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

Let’s talk influences. ‘Rejects’ and ‘Stepper’ could be Weezer songs, which is either a huge compliment or a condemnation depending on your view of Rivers Cuomo and co. In terms of being evocative of chilling on the beach, this early pair on the album are a great picture of where Good Charlotte were at emotionally and physically when writing, and they make for great holiday listening. The ballad-lite styling of ‘I Don’t Work Here Any More’ would have been perfect for Good Charlotte in the noughties pop-punk anti-work heyday, and Joel Madden croons through the power strings with the best of them in a song that would have been a total anthem in the era of, well, ‘The Anthem’. It’s incongruous hearing someone who’s been a professional musician for thirty years talking about ‘throw away your uniform’ as if he’s been working a fast food job though. 

The guest artists are an interesting bunch. Wiz Khalifa drops in for the very laid back ‘Life Is Great’, another very pop holiday song with strong echoes of Cuomo, and indie pop darling Zeph elevates the lo-fi-cute of ‘Pink Guitar’. No one could have expected Good Charlotte to go country, but Luke Borchelt’s guest track, ‘Deserve You’, works, its unexpected cowboy acoustic energy casting a sunset warmth over the tracklist. Undoubtedly the standout is ‘Vertigo’ with Petti Hendrix; his vocals add a much needed injection of excitement, pushing the Good Charlotte sound in a Kenny Hoopla direction which is genuinely original and interesting.

The sentiment drifting through the dreamlike ‘The Dress Rehearsal’ is lovely, of course, in it’s recollections of fatherhood, but it presents us with a dilemma. Any pretensions to punk have been dropped at this point in Good Charlotte’s career, with a focus on the mellow end of their hard-won comfort pushing it’s way to the front of their songwriting. On one hand, if they were still singing about the “Lifestyles Of The Rich and Famous”, it would be slightly embarrassing, and we expect every band to back off a tad as they age (see: the Dropkick Murphys’ acoustic efforts). On the other, ‘Motel Du Cap’ represents McFly levels of soft, pop marshmallow treats wrapped up with a cute bow. Some fire, or some sarcasm, would have been perfect, but the celebratory tone of ‘GC Forever’ is at least an acknowledgement of the path they’ve trodden.

However, if you’re into any of the guests, or the softer end of the pop-punk resurgence, or looking for an album to soundtrack your pop-punk summer holidays, then ‘Motel Du Cap’ will work for you. If you’re looking for a bounce, or  anything with the punch of Good Charlotte’s first hits, then you’ll have to wait a bit longer. 

KATE ALLVEY

That’s why, as a newer band, the opportunity to support Good Charlotte at any one of their headline shows should be grasped with both hands and clung onto for dear life.

The show at London’s Alexandra Palace saw Boston Manor and Sleeping With Sirens as the lucky ones to take to the huge stage in this iconic venue, and despite the sparse crowd that faced them, they didn’t waste a single second of this opportunity.

For possibly the biggest show of their careers so far, Boston Manor showed no fear as they commanded the stage, proving themselves to be the talented showmen their diehard fans have always known them to be. Their loud, politically charged British rock sound filled the room, and as they made their way through each powerful song, crowd surfers emerged from the pit, legs flailing as they tried to find a hand to catch them. Boston Manor are only just starting out, but their profound and opinionated lyrics combined with their huge sound and strong stage presence indicates that this is just the beginning of a fruitful career.

The Blackpool five-piece were followed by Sleeping With Sirens, whose experience playing larger stages is evident from the moment they appeared in front of the crowd. Front man, Kellin Quinn, threw himself around the stage, managing to avoid colliding with any of his fellow bandmates despite being blinded by the mass of black hair that hung in front of his eyes. There were moments during which the band gave Quinn the opportunity to demonstrate his vocal abilities, and while for a moment it seemed somewhat self-indulgent, this was quickly pushed to the back of your mind as the crowd joined his bandmates in staring and cheering, awestruck, at Quinn as he pushed his vocal boundaries to the limit, highlighting just why this band so easily fill venues all over the world.

Prior to launching into the catchy ‘Go Go Go’, Quinn took the time to dedicate the song to Good Charlotte, acknowledging that they’re one of his all-time favourite bands as he beamed with gratitude and excitement at the prospect of being able to join them on this tour. In fact, the entire set felt fuelled by this sentiment, as the anecdotal ‘Better Off Dead’ was dedicated to any attendee who may have suffered from depression and anxiety. Despite their supporting role, there were moments where Sleeping With Sirens felt more like the main event, creating an atmosphere that felt safe and encouraged togetherness and community.

If Sleeping With Sirens’ set felt like a performance worth shouting home about, it was nothing compared to what was to come half an hour later when Good Charlotte took to the stage for their largest London show of their 22 year career.

The band wasted no time pulling out all the stops, as flames warmed the already sweaty crowd just three songs into the night during ‘The Anthem’. Good Charlotte may have been around for almost as long as many of us have been alive, but their live shows continue to be as explosive and energetic as ever.

Despite declaring himself speechless, Joel Madden was anything but as he spluttered rambling words of thanks and expressed his awe at the scene in front of him and his bandmates. Anyone could see that this evening was about to become one for the Good Charlotte history book as we were taken on a journey through the band’s discography and treated to some of their greatest hits as well as newer tracks from the most recent ‘Generation Rx’.

The throwbacks offered a sense of going home, as you are prompted to think back to where you were when certain songs were released, while pre-performance anecdotes such as those about positive London vibes prior to ‘Prayers’ provoked wide smiles as the crowd threw their arms forcefully into the air, screaming along to every word. Perhaps the most poignant moment of the night, though, came prior to ‘Hold On’. Joel, once again, spoke about how Good Charlotte changed his life, stating that he doesn’t “take it lightly that you guys are going through something. Every single one of you deserves to live your best life and love yourself” and encouraged us to pick up others when they’re down.

This moment was closely followed in greatness by the band’s performance of ‘Leech’, where they were accompanied by Sam Carter of Architects – a band who had recently found themselves headlining Wembley Arena – who is met with deafening roars. It was a tough act to follow, but with ‘Good Morning Revival’ favourites, ‘The River’ and ‘Dance Floor Anthem’, they easily maintained the hectic pace and enthusiasm that came with Carter’s presence.

The show ended as we all knew it would with ‘Lifestyles of the Rich and Famous’, during which we were treated to more stage dramatics. It had been a long night of entertainment, but not for a moment did we wish it would end. Each band on the lineup offered their own unique experience, and when combined with the architectural beauty of the iconic Alexandra Palace, it was undeniably the perfect night of rock ‘n’ roll.

YASMIN BROWN

‘Generation Rx’ begins with a haunting introduction track of the same name. Focusing primarily on synths and a heavy bassline that grows steadily throughout the track, the simplicity works to highlight brief yet emotional vocal harmonies. Right from the opening line, “Where does all this pain come from?” it’s evident that this album is one of the band’s most honest and soul-bearing records to date, carefully avoiding any pre-earned reputation but still remaining the same Good Charlotte sound that we all know and love. The build-up of the introduction leads directly into an empowering synth-rock anthem – ‘Self Help’. Another prime example of the Madden brothers’ ability to empathise with their audience effortlessly. It’s a beautiful track that forms a bridge between the concepts of loneliness and solidarity.

‘Shadowboxer 1’ takes a different, slightly aggressive approach as it leans towards the darker elements of both rock influences and lyrical themes. Branching the sounds of Three Days Grace and Breaking Benjamin, the style change works well for an act so closely associated to pop punk and emo, showcasing yet another side of the band’s musical versatility. Meanwhile, lead single ‘Actual Pain’ serves as a subtle throwback to the ‘Good Morning Revival’ years, and incorporating an intense, cinematic guitar sound as the band address the reality and the severity of mental health.

The album then moves into an echo of spine-tingling synths, clean guitar work and emotional lyrical hooks, as ‘Prayers’ marks an unapologetic commentary on school shootings and the vulnerability of young people within today’s society. ‘Cold Song’ packs the same emotional intensity, but changes the tone of the record, this time blending piano and acoustic guitars to lift the audience and serving as a reminder (much like the rest of the record) that “even though life is full of pain, we’re not alone.” Later, ‘Better Demons’ reaches back into the heavier aspects of alternative rock, while ‘Leech’ features an impressive cameo from Architects frontman Sam Carter and a lyrical contribution from Benji Madden.

“If you really dive in, you’ll get a lot of insight into our lives,” claimed Benji, and final song ‘California (The Way I Say I Love You)’ does just that, marking one of the most cheerful and endearing tracks on the album, as the Madden brothers share a heartfelt message to their children that they can “always come home to California.” Good Charlotte have been the voice of a generation since the early noughties, and twenty years into their career the band have solidified their position as one that makes a difference.

KELLY RONALDSON

Check out the video below:

You can pre-order ‘Generation Rx’ by clicking here.

‘Generation RX’ is available for pre-order, along with limited edition merch bundles, on the band’s online store here. The band will also play Alexandra Palace, London on February 20 next year.

Check it out here:

Good Charlotte will headline London’s Alexandra Palace on February 20 2019.

Check it out here:

Good Charlotte will be heading out across Europe and the UK for a headline tour early 2019.

FEBRUARY

1 ZURICH X-Tra
3 MILAN Alcatraz
4 MUNICH Zenith
5 COLOGNE Palladium
7 BRUSSELS AB
8 PARIS Zenith
9 OFFENBACK Stadthalle
11 PRAGUE Forum Karlin
12 WARSAW Torwar
13 BERLIN Columbiahale
15 LUXEMBOURG Rockhal
16 HAMBURG Sporthalle
18 TILBURG 013
20 LONDON Alexandra Palace