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]

Our day starts in The Cave, where London’s PENGSHUi help us out of our hungover haze with a bang. Combining hip-hop, rock, grime, dance, and punk (to name just a few of their many influences), there’s simply no way you can walk past the tent without the intrigue pulling you in. It may not make sense to you, in fact it more than likely will not, but you can’t deny that this three-piece know how to make an entrance and bring a tremendous amount of energy with them wherever they go. With infinite charisma and confidence, PENGSHUi are loud to the point of being obnoxious, and while your first thought might well be “what the fuck”, there’s still something about them that you hate to love. [YB]

It’s the second time this year we’ve managed to catch Newcastle posse GroundCulture at a festival, and the second time it’s been an absolute pleasure to see them. Their melodic hardcore packs a hefty punch of energy and groove, and front man Roy Watson’s expressive vocals are superb; GroundCulture are reminiscent of early Blood Youth, and easily have all the power to follow in their footsteps. A glimpse at upcoming music, amongst tracks from their self-titled debut EP, proves this is a band who definitely aren’t prepared to slow down, and we look forward to seeing them demolishing the stage at more festivals in future. [GR]

Welsh four-piece Dream State are our next port of call over on the main stage, dripping with nerves despite being so obviously loved by the huge crowd they’ve happily pulled in so early in the day. Frontwoman CJ Gilpin was born to be a performer, her lungs carrying her through both clean and screamed vocals, only further proving how well-suited to the main stage this band are. As with most bands who carry with them humility and integrity, Gilpin thanks the fans who have chosen to spend the afternoon with them, stating that they “are nothing without you, we are one together”. As they make their way through their short set, the sense of community this festival creates is heightened, and it seems inevitable that Dream State will return in the future. [YB]

The Dangerous Summer follow shortly after Dream State, and despite drawing in a considerably smaller crowd, those fans that do attend more than make up for the thin numbers with endless enthusiasm. Sadly, the band members themselves spend much of the set with feet stuck to the floor, their static nature failing to make the most of the ample space that the main stage has to offer them. The Dangerous Summer are lucky the fans are in such good spirits, making what could easily have been a forgettable set into something far more memorable as they reach peak Friday afternoon vibes, carrying them well into the evening. [YB]

Australian rockers Hands Like Houses have had one of the longest journeys to get to 2000trees, and as they take to the main stage with a half hour set of hits and an outstanding reputation for live performances, it should be one of the highlights of the weekend. Unfortunately, the first few songs are taken out by sound so abysmal it should’ve been illegal to continue; unbalanced drums, a chorus completely demolished by what appears to be a backing track overriding all other sound (unbeknown to the band, who continue seemingly oblivious), and no bass to speak of. Fortunately, we’re still able to hear Trenton Woodley’s incredible vocals clearly, and the large crowd manage to enjoy these powerful songs as much as possible, but it’s a crying shame this fantastic band have been let down on this occasion. Hopefully it won’t be long before they return to the UK so we can enjoy these songs as they should be – today it was not to be. [GR]

Back over in The Cave, hardcore punks Drug Church aren’t just about all things loud and fast – with grungy, skate punk vibes creeping in to many of their lively tracks and a healthy dose of fun in their performance, this is an energetic and hugely enjoyable party of a set. It doesn’t take long for front man Patrick Kindlon to comment on the, er, interesting placement of a tent pole directly in front of centre stage, and his easy going vibe lends itself to a laid back, party atmosphere, yet one that’s still driven by plenty of energy (and plenty of pits). “These will be the last two,” he says, shortly before blasting into ‘Strong References’ and the frantic, crowdsurfer paradise of ‘Weed Pin’, “so I must insist that you have a good time.” He needn’t have worried – in a tent full of exhausted grins, it’s safe to say everyone had a damn good time. [GR]

2000trees is nothing if not versatile in the talent to which it offers a platform, and Get Cape. Wear Cape. Fly is someone entirely unique, not just at this festival, but in the music industry in general. Bringing with him seven bandmates, GCWCF also brought with him one hell of a dance party with plenty of opportunities for a singalong. Despite only having released three albums under his Get Cape alias, there are far more fans in attendance than you might expect, thoroughly enjoying the folk experience that Sam Duckworth offers. With the afternoon sun beating down in full force, it’s a glorious and joyful way to spend the late afternoon, and you’d have been a fool to have missed it. [YB]

For those who caught Rolo Tomassi on their recent tour supporting Gojira, it’s not too surprising that this afternoon’s set is near enough the same, set list wise – but, with songs this ethereal and staggeringly brutal, it’s hard to really mind. Dancing between hypnotic, atmospheric passages, almost poppy melodic verses, and technical, growling assaults, it’s often unbelievable that this range of sound could possibly come from one single band, but therein lies the beauty of Rolo Tomassi. Beyond unique, this is a band who must be seen to be believed, and their delivery is nothing short of perfection – long may they continue to blow our minds. [GR]

Brighton’s pop-punk/emos As It Is may not have a support slot on the main stage this evening, but the crowd that turns up would easily have you believing otherwise. As they swarm the field, the intensity and loyalty shines through and it’s instantly clear this isn’t a band you can be casual about. From the very first notes of opening track ‘The Reaper’ to the lingering riffs of the set’s closer ‘The Stigma (Boys Don’t Cry)’, the band’s fans don’t stop to take a breath, throwing themselves with unparalleled force towards the four musicians on stage, screaming every word along with front man Patty Walters as though their lives depend on it. It’s always a joy to see a band evoke such pure and raw emotion in their fans, and As It Is do this with ease, standing strong for what they believe in and ensuring their followers feel safe and at home in their presence. Regardless of how you feel about their music, it’s difficult not to find yourself feeling awestruck by the authenticity that radiates through in these men and the sheer energy and happiness that seeps through the crowd is contagious. It’s exactly how a main stage set should feel. [YB]

If Thursday’s headliner Frank Turner epitomises the 2000trees vibe, then eclectic folk-punk heroes Skinny Lister must surely share his crown. One look at the joyful crowd gathered in The Axiom tent tells you all you need to know – young and old, band t-shirts that range from Panic! At The Disco to Slipknot, this is one of the most varied audiences of the weekend and it’s a delight to witness (especially when one young viewer, merrily resting atop a parent’s shoulders, throws the horns). Equally delightful are the band themselves; this is proper festival music, and it’s a shame we’re confined in a tent for this thoroughly sunny, irreverent set. It doesn’t matter a jot whether you know these songs or not – feet, hips, shoulders and arms all join in the movement and singalongs are at maximum volume as Skinny Lister give us one of the most fun sets of the weekend. Can we have them every year, please? [GR]

If you want a band that have ‘absolutely bloody insane’ written all over them, Cancer Bats’ set in The Cave is a damn good place to start – and it seems like half the festival’s attendees have done just that. The tent is filled to bursting point, with many more peering in from outside, and this set is batshit crazy from start to finish; blistering riffs accompany non-stop pits and crowdsurfers, and it doesn’t matter that some people are still outside the tent as the atmosphere spills out with more than enough energy for all. It’s really no wonder that Cancer Bats have remained so popular for so long – they’re one of the best live bands in the hardcore game, their heaviness taking them to levels many can only dream of achieving. We need a lie down after this one. [GR]

Closing the night is the ever wonderful You Me At Six. Never more at home than they are headlining a festival, the Surrey five-piece command the stage in a way that only bands who have spent 13 years touring are able to do. From the inflatable sex doll that makes an appearance during ‘Fresh Start Fever’, to the fan forceably removed from the stage during ‘Save it for the Bedroom’, to Josh Franceschi’s wholesome, accepting speech that led us into ‘Take on the World’ with tears flooding our eyes, the set was nothing short of phenomenal. The performance of these songs is second nature to the YMAS boys now (we’ll forget that Franceschi forgot the lyrics to the eight-year-old track ‘Reckless’…), and as members of the packed out crowd launch themselves into the air relentlessly throughout the hour-long set, You Me At Six continue on their journey of becoming one of the greatest festival bands in the pop-punk/pop-rock genre, closing the night with a set that is as close to perfection as we’re likely to find. [YB]

The Punktastic team made their way to Reading to report back on all of the best that 2018’s lineup had to offer.

Images: Olly Hanks, Words: Yasmin Brown [YB] / Gemma Rogers [GR]

Just as the weatherman had forewarned us, Sunday was a total washout from start to finish. Luckily, though, this was only the case as far as Mother Nature was concerned, with festival goers refusing to let it spoil their day, braving the rain and mud and continuing to have as much fun as they had over the rest of the weekend.

It’s a mystery as to why Get Cape. Wear Cape. Fly – or Sam Duckworth, as some may know him – hasn’t become more successful over his many years as a songwriter. With ten musicians on stage, the depth and complexity of the music they were able to create in the Radio 1 Dance Stage was astounding – not once relying on backing tracks to pad out their sound – and while at first their place on this stage made little sense, as the set went on and more people were drawn into the tent, it became more clear. The combination of string and wind instruments with the usual guitars, drums and bass meant that, regardless of whether you knew GCWCF’s music or not, there was no way you were able to stand still and as the crowd filled out, people slowly started to loosen up and feed off the energy that each person refused to let wane on stage. From the opening song, each musician was given the chance to show off their musical talents, particularly in the opening number. While this performance of ‘Adults’ was definitely the longest, there were a number of instrumentals throughout the set that offered up this opportunity, highlighting both the band’s consistency and versatility, with intricate compositions flawlessly played. It’s sad that Duckworth hasn’t garnered the recognition that he so clearly deserves, but by the end of the set most were happily clapping along and drinking in Duckworth’s stunning, raspy vocals. [YB]

Every now and again, a band comes along that manages to pique our interest through sheer mystery alone. Sleep Token have been making their way through the UK festival circuit this year, attracting plenty of attention as they go – the masked, anonymous group claim to be part of a cult worshipping the deity ‘Sleep’. Whether you believe that or not, their performance is amongst the most impactful, unique, and unexpected of the weekend; front man Vessel fills The Pit/Lock Up tent with soaring vocals that are so pitch perfect as to seem almost unreal.  The band are fascinating to watch, giving as theatrical a performance as they come – but the true beauty in this set is revealed when the gentle melodies kick into huge, djenty, prog metal sections. The ground shakes under the weight of the pulsing rhythms, and the only downside is that they don’t seem to come often enough – by the end of the set, it all starts to become a little samey. Despite this, it’s clear that Sleep Token are phenomenally talented and have stage presence to spare; this is truly a band on the rise. [GR]

Early sets on the main stage were, to an extent, affected by the rain, but after last year’s Festival Republic performance, regular Reading attendees knew that Billy Talent were not to be missed. They’ve been on the scene since before many festival goers were even born but as with Sum 41 and The Used, their age has done nothing but make them better performers and better song writers. While the inevitable comments about the weather were made (“You have a wonderful country but your weather fucking sucks”), Billy Talent didn’t let that deter them from putting their all into their set, implementing impressive guitar solos and encouraging crazy, muddy circle pits in among the fans yelling the lyrics back at the band. With plenty of people wrapped tightly in their raincoats and plastic ponchos, songs such as ‘Rusted From the Rain’ were even more fun than they might have been had the sun been shining, and by the time the finale of ‘Fallen Leaves’ and ‘Red Flag’ came around any weather-related reservations had completely dissipated and it was, arguably, one of the best 30 minutes of the day. [YB]

It’s still suspiciously early on a festival Sunday for The Pit/Lock Up tent to be as full as it is – let’s face it, if anyone’s even out of their tent by 4pm it’s a minor miracle. It makes considerably more sense, though, when the impending secret set is revealed to be Frank Carter and the Rattlesnakes, and anyone still wiping the sleep from their eyes is almost certainly woken by their ferocious entrance with ‘Juggernaut’. The passion exhibited by the impossibly likeable Carter and his bandmates is reflected back in spades by one of the most enthusiastic crowds of the weekend – mosh pits and crowdsurfers are non-stop, keeping security well and truly on their toes. After expressing distaste for rap artists receiving such sizeable pits over this weekend – “they stole that shit from us!” – Carter insists on a circle pit around the tent, and when fans are reluctant (it’s chucking it down out there, after all), he leads a sprint himself. These antics, coupled with encouragement for an inclusive atmosphere and thrashing rock music, make for an engaging thirty minutes – this is a proper punk rock show for proper punk rock fans, and we are deeply grateful for their appearance. [GR]

It takes a lot to amp up a crowd half full of people that have likely never heard of you, but Normandie did just that at The Pit/Lockup – successfully achieving what they set out to do, which was to make sure everyone had a really “fucking good time”. Lead singer, Phillip Strand, was incredibly smooth in every move he made, making it impossible not to like him, and the music was catchy without being generic – no easy feat in today’s industry. With unnecessary but amusing apologies for the weather (“Sorry we brought the rain, we should have bought polar bears or whatever we have in Sweden”), the crowd clearly warmed to Strand. With moments where it felt as though the bass was the only thing responsible for your heartbeat, it felt fair that Strand demanded that we “bring it” and asked to “see a fucking mosh pit”, because Normandie really were putting on one hell of a show. Jumping into the crowd for the final performance of ‘Collide’, there was no doubt that we’ll be seeing a lot more of this band in the UK over the coming years. [YB]

Hippo Campus offered an entirely different vibe, with their hipster aesthetic preventing them from breaking out of their uber-cool on-stage personas for more than a couple of moments over the 30 minute set. That said, the band sounds exactly the same as they do on record, flawless vocals and all, and their music is undoubtedly made for live sing alongs; even their new, unreleased songs are easy to pick up and mimic by the time the final chorus comes around. With a single trumpet solo and guitarist, Nathan Stocker, putting what seemed to be all of his energy into his art, it’s clear that Hippo Campus do have the ability to put on a more animated performance and it’s a shame that they don’t let loose more often than they did during this particular set. [YB]

Earlier this year, Black Foxxes released their second record, ‘Reiði’, solidifying the fact that this is one of the best bands on the scene right now. After a request to, “Come forward. Embrace”, the band launched into what was to be one of the most intense half hours of the day, with almost desperate emotional release pouring out of the whole band; front man Mark Holley in particular. After a mind blowing performance of ‘Manic In Me’, he had “still not thrown up”, but he had, however, dropped his pick during a particularly intense guitar thrashing – and continued to play just as hard. Whether he didn’t notice or simply didn’t care is unknown, but his dedication to his art and the deep connection to his music was never more evident than it was in this moment. There were a number of moments (other than the blatant declaration of holding his vomit down) during which Holley’s anxiety was evident, most notably when he questioned his decision to wear a hoodie and commented on the number of errors he was making – despite the crowd not noticing at all. Regardless, though, Holley made it through the set with the help of his friends and bandmates, Tristan Jane and Ant Thornton, putting on what can only be described as an exceptional performance. The use of megaphone prior to launching into ‘JOY’ – Holley’s self-proclaimed favourite from ‘Reiði’ – as well as the extended outro wherein Holley jumped into the crowd, made the set finale even more memorable before the band left the stage. It was a performance that told a story, and said a lot about the minds behind the music – and while personal interactions were limited, fans still left the tent with a better understanding of who Black Foxxes are, and feeling more connected to them than ever. [YB]

In some ways, it’s hard to believe that Bedford foursome Don Broco have come so far as to occupy such a high position on Reading’s second biggest stage – yet at the same time, it makes perfect sense. Fresh from being Everyone’s Favourite Band (seriously) on the final run of Warped Tour across the US, Broco are one of the most explosive, energetic live bands in alternative music right now, and their set at Reading Festival is a perfect demonstration of their capabilities. As they launch straight into single ‘Pretty’, the crowd become a thrashing, bellowing mass in time to the heavy riffs; though huge tents like this can often feel impersonal, in front of this band the party atmosphere is electric in a style akin to your local club room at a Friday night show. Vocals from both front man Rob Damiani and drummer Matt Donnelly are hard to fault, and under the accessible, upbeat rock sound is impressive technicality that is delivered flawlessly; Tom Doyle’s basslines are especially mesmerising.  The biggest disappointment is the relative brevity of the set, at just 45 minutes, with plenty of life still left in the crowd for more. What we can be certain of, from a performance like this, is that Don Broco’s ascension through the Reading & Leeds stages isn’t over yet – main stage headline slots beckon, and it may not be too long before it happens. This set sees the end to the festival weekend for Team Punktastic, and as we work our way out through a graveyard of lost moshpit shoes, we can’t think of a better finale.  [GR]

Set for release on September 28th via Xtra Mile Recordings, the digital-only release will feature unheard material in the form of new tracks ‘Try’ and ‘Quite Right’, plus exclusive ‘Yung Adult’ remixes, re-worked by Sam Duckworth himself.

In addition, the companion disc will collect a smattering of live highlights from Get Cape’s 2018 performances, with tracks cherry-picked from his appearances at Frank Turner’s Lost Evenings III, plus his hometown show at Southend’s SS2.

Pre-order the ‘Young Adult’ deluxe edition here.

Check out the video for ‘Animate’ here:

Along with this he has announced he will head out on a UK tour this October. Full details can be found below.

OCTOBER
4 LINCOLN Engine Shed
5 LIVERPOOL Shipping Forecast
6 MANCHESTER Neighbourhood Festival
7 GLASGOW O2 ABC2
9 NEWCASTLE Think Tank
10 LEEDS Brudenell Social Club
11 LEICESTER The Cookie
14 BIRMINGHAM O2 Academy 3
15 OXFORD O2 Academy 2
16 SOUTHAMPTON Joiners
17 BRIGHTON The Hope & Ruin
19 LONDON Islington Assembly Hall

Catch Get Cape a the following shows:

MAY

4 LIVERPOOL, EBGBs
5 LEICESTER, Handmade Festival
12 SOUTHEND, Chinnerys
14 LONDON, Lost Evenings Supporting Frank Turner
27 LONDON, Common People

“‘VHS Forever’ is probably the most absurd of the songs on the album. It’s a little bit of fun really. So much of the music that I’ve made previously has been quite heavy and quite political. I just wanted to write a song that highlighted the ridiculousness of feeling like all eras are being relived and rehashed at once, perpetual nostalgia. With one foot in pub rock (especially DR Feelgood) and another in britpop, I wanted to write a 3 chord pub rock song that was fun and didn’t take itself too seriously.” Duckworth explains.

“For me it’s odd because now I’m 31 years old, and the fashion of the current age looks exactly the same as the fashion of the age when I was growing up. Being an artist that’s been around for a long time a lot of people say to me: ‘I used to remember you from my primary school’ and I just think, well I’m talking to adults who remember me from their childhood, when in some ways I still feel like I’m still a child myself. [In ‘VHS Forever’] I’m just trying to wrap it all up into a nice little bubble in a way that doesn’t feel too heavy.”

To mark the release (his first album in four years) Sam Duckworth, plus a full band (the same band as featured in the ‘VHS Forever’ video, will be launching the new album with an unmissable one-off live performance at The Village Underground, London on 18th January 2018.

Get Cape. Wear Cape. Fly. will release his new album ‘Young Adult’ on 19th January 2018 on Xtra Mile Recordings.

It is taken from his upcoming new album, ‘Young Adult’, which will be released on the 19th January 2018 via Xtra Mile Recordings.

Duckworth will also be playing a one-off show the day before the record’s release on the 18th January at The Village Underground in London with Jordan Mackampa, Pocket Dragon and Lydia Kitto.

The release contains three new tracks as well as a new version of ‘The Spider and the Fly’.

https://soundcloud.com/tom-aylott/look-out-for-me?in=tom-aylott/sets/december-2017-mixtape#t=0:00

He will also be playing with Get Cape. Wear Cape. Fly and Seán McGowan at The Parish Church in Kingskerswell this Tuesday 12th December.

photo: Al Overdrive

Circa Waves, Idles,  Little Comets, Dinosaur Pile-Up, Protomartyr, Future of the Left, Grace Pertrie, Get Cape. Wear Cape. Fly, The Orielles, Delta Sleep, Her’s, Dream Nails, Peaness, She Makes War, Magique, Mellow Gang, Rascalton, Rattle, Crosa Rosa, Eyre Llew, and Natalie Evans will play the Leicester based festival, which takes place at the O2 Academy on the 5th and 6th May 2018.

Weekend tickets are available here and cost either £45 or £50.

It is taken from his upcoming new album, ‘Young Adult’, which will be released on the 19th January 2018 via Xtra Mile Recordings.

Duckworth will also be playing a one-off show the day before the record’s release on the 18th January at The Village Underground in London with Jordan Mackampa, Pocket Dragon and Lydia Kitto.