Home, Like Noplace Is There’ is framed by the frantic, yet poetic, lyricism of Christian Holden, begging you to sit up and listen. The anguish of their cries throughout the record, from the “So if I call / Should I beg? / Because I’m desperate here” in ‘An Introduction To The Album’ to the “I felt weaker when I bent, beaten to the end / Folding on myself, too damaged to mend” in ‘Discomfort Revisited’, are almost too uncomfortably raw to intrude upon, yet leave listeners unable to look away from what is about to unfold.

From the one-two punch of scrappy punk in ’The Scope Of All This Rebuilding’ to the almost-ethereal ‘Housebroken’, ‘Home..’ is masterfully paced from start to finish, always knowing when to pause when it seems like everything is about to implode. Whilst conveying various mental health crises masked in upsettingly close to the bone metaphors, the Hotelier also succeed in making a record that broaches topics such as gender dysphoria, the systemic failures of the state, and police brutality. ‘Home…’ also nods to long-term fans of the band with subtle references to their earlier material in ‘An Introduction’ (“we are all alone” / “Grab a hold, I know I said to not”) and in particular in ‘Discomfort Revisited’, borrowing the first verse and melodies of ‘Southern Discomfort’. The Hotelier’s growth as artists and the evolution of their songwriting on ‘Home…’ is never more apparent than on these two songs. The infinite looping of the traumas of life are alluded to in the album’s final moments as a guitar reprises the beginning notes of ‘An Introduction…’; the album beginning exactly as it started. ‘Home…’ offers listeners no salvation, but serves as a reminder that you too can weather the extreme storms life can sometimes bring and make it through to tell your story. ROMY GREGORY [RG]

MOST NOTABLE TRACKS: An Introduction To The Album, Your Deep Rest, Dendron

Arcane Roots – ‘Left Fire’ (2012)

Realistically, any one of Arcane Roots’ three albums could easily have made this list. Picking one is like choosing your favourite puppy from the litter of labradors next door, but this time, it falls to the trio’s 2012 debut ‘Left Fire’. Clocking in at just 33 minutes, it was nevertheless a fearsome display of their capabilities; the intense technicality, the irresistible frenetic energy, the harmonies that swell like the ocean on a stormy day… It’s the perfect album to lose yourself in completely and utterly, and despite its musical complexity never feels inaccessible or overdone. Such was the genius of Arcane Roots, who sadly called it a day in 2018 – but not, at least, before leaving us with this slice of perfection to enjoy forever. [GR]

MOST NOTABLE TRACKS: You Are, Habibty – Extended, Rouen

Twin Atlantic – ‘Free’ (2011)

It’s so rare to find an album where every single track hits home in some way. This might not be the case for everyone when they listen to ‘Free’, in fact, for many it’s probably not – the harsh Scottish accent I understand might be too much for some – but for me, since the very first time I listened through, I knew this record would be with me for a long time. Now it’s the end of the decade and ‘Wonder Sleeps Here’, ‘Yes, I Was Drunk’ and ‘Serious Underground Dance Vibes’ are still three of my top favourite songs… pretty much ever.

With this record there are memories of dark winter nights, first loves, and a feeling of belonging. ‘Free’ has a song for falling both in and out of love, offering a warm hug through the latter. It has a song for when you’re angry and need to shout it from the rooftops. It has a song for when you’ve never felt happily and a song for when you finally learn to love yourself. As the album title suggests, it takes you on a journey following which you will undoubtedly come out the other side feeling a sense of liberation.

Free’ is not just one of the best rock albums of this decade, but to me, at least, it’s one of the best rock albums of all time. To create something that builds memories for your fans is a powerful thing, and Twin Atlantic have proven on more than one occasion that they have the ability to do this, though never more so than with ‘Free’. YASMIN BROWN [ YB]

MOST NOTABLE TRACKS: Wonder Sleeps Here, Yes, I Was Drunk, Serious Underground Dance Vibes

twenty one pilots – ‘Vessel’ (2013)

“The sun will rise and we will try again”, sings frontman Tyler Joseph at the start of closing track ‘Truce’. It’s a simple yet powerful phrase that six years later still holds as much weight as it did upon the release of the band’s third album ‘Vessel’ back in 2013. This line alone encompasses everything that this record stands to achieve. It’s comforting and supportive. It acknowledges pain but equally it acknowledges our ability to push through it without belittling the stark reality of depression that many of us have faced over the course of our lives.

The reason so many of us can relate to twenty one pilots – and to ‘Vessel’ in particular – is their uninhibited approach to topics that were, upon its release, still massively stigmatised in mainstream music. To talk so openly (albeit through the use of metaphors) about self-harm and suicidal ideation was, and still is to an extent, brave. It’s something so many of us experience on a daily basis and yet we feel alone in that because so few of our idols have addressed it. That’s why when ‘Vessel’ was released, those who experienced these thoughts, feelings and urges finally felt a little more understood, and through that, many could hope to heal, too.

‘Vessel’ came before tøp hit arenas; they had little expectation in terms of who this record might reach, and yet the lives of those it did reach were made so significantly better for the songs that live within its confines. Whatever you may think of twenty one pilots now, ‘Vessel’ has been one of the most important records of this decade for the band’s fans, and that’s something no one can deny. [YB]

NOTABLE TRACKS: Holding Onto You, Guns for Hands, Truce, Screen

Boston Manor – ‘Welcome To The Neighbourhood’ (2018)

As twenty-something year olds living through the turn of another decade, there’s a lot we’ve experienced in our lives. Society has changed monumentally since we were kids, and politics are more polarising than ever. Millennials are so riled up about some things, yet so apathetic about others, and it’s hard to articulate how we feel and why we feel it.

Boston Manor have somehow perfectly tapped into this total confusion with their sophomore album, Welcome to the Neighbourhood, building on a fictional world that’s based on our stark, painful reality, and telling a story from within it. This album is a message from peer to peer, highlighting issues to the point that makes you want to do something about it. It’s angry and passionate because we are angry and passionate, and it’s impactful for the exact reason that there’s no bullshit here. It’s an album that tells it like it is, and as you make your way through each flawless track, you find yourself wanting to make a difference.

As someone in my late-twenties – someone that, along with others my age, often gets reduced to “Ugh, millennials” – this record leaves me feeling empowered enough to go out there and do something. Anything at all. Released in 2018 it’s a late arrival in the running for most important album of the decade, but there’s no doubt that it absolutely deserves a spot on this list. [YB]

MOST NOTABLE TRACKS: Halo, The Day I Ruined Your Life, Flowers in Your Dustbin, If I Can’t Have it No One Can

Fucked Up – ‘Glass Boys’ (2014)

‘David Comes to Life’ (2011) may have fared better commercially and ‘Dose Your Dreams’ (2018) may have been more critically acclaimed, but for Fucked Up fans missing the tightness of the band’s early singles, ‘Glass Boys’ (2014) was the band’s best album of the 2010s. Whilst the Toronto sextet said they wanted to do away with the concept album and rock opera tendencies of their second and third albums, what they delivered was an autobiographical concept record about their own anxieties over having potentially become thirty-something sellouts. The guitars lost the overly radio-friendly sheen that producer Shane Stoneback brought to them on ‘David…’ and each song featured four (count them!) drum tracks. Highlights included ‘Sun Glass’, ‘Paper the House’, and the poignant title track. ‘Glass Boys’ was a moving meditation on the tension between youthful ideals and adulthood’s commercial imperatives, whose songs are now sadly eschewed from Fucked Up’s live sets. GREG HYDE [GH]

MOST NOTABLE TRACKS: Sun Glass, Paper the House, Glass Boys

The Rocket Summer – Zoetic (2016)

On his sixth studio full length, The Rocket Summer – aka multi-instrumentalist Bryce Avary – changed the formula. Injecting these eleven tracks with a more electric, dark vibe resulted in something completely unexpected from the man more known for his gentle, acoustic sound, but one thing is key – the heartfelt familiarity and beauty of his lyrics remains, and ultimately, it all comes together for some of the greatest work of his career so far. Avary’s words are at times the most comforting of embraces, or at others, a steady hand of support, dancing through this often energetic and always vibrant release; from the echoing harmonies of ‘Help Me Out’ to the truly gorgeous pop chorus of ‘FL, CA’, this is an album that quickly finds itself embedded in the heart and soul, offering a boost of life to anyone in need. Avary is an artist who has continued to grow and shine through the last decade, and we can’t wait to see what the next one has in store. [GR]

MOST NOTABLE TRACKS: You Are, You Are, Help Me Out, FL, CA

La Dispute – ”Rooms Of The House’ (2014)

La Dispute released three albums in the 2010s and although ‘Wildlife’ (2011) remains the one most well-liked by die-hard fans, the band’s most accomplished storytelling and musicianship featured in ‘Rooms of the House’ (2014). The album portrayed the downward trajectory of a young, blue-collar, Midwestern couple’s relationship from the viewpoint of their household objects. It cut between various points before, during, and after their break-up across a timeline spanning 1956 to 2009. Frontman Jordan Dreyer’s delivery made you really want things to work out for the couple, but there was a constant sense of doom underpinning a narrative played out across an unforgiving economic landscape where job opportunities were few and alcohol addictions were cheaper alternatives to cocaine habits. Despite the epic timeline, the domestic setting leant a feeling of intimacy to the songs that was lacking from the almost as great ‘Panorama’ (2019). [GH]

MOST NOTABLE TRACKS: First Reactions After Falling Through the Ice, Scenes From Highways 1981 – 2009, For Mayor in Splitsville, Extraordinary Dinner Party

Oxbow – ‘Thin Black Duke’ (2017)

The only album of this decade from the veteran San Francisco avant-gardists comprised eight songs depicting the inner torment and external confrontations faced by the titular duke (possibly an alter ego of preceding Oxbow album ‘The Narcotic Story’ (2007)’s protagonist Frank Johnson). Inaccurate comparisons to Faith No More were made in reviews that discussed the album’s sound upon its release, with one far more shrewd online comment saying it sounded like The Jesus Lizard playing Bond themes. Either way, the album took listeners on a disturbing narrative journey from catchy single ‘Cold & Well-Lit Place’ (which gained the band BBC airplay) through to the Jean-Paul Sartre-alluding ‘Other People’ and devastating closer ‘The Finished Line’. It may be less abrasive than albums like ‘Fuckfest’ (1989) and ‘King of the Jews’ (1991) but the songwriting displays a maturity and world-weariness that those works lacked. ‘Thin Black Duke’ remains Oxbow’s most profound, satisfying, and multi-layered album yet. [GH]

MOST NOTABLE TRACKS: Cold & Well-Lit Place, Other People, The Finished Line

Touché Amoré – ‘Stage Four’ (2016)

‘Stage Four’ (2016) is the most moving album of Touché Amoré’s career and was one the best albums of 2016, dealing as it did with the death of front man Jeremy Bolm’s mother from cancer. The songs dealt with the various stages of grief in an admirably honest way, from the regret over various things left unsaid to a deceased loved one in ‘Flowers and You’ and ‘Palm Dreams’, to a bereaved atheist’s acceptance that while there may be no afterlife, there may instead be a spirit world on ‘Skyscraper’. The elegiac sounds made by Nick Steinhardt’s and Clayton Stevens’s guitars bolstered the lyrical content considerably, with the Godspeed You! Black Emperor influences on the latter’s playing style in evidence here far more than ever before. ‘Stage Four’ remains one of the most touching albums ever made about grief, released in a year when its songs’ sadness seemed to reflect many accompanying political upheavals. [GH]

MOST NOTABLE TRACKS: Flowers and You, New Halloween, Palm Dreams, Water Damage

My Chemical Romance – ‘Danger Days: The True Lives Of The Fabulous Killjoys’ (2010)

My Chemical Romance becoming the posterboys for modern emo came as little surprise to anyone – they wore their eye liner thick, clothes black, and wrote lyrics that dripped venom and sorrow in equal parts. With ‘Danger Days’, however, they took all the grandeur of glam rock – vocalist Gerard Way having previously cited Bowie as a massive influence in his life – and rolled it in the dirt of that first basement show they ever played. The result? Gritty punk rock with soaring choruses, glittery melodies and synthy accents that shattered the hinges of the broken and damned box they were put into to showcase a band capable of achieving a more uplifting sound. Not to say their lyrics became less introspective, but it shifted the spotlight to more positive aspects and wrapped it in storytelling and concept – all delivered in Gerard’s Billy Corgan-esque vocal. This album is fun, danceable and a true testament of what this band is capable of. RENETTE VAN DER MERWE [RVDM]

MOST NOTABLE TRACKS: Vampire Money, Party Poison, Planetary (GO!), Na Na Na (Na Na Na Na Na Na Na Na Na)

Bring Me The Horizon – ‘Sempiternal’ (2013)

Regardless of how you might feel about Bring Me The Horizon post ‘That’s The Spirit’, it’s impossible to deny the impact of their 2013 album, ‘Sempiternal’. Not only was is released to critical acclaim, but it also won ‘Best Album’ at Alternative Press’s 2014 Awards and placed at no.11 on the Billboard charts – not bad for a band who had been ridiculed since their inception back in 2004. Regardless of its acolytes, ‘Sempiternal’ is a sonic masterpiece. It felt bigger than everything they’d done prior, hell, it felt bigger than what any other metalcore band was doing and it definitely felt like they’d gotten rid of the chip on their shoulder and fully embraced a sound that was their own. With the addition of electronic elements and more variety in Oliver Sykes’ vocals, the album felt ambient, cohesive, refreshing and, most importantly, accessible. ‘Sempiternal’ will no doubt go down in history alongside the best metal albums of our time. [RVDM]

MOST NOTABLE TRACKS: Sleepwalking, Shadow Moses, Can You Feel My Heart, And the Snakes Start to Sing

Microwave – ‘Death Is A Warm Blanket’ (2019)

Isn’t it something when a band transitions from one genre to another and does it really well? When Microwave left the uplifting melodies of ‘Stovall’ and ‘Much Love’ behind to dive into the brooding sound of their third album, ‘Death Is A Warm Blanket’, it resulted in what seemed like a totally different band. Yet, despite having embraced the dark side, it is still the same four guys from Atlanta who tell stories through their music, write clever lyrics and melodies with heart. Nathan Hardy’s vocal range remains impressive and his voice acts like a firefly, bright and illuminating against the moodiness and urgency of the instruments. ‘Death Is A Warm Blanket’ is not only sonically impressive and diverse – the intro to ‘Float to the Top’, as an example, has all the jazzy makings of a lounge song while they lean further into post-hardcore or grunge on other tracks – but it’s the album we need right now. The anger and hopelessness of an entire generation encapsulated in 10 tracks. [RVDM]

MOST NOTABLE TRACKS: Leather Daddy, Mirrors, Float to the Top, Part of It

Against Me! – ‘Transgender Dysphoria Blues’ (2014)

There are albums out there, occupying shelves in record stores or bytes on streaming platforms, that are all about lyrical content, and ‘Transgender Dysphoria Blues’ is one of those albums. It touches on vocalist Laura Jane Grace’s journey to where she is today, and the brutal honesty about her pain becomes a thing of beauty through her powerful storytelling. It’s wrapped in the punk rock beats, jangly guitars and anthemic structures we’ve come to adore from Against Me!, but ultimately ‘Transgender Dysphoria Blues’ is a stellar record because of the anger, the sorrow and the bravery of someone living with gender identity disorder. Laura Jane Grace, as one of the first transgender musicians in punk rock, is a bastion of light for anyone in the LGBTQ+ community and this album is her reaching hand to pick you up off the floor when you’ve fallen down – what the hell is more punk rock than that? [RVDM]

MOST NOTABLE TRACKS: Transgender Dysphoria Blues, Drinking With the Jocks, Paralytic States, Black Me Out

SWMRS – ‘Drive North’ (2016)

The first studio album under the new name from Californian rockers, SWMRS, but most certainly not the last. To me this album signifies the passion the band have to make a change. To most this was the first they heard of SWMRS and I believe it was a stand out album that is still being name dropped 3 years on. Each song on this album links well with the next which makes for easy listening every time. This album is a pinpoint within the bands’ career and is a testament to what they are capable of. KIRSTY FOX [KF]

MOST NOTABLE TRACKS: Harry Dean, Drive North, BRB, Palm Trees

Deaf Havana – ‘Old Souls’ (2013)

In perhaps one of the most surprising evolutions of the decade, Deaf Havana emerged in 2013 with their magnum opus (in this writers’ eyes) and unashamed tribute to the one and only Bruce Springsteen with ’Old Souls’. A far cry from their preceding album ‘Fools and Worthless Liars’, Deaf Havana embraced the expanded musicianship in their arsenal head on, creating an album resonant with dense orchestration, rich harmonies and expertly-crafted choruses. From the get-go with the barn-storming Americana of ‘Boston Square’, ‘Old Souls’ drips with tenderness throughout, due in no small part to James Veck-Gilodi’s heart-on-sleeve lyricism. With such poetically crafted lines such as “because I view my life through a telescope / that I built from a bottle and a slippery slope” in ‘Speeding Cars’, Veck-Gilodi’s self-deprecation woven throughout ‘Old Souls’ speaks directly to anyone who has tendencies to doubt themselves. Whilst not the most warmly received of Deaf Havana’s releases, particularly after the success of ‘Fools and Worthless Liars’, ‘Old Souls’ is perhaps the best, yet most criminally underrated, straight-up rock record from a British band in the decade. [RG]

MOST NOTABLE TRACKS: Everybody’s Dancing and I Want To Die, Speeding Cars, Kings Road Ghosts

Four Year Strong – ‘Enemy Of The World’ (2010)

If any album could possibly define summer, it’s surely this one. Coming in early in the decade to start things strong, Four Year Strong’s ‘Enemy Of The World’ was one hell of a sophomore release (covers album ‘Explains It All’ doesn’t count… sorry) for the band who blasted onto the pop punk ‘easycore’ scene three years earlier, and there’s not a single low point to be found on this lively and joyous 40 minute tour through the world of FYS. Within seconds of hitting play, it feels like being transported back to a happier time, when the only thing that mattered was friends and happiness – whether that time ever actually existed or not, the memories evoked are clear as day. Four Year Strong weren’t just about bright riffs and a punchy attitude, though, and their emotive lyrical strength shines on tracks like ‘One Step At A Time’. Then, of course, there’s the album artwork. The words you’re looking for to describe it are ‘majestic’ and ‘breathtaking’, just FYI. Made to be played loud and sung along to even louder, ‘Enemy Of The World’ defined an era of music, and it only takes a quick glance at the size of the jubilant crowds bellowing the words to ‘Wasting Time (Eternal Summer)’ at any festival to realise just how well loved this album is – and it deserves every scrap of it. [GR]

MOST NOTABLE TRACKS: Wasting Time (Eternal Summer), ‘One Step At A Time’, It Must Really Suck To Be Four Year Strong Right Now

‘Rituals’ is an album that saw this Kings Lynn band move in an entirely unexpected direction, and yet it’s seen them garner the most support and success of perhaps any of their albums to date. They took a risk, and looking around at the increasingly packed floor, it’s a risk that paid off. 

Tonight this London crowd is lucky enough to hear ‘Rituals’ played live in full for the very first (and probably last) time as part of the War Child concert series, with a pound from every ticket sold being donated to the cause. It’s a special occasion for both the band and their fans, and we’re about to drink in every single second.

From the moment the show starts, there’s no doubt that Alexandra Palace’s theatre is the perfect setting for this special show, a setting that draws deserved attention to the stunning magnitude of front man James Veck-Gilodi’s ever phenomenal vocals and the perfect synchronisation between him and his talented bandmates. The venue itself also adds to the spiritualistic experience – the semi-dilapidated walls and theatrical balconies providing perfect acoustics, allowing the music to reverberate throughout the room and give it an even more authentic feel.

For this first half of the set, the crowd gives the band its full attention, ensuring this record receives the respect that it’s always deserved, and creating an atmosphere that perfectly reflects the dark, sombre tones of the themes that live within it. There are moments where the crowd drowns out the band as they sing along, and it’s clear that these songs mean everything to the Deaf Havana fans in attendance. This response is met with sheer humility from the band, shown through sincere pats of the chest at the sheer love with which the songs are met by the sea of bodies before them. 

The full album performance ends far too soon, leaving fans to simmer in all of the emotion that ‘Rituals’ was designed to provoke, and a short intermission ensues, bringing attention to the philanthropic undertones of this show. The War Child concert series not only raises money for the charity, but tonight we also have the opportunity to hear directly from a Sri Lankan war child herself, bringing the reality of this issue to the forefront of our minds and cementing why we should continue to support such a cause. 

The band returns with a whole new attitude for the second part of the set, dropping their ‘cool guy’ personas and greeting us with the goofy, laid back characters that we’ve come to adore over the years. Following a crackly, 1940s version of Frank Sinatra’s ‘I Did it my Way’, the band swiftly moves into ‘I Will’ and ‘Trigger’ – two songs that see an instant spike in energy due to the rockier vibe, as well as an ever welcome dose of nostalgia.

For the first time, those seated on the balcony rise to their feet, and it’s evident that this second half will be far less controlled than the first. From the occasional anecdote (including how they had just minutes to taste the specially crafted Rituals beer before realising it was, in fact, a pint of pipe cleaner), to a wholesome birthday sing along (cake and all) for guitarist Matt Veck-Gilodi, to the largest grins you’ve ever seen, this half of the set is undeniably more laid back and light-hearted.

On the floor, you see groups of young men with their arms shamelessly around each other, dancing happily to their favourite songs without a care in the world, and the entranced state that dominated the first half is long forgotten. Matt notes that he often feels like he’s intruding in places like this theatre, but there’s nothing out of place about the joy that fills its confines tonight, not least during the insanely stunning performance of old fan favourite ‘Happiness’.

Deaf Havana have the ability to build up to absolute musical chaos and immediately soften the atmosphere with little time to adjust. It’s an incredible skill that takes you on a turbulent and emotional journey. We laugh and scream and dance, but at times we want to cry, too. The ability to connect with fans on such an emotional level is a testament to this band and their performance. While the venue certainly lends itself perfectly to a band like Deaf Havana, there’s no denying that they maximise this theatre’s potential.

This is a special night with a special band, and not a moment of it is taken for granted. As the ‘Rituals’ era draws to a close, we can’t help but be left wondering what incredible things may be coming next. 

YASMIN BROW

Gunnersville has, until recently, been somewhat under the radar as far as the alternative scene is concerned, but after a day curated by one of Punktastic’s favourite bands, You Me At Six, we won’t make the mistake of overlooking it again. 

The Maine

Ever-wholesome, The Maine are never ones to take themselves too seriously, and as the screens switched to a stark red with the message, “Sorry for the inconvenience. You Me At Six will be on soon,” we know that this performance will be as joyful as any other they’ve put on in the past. From multiple successful attempts at getting the crowd moving, to pulling up the once-fan, now-famous Chris Barnes up on stage for ‘Am I Pretty?’, the entire set was a delightful experience provided by five exceptionally kind and talented men. The Maine will never let us down. All too soon, we’re politely told, again by the bright red screen, that “This is the last song a band called The Maine will play today”, and once again, the crowd is encouraged to lose their minds (“If you’re not gonna do it for us, do it for Chris Barnes”, we’re told). While there’s a bittersweetness that comes with the knowledge that it’s almost over, fan favourite ‘Black Butterflies and Deja Vu’ is appreciated all the more. With the knowledge that it’s our last chance to witness this band in all their live glory until February next year, and it draws the set to a near perfect close. 

Deaf Havana

From the moment Deaf Havana take to the stage following an introductory voice-over, we know this is going to be a good set. Larger stages have, in the past, been unkind to Deaf Havana in regards to sound, but today everything we hear (and feel) is faultless. Frontman James Veck-Gilodi’s vocals are powerful yet sweet, and the energy that radiates off each band member is quickly reflected in the sea of fans before them. The band jumps around the stage like a 2002 pop-punk band, which is fitting considering James’ brother and lead guitarist, Matt, is today dressed in an outfit reminiscent of a school boy, and the ecstasy that is spread across each of their faces is contagious. We’re often met with humble thanks, aimed both at the crowd for being there and at You Me At Six for inviting them to be a part of this line up, stating that “it means everything, you don’t understand”. But as we scream the lyrics back over the course of the set (which is far shorter than any of us would like), it seems as though we’re just as grateful for Deaf Havana as they are for us.

Jimmy Eat World

There’s general confusion at Jimmy Eat World ever being second on any lineup however the Arizonan four-piece take every opportunity, however large or small, and make it entirely their own. At this point, the crowd is all but impenetrable, and for good reason – this band has likely been performing for longer than many members of this young audience have been alive. They know how to put on a show, and they know exactly which songs in their extensive discography is going to have fans hanging off their every word. From the raucous ‘Bleed American’ to the perfect opportunity for a singalong that comes in the form of ‘Sweetness’, to the timeless and ever-heartbreaking ‘Hear You Me’ (during which the band is joined by You Me At Six’s lead guitarist Chris Miller), there is something for everyone in attendance. We’re even treated to the live debut of the band’s currently unreleased track, ‘Criminal Energy’, the announcement of which causes a nervous excitement over what we can expect when it comes to future Jimmy Eat World records (the answer, as it turns out, you can find here). The finale and highlight, though, comes in the form of ‘The Middle’, and before the last notes are struck and the band walks off stage, you simply can’t help but find something (or in our case, everything) to love about this band. 

You Me At Six

Following what can only be described as a stunning performance by Jimmy Eat World, it’s time for the main event. This You Me At Six performance has been highly anticipated by all fans, as we’ve been promised every single from the past twelve years, played in chronological order. This means the rare appearance of tracks such as 2010’s ‘The Consequence’ (with a surprise appearance from The Blackout’s Sean Smith) and ‘Liquid Confidence’ – both of which are met with indescribable screams – as well as old-school gems such as ‘Jealous Minds Think Alike’ and ‘Finders Keepers’.

As the set progresses, you can see frontman Josh Franceschi steadily starting to take the performance more seriously. The first few singles are rushed through with a certain level of disdain, or perhaps it’s boredom, but either way it’s clear that You Me At Six are not the band they were 12 years ago. Whether this fact is a good thing or not is entirely up to the fans. 

Aside from the music itself, there are plenty of moments that take you back in time, most notably the performance of ‘Reckless’ that brings back the 2012 tradition of removing an item of clothing and swinging it around our heads. These are elements of a You Me At Six show that have always been embraced by the fans, but it soon becomes clear during ‘Fresh Start Fever’, that the YMAS demographic aren’t necessarily here for a mosh pit, as Franceschi’s attempt at opening up the crowd is met with lacklustre. That doesn’t, however, mean that the audience lacks enthusiasm, as each song is met with sheer excitement and we scream until our voices crackle away to nothing, refusing to let the two hour long set break us.

As we reach the ‘Night People’ part of the set, the energy is maintained with more pyrotechnics and an early release of confetti during the album’s title track. At this point, Franceschi takes the opportunity to attempt to scream – a habit he seems to have gotten into this festival season, giving us more reason to believe that what’s to come with the new music the band keeps alluding to will implement this new vocal feature. We can’t wonder for long, however, as our thoughts are pulled back to the present when the usual ‘Take On the World’ speech that has a general ‘fuck the world’ message, is replaced by a more positive monologue that, when rounded up, amounts to life being really fucking good. Friends and loved ones festival-wide put their arms around one another and breathe this all in as the song progresses, and it’s at this point you realise how important You Me At Six can be in creating a safe space filled with love and positivity in world that sometimes doesn’t feel all that positive at all.

The monumental two-hour set closes with the singles from ‘VI’ and latest single ‘What’s It Like’, which come accompanied by expressions of gratitude to the bands that have played before You Me At Six on this very same stage. Jimmy Eat World, Franceschi states, made You Me At Six what they are today, and the boys in Deaf Havana are their ‘brothers’. This is a festival built on respect and admiration, something that every band on the lineup has acknowledged, and as ‘What’s It Like’ plays out, you can’t help but allow that warm feeling in your chest to entirely fill you up while simultaneously throwing yourself around as the track drops one last time.

YASMIN BROWN