Words: Kate Allvey  //  Photos: Penny Bennett and Download Festival – Todd Owyoung

Dead Pony

As we already wilt in the shade of the Avalanche tent, Dead Pony deliver glitching, late night club energy in the middle of the afternoon. The spiritual descendants of the Prodigy pour a vodka lemonade fizz of a sound across the tent, which slowly fills as each siren song from vocalist Anna Shields entices us closer. ‘Freak Like Me’ is the grimy, pop-punk highlight of the Scots’ Download debut, and as they shift into ‘RAINBOWS’ gritty message of self-love, we feel, to quote Shields, absolutely ‘ready to fuckin go’ for our Download weekend. 

Boston Manor

The boys from Blackpool add a dash of casual darkness early into our day. They drop “the heaviest song we’ve got”, ‘Container’, confidently and efficiently, exposing it’s melodic heart to an impressively-filled field of fans. Vocalist Henry Cox uses his spotlight to spread his message of support for Gaza before ‘Heat Me Up’s deep bass focus sends a seismic groove through the earth and ‘Halo’s chimes crunch inwards for the guitar breakdown. Far above us, planes soar, unaware of the joy we feel below at being part of the pit jumping our way through ‘Passenger’. 

Northlane

Khaki co-ords and bass booms cut with piercing melodica draw us to the top of the hill. Assertive and raw, the profound echoes from ‘4D’ betray a heavy, optimistic Pendulum influence before Marcus Bridge’s screamo vocals drag us back to this reality, They display a whole festival’s worth of multi-faceted influences and moods on their own, with the moodily blooming ‘Bloodline’ as the centrepiece of a set from a band determined to give their all at every turn. 

Graphic Nature

The hardcore heroes create a sound clash wherever they go, separating the loves of the seriously heavy from the lightweights. The smaller but dedicated crowd are loving the honest, refreshing brutality from Harvey Freeman and co. “You are now locked into the sounds of the 404,” he intones, his confessional rage poised to started a distorted hurricane. He’ll have won a lot of new fans by the time he’ll have finished his set, judging by the approving nods and raucous, riotous smacking beats that drive us to greater love for the British heirs to Slipknot’s crown.

Rise Against

“I think six times’ the charm,” laughs Tim McIlrath, and there’s a reason why Rise Against keep getting invited back to Download. They’re sticking to the roots of their sound, all jagged guitars and soaring choruses, and ‘Satellites’ is rich in stunning minimalism before the bouncing chorus  fades into a whispered bridge. McIlrath poses with a megaphone, preaching unity, as we’re led into ‘Ready to Fall’, it’s explosive guitar and melancholy tinges to the melody twisting into the clouds as our shadows lengthen. 

Jimmy Eat World

‘Sweetness’ rings across the arena, transporting us back to simpler times. Jim Adkins’ iconic everyman voice has a tougher edge acquired with age, adding depth and a contemplative touch to their punchy live takes on their classics. ‘My Best Theory’ and ‘Let It Happen’ are more than enough to bring a tear to the eye of more than one bearded metaller, and ‘A Praise Chorus’ feels like a pleasant dream renewed with uptempo vigour. Our hidden smiles are revealed as ‘The Middle’ drips sunshine with sunshine. 

Opeth

You won’t expect a heavyweight band like Opeth, whose sets spark with drama and innovation at every turn, to have such a wry sense of humour. “We write songs about beer and the Royal Family,” Mikael Åkerfeldt grins, raising an eyebrow and apologising for his shortened set. ‘§1′ is hypnotic, the vocalist’s instantly recognisable growl reaching into the deep prog side of the heavy scene, and ‘Master’s Apprentices’ maximises heaviness and varies their narratives second by second. The guitar worshippers are more than satisfied with their four song set when each tune is this packed with absolutely everything that they can throw at it.

Weezer

Opening with a rough and ready take on ‘Hash Pipe’ spreads an aura of calm over the day that floats gently throughout Weezer’s set, blanketing us in nostalgic prom energy. Rivers Cuomo’s passionate, tender wailing blends with frantic solos to remind us that Weezer always were a rock band. When they speed up, we feel the distortion deep in our souls. Just like Jimmy Eat World, they stick close to their greatest hits, and ‘Undone (The Sweater Song)’ flips out a Mexican wave before the tropic slide guitar sends us off into the golden glow of ‘Island In The Sun’. It’s a warm respite, and reminder that Weezer are so much more than we recall them being. 

Within Temptation

A whole Roman temple onstage and a frontwoman who strides in like a shakespearean queen? That’s how if you know Within Temptation are here, setting the standard for stagecraft this evening. Sharon den Adel rips off her gold mask midway through ‘We Go To War’, letting loose a tougher version of ‘Bleed Out’ that commands this corner of the field. The eighties tinges to their live take on ‘Faster’  are infectious; singing back to her at the top of our lungs feels completely natural, as does their pro-Ukraine stance to ‘Stand My Ground’, presented with passion and poise. 

Apocalyptica

If pop punk on a huge scale isn’t to your liking, on top of the hill the world’s most gothic string section are brewing the antidote. With a sound like a classical murder storm, they unearth the serious side of Download like an ancient prophecy to expose the wild complexity at the heart of Metallica’s back catalogue. Their power and drama speak to the determined minority crammed into the Dog tooth stage in the mood for a musical nightcap, and in terms of technical wizardry they must be up there as one of the most intricate acts of the weekend. 

Green Day

Billie Joe Armstrong is not happy with the state of the world, and he’s returning to his American Idiot era to channel that into maximum frontman gold. Of course there’s lashings of fun, with inflatable hands holding grenades and gently floating blimps above our heads, but the message is clear. “This song is anti-war!” Armstrong screams before ‘Holiday’ drops, punctuated with fire, the riff as clear and immediate as if the intervening years since our first listen mean nothing. “Ladies and gentleman, we are slipping into fascism,” he declares bluntly through a megaphone before the rolling boil of resistance we’ve felt in the air all the day erupts into ‘Know Your Enemy’. The cold goosebumps raised by ‘Boulevard of Broken Dreams’ are so real and every single voice, with no exception is raised. ‘Bobby Sox’ comes into its own as a gender-exploring pop hit, the newest songs shining just as vibrantly.

Green Day’s evolution has reached its peak tonight. Older hits like ‘Welcome to Paradise’ screech into view with a “yeehaw!”, and ‘Hitchin A Ride’ electrocutes Armstrong, his eyes wide as he shakes through our cheers. These earlier songs feel like a gift, an acknowledgement of the first stage of their development and a reward for our faith, while ’21 Guns’ emerges as an anthem for hope. On cue, we feel the first cold drops of drizzle kiss our faces as Armstrong sings of rain in ‘Wake Me Up When September Ends’, a perfect second of coincidence, and a sea of phone lights floats like art across the arena as they close with ‘Good Riddance (Time Of Your Life)’. It’s a gorgeous sight, the perfect background to a band who move with the times, remoulding every song into a shape relevant for today to show off how magnificent they still are. 

Words by Yasmin Brown [YB] and Catie Allwright [CA]. Photos courtesy of 2000Trees

Holding Absence

It’s only Thursday afternoon and we’ve barely even managed to pitch our tent yet, but 2000Trees might have already peaked. A latecomer to this year’s line-up, Holding Absence were asked a week ago to play and of course they said “fuck yes”. This is their fifth time to grace the festival’s stage, for them the best weekend in the UK, and something will have gone hideously wrong if they’re not back to perform on the Main Stage (their last to tick off) in 2023. Just like 2000Trees itself, which has been steadily growing in popularity and reputation year-on-year, Holding Absence have been taking the alternative music scene by storm – and they truly deserve all of it and more. 

Despite the slightly sketchy sound emanating from the Axiom Stage, and even though we’re only just getting warmed up, these five incredible musicians from Wales have us screaming, dancing and sobbing our hearts out. Their latest album ‘The Greatest Mistake Of My Life’ came out last year, which almost everyone in the tent has clearly memorized from start to finish, but there’s no better set-closer than the devastatingly beautiful ‘Wilt’ from their self-titled release in 2019. Vocalist Lucas Woodland said we’d been perfect – but we’re just mirroring what’s in front of us. [CA]

Can’t Swim

The tent might not be packed, but those who are in attendance for Can’t Swim’s set today aren’t messing around. These New Jersey natives immediately rouse the crowd and in no time at all, arms and legs are swinging at breakneck speed as fans lose themselves in their favourite songs. Most apt is ‘Set the Room Ablaze’, taking from the band’s latest album ‘Change of Plans’; today’s relentless head combined with the raucous nature of Can’t Swim’s discography has certainly ignited a fire in us all.

Frontman Chris LePorto sweetens up the non-male portion of the audience, dedicating ‘My Queen’ to “the ladies” (a nod to the LGBTQI+ community, perhaps, given the rainbow bandana tied around his arm), before playing one of the band’s most revered songs from 2018’s ‘This Too Won’t Pass’ with circle pits aplenty before the set takes a turn, becoming increasingly heavier with each song that passes. Shoes start to fly as this more chaotic part of the set ensues (if “more chaotic” is even really possible) as the band launches into ‘Prick’ and their favourite of all Can’t Swim songs, ‘Power’. 2000Trees marks their 8th time in the UK and it’s clear they feel comfortable in front of a British crowd, and as they close out their set with fan favourite, ‘Stranger’, we can only hope they’ll be back for a 9th time very soon. [YB]

Dinosaur Pile-Up

“Oh shit”, says lead singer and guitarist Matt Bigland. In his words, Trees is a fucking ace festival with nice people – but the setting sun is melting the eyeballs out of his face. That’s apparently only the first challenge as a shot of tequila just minutes before gracing the stage might have been a mistake. We almost have to serenade a very public vomit, but Bigland manages to hold it together through 50 minutes of rock and roll (the same can’t be said for drummer Mike Sheils who breaks his snare drum, which apparently happens at every gig). 

The band may have gone through some changes in members over the years, but there’s a maturity to Dinosaur Pile-Up’s sound and performance… and a grassy open-air stage in Upcote Farm is the perfect place to enjoy it. Whether the aggressive riffs throughout songs like ‘Thrash Metal Cassette’ and ‘Stupid Heavy Metal Broken Hearted Loser Punk’ send you straight into a pit, or the velvety grooves in closing track ‘11:11’ create ripples through your limbs, there’s something for everyone from this grungy, angsty, melodious trio. [CA]

Lonely the Brave

Sauntering onto stage supported by a long track introduction, it’s clear that Lonely the Brave have been much anticipated by Thursday’s crowd. Things quickly fill up as they launch into their afternoon set as fans sip on increasingly warm cans of beers and inhale fast-melting ice creams under the protection of the tent, kicking off with the ever-loved, ‘Backroads’, much to the delight of those already in attendance.

With (not-so) new singer Jack Bennett at the helm, the setlist is made up of a combination of old and new songs, with Bennett clearly leaning into those he had a hand in writing and producing himself. With some time behind them, these newer songs see the crowd just as animated as those from previous albums, as clapping immediately to the likes of the first live performance of ‘Distant Light’. Lonely the Brave are a softer choice for 2000Trees but this crowd never misses an opportunity to crowdsurf, whatever the situation, and ‘Bound’ from 2021’s ‘The Hope List’ turns out to be such an opportunity part way through the set, setting the tone for the remaining few songs which were executed with a childlike energy. With just a couple of shows under their belt with Bennett leading the charge, it’s hard to believe these guys don’t have years of experience under their belt; so tight is their performance and so powerful are Bennett’s vocals. With a headline tour upcoming, they’re only set to get stronger and we’re excited to be here for the ride. [YB]

Creeper

The heat is lingering well into the evening and the crowd is swelling in anticipation of our cult favourite, Creeper. Walking around the festival, the “goth punk” quintet’s merch can be seen on what feels like every other person – so there’s absolutely no hesitation getting stuck in. Lead vocalist Will Gould seems in delighted disbelief at the crowd’s response to ‘Down Below’ – thousands of slightly-sunburned faces shouting back at him on cue – although no-one’s voice can compare to his deep, dulcet tones or those of the incredible backing vocalist Hannah Greenwood (whose stripped-back rendition of ‘Crickets’ is haunting).

Creeper’s most recent album ‘Sex, Death & The Infinite Void’ was released during the “troubled times” in 2020, so we’ve had plenty of time to familiarise ourselves with hit tracks including ‘Cyanide’, ‘Born Cold’, ‘Annabelle’ and almost country-esque ‘Poisoned Heart’, accompanied by plenty of well-worn favourites from ‘Eternity, In Your Arms’ (2017). This is a band that doesn’t simply play music, which would more than stand up in its own right. Their performance is a feast for the senses, erring just on the right side of gimmicky with costume changes, pyrotechnics and drama – and they clearly relish every second of their time on the Main Stage. Dracula is even roped in at the end to warn us that there’s evil afoot, and it’s very important we aren’t at Camden’s Roundhouse in November (unless you’d like to see Creeper’s biggest headline show to date, in which case tickets are on sale now – but it’s “laced with malice” so attend at your own risk). [CA]

Cassyette

A guttural scream emerges from the stage and it’s plain to see that Cassyette has arrived. This powerhouse has taken the UK by storm over the past year, becoming a frequent name on festival lineups and with her crowds increasing with every set. Today, her fans are eating out of the palm of her hand, screaming along with her and attempting to match the dirtier features of her vocals, unsurprisingly failing miserably given her unmatched ferocity. Fans climb on each others’ shoulders of their own volition, so desperate are they to feel more involved in the set, and while Cassyette encourages circle pits to open, it’s far from necessary as bodies are launched at other bodies freely and without hesitation. The only possible complaint is that today’s set ends a little sooner than expected, leaving us feeling robbed of another song or two, but as with any good performer, Cassyette left us wanting so much more and we won’t stop until we get it. [YB]

Jimmy Eat World

For a band that have been going for as long as Jimmy Eat World, it’s hard for them to find new ‘firsts’ to experience. Tonight, however, is one of those moments as the band headlines a festival of this size for the first time ever. They’re as humble as ever, of course, as frontman Jim Adkins marvels at the sight before him: “Oh my God, there’s so many of you”. And there are so many of us – all here to witness that glory that is Jimmy Eat World playing a headline set.

Never a band of many words, the four-piece make their way seamlessly through a 21 song setlist, pulling hit after hit from their extensive 23-year-long discography. The sound, as ever, is flawless and you can’t help but feel awestruck as freshly blown bubbles float overhead, popping gently above us. Songs such as ‘Futures’ and ‘Bleed American’ are played in stark contrast to this picture perfect scene, whereas the likes of ‘Blister’ (led by “your favourite member of Jimmy Eat World”, guitarist Tom Linton), the ever-emotional ‘Hear You Me’ and ‘23’, and a stunningly acoustic solo version of ‘555’ lend themselves perfectly to this movie soundtrack moment. Humble from start to finish, Adkins can’t help but repeat his gratitude as he looks out once more at the crowd before him. He admits they’ve never done a show like this, and it feels more special than ever – both for the band members on stage and every doting fan that gazes up at them. However many times you witness a Jimmy Eat World show, each feels more spectacular than the last. This one, however, will be tough to beat.  [YB]

From Puscifer debuting an album in the desert to Code Orange recreating an entire episode of MTV Unplugged, the rise of streamed gigs has shown just how creative and intuitive musicians can be: throw them coal, you’ll get diamonds thrown back. So for Jimmy Eat World, a virtual show provides ample opportunity to cover new ground. Despite the current situation, the band from Mesa have not sat idle, playing acoustic shows to raise money for some of the local Arizona hotspots important to their legacy, and hosting a podcast featuring the likes of Frank Turner and Marc Rebillet as guests.

The aptly named Phoenix Sessions, however, is their first venture into online gig territory. The quartet, along with longtime touring member Robin Vining, have united for three streamed shows, each covering a single album of theirs in its entirety: their tenth, most recent album, ‘Surviving’, their fifth, ‘Futures’, and their third, ‘Clarity’. Be it a Lollapalooza crowd or a small town bar show, Jimmy Eat World pride themselves on every show being sonically savage while retaining a rather simple set up – no fancy tricks or props, just rip-roaring music. It’s a unique change of pace, then, to see the band perform in such a heavily produced set, running projector video in the background of their previous ‘Surviving’ concert, and tonight performing in a booth surrounded by delicately hanging neon lights. It’s wonderfully refreshing to see JEW take advantage of the medium to work with a more stylised space than a traditional concert affords, and after a brooding introductory shot featuring the iconic payphone booth, it’s clear the flaring lightshow does little to hamper the band’s usual flair and energy either.

As for the music, what is there to say about ‘Futures’ that hasn’t been said already? From the kinetically charged opening salvo of the titular ‘Futures’ into ‘Just Tonight’, to the slow burn of ‘Polaris’ immediately contrasted by the rioting guitars and chanting of ‘Nothing Wrong’, to the ultimate farewell-nostalgia of closer ‘23’, this is an incredible performance of an incredible album that, perhaps more than any of JEW’s records, has grown more relevant and more accessible over time. Released just after the Gold-Certified juggernaut that was ‘Bleed American’, ‘Futures’ returns to the more layered style of older Jimmy Eat World entries, and is a surprisingly introspective album under all its sharp swagger, with tones of melancholy and hope over present situations scarily empathetic of our current plights.

While this is a pre-recorded show benefiting from more post-production and mixing than a live concert, it’s still testament to the band that their decade-and-a-half pop punk record not only sounds as good – if not better – than it did in ‘04, but that a full playthrough is able to evoke so much emotion and memory through a virtual performance. Adkins’ silky vocals are never drowned out by the complex shreds and guitar lines JEW are famous for stacking on top of one another, and similarly, no instrument ever feels lost in the shuffle, with keys and bass from Robin Vining and Rick Burch shining through when they’re needed.  

Nothing has changed, and yet everything has changed. It’s the same beautifully constructed album, performed with the same vibrancy the group have always possessed – but with 16 years, a pandemic, and our own experiences growing up with this album, Jimmy Eat World’s ‘Futures’ simply hits harder than it ever has before, making for an intensely cathartic virtual concert like no other. Jim Adkins and co. remain as true to their best selves as ever for the Phoenix Sessions, and Futures remains a definitive pop punk classic that’s only blossomed brighter over the years.

FIACHRA JOHNSTON

‘Surviving’ marked the first time the band had spend release week over in the UK, and to celebrate the milestone, Jimmy Eat World have shared an intimate look at the trip which included performing at Camden’s Roundhouse with Biffy Clyro for the Q Awards, playing Sheffield’s Leadmill, Birmingham’s new HMV Vault, Banquet Records’ Pryzm and Metropolis Studios for a rare and exclusive live-to-vinyl experience.

The trip was just a taster of what’s to come, as the band have already announced more UK dates in July next year, including headlining one of Punktastic’s very favourite festivals, 2000trees.

Full list of tour dates below.

JULY
7 MANCHESTER, Manchester Academy
8 LONDON, O2 Academy Brixton
9 CHELTENHAM, 2000trees Festival

This is exactly the situation for Jimmy Eat World’s show at Pryzm. Located a little outside of central London, it already has the comforting, homely feel of a more suburban show, but with a capacity of just 2,000, no support act, and one-day-old songs, this is really something special.

Come 8pm, the small venue is bursting at the seams as the packed out crowd becomes jittery with impatience; Jimmy Eat World are two minutes late, and we’re already acutely aware of tonight’s 9pm curfew. Every minute and every second counts here, with the band’s back catalogue stemming back 26 years, there’s only so much greatness you can fit into an hour and with Jimmy Eat World changing their setlist almost every night on tour (a surefire sign of a talented band – never constrained by a need for rehearsal time), we’re both apprehensive and excited to see what’s coming our way.

By the very nature of this release show, however, we’re most eager to learn which tracks off the day-old ‘Surviving’ are going to make the cut, and our question is partially answered from the offset, as four minutes late, Jimmy open with the title track itself. The crowd wastes no time throwing themselves into the perfectly executed music, greeting this new material like an old friend and showing just as much enthusiasm for songs they barely know as they do for longtime favourites that appear on the setlist such as ‘Get It Faster’ (a well-received rarity) and ‘Big Casino’. 

As the night progresses, the crowd gets ever more involved in dirty riffs, familiar beats and faultless vocals, losing any remaining reservations as arms flail determinedly in the air, voices become increasingly more hoarse and – quite unexpectedly – crowd surfers emerge from the intense pit. Despite the impossibility of having heard many of these songs more than a few times over the past 36 or so hours, somehow the chorus of ‘555’ emerges almost as loudly from the crowd as it does from the stage – a clear sign that despite being slightly out of place in the band’s discography, this synth-driven track has quickly become a fan favourite.

Tears are, as always, shed during the ever-beautiful ‘Hear You Me’ as we recall lives lost, but our cheeks quickly dry as we throw ourselves completely into 2016’s ‘Sure and Certain’ and from here on out, our mood can only soar as the band makes its way faultlessly through the rest of the set. There’s little time for chatter, but frontman Jim Adkins knows exactly how to work a crowd with few words, launching into the final three tracks with a single question: “Is everybody ready to rock?”

The answer is, naturally, yes, and the night ends with the band’s most iconic trio: ‘A Praise Chorus’, ‘Sweetness’, and – of course – ‘The Middle’. It’s these three songs that incite the biggest reaction, ending the night on the limitless high it deserves but still leaving us wanting so much more. It’s just 15 songs, and it’s over far too quickly, but this is arguably one of the best nights this club has ever seen. 

YASMIN BROWN

That’s why it’s perfect for tonight’s lineup of Biffy Clyro and Jimmy Eat World; two bands that, while quite different in sound, will always find themselves the well-deserved subjects of equal and unwavering praise from music industry professionals across the world.

For support act Jimmy Eat World, it’s three days until the release of their 10th studio album, ‘Surviving’, and we’re lucky enough to be treated to three new tracks from this album, one of which – the stunning and synthy ‘555’ – had before tonight been previously unheard by the general public. 

While Jimmy have unquestionably earnt themselves the title of being one of the best rock bands formed in the past 25 years, the crowd tonight is disappointing, giving little feedback to what is by anyone’s standards an exceptional live performance. It’s difficult not to feel a grin forming on your face as an unexpected saxophonist joins the band on stage for ‘All the Way (Stay)’, however, and old favourites ‘Sweetness’ and ‘The Middle’ will always be met with unadulterated excitement, even if in this setting at least, it’s only because there’s something recognisable being played on stage.

This response is not a reflection of the talent that exudes from the members of the band on stage. Jimmy Eat World are never anything but mind blowing, and tonight is no exception, but support slots are hard no matter how exceptional you may be, and Jimmy sadly have to face this fact tonight.

As it grows ever closer to the main event, the floor pads out and members of the audience find themselves with increasingly less personal space, allowing levels of excitement to rise by the minute, despite the uncomfortable environment.

The simple staging does nothing to predict the performance that lies ahead, with both band and crowd instantly throwing themselves into the set the moment Biffy Clyro take to the stage to the opening riffs of ‘Balance, Not Symmetry’. The lull that set in during Jimmy Eat World’s set was long forgotten, and it’s clear that while Jimmy are well-loved, tonight this is the Biffy Clyro show.

Pulling from their extensive discography, each song is met with almost equal enthusiasm, but there were – of course – clear fan favourites. Whether it’s ‘Mountains’ or ‘Bubbles’ from ‘Only Revolutions’, or ‘Black Chandelier’ taken from 2013’s ‘Opposites’, the crowd’s momentum never once wavers across and it’s clear that this band’s long career has brought them a loyal and immovable fanbase. 

Even softer moments, such as with ‘Fever Dream’ – a performance that feels very far removed from what you might expect from a Biffy show – and ‘Adored’ are met with undivided attention, every audience member is entirely entranced by the scene on stage. These moments are tender and allow for a short respite from the mayhem that both precedes and follows them, while also highlighting the versatile nature of this band. When you think of Biffy, it’s easy to think of the faster paced songs such as ‘Born on a Horse’ or ‘Booooom, Blast and Ruin’, but their more vulnerable moments are just as impactful – both on record and in a live environment such as tonight. 

The only disappointment comes if you take a moment to glance up at the balcony, where almost everyone remains seated – a rarity at such an otherwise uninhibited rock shows such as this. While those on the floor lose their minds, flinging their bodies around and barely allow themselves  a second to breathe, those on the balcony seem to miss out on exactly what it is that makes a Biffy Clyro show what it is. Fortunately, the stationary half of the crowd does nothing to deter the rest of us, and it certainly doesn’t slow the band down even a little bit. 

As expected, Biffy Clyro’s most mainstream song ‘Many of Horror’ was the last played by the band before a short encore, and despite its popularity, this doesn’t take away from the crowd’s enjoyment as the band highlights just why the song became so well-known in the first place. Mixed, unintelligible chants enticed the band back on stage to treat us to three final songs, closing with 2013’s ‘Stingin’ Belle’ and leaving us mostly satisfied – our only wish being that it never has to end.

The entire evening was an overwhelming melting pot of excitement, sweat, and mind boggling talent, and one that every member of this sold-out crowd will be talking about for years to come. 

YASMIN BROWN

‘Damage’ was raw and heartbreaking, ‘Chase This Light’ was upbeat and catchy, ‘Futures’ was raucous and unfiltered… You couldn’t use many of the same adjectives to describe any two of these albums, and yet they are all undoubtedly Jimmy Eat World, and all undeniably masterpieces in their own right.

Enter ‘Surviving’ – the long-awaited follow up to 2016’s ‘Integrity Blues’, and an album that will have fans of ‘Chase This Light’ out of their minds with delight. In fact, it will see all fans of Jimmy Eat World lose their minds, being arguably their best release since the almost unanimous fan-favourite, ‘Futures’.

This entire album rides on themes of acceptance, positive resignation and – obviously – survival, in a world that can often be anything but good. From the moment it kicks off with the massive title track, you can feel your mood elevate, and while ‘Surviving’ is followed by the much darker and heavier ‘Criminal Energy’, this mood is maintained throughout. It’s the kind of record that has you battling with the concept of ‘favourite tracks’ because there simply isn’t a disappointing moment to be found. Every second is meticulously thought out, drawing you in and inciting feelings that are often difficult to put into words – a clear sign of an outstanding piece of art.

In some ways, this record is unlike anything we’ve ever heard before, but then ‘Delivery’ starts and suddenly you’re thrown back to 2007’s ‘Chase This Light’ and ‘Dizzy’. It still feels fresh, though, particularly when you delve into what may just be the record’s highlight, ‘One Mil’, or the emotional synth-rock sensation that is ‘555’, and suddenly you’re reminded of all the progress Jimmy Eat World have made over the years and how they have refused to stand still and stagnate, even for a moment. 

And just when you think you’ve got this album sussed, when you’re convinced nothing they could do would ever surprise you, you’re hit square in the face with a stunning saxophone solo and the gorgeous female vocals of guest vocalist Rachel Haden in ‘All the Way (Stay)’, further highlighting seemingly limitless versatility in the band’s songwriting ability (as if we ever needed more proof). 

There’s something for everyone; whether it’s the anthemic and affirming ‘Diamond’, or ‘Love Never’, which has you feeling appreciative of all the love you have in your life, as flawed as it may sometimes seem (also did we mention the killer guitar solo?), or the dreamy and ethereal ‘Recommit’ wherein you’ll find yourself lost in the music before you’ve even really had a chance to consciously take it in; ‘Surviving’ may only be 10 tracks long, but there is enough substance to carry you through a lifetime. 

Closing with ‘Congratulations’, we’re treated to over 6 minutes of pure musical genius; a slow build of instruments that immediately tells you Jimmy Eat World are about to start a ruckus. With so many influences, you won’t know which way to turn, particularly with the dance break down during the latter end of the track that leads into what can only be described as rock ‘n’ roll mayhem as it finally draws to an unwelcome end. 

This album is dynamic in a way that only Jimmy Eat World can be. With Jim Adkins’ signature tones and their fearlessness when it comes to taking sonic risks, ‘Surviving’ sees Jimmy reach brand new heights. It cannot be compared to their previous records – as always, it stands out in its own right – but this is something to get seriously excited about.

YASMIN BROWN

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

The Maine

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

Deaf Havana

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

Jimmy Eat World

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

You Me At Six

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

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

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

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

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

YASMIN BROWN