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

Call Me Amour

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

Unpeople

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

Cancer Bats

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

Hawthorne Heights

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

Zebrahead

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

Trash Boat

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

Goldfinger

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

Boston Manor

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

The Home Team

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

Dashboard Confessional

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

The Menzingers

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

President

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

Taking Back Sunday

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

Motion City Soundtrack

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

Sublime

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

Malevolence

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

Knocked Loose

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

Good Charlotte

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

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

KATE ALLVEY

Words: Kate Allvey, Rob Dand Photos: Penny Bennett, Abbi Draper-Scott

As Everything Unfolds

Kicking things off on the GoPro stage, the festival’s loose home for its delegation of heavier bands, As Everything Unfolds ushers in the first mosh pit of the day before the end of set opener ‘Slow Down’. The band proceeds to rattle through highlights from their two full-lengths, peaking at just the right time with the now-familiar closing duo of ‘Felt Like Home’ and ‘On the Inside’. The one slight dull edge on an otherwise razor sharp performance comes when niggling technical issues resulting in the sole guitar intermittently cutting out, illuminating just how much heavy lifting the backing track is doing. Nevertheless, the energy is there in abundance and vocalist Charlie Rolfe in particular turns in a strong showing. Slam Dunk 2024 is officially off and running. [RD]

The Dangerous Summer

The Slam Dunk stage openers dish out heartbreaking optimism with the heart of Ataris, offering a furtive start to our day with a bass heavy punch of Americana and emo. The spirit of Brian Fallon watches over their dashes of guitar and ‘The Permanent Rain’ smoulders like dying, thoughtful embers, at odds with the congenial atmosphere surrounding their set. If they were playing at 2am, or sharing a slot with The Wonder Years, The Dangerous Summer would be sublime; as a first act, they’re still really damn impressive. [KA]

Honey Revenge

The first IYKYK band, judging by the crowd running in as soon as they spot the hot pink co-ords onstage, Honey Revenge announce their presence with a gawky wave. ‘Seeing Negative’ makes for a subversive bubblegum eighties start with sonic bass, and vocalist Devin Papadol is overjoyed to be here. “Welcome to our first ever festival set, baby,” she squeals like a Barbie customised with koolaid and safety pins. Brand new song ‘Recipe For Disaster’ swerves past self-loathing and into hit status, and ‘Are You Impressed?’ swings wildly between adorable chiming, frustration and rocket launch bass. ‘Airhead’ ends their set on a high, eliciting eager and unironic horn signs as they stride offstage. [KA]

As December Falls

As December Falls are in a celebratory mood, marking their first main stage billing at Slam Dunk with an effervescent set spanning much of their discography to date, including several cuts from last year’s top 20 album ‘Join the Club’. Opening with old favourite ‘Ride’ and closing with the exuberant ‘Carousel’, the band attack every opportunity with their infectious enthusiasm, and today’s sun-soaked fiesta will likely win over some new converts. [RD]

The Red Jumpsuit Apparatus

Third on the lineup but first in our scarred emo hearts, The Red Jumpsuit Apparatus open with ‘Brace Yourself’ and its gorgeous payoff after the intro. They endlessly twist between loud and soft to intensify the impact of each lyric, and ‘False Pretence’ draws a static but observant crowd to appreciate Ronnie Winters’ vocal gymnastics amid the song’s live hardcore ferocity. ‘Damn Regret’ seems to move in slow motion as we’re finally ready to jump, and dropping in a cover of Blink 182’s ‘All The Small Things’ is an easy win to create a positive energy across the field, drawing in those otherwise distracted to appreciate the joy radiating from their set. [KA]

Head Automatica

The surprise return of Daryl Palumbo’s Head Automatica to the UK festival circuit was one of the more eyebrow-raising points of note on the Slam Dunk roster. We’re ostensibly gathered to mark 20 years since the release of debut album ‘Decadance’, a flamboyant maelstrom of post-hardcore, soul and danceable indie rock. Unfortunately, some early technical issues derail disappointingly loose renditions of ‘At the Speed of a Yellow Bullet’ and ‘Brooklyn is Burning’, and while the band persist to find something resembling their stride as the set progresses, Palumbo’s delivery seems loose; almost pained at times. Despite this, Slam Dunk most definitely came to dance, and while the Hatfield crowd becomes the first to hear new song ‘Bear the Cross’ in a live setting, it’s the older material – and most notably set closer ‘Beating Hearts Baby’ – that predictably gets the most raucous reception. It’s not quite the vibrant canvas it was supposed to be, but the smiling faces and questionable dance moves suggest that plenty of people used their imagination to paint by numbers and fill in the blanks. [RD]

One Step Closer

One Step Closer draw a modest but committed crowd over on the Key Club stage. It’s possible that they fly just below the radar of a typical Slam Dunk attendee, which is a shame, because their brand of melodic hardcore is consistently enjoyable and very accessible. Their sound is evocative of early 2010’s Deathwish/Bridge Nine favourites, with newer songs like ‘Giant’s Despair’ adding a touch of the alt-rock flavour brought by bands like Basement and Balance And Composure. Their set focuses on material from recent record ‘All You Embrace’, and their impassioned performance is another fine showing for a band that are slowly winning over UK crowds. [RD]

RØRY

Opening with a predatory electro pulse as we stampede towards the front, RORY has tapped into a shared waterfall of emotion with her music, and the world outside the tented Kerrang stage seems to shrink away during ‘Anti-Repressant’. More than a few in the crowd tear up for ‘Alternative’, and security drop their professionalism and start to film the vocalist as she lays her pain out for us to find strength in. That’s not to say that this is a po-faced set by any means; she serenades a guest dressed as baby in the character of her ex-boyfriend during ‘Baby Vendetta’, and new song ‘Blossom’ lets electro synths water the seeds of rage and triumph under the shade of Evanescence at their most pop. This is RORY’s first festival set, and it definitely will not be her last. [KA]

The Skints

The Skints have “done a lot of Slam Dunks,” as guitarist Josh Rudge explains, and only seem to be cementing their reputation as mainstays in the punk section of the lineup. ‘Mindless’ is a soft opener, but it’s ‘Rise Up’ that attracts curious onlookers with its rapid fire echoes and seismic bass drops. ‘Ratatat’ is the song that makes this sunny corner feel like how you’d expect a festival to feel. “If you know what a ‘capdown’ is, and what it means to your heart,” calls Rudge in reference to the defunct iconic British ska punk outfit before launching into a blistering cover of ‘Ska Wars’, leaving us with a sense that the Skints are the strongest torch bearers of the UK ska punk revolution. [KA]

The Blackout

The boys from South Wales draw a huge crowd, probably the largest outside of the headliners. ‘Save Our Selves’ (The Warning)’ is thrown into the deep waters of heavy rock and swims, not sinks, directed by Sean Smith and his magnificent mullet with help from guest Charlie Rolfe of As Everything Unfolds. ‘Top Of The World’ comes across far cuter live, like a little burst of Blink-ish optimism in the sunlight, and the racing clap-along for ‘Said And Done’ starts a huge pit. It’s the fifteenth anniversary of the Blackout’s ‘Best In Town’ album, and we’re gently chided for singing happy birthday to the band instead of the record. ‘We’re Going To Hell…So Bring The Sunblock’ (“Our attempt to be metal,” according to Smith) fills the field by the Go Pro stage with candy floss fronds of friendship and there’s a tangible, warm bond between us, the band and all the others on the lineup with whom they seem genuinely thankful to be friends. [KA]

Mallory Knox

It’s been five years away from Slam Dunk for Mallory Knox, and seven for returning vocalist Mikey Chapman, who left a little before the band originally called it time. There’s a slightly awkward dynamic onstage as Chapman references his extended break (“Whose fucking fault was that?” asks bassist Sam Douglas  – the man who stepped into Chapman’s shoes for their final self-titled effort – with most of his tongue in cheek, if not all). But from the moment ‘Beggars’ twinkles into life until the final defiant chorus of ‘Lighthouse’, their hard-edged pop-rock soars over the Hatfield crowd and marks a triumphant return. [RD]

Against the Current

Somehow, Against the Current have never performed at Slam Dunk, despite slotting perfectly into the lineup. Newly independent, and with a slew of recent singles just aching to be launched out into a festival crowd, they do not waste the opportunity that their debut appearance brings. We’re treated to an enthusiastic rendition of ‘Running with the Wild Things’, and older cut ‘Gravity’, but for the most part the band are focusing on their newest material, with vocalist Chrissy Costanza covering every inch of the stage in her efforts to connect with the large crowd that has gathered. Their first Slam Dunk, but undoubtedly not their last. [RD]

The Ghost Inside

Legend has it that it never rains on Slam Dunk South, but if any band could cause the clouds to open, it’s the heaviest band on the earliest part of the bill: The Ghost Inside. Live, ‘Mercy’ is dark, sludgy and somewhat polarising (with many retreating to the sunnier climes of The Selector’s set), but with a hidden complexity which tunnels through the compacted grass and up into our spines. ‘Pressure Point’ is fuelled by a violent purity and ‘Wash Away’ evokes less a domestic task and more a weather warning as unexpected keyboard lines contour up nu-metal memories. Disruptive drumbeats and ironic raving from the crowd make this a set of epic proportions. [KA]

La Dispute

La Dispute came crashing out of the blocks over a decade ago with a gloriously brash debut, before crafting a more reflective sound on their genre-defining follow-up. Today’s set largely sidesteps these two towering behemoths of the scene, however, and leans most heavily on material from third album ‘Rooms of the House’, now celebrating its 10th anniversary. In truth, some of the more introspective numbers are hampered by the positioning of the Key Club stage, and anyone further than 30 feet from the monitor is treated to a jarring mash-up of State Champs and the Bouncing Souls drifting in from either side. Regardless, set closer ‘King Park’ snakes in like muscle memory for virtually everyone in attendance, twisting through its breathless build toward its heartbreaking conclusion. The sound of a few hundred people screaming “Can I still get into heaven if I kill myself?” may not seem like an obvious mid-afternoon festival highlight, but ‘King Park’ is both some of their strongest material and a high-watermark for the entire genre, and worth sticking around for. [RD]

Asking Alexandria

Eschewing a buildup or lead-in, Asking Alexandria appear as a sudden lightning slam of brutal guitar that dissolves into 8-Bit keyboard. In the pit, a man dressed as a mime climbs onto his friends’ shoulders and films, the only spot of colour against the black backdrop and equally funereal band. Asking Alexandria keep their sound sharp and harsh, leaping between steely cold roaring guitars and vocal ripples. Vocalist Danny Worship folds one arm behind his back like he’s delivering a lecture before passing the metaphorical baton to guitarist Cameron Liddell for a solo that dispels any lingering loneliness. Most of the crowd are flagging in the heat as we draw on the same core of molten lava that the band do and push ourselves to even higher jumps. The clouds finally part during ‘Dark Void’, such is the power of Asking Alexandria. [KA]

Pennywise

A lot of bands have joked about being old over the course of the day but ironically, as one of the oldest bands on the bill, Pennywise show they’re still a force to be reckoned with. ‘My Own Country’ slams harder than it has any right to while still maintaining the strutting nineties rhythm popularised by the Hellcat stable. Pennywise’s sideways slide into full on street punk is working for them, with their coarser sound fitting in with who they’ve become. Of course, there’s a bit of silliness in the form of covering Men At Work’s ‘Land Down Under’, but we can forgive their missteps when ‘Fuck Authority’ is still as fury-filled and urgent as ever and ‘Bro Hymn’ inspires those with mohawk to full-throated song. [KA]

Funeral for a Friend

Atop the Hatfield site’s only hill, Funeral for a Friend take to the stage along with guest vocalist Lucas Woodland. One arm held aloft, a familiar sight for Holding Absence fans, he stands ready to conduct the gathered crowd. As if there was ever any doubt, Slam Dunk is about to witness one of those special performances that will be talked about for years to come. Uniquely positioned to do justice to Matt Davies-Kreye’s impressive legacy, with both the talent and humility in spades, Woodland confesses to his admiration for the band, having grown up in their shadow as part of the vibrant South Wales scene of the time. Energised by his obvious deep connection with the source material, the band deliver an absolute masterclass, seeming as fired-up as they have in many a year.

The crowd mirror this exuberance, singing back every word to a hit-filled set that reminds us just how important this band was in shaping the British response to the largely US-dominated post-hardcore scene at the turn of the millennium. Bathed in the glorious golden hour light of the early evening, this is Funeral for a Friend viewed through Instagram’s Valencia filter – warm and familiar. They’ve played Slam Dunk before, but this is something else entirely. It’s an absolute triumph and quite possibly the standout set of the festival. [RD]

Goldfinger

John Feldman has returned to these shores, briefly removing his mantle of pop punk mogul to revert to his original incarnation as Goldfinger’s frontman as the sun begins to set over Slam Dunk. A lot of the older ska acts really can still pull it out the bag when it comes to an energetic show, and Goldfinger are no exception. Vocally, Feldy can’t seem hit the heights he was able to back in the nineties, but in the midst of the angst and emotional outpouring across the Slam Dunk site, Goldfinger provide an oasis where we’re having fun, counting the days and dancing like we’re still kids. With an incredibly strong fanbase willing to overlook the weaker parts of their set, ’99 Red Balloons’ can’t fail to hit the mark, especially when it’s backed by Reel Big Fish’s brass section. [KA]

The Wonder Years

If there’s one thing that’s abundantly clear, it’s that despite some logistical challenges in recent years that have led to a lot of soul-searching, Slam Dunk is still held in incredibly high regard by many of the artists. None more so than the Wonder Years, who recall a time in 2010 when their career trajectory changed – something they attribute to their performance here. Ever since, they’ve answered the call in return, even pulling a double shift in 2022 when a last-minute slot on the lineup became available.

They may only be playing the smallest stage at the festival tonight, but they wear their Key Club headline slot like a badge of honour, in solidarity with the bands lower down the bill who embody the old-school approach to carving out a career in the music industry. Opening with the quickfire double of ‘I Don’t Like Who I Was Then’ and ‘Low Tide’, the band take us on a journey through their discography, spanning from old favourite ‘Washington Square Park’ to newest track ‘Year of the Vulture’ – which is played for the first time live here tonight, and gets the appropriately feverish response it deserves from the pit.

The set ends in familiar fashion, with a buoyant performance of fan favourite ‘Came Out Swinging’. More familiar still is the way in which vocalist Dan Campbell has no qualms in stopping his bandmates mid-flow and cutting the song short by a few seconds in order to allow an audience member to receive medical treatment – just as he did here two years ago. The Wonder Years love Slam Dunk, and Slam Dunk loves The Wonder Years. [RD]

You Me At Six

The big ticket item for most of the Slam Dunk crowd has to be the final festival appearance of You Me At Six before the band split next year. Some are taking it poorly (the main banner featuring vocalist Josh Franceschi becomes steadily covered in graffiti as the day goes on), but for many, this is an emotional moment. ‘Save It For The Bedroom’ and ‘Reckless’ are a safe start to their set, but it’s ‘We Are Believers’ which begins the cascading tears and chest-clutching from the audience before the sweetness and forceful vocal downstrokes within ‘Kiss And Tell’ cause the sentiment we feel to be transformed into the urge to dance.

It takes a good twenty minutes for the band to hit their stride and bring out the harder songs, but when they do, we revel in their command of a “nice loud communal singalong”, as Franceschi puts it. The splintering riff and gutsy bridge on ‘No Future? Yeah Right’ and Sean Smith of The Blackout’s chanting appearance on ‘The Consequence’ remind us how very good You Me At Six are at what they do, and makes it all the more poignant that this will be their last festival show.  The band are fully aware of this mixed sentiment, and absolutely make the time to squeeze the last remaining juice from our sunburnt emotions. ‘Stay With Me’ bursts with life and starts a long, lazy line of swaying right to the back. “Thank you for making our dreams come true for the last twenty years,” gasps Franceschi, “this is our love letter to you,” before the lilac magic of ‘Always Attract’ fills the air and friends hug each other tightly before the lovely slide into ‘Take On The World’. Thousands upon thousands of tiny phone lights glow in the night on each tender line.

A gentle bounce to ‘Beautiful Way’ grows and intensifies as thousands take their last chance to enjoy You Me At Six; the desperate slam like their lives depend on it, the sensible begin to stream away into the darkness to rejoin the real world. It’s a masterful set that toys with the emotions and leaves you with a sense of both privilege and loss. [KA]

With Less Than Jake, Goldfinger, Save Ferris and Thieves Of Liberty already confirmed, Birmingham will now also host Snuff, King Prawn, and Lady Bird. In London, Snuff have also joined the bill, alongside Buster Shuffle and The Bottom Line.

And if that wasn’t enough to whet your appetite, headliners Less Than Jake have confirmed they will be playing their timeless yet nostalgic album ‘Hello Rockview’ in full. If that’s not enough to persuade you to pick up a ticket, nothing will.

Check out the full list of tour dates below, with tickets available now here.

SEPTEMBER
19 SHEFFIELD O2 Academy
20 LEEDS O2 Academy
21 BIRMINGHAM O2 Academy
23 MANCHESTER O2 Ritz
24 NEWCASTLE O2 Academy
25 GLASGOW O2 Academy
27 BOURNEMOUTH O2 Academy
28 BRIXTON O2 Academy

Additionally, the Fireball’s Hottest Band competition is returning for this year’s tour. Showcasing new artists, Fireball have a commitment to giving emerging bands the opportunity to play large scale tours with fully established bands. Previous winners include Sweet Little Machine and Lost In Stereo.

If you’re interested in playing iconic venues to huge crowds and supporting Less Than Jake, Goldfinger, and Save Ferris, fill in the form here.

Check out the full list of tour dates below, with tickets available now here.

SEPTEMBER
19 SHEFFIELD O2 Academy
20 LEEDS O2 Academy
21 BIRMINGHAM O2 Academy
23 MANCHESTER O2 Ritz
24 NEWCASTLE O2 Academy
25 GLASGOW O2 Academy
27 BOURNEMOUTH O2 Academy
28 BRIXTON O2 Academy

And just in case a few rounds of hits like ‘The Science Of Selling Yourself Short’, ‘Johnny Quest’ and ‘Spokesman’ aren’t enough for you, they’re also being joined by Fireball’s 2019 ‘Hottest Band’ Thieves Of Liberty, with one more special guest and local band competition winners to be announced.

The tour will be making eight stops around the UK this September – full dates are listed below, and tickets are available now here for just £15, with a 5-for-4 ticket offer available until 10 June.

SEPTEMBER
19 SHEFFIELD O2 Academy
20 LEEDS O2 Academy
21 BIRMINGHAM O2 Academy
23 MANCHESTER O2 Ritz
24 NEWCASTLE O2 Academy
25 GLASGOW O2 Academy
27 BOURNEMOUTH O2 Academy
28 LONDON O2 Academy Brixton

That’s mainly because they haven’t a released an album for nine years, but also because the song that pretty much defined their career, ‘Superman’, came out almost two decades ago. Either way that leaves a whole generation of music fans that have probably never knowingly heard Goldfinger’s brilliant cover of ‘99 Red Balloons’. Front man John Feldmann hasn’t been sat around doing nothing though, and instead he’s made a name for himself as a superstar producer, working with Blink 182, 5 Seconds Of Summer, All Time Low, Good Charlotte, and a whole load more.

Clearly John Feldmann made some useful contacts during his stints behind the mixing desk as he’s assisted on ‘The Knife’ by a shopping list’s worth of stand-in musicians, old and new. Mark Hoppus and 311 lead singer Nick Hexum provide memorable guest vocals, whilst Josh Dunn of Twenty One Pilots takes up the drums on the awful novelty song ‘Orthodontist Girl’. There have also been some potentially more permanent line-up changes made with Mike Herrera of MXPX now on bass, and Phil Sneed from Story Of The Year playing guitar.

The lively but familiar sounding ‘A Million Miles’ suggests that very little has changed musically for Goldfinger in the intervening years. And whilst there are a lot of people who would rather ska-punk no longer existed, the prominent horns and upstroked guitars on ‘Get What I Need’ and ‘Don’t Let Me Go’ will see plenty of fans happily trying to remember how to skank properly.

Thankfully ‘The Knife’ is not the disjointed mess it could have been. And that’s because John Feldman has, to his credit, held everything together. However at times it feels frustratingly anonymous, and it’s clear that regardless of who played what on which song that John, as the only original member left, retains sole creative control. There are some very good songs such as the energetic ‘Put the Knife Away’, the made-for-singalongs ‘Liftoff’, or the stomping ‘See You Around’, but there is a lot of old ground covered. Add in the revolving door nature of recording and the result is a cohesive but not particularly memorable comeback for one of the godfathers of pop punk.

CHRIS HILSON

The song is taken from their upcoming new album, ‘The Knife’, which will be released on the 21st July via Rise Records.

The Punktastic team headed down for the last date, held at the University of Hertfordshire in Hatfield, to see what went down.

Words: Jess Tagliani, Christopher Lee, Becky Mount / Photos: Penny Bennett

The Fireball Stage is a far from gentle reminder to never underestimate the popularity of ska. Not that we ever did, but it’s 2017 and people are still losing their mind the moment Goldfinger break into ‘Superman’. Can you blame them? Because, you know, that snare. And what’s great about the Fireball Stage is its unrelenting dedication to nostalgia. How else do you explain Fenix Tx opening with ‘Phoebe Cates’. It may have been 15 years since they first disbanded (and with only two full lengths under their belt) but the response is nothing short of impressive. It’s a short but sweet return for Fenix Tx but all is forgiven thanks to the sentimental singalongs that were absolutely the best way to start our weekend. [BM]

One of the first bands to kick off the festival on the Breakout Stage are Casey, and this quintet bring their own, unique brand of emotional poetry to the stage. It’s heart-wrenching to hear the strangled lyrics of ‘Little Bird’ but the meticulous and perfect guitar work offsets Tom Weaver’s plaintive cries, while the piano-led ‘Teeth’ is an incredibly dark and haunting track. [JT]

‘La Di Da’ is a shot of energy from VUKOVI; the adrenaline throughout this song is nothing short of incredible and intense. Janine is a natural front-woman – full of charm and wit, with bags of talent to boot. Her vocal range is fiery, complementing the thunderous riffs that are the driving force behind the likes of ‘Weirdo’. Bouncy and quirky, VUKOVI deliver a very fun set indeed. [JT]

In what is surely one of the most chaotic performances of the weekend, Japanese metal crew, Crossfaith, bring with them an unparalleled energy. From the first minute to the last, their furious set is matched by the huge crowd who have come to bear witness to these crazy but insanely talented musicians and to lose their minds along with them. Frontman Kenya Koie almost commands the crowd through their set as each track comes and goes to a backdrop of mosh pits and jumping, but the highlights come in the shape of Beartooth’s Caleb Shomo joining the guys on stage for a rendition of ‘Ghost In The Mirror’. The place descends into chaos as they power through an expert cover of The Prodigy’s ‘Omen’, much to the delight of all here. It may only be a short but sweet set, but Crossfaith have done what they do best and delivered 35 minutes of pure electricity. [CL]

He’s a legend in his own right, and John Feldmann did well to put to rest any thoughts about the future of Goldfinger. Their 45 minute set is fit to burst with the hits, so to speak, and yes that does include two covers. Not many bands could get away with it yet they slot in perfectly with the almost-exhausting energy of the band and act as a little sweetener to the inevitable (but welcome) anti-Trump rhetoric. There’s a reason Goldfinger have been around since the dawn of time. [BM]

In the most emotional performance of the day, We Are The Ocean return to Slam Dunk for not only the final time but alas, the last time they will ever grace a stage anywhere ever and from the outset the Essex lads give us a glimpse of just what we’ll be missing out on once they’re gone. Much to the delight of everyone, the masses have turned out to see them off and are given a treat as frontman Liam Cromby’s vocals are as exquisite as ever as they roll back the years with a career spanning set full of fan favourites. There’s even time for festival organiser Ben Ray to make an appearance on stage to deliver a trophy to the guys for being the band to hold the record for most appearances at Slam Dunk. As the final ever set draws to a close with a powerful rendition of ‘Nothing Good Has Happened Yet’ there isn’t a dry eye on stage or in the crowd. Thank you for the memories We Are The Ocean, we are in your debt. [CL]

Reel Big Fish. Not a lot more needs saying, really, you already know where this is going. The heavens open for the first time this weekend but no amount of rain can stop the Hawaiian shirts or brass section. They’re certified Slam Dunk veterans and yes, it’s a tried and tested formula of ‘Beer’, ‘Everyone Else Is An Asshole’ and high tempo covers (an unofficial ska rule, apparently) but it’s infectious and it’s fun and that’s what we’re here for. [BM]

Blackpool’s finest, Boston Manor, up the ante on the Key Club Stage with their raw and emotional pop-punk. Huge sing-alongs can be heard throughout the room as the likes of ‘Lead Feet’ reverberate around the walls. These guys know how to do slick riffs and awe-inspiring drum work – each track is absolutely huge. Boston Manor’s slot on this stage is incredibly well-deserved and it wouldn’t be at all surprising if they were bumped up onto the Main Stage in the very near future. [JT]

London rockers, Counterfeit, make their debut at Slam Dunk and they’ve arrived with one goal and one goal only; tear the Impericon stage a new one. Save for a section in the middle, the packed room take a song or two to get into their rhythm but once there they let loose as do the band. If you’ve ever seen Counterfeit before you’ll know that they very rarely confine themselves to the stage and today is no different. Smashing through their set with a raw energy that has earned them an army of fans and set them apart from their peers, the new kids on the block more than prove their worth. There’s barely a second to breath during their 35 minutes which is filled with tracks from their recent debut album ‘Together We Are Stronger’ which concludes with a topless Jamie Bower performing in the middle of the crowd surrounded by their fans. Counterfeit have cleared yet another hurdle on their quest to become on of the UK’s premier rock bands. [CL]

Norfolk rockers Deaf Havana return to play a monumental set on the main stage this year. Having released arguably their best material to date with their new album, ‘All These Countless Nights’. And true to form they power through no less than seven tracks from it during the course of their set. Who could blame them though; this album has seen them become one of the UK’s premier rock bands and fortunately for the packed crowd at the main stage they’ve got the skills to expertly deliver an equally exceptional live set. Vocalist and Guitar player extraordinaire, James Veck-Gilodi, has a way of capturing your attention with his harmonies that seem to penetrate deep into the soul. With every single member of the crowd singing along at every given opportunity, few in attendance will be forgetting this set for a long time. [CL]

Every time Turnover take to the stage, it’s easy to forget it’s only been four years since they dropped their debut full length. With their sound having evolved fairly quickly, it’s no wonder that the majority of their (brief) set is lifted from ‘Peripheral Vision’ but are we complaining? No. Everything still sounds just as hazy and just as beautiful as it did two years ago when we first heard it. Sure, that post-punk, shoegazer tag is thrown a lot these days but Turnover show that even in the confines of an oversubscribed subgenre they shine brighter than most. [BM]

On the Jagermeister Main Stage, Bury Tomorrow crush speed and aggression together to bring tunes such as ‘Earthbound’ to the festival. It’s always a welcome sight to see this utterly brilliant quintet grace the stage at Slam Dunk and this year is no different. ‘Sceptres’ burns with power, and the vocal interplay between Dani Winter-Bates and Jason Cameron is jaw-dropping. One of the best and brightest metal bands of the UK scene, Bury Tomorrow have brought the party today. [JT]

Having recently signed to Rise Records and finished recording their debut album, The Gospel Youth have set about capturing the hearts and minds of the rock community. To their credit they’ve taken this new chapter in their stride and seem to feed on the love that they receive from their adoring fans. Sub headlining the Breakout stage is a perfect fit for the guys as the self proclaimed kings of sadness & sassiest fill up the room easily, there’s even a number of people unable to get in which while it may suck for them is testament to just how good these guys are. Sam Little’s rasping vocals are undoubtedly a major factor for this however his ability to deliver them with finesse coupled with their lyrics that touch on the vulnerabilities of the human race are something some bands out there could only dream of creating. They now swap England for the United States as they spend the summer on the warped tour but we certainly can’t wait for them to get back and treat us to another emotionally charged set. [CL]

Two albums into a post-My Chem world, Frank Iero and The Patience take to the Signature Brew stage as part of a line up so continuously great, we’re not sure how we managed to venture to other stages. And their set is everything you’d want it to be; it’s honest and heartfelt whilst still feeling raucous with more than enough punk undertones that it almost make you forget the seminal subject matter of each and every song. It’s a raw, cathartic performance that gets us more than excited to see what Frank is going to get up to next. [BM]

The Uprawr stage offers a little respite for the afternoon, with an annual dedication to some of the best acoustic acts around. With the likes of The Lion and The Wolf and Grumble Bee onboard, it’s a shame that this absolute gem of a stage wraps up around 5pm but luckily the stellar line up helps to ease the pain. [BM]

Beartooth’s set is absolute carnage from start to end; bodies are flying and mosh pits are opening up left, right and centre. Visceral energy shines through during ‘Fairweather Friend’ and creates an earth-shaking atmosphere, full of blistering riffs, thunderous drum work and brutally raw vocals from Caleb Shomo. Stepping up onto the Main Stage for this year’s Slam Dunk was a well-deserved effort for Beartooth, especially as they suit this stage very, very well. [JT]

While frontman Vinnie Caruana is certainly no stranger to Slam Dunk, having played a number of times over recent years in one form or the other, The Movielife are certainly an exception to this having not played a UK festival since Reading & Leeds way back in 2003. What with the band being on hiatus for such a long period of time it might come as no surprise that there unfortunately isn’t a huge turn out for the guys. It’s also not helped by their stage time clashing with with a number of other bands such as Don Broco, Less Than Jake and The Bronx. To their credit however Vinnie, Brendan & co put on an expert set for the fans that have made the effort to be there. Huge hits such as ‘Hand Grenade’ and ‘Jamestown’ go down with the rapture they deserve and with a new album due later this year this was just the thing the guys needed to ease their way back into the swing of things. Let’s hope we get to see The Movielife back again soon. [CL]

You’d think making all our early 2000 dreams come true by announcing a fully fledged comeback would be enough for The Movielife, but apparently not; both frontman Vinnie Caruana and guitarist Brandon Reilly treat us to acoustic sets. With setlists boasting tracks from their solo endeavours – I Am The Avalanche and Nightmare Of You, respectively – the term side project feels more than a little inappropriate. Both veterans in their own rights, the likes of ‘Green Eyes’, ‘Dear Scene, I Wish I Were Dead’ and ‘Brooklyn Dodgers’ translate just as well as any full band set and it serves as a nice reminder of just how much the scene owes to The Movielife, whatever band and whichever way you want to look at it. [BM]

Slam Dunk are hosting many nostalgic bands this year and Madina Lake are among them. Their emo anthems, such as ‘In Another Life’ and ‘Adalia’, sees the room bring transported back to 2007 when this band first burst onto the scene. It’s a set full of nostalgia, strengthened by their tight musicianship, beautiful harmonies and melodic hooks, and is a set that really tugs on the heartstrings. [JT]

Headlining the Signature Brew stage are Gainesville punk band Against Me! Whilst the band do have a huge following it was always going to be difficult to draw in a huge crowd with Enter Shikari stealing the show on the main stage, but Laura Jane Grace & co mean business and they quickly set about putting on one hell of a show. Using their hour set to it’s fullest they play through no less than 17 tracks including hits ‘True Trans Soul Rebel’, ‘Transgender Dysphoria Blues’ and finishing on an incredible rendition of ‘Black me Out’ that sees every single member of the crowd singing at the top of their lungs.

It’s almost as if every song is perfectly fitted to be lived through by band and fans alike in a festival environment. The connection between the two is magnetic as the band feed of the crowd’s energy and vice versa creating an atmosphere that gives you goosebumps. They may not command the huge crowd that the spectacle and lasers of the main stage, but the more intimate setting is the perfect way to witness Against Me! [CL]

The festival has saved the best for last in the form of Enter Shikari, and do they deliver a jaw-dropping set or what! Packed with anthems old and new, Enter Shikari take the crowd on a whirlwind and emotional trip down memory lane, from ‘Take to the Skies’ right up to ‘The Mindsweep’. Pulsing synths, crashing drum work and slick riffs come together in the form of ‘The Last Garrison’, whilst the nostalgia is dialled up during the likes of ‘Sorry, You’re Not a Winner’ and ‘Mothership’.
However, the group also use their time to pay tribute to those who died in the Manchester attacks, just a week beforehand, with a touching rendition of ‘Half the World Away’, which is bittersweet and unites the crowd, reminding each and every person that music brings people from every different walk of life together.

The quartet also use their stage time to talk about the upcoming election. Never one to shy away from politics, frontman Rou Reynolds is bold and impassioned as he delivers a motivational speech, asking the young people in the crowd to turn out for the election as “we have the chance to make a change.” This small but powerful speech ignites a fire in the belly of the crowd and sees Enter Shikari carry on rolling through their monster set, whipping everyone up into a frenzy with their adrenaline-fuelled anthems ‘Juggernauts’ and ‘Anaesthetist’.

Signing off with ‘Ok, Time for Plan B’, Enter Shikari close another very successful Slam Dunk and, as people start leaving the grounds in droves, there’s hope written on the faces of every person who was able to witness their powerful set. [JT]