As the dissonant feedback of ‘Dark Distance’ creeps in and vocalist Keith Buckley painfully begs “spare only the ones I love, slay the rest,” everything rips into focus and it quickly becomes clear that the five year wait was worth it. Low ’n’ slow guitars, pummelling drums and unsettling shrieks collectively kick you in the teeth and make it clear that no force is being reserved. It’s pedal to the metal from the offset, and that’s when ETID operate at their absolute best.

‘Sly’ is a mosh-ready tornado with an almost reverent hook, blasting your eardrums with the relentless distorted attack from guitar duo Andy Williams and Jordan Buckley who see the track out with a dirty, gloom-ridden outro. ‘Colossal Wreck’ is a scorching punk-infused brain-melter complete with banshee-like wails, furious riffage and non-stop onslaught courtesy of drummer Clayton ‘Goose’ Holyoak. From the break-neck pace of ‘Distress Rehearsal’ and its thrashy nature to the soaring Southern-tinged charm of the epic ‘White Void’, the goods just don’t stop coming.

There are a couple of very tasty treats buried within in the form of two guest spots; one that we’ve all been waiting for and another we didn’t know we needed. The first can be found on ‘All This And War’, a gloomy headbang-fest that features the volatile pipes of ’68 vocalist Josh Scogin in its ominous, foreboding outro. The second, which is one of the most memorable on the record, is on the luscious ‘Thing With Feathers’, featuring the vocal delights of Manchester Orchestra’s Andy Hull who drapes his enchanting tones over the beautiful ballad hybrid. ETID are no stranger to guest spots and they always place them well, and these tracks are no exception. Both highlight different sides of the band’s sound and compliment both of the guest’s individual talents and the songs that they’re enhancing.

Another thing that this band does flawlessly is riffs, and ‘Radical’ has them flying at you from every angle. From the thick-as-treacle bass intro from Steve Micciche to the stabbing verses and THAT hard as nails middle section, ‘Post Boredom’ is an absolute riff tour de force. Also make sure you listen to the furious ‘Hostile Architecture’ and try to convince yourself that the dark and skulking lead riff isn’t one of the best to surface this year (it IS one of the best riffs of the year, don’t lie to yourself). Then there’s the ominous ‘Desperate Pleasures’, the erratic ‘sexsexsex’, the upbeat yet venomous ‘Planet Shit’ – ‘Radical’ is unsurprisingly comprised of solely solid gold. Did you really think it’d be anything less?

One of the most admired components of the band is Keith’s effortlessly poetic lyrics which are also in fine form, seeing him more exposed than ever. Tracks like ‘The Whip’, ‘Post Boredom’, ‘Hostile Architecture’ and the emotionally devastating album closer ‘We Go Together’ are all solid examples of why he’s so revered among lyricists, story-telling with a candid and bleak approach that evokes a whole range of emotions. It makes the album not just a hard-hitting slab of heavy music but also a jaw-dropping journey through self-deprecation, criticism and observation of the world surrounding us, painting a stimulating and often tragic picture of how things might look inside his head. What makes it more tragic is that a lot of what he sees is relatable, and it creates a listening experience that’s both punishing and remarkably intimate.

Overall, this is simply stunning. Every Time I Die are one of the most consistently high-performing bands in the heavy music world, and ‘Radical’ is yet another trophy that they can place on their now overflowing mantle. Combine their clear mastery of the craft with the weighty, crystal clear production skills of audio wizard Will Putney, and there was no way this was ever going to be a bad record. At this point it’s really hard to believe that they’ll ever put a foot wrong, and this album is another fearless leap forwards as they embark on their ninth victory lap. One of the best bands of both this generation and the last, long may they reign.

DAVE STEWART

Relative newcomers, Vein, waste absolutely zero time making Brixton Academy feel like a 150-capacity sweatbox, the crowd immediately rippling out into a savage pit as the band tears through ‘Old Data in a Dead Machine’. Vocalist Anthony Didio spends most of his time on the barrier, the eager crowd clamouring for the microphone while trying to dodge the steady stream of crowd surfers. Behind him, each member of the band plays as aggressively as possible through the frantic riffing / drum ’n’ bass frenzy of ‘Virus://Vibrance’ and the menacing sludge of ‘Doomtech’. The sound isn’t amazing, and this causes some of the more nuanced elements to lose their impact slightly – but what Vein lacks in sonic clarity tonight, they more than make up for in relentless energy and enthusiasm for their belligerent craft.

If Vein are like a Jack Russell, small and snarling and wantonly snapping at anyone who gets too close, Every Time I Die are a German Shepherd; confidently intimidating, every attack considered and deliberate. The boys from Buffalo have been doing their thing for over two decades now and in that time they’ve fine-tuned their live performance into a ballistic missile of swaggering riffs.

The jeering opening lick of ‘No Son of Mine’ is all it takes to get the crowd moving, and they don’t stop until the emotional last chords of ‘Map Change’ ring out into the night. Between those two moments we’re treated to a setlist with no real surprises (bar a new, as-yet-unreleased track spectacularly titled ‘Planet Shit’) but when your “obvious” songs are as good as Every Time I Die’s are, who cares? Keith Buckley commands the stage like the hardcore veteran he is, absolutely oozing with charisma as he flits from the poppy hooks of ‘The New Black’ and ‘It Remembers’ to the severe screams of ‘Floater’ and ‘The Coin Has A Say’. Every Time I Die are also excellent at the middle ground between those points; the ‘party hardcore’ numbers like ‘We’rewolf’ and ‘Decaying With The Boys’ that are just as likely to cause a dance-off as they are a circle pit, and these tracks go down an absolute storm with the swarming Brixton crowd, causing blistering circle pits and crowd surfers aplenty.

This is a band that have proven themselves able to turn their hand to many styles and successfully stamp that signature ETID flair on each of them, and tonight’s setlist is testament to the consistency of their 20+ year career. Next time we see Every Time I Die on these shores they’ll have a new album under their belt, and if ‘Planet Shit’ is anything to go by it’s going to be a blinder. [LK]

After an already stellar lineup, it’s any wonder this crowd has any energy remaining to throw into the main event. As it turns out, however, the 5,000 fans in attendance at this sold out show should not be underestimated, and the moment While She Sleeps kicks off the show with ‘ANTI-SOCIAL’, it’s clear that the anticipation of this third set has already breathed brand new life into the souls crammed before the stage.

By the time the chorus kicks in, Brixton Academy is virtually moving with the crowd as they launch into the air and throw themselves around fearlessly, consequences be damned. Among the inevitable mosh pit bruises, and the almost constant shower of beer that drenches members of the pit, random items of clothing can be seen to be intermittently chucked carelessly in the air as the heat becomes too much to handle. Though in a short while these jumpers, t-shirts and shoes will certainly be missed, for now it’s simply all part of the fun.

The final chapter of this stupendous evening is an attack on all the senses; bright flashing lights that move in time with the beat, intense metal beats and riffs, the stench of sweat and beer, and the taste of absolute chaos. It’s a cocktail of carnage, but tonight it’s the only item on the menu and it’s going down a treat. 

From the front to the back of the stalls, WSS fans are either screaming the lyrics or showing their appreciation between songs through deafening roars, and it’s clear that this band carries indescribable meaning for so many, as tears are shed and arms are forcefully and determinedly thrown into the air. Happily obliging to regular commands to open up a pit (or two or three), and crowd surfing without the need for any encouragement, this crowd is as relentless as is the band on stage. Front man Lawrence ‘Loz’ Taylor leads by perfect example as he flings himself around, giving his absolute all to this 90-minute set alongside his mind blowingly talented bandmates, together creating a faultless metal experience / dance party extravaganza. 

The front of the pit is so enticing that those further back can be seen to gear up before pushing through the masses so as to avoid missing out on all the fun, joining the mayhem ahead, although that’s not to say that the back of the pit doesn’t also see mini circle pits emerging in this safer, less uncontrollable environment. 

Following a short intermission, the band returns to the stage for one last hurrah, with ‘HAUNT ME’ inciting one of the loudest sing alongs of the night and providing the crowd with one final surge of energy to push them through the last two songs. It’s a bittersweet moment when we reach the finish line, as fans find themselves high on the euphoria that can only come with having seen three of the scene’s most promising bands while also disappointed that such a night has to end. 

While emotions are certainly confused, there’s no doubt, at least, that everyone in attendance will be holding onto this evening for a very long time. [YB]

YASMIN BROWN & LIAM KNOWLES

The alternative scene has provided us with so much value over the past 10 years, so much so that the Punktastic team couldn’t help but take a moment to reflect on the bands that have had the greatest impact on us as we’ve grown from teens to young adults, or young adults to like, real, adults (yeah right).

These are the bands we think have had their most formative years in the 2010s, and that we believe have made a difference not only to us, but to the wider industry, too.

So here they are. The most important bands of the decade according to Punktastic.

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

Enter Shikari

Enter Shikari are one of those experimental, electronic rock outfits born out of Myspace Music’s glory days, quenching our 2007 desires for music that we could both screech and rave to in our bedrooms. But, by creating and continuing to develop their niche and genre-bending sound, Enter Shikari have managed to secure a broad-ranging appeal with momentum that has stormed through this decade with new albums every couple of years. They’re politically charged and socially conscious, taking to the stage with messages about mental health awareness and stigma, Brexit, Donald Trump, capitalism, nuclear weapons, privatization of the NHS and, more recently, the global climate crisis.

The 10th anniversary tour of Enter Shikari’s first album ‘Take To The Skies’ in 2017 included a headline spot at Slam Dunk Festival, which closely preceded the UK general election. Thousands of guests were gleefully captivated by vocalist Rou Reynolds through a performance that was so nostalgic, yet proved how relevant and loved they still were. It was only fitting that one of the first singles released later that year from album ‘The Spark’ was ‘Rabble Rouser’ as Enter Shikari’s lyrics are intentional and deeply poignant, often spurring some sort of action (whether physical or a change in perception) – speak openly about your emotions, be kind to each other, don’t give up on what you believe in, use your voice to vote and make change.

In 2019, Enter Shikari broke the record for the highest number of performances at Reading and Leeds Festival, demonstrating their versatility across the Main Stage, The Pit/The Lock Up tent, and a surprise acoustic performance to flaunt their more delicate side. After releasing the single ‘Stop The Clocks’ this year, work is underway for Enter Shikari’s sixth studio album which will firmly secure their place in the industry for another decade, where they will undoubtedly continue to challenge our society in the way only Enter Shikari know how. CATIE ALLWRIGHT [CA]

MOST NOTABLE TRACKS: Sorry You’re Not A Winner, We Can Breathe In Space, ‘Gandhi Mate, Gandhi’, The Last Garrison, Rabble Rouser, Shinrin-Yoku

Highly Suspect

Just three albums into their career, Highly Suspect have had a lot to say over the past 10 years. The beauty of this band, though, is that they’re not trying to prove a point or please anyone in particular; their stance is that they make the music they love and they appreciate those with whom it resonates, and somehow by entering the creative process with this mindset, they’ve picked up one of the most authentic fan bases a band can muster.

Whether it’s the political statement of 2016’s ‘Viper Strike’, or the painful mourning that’s expressed in ‘For Billy’, there’s a great fearless vulnerability in all of Highly Suspect’s music. We listen to songs about drug abuse and sexual endeavours and cheating, and in doing so we’re allowed an insight into the lives of people who want to share a little piece of themselves without every censoring it to make themselves sound like anything other than normal people.

As a result, fans allow themselves some slack when it comes to self-assessment. If our favourite bands can fuck up and act in ways that are morally questionable and still be worth loving, then why can’t our actions be forgivable? Aren’t we worth loving through our flaws too?

And more than that, aside from the thematic content of this band’s discography, there’s the cacophony of genres that Highly Suspect have pulled from, often not even making an attempt to blend them together. The way we consume music has changed so much this decade, from the decline in CDs to the resurgence of vinyl and – most importantly – the takeover of streaming platforms that allow consumers to venture beyond one particular genre, and musicians to experiment. The stark hip-hop, rock, synth, electronic music that Highly Suspect create means they unknowingly have the potential to become an inspiration to others, as well as reaching new fans that may have been entirely disinterested at the start of the decade. Their fearlessness crosses from controversial themes to chaotic sonic choices and all of it has the potential to impact the wider industry, as well as inspire fans as they’ve been doing since day one. YASMIN BROWN [YB]

MOST NOTABLE TRACKS: Viper Strike, For Billy, My Name Is Human, Lydia, Mom

Deafheaven

If there’s one genre that’s more impenetrable to most people than any other, it’s got to be black metal. That was, until Deafheaven came along. Whilst they may not be the originators of ‘blackgaze’, or whatever you want to call it, they’re certainly the popularisers of it, and their blend of cinematic post-rock, white-hot blastbeats and harrowing vocals has opened the floodgates for the wider alternative world to embrace what used to be a very insular scene. 2013’s ‘Sunbather’ was the best-reviewed album on Metacritic that year, the artwork for that album was featured on Apple adverts, and in 2018 the band received a Grammy nomination for their track ‘Honeycomb’. The black metal gatekeepers may not like it, but Deafheaven are the reason their precious scene is no longer solely the domain of genre purists and those guys are THE WORST, so that can only be a good thing. LIAM KNOWLES [LK]

MOST NOTABLE TRACKS: Dream House, Honeycomb, You Without End

Paramore

It’s easy to box Paramore into pre-2010 with ‘Riot’ or ‘All We Know Is Falling’, and these may well be their more widely known albums, but it’s really been the past five years during which they’ve made their real impact.

Despite lineup changes – founding members leaving and old members returning – this decade has seen Paramore achieve more than ever on a huge scale across the industry. With self-titled and ‘After Laughter’ especially, Paramore took the expectations that were set on them, and threw them completely out the window. When they returned after ‘Brand New Eyes’ with leading self-titled single, ‘Now’, it wasn’t exactly met with positive reactions, but it’s this album that led to the band’s first ever Grammy win for ‘Ain’t It Fun’.

The band pushed themselves and refused to be confined to any one genre, and this wasn’t only an incredible comment on the potential of ‘emo’ bands, but it also highlighted that women not only belong in this genre, but that they can achieve great things for it, too.

The lyrics across the self-titled record are angry and honest, and it showed that it’s possible to combine these themes with a more accessible sound that will end up plastered across radio stations worldwide. That’s not to say that this necessarily needs to be the goal of every band, but the fact that it is possible, means that those who have that dream can push themselves to achieve it. Particularly for women who – as festival lineups prove over and over again – continue to take the back seat when it comes to media exposure.

‘After Laughter’ took this even further. Arguably Paramore’s best album, I don’t think anyone expected ‘Hard Times’, or indeed anything that followed. The blatant addressing of depression, bitterness and total dismay that this album conveys was again combined with bubblegum pop beats. It continued to appeal to pre-2010 Paramore fans, yet it brought on a whole new fanbase too – people that were now open to talking about mental health. Because if Hayley Williams can be brave enough to talk about this stuff, so can we.

Paramore have been one of the catalysts for acceptance of the alternative genre and for the women within it and while they’re taking a break at the moment, their impact continues every time someone listens to any of these tracks and feels just that little better because of it. [YB]

MOST NOTABLE TRACKS: Hate to See Your Heart Break, Ain’t It Fun, 26, Hard Times, Last Hope, Fake Happy, 26

Fever 333

Jason Aalon Butler has time and time again ripped apart the boundaries of performance. Whether in his former outfit letlive or now in Fever 333, the singer creates art onstage with a live show that is unrivaled. Most importantly is that Butler’s art carries weight. Fever 333 are a collective more than a band. They don’t perform just concerts, they hold demonstrations. In a time of uncertainty around the world, Fever 333 offer messages of hope and unity within the confines of some the most incredible music that explores beyond the confines of what is considered alternative. Something that hasn’t been done with such a heavy political stance since Refused’s ‘Shape of Punk To Come’. They are the sound of a new, angry generation tired of injustices and Fever 333 deserve to be listened to. LOUIS KERRY [LK]

MOST NOTABLE TRACKS: Made An America, Hunting Season, We’re Coming In, The Innocent, One of Us

Parkway Drive

Starting out back in 2003 as a hardcore band, it wouldn’t be fair or true to say that none could’ve predicted where Byron Bay quartet Parkway Drive would end up. This is a band who’ve had star power from the outset, and as they gradually evolved their sound over the years, everything else about them leveled up, too – by the time this decade came around, Parkway were making genre leading metalcore in the form of ‘Deep Blue’ (2010) and ‘Atlas’ (2012). It’s the sound that propelled them to the forefront of heavy music – and yes, they were already well on their way to stardom (their top slot on the Never Say Die! tour in 2008 and 2010, along with 2000+ cap venues on headline tours, can attest to that), but what they’ve done with that success since is truly staggering.

As the decade rolled on, we began to hear something new from Parkway. A turn away from the metalcore that had made them famous led to a broader heavy metal sound, with every last drop of aggression driven into earth-shattering breakdowns and unforgettably melodic riffs – 2015’s ‘Ire’ and 2018 masterpiece ‘Reverence’ do not know the meaning of holding back. Still, ‘Reverence’ displayed a depth that we had not yet seen the like of; great sorrow and beauty lies within, and it marked the change from a band at the top of their genre, to a band who sit far above any such labels. And then, of course there are the live shows. Oh, the live shows.

If ever anyone had been concerned about the future of main stage headliners, Parkway Drive smash all of those fears to pieces. From drummer Ben Gordon’s ‘cage of death’ to some seriously eyebrow-singing fire antics, everything about their performance is a perfectly orchestrated spectacle – work in some powerful moments from ‘Reverence’, and you find yourself with one of the most jaw-dropping, moving shows you could encounter. It’s no wonder that this is a band now finding themselves topping bills to huge crowds, and their ascension is clearly set to continue into the next decade. We can’t wait to see what they come up with next. GEM ROGERS [GR]

MOST NOTABLE TRACKS: Bottom Feeder, Shadow Boxing, The Colour Of Leaving, Karma

IDLES

It’s not often there’s a sound so bespoke that it reinvigorates the genre but IDLES have managed to do just that. While they may not see themselves as a punk band, the truth is they have inspired a spate of up and coming bands who focus on similarly heavy rhythm sections and angry, passionate vocals. It’s a sound that makes you sit up straight.

Thunderous rhythms and frenetic, screeching guitars cushion vocalist Joe Talbot, who spits lyrics with such animosity and venom, it should be off putting. But the combination works so entirely well, it’s almost impossible not to appreciate it, not to be moved by it, both physically and spiritually.

Lyrically, they represent a subsection of society that hasn’t had a voice. Heavy advocates of the NHS and mental health support, as well as fighting against political discord and shrewd observations of the country, it’s no surprise they’ve been nominated for numerous awards, released two standout albums and played a Glastonbury set that will go down in infamy. They’re the new voice of a jilted generation, long may they reign. ANDY JOICE [AJ]

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

twenty one pilots

What could possibly be more important than a band that brings together millions of fans to tell them that everything is going to be okay? And more than that, a band that helps these fans believe that this is true?

For years, twenty one pilots wrote their truth only for a handful of people to hear it. Back in 2014, outside of America, the name ‘twenty one pilots’ was largely met with a blank face whenever uttered. But to those who knew this band, knew they were something special. Playing to rooms of 800 people, fans were encouraged to repeat “we’re broken people”, “our brains are sick but that’s okay”, and – most importantly – “the sun will rise and we will try again”.

For fans going through a period of great distress – depression, anxiety, personality disorders, PTSD – it was this unwavering acceptance that drew them to twenty one pilots. What kept us here were the theatrics of the live show, the social media interactions, and the record that was to follow in 2015 – ‘Blurryface’ – that was made just for us.

What’s interesting about twenty one pilots’ impact is that it came entirely organically. The success that followed ‘Blurryface’ was by no means anticipated, and so the inside jokes and comments weren’t explained or generalised for the greater public, and yet somehow, enough people understood the messaging for this record to lead to multiple international arena tours.

They had, unintentionally, opened up a discourse around severe mental health issues that simply doesn’t exist in the mainstream world of music. We’re surrounded by stigma and it keeps us quiet, but by creating music with almost no expectation, twenty one pilots removed so much of this stigma and created a community (or ‘clique’) that extends worldwide. People became proud to talk about the issues they were battling or overcoming because their favourite band was telling them to do so.

In just 18 months, twenty one pilots went from singing along with 800 people to 13,000 and by the end of 2019 they’ve headlined most alternative or pop festival you can think of (Glastonbury won’t be far behind). We’ve spent so much time pretending to be okay, but thanks to twenty one pilots, and bands like them, this wall is breaking down and we’re really starting to believe that there’s no shame in our mental illnesses.

As long as our expectations don’t affect the band’s ability to be raw and vulnerable with us, this impact is sure to extend well into the next decade, too. [YB]

MOST NOTABLE TRACKS: Neon Gravestones, Goner, My Blood, Fairly Local, Holding onto You, Truce, Screen, Guns for Hands

PUP

Forming in 2010, PUP really are a band that’s come to prominence this decade. From the release of their debut, self-titled album in 2013, their brand of garage inspired pop punk has helped them sell out multiple tours, both in their native Canada and across the globe. Of course, three critically acclaimed albums helps too.

Sophomore album ‘The Dream Is Over’ is particularly poignant – not necessarily in content but in context. After extensive touring, vocalist Stefan Babcock found a cyst on his vocal chords, one that was haemorrhaged and had the potential to not only affect the band but affect Babcock’s voice. Permanently. Babcock was advised to give up the dream of being the bands frontman, for the sake of his life. But as the battle weary champions that they are, they came back stronger and better than ever, using the title as a middle finger to the doctor who wrote him off.

One of the selling points, aside from their excellently written songs, is their sense of humour. Dry wit and cynical snark sits in almost every track, coupled by Babcock’s gravelly vocals, they’re a band we desperately want to spend a night in the pub with, talking about shit stories and a love of music over a cold beer. It’s been a great decade for PUP – here’s to the next decade. [AJ]

MOST NOTABLE TRACKS: DVP, Sleep In The Heat, Kids, Reservoir, Morbid Stuff

Wolf Alice

Wolf Alice’s decade is defined not just through their unique and powerful sound and style, although that is to be noted, but through the rare trait of being able to capture the spirit of an entire generation. Their 2015 debut ‘My Love Is Cool’ is a solid and enjoyable indie rock outing, but its their Mercury prize-winning effort of 2017’s ‘Visions Of A Life’ that sets them apart from other efforts. As Drowned in Sound’s Luke Beardsworth wrote in his review: “It has captured on record the thrill, angst, sadness and uncertainty of being in your twenties and not really knowing what’s going to happen or should happen.”

This chaotic aimlessness is what fuels Wolf Alice at their best: their quest to use music to understand and come to terms with a kind of secondary coming of age that inspires so much dread in their peers. The latter half of this decade has been defined by this emotional turmoil, and Wolf Alice has encapsulated it perfectly and used it to create the sound of the decade. FIACHRA JOHNSTON [FJ]

NOTABLE TRACKS: Moaning Lisa Smile, Don’t Delete Those Kisses, Beautifully Unconventional, Bros, Visions of A Life, Silk

Pissed Jeans

In the unlikely event that humankind was asked to place one album in a time capsule as a representation to future generations of where noise punk was at in the 2010s, either Pissed Jeans’ ‘Honeys’ (2013) or ‘Why Love Now’ (2017) would make an ideal submission.

Plenty of explicitly political punk rock has been made this decade and rightly so, but more than anyone, Pissed Jeans have documented the everyday frustrations of the salary slave such as wishing food poisoning upon an obnoxious co-worker on ‘Cafeteria Food’ or the awkwardness of being the oldest person at a house party on ‘Bathroom Laughter’. That’s not to say Pissed Jeans’ music isn’t political though; Matt Korvette rails against the objectification of women on ‘Male Gaze’ and ‘It’s Your Knees’, as well as the mistreatment of service sector workers on ‘Have You Ever Been Furniture’. The band put out three albums in the 00s but it’s been their work this decade that’s made Pissed Jeans a (sub)culturally significant band, as they’ve gone from playing pubs to selling out packed concert halls, all the while maintaining day jobs in the insurance and retail industries. This could be due to Bradley Fry’s guitars meshing better with Randall Huth’s bass on their work this decade or the band’s overall songwriting turning out more memorable choruses (‘The Bar Is Low’ being a notable example). Either way, the combined strengths of their fourth and fifth albums represent a distillation of everything great about the noise punk scene that’s blossomed on both sides of the Atlantic these past ten years. The sub-genre has swelled with new entrants in that time, but none of these bands have demonstrated the overwhelming sonic power and fun of Pissed Jeans. GREG HYDE [GH]

MOST NOTABLE TRACKS: Bathroom Laughter, The Bar Is Low

State Champs

It was the genre that seemed unstoppable back in 2007, but over the years, pop punk has… well, it’s fizzled out a little. Many bands that find themselves under the label these days tend to take more influence from other genres, and true ‘pop punk’ feels almost impossible to find sometimes. It’s not too surprising, in a way – it’s a genre that can too frequently rely on clichés and cookie-cutter riffs, making finding something new and interesting tricky. And that’s where State Champs come in.

After forming in 2010 and releasing a couple of (maybe slightly questionable) EPs, State Champs perfected their identity on 2013’s ‘The Finer Things’, and proved in an instant that pop punk can still be truly great. Never falling back on identikit power chords or tired lyrics, there’s a life and energy in this Albany five piece that is unrivaled – taking the classic sound and complimenting it with the kind of outstanding musicianship naysayers would never expect to find (the basslines on ‘Prepare To Be Noticed’ and ‘Something About You’ – enough said). Not only that, but they know how to deliver live, too, with the slickest and most captivating of performances that induce a never ending sea of crowd surfers.

This is a band who continue to go from strength to strength without ever abandoning their roots, and 2018’s ‘Living Proof’ isn’t just one of the best pop punk albums of the decade – it’s one of the best ever. This is pop punk as it should be, and State Champs are leading the way for an entire subculture. [GR]

MOST NOTABLE TRACKS: Criminal, Mine Is Gold, Secrets, Elevated

The Menzingers

There are not many questions that resonate more with millennial punks than “Where are we gonna go now that our twenties are over?”, and not many bands could document this coming of age better than The Menzingers. Starting this decade in very much the mid-card role of the punk scene, playing bars and small clubs, the Pennsylvania natives enter 2020 headlining packed shows on both sides of the pond.

We are used to Greg Barnett and Tom May spinning beautiful tales of their beloved hometown and young love in diners and gas stations, but 2017’s ‘After The Party’ broke the mould. It tugged on the heartstrings and tapped into the worries of anyone hitting the big ‘three-oh’, and was, in their own words, “a love letter to our twenties”. The Menzingers just know how to hit us right in the feels. Whether crafting delicate lullabies of drinking “forties” with pals down at the Stone Pony or creating the ultimate party anthem which has us screaming “everybody wants to get famous, but you just want to dance in a basement”, they will be there to document every relatable aspect of growing old. As 2019’s ‘Hello Exile’ already looks to be an album of the year contender and sold out shows planned for the next 12 months, there seems to be no slowing The Menzingers. And if there’s one thing we can thank them for is that it’s really taken the edge off being 30. TOM WALSH [TW]

MOST NOTABLE TRACKS: After The Party, I Don’t Wanna Be An Asshole Anymore, In Remission, Tellin’ Lie, Strangers Forever, Sun Hotel

Every Time I Die

If the past decade has taught us anything, it’s that Every Time I Die are the undisputed kings of hardcore. When you have the combination of the poetry of Keith Buckley, the shredding, intricate riffs of Jordan Buckley and Andy Williams, and the earth-shattering bass lines of Stephen Micciche, you have the perfect storm of hardcore.

With each record they’ve produced over the past ten years they’ve fine tuned the edges and culminated in 2016’s ‘Low Teens’. Even by Buffalo five-piece’s high standard this album was something else. Fuelled by loss, torment and delved from the darkest of places, it’s their most intense album to date with ‘The Coin Has A Say’, ‘Map Change’ and ‘It Remembers’ instant all-time classics.

Their songwriting continues to push boundaries where their contemporaries would not tread. Collaborating with everyone – from Panic! At The Disco’s Brendan Urie and The Gaslight Anthem’s Brian Fallon – it demonstrates a desire to think outside the box and not confine themselves to an accepted sound. And then, there are their live shows.

Every Time I Die have played everywhere. They’ve played in your mate’s back garden, they’ve played your city’s most iconic venue, they’ve played on a boat that sails around New York’s East River and they’re still playing the huge Christmas show in Buffalo every year. Each performance is as raucous and chaotic as they like it and for those that haven’t experienced it, go and experience it.

Now with a new album penned for 2020, we can safely crown Every Time I Die the goddamn kings of hardcore. [TW]

MOST NOTABLE TRACKS: Map Change, Underwater Bimbos for Outer Space, Decayin’ with the Boys, The Coin Has A Say

The Hotelier

At the start of the decade, few were even aware of the genre-evading Worcester band The Hotelier, let alone able to fathom the impact their stunning second album ‘Home, Like Noplace Is There’ would come to have on the slowly emerging so-called emo revival. The devastation that unfolded on ‘Home…’ was only briefly alluded to in their exuberant and youthful pop-punk tinged debut record ‘It Never Goes Out’. But if ‘Home…’ was the despairing feeling of crushing dark autumn nights slowly giving in to winter, their third album ‘Goodness’ transcended the clutches of the emo genre and emerged like the first leaves on a spring tree, bringing with it a newfound hopefulness in the admiration of natural beauty.

Both ‘Home…’ and ‘Goodness’ demonstrated The Hotelier’s remarkable ability to progress their songwriting skills on each release. Their blistering, cathartic live shows, defined by a chorus of voices screaming back the words of ‘Your Deep Rest’ (and of course the infamous “fuck” in ‘An Introduction To The Album’) cemented their place in the upper echelons of the ‘scene’, and Holden’s profound and poetic lyricism on both ‘Goodness’ and ‘Home…’ set a bar few of their peers could hope to live up to. ROMY GREGORY [RG]

MOST NOTABLE TRACKS: An Ode To The Nite Ratz Club, Your Deep Rest, Dendron, Soft Animal, Two Deliverances

The Ghost Inside

The Ghost Inside may have been mostly inactive for half the decade, but the influence they’ve had on the scene as a whole is impossible to ignore. Their music surging with positive energy, their live shows are unrelenting and intense, and they’re some of the nicest guys that you’ll find in the hardcore scene. Album after album saw them reach new heights on a seemingly endless upwards trajectory, and then tragedy struck in the form of a devastating accident involving their tour bus in 2015. The collision resulted in serious physical injuries for the entire band, bringing their thriving career to what most would consider an immediate halt. But it simply didn’t stop them. Their hunger to return to music grew larger with each passing day, their strength to pull through and get back to the things they loved getting closer and closer with every tiny shred of improvement. The music industry rallied behind them, peers surrounded them with love and support and fans did the exact same, sending them well wishes and positivity continuously for years.

Then, in 2019, they returned to the stage. Despite everything, after an accident that would’ve ended most bands careers, they performed a headlining set in their hometown and performed like they’d never been injured at all. They are the embodiment of hardcore and continue to be a shining light for the entire alternative scene. Long live The Ghost Inside. DAVE STEWART [DS]

MOST NOTABLE TRACKS: Engine 45, White Light, Unspoken, Shiner, Avalanche, Dear Youth (Day 52)

Conjurer

There’s something about a band like Conjurer where the music is just as good on stage as it is on record. In the past decade, the band went from playing shows in the UK, to touring in America, to playing festivals like Bloodstock and Download. These achievements have not gone unnoticed and for that, Conjurer have gained fans and caused a bigger love for the heavier side of metal. Albums like ‘I’ and ‘Mire’ showcase who they are as a band, especially the ferocity and the power of the music which leaves fans just wanting more.

The band recently teamed up with label mates from Holy Roar Records, Pijn and formed Curse These Metal hands, an album that shows the diversity of each band and how it works so well together. Check out Conjurer at any show, whether as a support band or the main act, and you’re guaranteed to have a very lovely time because they play every set like it’s their last show. For me, Conjurer were that band that brought me back to metal after a long break of moving away from rock and metal, and only listening to the same five bands on rotation. Metal always has a way of bringing back that passion that once was felt. SARAH TSANG [ST]

MOST NOTABLE TRACKS: Frail, A Chasm Forged in Dread and Disarray, High Spirits, Choke

While She Sleeps

Born out of Sheffield in 2006, While She Sleeps have proven in the years since their inception that they’ve got the steel their city’s known for running through their veins. However, as hard – and unapologetic for it – as they are, this band has truly made metal accessible to the masses. More melodic than your run of the mill metalcore band, While She Sleeps have become celebrated for their anthemic choruses and innovation when it comes to presenting political issues in a way that can more easily resonate with listeners. Probably why all four of their studio albums made it into the Top 40 on the UK Official Chart, their 2017 album, ‘You Are We’ cracking the Top 10.

But their music isn’t their only attractive quality. While She Sleeps have also become synonymous for their great community and DIY spirit. This year’s album, ‘SO WHAT?’ was completely crowdfunded, allowing fans the opportunity to really become part of the Sleeps family and even offering fans the chance to come along and record gang vocals before the album was released on their independent label, Sleeps Brothers, in collaboration with Spinefarm and UNFD.

Despite singer, Loz Taylor’s previous vocal surgery and a brief personal absence this year, this band is stronger than ever, continuously pushing boundaries and challenging conceptions of what rockstardom is. RENETTE VAN DE MERWE [RVDM]

MOST NOTABLE TRACKS: Seven Hills, This is the Six, Dead Behind the Eyes, New World Torture, Silence Speaks, Anti-Social, The Guilty Party

Architects

Architects influence on today’s metal scene is impossible to ignore. There’s an addictive air that continuously surrounds them, endlessly drawing more and more people in to breathe it in deeply. From their raw mathcore beginnings with their ‘Nightmares’ record, the early evolution of their sound on ‘Hollow Crown’ and their genre defining record ‘All Our Gods Have Abandoned Us’, they’ve grown from little local noise makers into global metal heroes.

Their fans were already in large numbers before the tragic loss of founder and guitarist Tom Searle, but they way they dealt with it was far beyond admirable. Every single show became a dedication to his talent, choosing to share Tom’s gift with the world rather than shut down and keep it hidden. Their enormous heart and undying passion for what they do is hard to ignore, and has earned them a horde of loyal fans as well as an extended network of loving and supportive peers. There’s no one else like them, and there never will be.

They’re true pioneers of British metalcore, and will proudly fly the flag high for years to come. For Tom, always. [DS]

MOST NOTABLE TRACKS: Gone With The Wind, Momento Mori, These Colour Don’t Run, Holy Hell, Doomsday, Follow The Water

Give it a listen below, and read a few words on some of our picks from Team Punktastic.

Selfish Things – ‘Synaptic’

Okay, it’s true, I’ve had a longstanding love affair with Selfish Things – but their recently released album ‘Logos’ is a fantastic debut regardless of my love-goggles. ‘Synaptic’ is only one of the eleven shimmering tracks on there, but my god, it’s a punch to the gut. Simple, emotional and so very vulnerable, this song is an anthem for anyone who has at any point in time, if even for a millisecond, struggled with ill mental health. Singer and multi-instrumentalist, Alex Biro’s voice shines alongside the twinkling piano and just wait for the choir-like bridge. So go on, listen to it now… and then listen to the rest of the album, too.

RENETTE VAN DER MERWE

Chapter & Verse – ‘Bad Blood’

Some bands are, frankly, unfairly bloody brilliant. Chapter & Verse are one of those bands. Their ‘Glow’ EP might have come early in the year, but it’s still one of the strongest releases of the year, and they’re continuing to impress (read: completely blow minds) with new single ‘Bad Blood’. It’s a track with ever so slightly more bite and boy is it satisfying – coupled with Josh Carter’s insane vocals, this is a hugely exciting start to the next chapter (oh god that’s a pun isn’t it, sorry) for this London group. Catch ’em on tour with Press To Meco this month – you’ll be kicking yourself if you miss it.

GEM ROGERS

Gif – ‘You Said’

Culture Night has just come and gone in Dublin, with Gif delivering a stellar performance in the Workmans Club after releasing their debut singles – ‘You Said’ being one of them. Heavy, biting guitars blended with airy and ethereal vocals are the name of the game here. If you gave Florence and The Machine an assault rifle, Gif would be the result, and with their unique style of Irish punk that is still able to pay tribute to acts that came before them, they are truly one to keep an eye on in the coming years.

FIACHRA JOHNSTON

Loathe – ‘New Faces In The Dark’

Loathe recently dropped a couple of new tracks, both of which prove that the hype surrounding them is well deserved. The second of the new tracks, ‘New Faces In The Dark’, is an absolute stonker, blending together Deftones vibes with a relentless aggression that is both frightening and addictive. The future is going to be bright for these guys, and these two new jams are just the beginning. Catch them on tour with Stray From The Path, The Devil Wears Prada, and Gideon in December.

DAVE STEWART

Streetlight Manifesto – ‘Point/Counterpoint’

For those who don’t know me (and that’ll be most of you), I’m a big Streetlight fan. I’ve got their artwork on my walls and tattooed into my skin. They’re the sort of band I won’t listen to that often, but as soon as I do, I fall in love with them all over again. They’ve quite literally saved my life. ‘Point/Counterpoint’ is the near perfect introduction to Streetlight, showcasing their fantastic brass section, subtly dark lyrics, and technical bass lines that are so complex, just thinking about them overwhelms me. They haven’t been in the UK for a LONG time (my heart breaks) but they’re definitely one to add to the ‘If they’re here, I’m there’ list.

ANDY JOICE

Beartooth – ‘Disease’

I love Beartooth and I really enjoy certain styles of country music, so when The Blackbird Sessions came out it felt like they were made just for me. I’m also a sucker for anything acoustic, but the fact that Beartooth can reimagine these songs in such a different style is mind blowing to me. The Blackbird Sessions shows off the incredible talent of Caleb Shomo’s songwriting and give even more depth to these already tender tracks. These are some of the most beautiful tracks I’ve ever heard and put a genuinely fantastic twist on the original versions.

PENNY BENNETT

Every Time I Die – ‘Floater’

Every Time I Die play boat shows every year in the USA. The shows have become a tradition of sorts, with fans from all over treating it like a pilgrimage and ceremoniously helping the band tear apart a ship from the ceiling tiles to the stage itself. I wasn’t there and I’m sad about that, so here’s a song that has a name related to water (the place where boats live) from the album they played in full on the cruise, which I am 100% not bitter about missing at all.

DAVE STEWART

Car Bomb – ‘Dissect Yourself’

The new Car Bomb album is, for want of a better word, bonkers. ‘Dissect Yourself’ in particular is absolutely dizzying, make sure you’re sat down when you listen to it or you might get motion sickness. FFO: Meshuggah, Deftones, Dillinger Escape Plan, robots, lasers, punching yourself in the head.

LIAM KNOWLES

flor – ‘White Noise’

Sometimes you stumble on an established artist you’ve managed to not come across before, and the love is instantaneous. Welcome to me and my new all-encompassing obsession with flor… The US four piece released sophomore album ‘ley lines’ earlier this month, and ‘white noise’ is the opener to this astonishingly beautiful album. It’s a little out there for Punktastic – it sounds a bit like what you might get if Hammock had a musical baby with LANY – but it’s well worth a listen if haunting, layered alt-pop is in any way up your street. Like a fresh mural of pastels glowing in the evening sun of summer, it’s immensely comforting and uplifting all at once, and entirely entrancing. This is one to keep your spirits high on the rainy autumn days and dark nights to come.

GEM ROGERS

Wavves – ‘Green Eyes’

It’s been nearly 10 years since ‘King Of The Beach’ was released, and ‘Green Eyes’ is the standout on a fantastic album. Chunky rhythms with delicate glockenspiel, crystal clean content with a vaguely sinister undertone, it’s a gem that should be appreciated more. Because I’m far less metaphorical than Wavves front man Nathan Williams, this isn’t a song about weed. Or at least, it isn’t when I sing it to my sweet baby, Marceline – “Green Eyes, I’ll run away with you”. We could be across the room from each other and our green eyes will lock together, a mutual agreement that we will indeed run away together. One day. I adore that cat.

ANDY JOICE

Their relentless brand of heavy hardcore has set the genre alight, their ruthless and adrenaline fuelled live shows continuing to throw fuel onto the fire and keep it burning bright. Their debut record ‘Laugh Tracks’ put them on a direct path to the big leagues, and they’re hoping that follow up record ‘A Different Shade Of Blue’ will keep them on it. The burning question is a simple one – are they one hit wonders, or are they the new heroes of hardcore?

The first taste of the new record came in the form of first single ‘Mistakes Like Fractures’ which, on first listen, appears to be a generous slice of classic Knocked Loose. The metal-tinged riffs, the pit-inducing chugging and the tortured vocals of front man Bryan Garris – all of the elements from the previous record are present and correct. But then the breakdown hits, and everything takes a violent turn.

They’re angry. Sure, they’ve always been angry. But that breakdown demonstrates a rage that’s anchored in something far deeper than simply being pissed off, and it’s so intense you can feel it. There’s a darkness that ushers its way through the mix, seeping through the disgustingly low tones and pulling you deeper and deeper into it. The entirety of ‘A Different Shade Of Blue’ has blossomed from that darkness, and the end result is a soul-stirring and hostile record of the highest quality hardcore.

Album opener ‘Belleville’ thrusts you straight into the mayhem, switching from break-neck paces to droning riffs that continuously get slower and slower before coming to an abrupt halt as Garris screams “I need you to make me feel”. ‘In The Walls’ is drenched in gloom with pendulous riffs crashing through its waters, stirring them into a tidal breakdown that’s heavier than anything they’ve ever written. ‘Guided By The Moon’ leads you to believe it’s going to be relatively laid back, but then reveals that’s a ruse – the haunting and chilling mist thickens into a fog, completely engulfing your senses before plunging them into the void.

‘Road 23’ is a fist-pumping rager that’s sure to become a favourite, boasting everything that Knocked Loose do best. Thrashy riffs, thunderous bass tones and pounding drums all collide in a short but sweet explosion of noise. ‘Denied By Fate’ immediately launches into a sonic attack, keeping its foot firmly on the gas as it storms through two minutes and twenty four seconds of aggression, quickly followed by ‘Misguided Son’, closing the album in the most harrowing and punishing way possible.

There’s also a couple of tasty guest vocal spots here too. The first comes from Dying Wish vocalist Emma Boster on ‘A Serpents Touch’, and the second from ever impressive Every Time I Die front man Keith Buckley on the devastating ‘Forget Your Name’. The inclusion of both on the record is a nice little nod from the band to both the legends of the scene and those breaking into it, showcasing the strength of the hardcore community, and Knocked Loose’s commitment to contributing to its survival.

Knocked Loose have managed to capture an energy on ‘A Different Shade Of Blue’ that, when unleashed, oozes from the speakers, creeps into your ears and surges through your entire body. You can vividly picture the live show – the sweltering heat in the room, the chaos in the crowd, and the visceral frenzied performance from the band. Very few bands manage to accurately translate that feeling in a studio setting, but Knocked Loose have managed to do it with album number two.

The ceaseless aggression of the record is infectious, delivering every devastating blow in the most exquisite yet reckless way. Not only have Knocked Loose proved that ‘Laugh Tracks’ wasn’t a fluke, they’ve proved that they’re only just getting started. Expect to see this record on a lot of album of the year lists – this is one of the hardest and most impressive hardcore albums of 2019.

DAVE STEWART

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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