You can see the band’s full statement and tour dates below.

“After much deliberation, we’ve heavy heartedly decided to take a break from the band. It wasn’t an easy decision to make but we feel that it’s definitely the right one and one we hope everyone can learn to accept and respect. We’ve had an absolutely unimaginable 11 years making and playing music for people who have completely changed our lives for the better and we honestly can’t thank you enough for that. But we feel that we’d be doing all of you a disservice continuing this way. We want to take this opportunity to show our appreciation to every single one of you for the unfaltering support we’ve received over the duration of our musical lives so far. We feel SO fucking privileged, honoured and lucky that we were able to achieve the things we have over the years. We managed to surpass all expectations and live beyond our wildest dreams …and it’s all thanks to the fans of this band. So for that – thank you.

The Punktastic team were there to witness yet another fantastic experience at one of the country’s most treasured festivals.

Images: Penny Bennett, Words: Mark Johnson [MJ] / Becky Mount [BM]

Merseyside’s Loathe get Slam Dunk started with a bang – a very loud bang – ensuring that everyone inside Leeds’ O2 Institute is awake and pumped up for the day ahead. The band’s uniquely heavy, vastly down-tuned sound, is bolstered by eerie samples and with the addition of distorted black and white imagery playing alongside them onstage, it’s a fully immersive experience. The atmosphere is slightly tempered by a computer glitch after the first song, but it’s swiftly resolved, allowing the band to get back to their rampant pace and destruction. Vocalist Kadeem France commands the stage, whipping the crowd into a frenzy of moshing and circle pits and with the huge sounding instrumentals to accompany him, the band deliver one of their best performances to date. With unrivalled power, imagination and talent at their disposal, Loathe are fast becoming one of the most exciting bands in the UK alternative scene. [MJ]

It’s somehow been ten years since Rise or Die Trying and Four Year Strong are on the Jager Main Stage to prove that easycore never dies. No, seriously. It’s endless pop punk riffs that kickstart our Slam Dunk South perfectly, a set full of fan favourites that still stand the test of time. [BM]

For a band yet to release a record, it’s amazing to see a packed out Rocksound Breakout Stage awaiting the arrival of Holding Absence, and it’s even more impressive to see so much passion from the crowd as they sing back every word that’s sung with pristine perfection by Lucas Woodland. Holding Absence are used to playing smaller, more intimate club venues where they can get in the faces of the crowd and share in their sweat and tears, but it seems that no stage is big enough to contain the band’s enormous ambient post-hardcore and they look as comfortable on this larger stage as any other they’ve performed on in the past. There’s a palpable sense of momentum behind this band and with performances as consistently flawless as this, it’s certainly well deserved. When Holding Absence eventually release their debut record, they could become unstoppable; in the meantime we’re more than happy to enjoy the stream of excellent singles and drink in the atmosphere of their intense performances. [MJ]

Keeping that nostalgia ball rolling are Say Anything. With an almost cult status, Max Bemis and co. are a welcome addition – albeit a fairly last minute one – their own brand of emo going down a treat. It’s a set for the fans, focusing on really, what most people* (*everyone) came to hear; Belt, Woe and Alive With The Glory of Love to name a few. Would it have been nice to hear some newer material? Sure. But Say Anything in the UK feels rarer than hen’s teeth and frankly, it feels nice to be pandered to. Just maybe they could try not to leave it so long between visits… [BM]

Dream State keep the energy going on the Rocksound Breakout Stage, helped in no small part by vocalist Charlotte-Jayne Gilpin. Gilpin is a relentless ball of energy bouncing around the stage and though she exerts a massive amount of effort working up the crowd, her voice remains solid throughout, whether projecting soaring melodies or tearing into aggressive screams. Songs from the band’s recent EP ‘Recovery’ feature heavily in the set and sound massive live, bringing unrivalled energy to the stage and exposing Dream State as a definite band to look out for. [MJ]

There is no ignoring Creeper’s meteoric rise, and it’s so very apparent at Slam Dunk. Going from a one in, one out set just a couple of years ago to an afternoon slot on the Jager Main Stage is no mean feat. And whilst they are undeniably brilliant, there’s a restless feeling amongst the crowd. It’s a set that’s been heard time and time again; it’s still great, but since their inception just a few short years ago, we’ve been spoiled with (what felt like) endless new material. It’s far from stale though, and they still put on a faultless performance that is a sure fire highlight of the weekend but it may be time for a little fresh blood. [BM]

Amongst many, many things, Slam Dunk is good at two in particular – ska, and nostalgia. The Fireball stage may see some (too) familiar faces year after year, but they also have a knack of bringing out some real Easter Eggs. And this year? It was Save Ferris. Serving up a perfect slice of 90s Americana, it’s been close to two decades since they’ve played the UK. It’s everything you want from a ska set, and it’s an utter delight to have them back. [BM]

Taking to the Signature Brew stage at Slam Dunk North, it’s gloriously sunny for Broadside; just the cliche you want for a pop punk set. It can be hard not to overlook bands when there’s so much buzz around them, but Saturdays set proves that they’re certainly worth the fuss. It’s an enigmatic, energetic performance – frontman Oliver Baxxter is nothing short of captivating – which is hit after hit, inducing countless singalongs and the ever-growing crowd is testament enough to their allure. Surely Broadside aren’t far off a bit of scene domination? Let’s place bets now on how long it’s going to take before they’re back at Slam Dunk, working their way up the line up with ease. [BM]

Counterparts take to the Impericon Stage, with the signature brand of devastating, heartbreaking hardcore that almost feels uncomfortable at times. Their set was a welcome addition to the weekend – a friendly reminder that if you aren’t a fan by now, that needs to change – and it hits every post-hardcore spot. Emotive, melodic, and yet always brutal, Counterparts make it all look so easy yet still cause enough destruction to leave a lasting impression. [BM]

State Champs have the privilege of playing in Leeds’ First Direct Arena, home of the Jagermeister Stage at Slam Dunk North. The massive stage and huge sound system gives their performance a sense of grandeur, and to the band’s credit their pop punk anthems fill the arena admirably, easily justifying their position on this stage. The band open with favourites ‘All You Are Is History’, ‘Losing Myself’ and ‘Simple Existence’ before addressing their upcoming new record ‘Living Proof’ by charging into new track ‘Dead and Gone’. The chorus “whoa ohs” were made for the stage and the crowd oblige in full voice, proof that the new material has gone down well, slotting in nicely alongside the band’s already impressive array of anthems. State Champs last played Slam Dunk in 2014 on one of the small stages, something that hasn’t gone unnoticed by vocalist Derek DiScanio, who takes the time to thank the audience for their part in promoting the band to an arena four years on. With another flawless performance to their name, State Champs have worked hard to get to this point and prove that when you can consistently churn out great songs, big things will happen. [MJ]

The thing about Comeback Kid is that you know what you’re going to get. And that isn’t a bad thing – it’s far from it. Did we watch them at every single Slam Dunk date, three days in a row? Yes. Was it enough? No. Giving just about everyone else a lesson in mastering your art, the hardcore stalwarts are immaculate each and every time. An unsullied sound that somehow hasn’t changed but at the same time, hasn’t ever aged. The phrase “lay to waste” springs to mind, with every breakdown and gang vocal sending the crowd into a frenzy because really, who can ever get bored of Wake The Dead? Not us. [BM]

Taking on the Rock Sound Breakout Stage are Milestones. Not letting a few too many brutal band clashes get in the way of their Midlands set, their performance is a prime example of just how great the UK rock scene currently is. It can be hard to be a smaller band at festivals like Slam Dunk, but apparently that wasn’t the case here – devoted fans meant one hell of a crowd, all sing songs and goosebumps. A dynamic band, it feels like Milestones are on the cusp of something great. [BM]

Lower Than Atlantis are always a safe bet for a festival; their foot-tapping, easy listening alt-rock songs are well suited for an outdoor stage on a bright sunny day and as they storm through some of their better known anthems, the amassed crowd are happy to lap it up. Mike Duce can be hit and miss but he puts in one of his better vocal performances here, belting out strong choruses while doing a fine job orchestrating the crowd’s movements. The whole band are full of energy, particularly drummer Eddy Thrower whose hard hitting display adds power to their delivery. It’s an assured, professional performance that shows why they continue to secure main stage slots at some of the UK’s top festivals every year. [MJ]

Frank Carter and The Rattlesnakes will forever whip fans and bystanders into a frenzy, and Slam Dunk is no different. The trademark outfits, designated female only crowd surfing and Carters very own brand of acrobatics tick all the boxes – everything you’ve come to expect from a Rattlesnakes performance. Of course the songs are still as ferocious as ever, each one packing one hell of a punch no matter how many times you’ve heard it. They’re certainly an act that’s getting harder and harder to ignore, a refreshing inclusion on a stage full of great yet somewhat predictable bookings. [BM]

Sometimes it doesn’t feel like Slam Dunk without Taking Back Sunday. No one delivers singalongs quite like them. It’s a frenetic set of just about anything you could want to hear from the pillars of your emo youth, the new songs fit in seamlessly alongside the songs we all know and love, enough to sate even the most fair weather fan. Their sound varies over the course of the weekend – technical difficulties or maybe just a band not quite as young as they once were – but frankly it’s not an issue when you have endless fans screaming along to every word like it’s 2005. And you know what? We wouldn’t have it any other way. Like so many other bookings that Slam Dunk nail year after year, Taking Back Sunday feel like a constant, a comforting reminder of what makes the weekender such a pinnacle of the UK festival scene. [BM]

PVRIS have been extensively touring their incredible second album ‘All We Know of Heaven, All We Need of Hell’ for the best part of a year, so it’s no surprise that their arena show on the Jagermeister Stage is a condensed version of their recent UK shows, heavily featuring tracks from their most recent album. And that’s certainly not a bad thing; the record’s diverse range of electronics and instrumentation demands all three permanent members play multiple instruments on stage, most notably Lynn Gunn who switches between keyboards, guitars and samplers, as well as an occasional flurry on the drums. The ceaseless touring hasn’t fatigued Gunn’s impressive vocals, which stay level and note-perfect throughout, filling the arena with words that demand to be sung back at full volume. With two albums’ worth of huge hits to pick from, PVRIS aren’t short of rich material to fill their set and before you know it, 50 minutes has passed in a flash. If PVRIS continue on this trajectory, it won’t be long before they’re looking at headlining slots at this festival. [MJ]

At some point during a multi-stage festival, you’re going to be faced with the dilemma of clashes. With so many headliners to choose from at Slam Dunk, it’s difficult to pick a side, but one thing that’s even more predictable than festival clashbusting, is the energy, power and dependability of an Every Time I Die performance. Latest album ‘Low Teens’ has added even more heavy ammunition to their already staggering arsenal and the band unload as much of it as they can into the packed out O2 Institute. Any set that opens with ‘The Coin Has a Say’ means business and the dual riffing power of Jordan Buckley and Andy Williams remains relentlessly pummelling from the opening notes of the song, right through to the end of the set. The band offer a brief respite while they saunter through Southern-rock-tinged single ‘It Remembers’, which allows Keith Buckley to demonstrate his vocal diversity with well-executed passages of clean vocals, before he returns to a barrage of face-melting screams. Just as you think the power of Every Time I Die’s instrumentation can’t get any bigger, another track pounds straight in to prove you wrong, showing why they’re regularly called up to close out festivals: theirs is the type of performance you don’t forget in a hurry. [MJ]

If you want to leave the grounds of a festival with a smile on your face, then Reel Big Fish are the perfect send off. Headlining the Fireball Stage, the Orange County ska legends make you forget the time of day; even though it’s now dark outside, Reel Big Fish’s humour and party anthems make it seem like the sun is still shining. The combination of jangly chords and brass section provides the perfect rhythm to move your feet, turning the Fireball Stage’s car park venue into a joyous arena of dancing and japery, and when the band launch into their cover of ‘Brown Eyed Girl’, the audience goes into skanking overdrive. Reel Big Fish are no strangers to Slam Dunk and with performances like this, long may the relationship continue. [MJ]

It feels like Jimmy Eat World have been around since the dawn of time. Maybe they have. Who knows, or cares, because to this day they are still one of the most important bands we’ve got. They put on an utterly flawless performance at Slam Dunk Midlands – it’s all radio friendly phenomenons and deep cuts, with new tracks slotting seamlessly into a gloriously familiar set. We’re not entirely sure Jimmy and co. can do any wrong, there’s just something so comforting, so enthralling about a band who have done it their way for so long without ever faltering. And is there anything as unifying as a big old karaoke session for The Middle. Suggestions not welcome, because you’re wrong. [BM]

Say what you like about Good Charlotte, they can put on one hell of a show. Their welcome return has been nothing short of relentless – an all American comeback that showcases just what a career they’ve had (and how much they’ve been missed). It’s a fit-to-burst set of hits and earlier success’, the band never once turning their back on the hits or their history. The quips between the Madden brothers go down a storm – there’s something about their performances that feel like you’re at a big budget, all singing all dancing show and they make it feel like Slam Dunk is some kind of homecoming. Leaning heavily towards the pop side of things, Good Charlotte manage to pull in overwhelming crowds…no mean feat when up against a band like Jimmy Eat World. But therein lies the power of Good Charlotte. [BM]

Main support came in the form of British punk band, Milk Teeth, who kicked the night off with firm instructions that the crowd was to open up into a circle pit, to which they obliged without hesitation. As bodies slammed together, showers of beer drenched our clothes and hair, and fallen fans were escorted back to their feet, it became immediately clear as to what lay ahead for the main event. It wasn’t going to be pretty, but it was going to be one hell of a good time.

As the clock ticked towards 9pm, inflatables began to emerge from the crowd as a direct response to social media requests from the band. Most notably, a giant T-Rex surfed the crowd, miraculously making it through the night in one piece, more than once making its way towards the stage with a human body firmly attached, much to the band’s delight. This comedic and almost ridiculous atmosphere defined much of the night, as between songs, frontman Mike would make quick quips which had the crowd hanging on his every word.

The evening was undeniably entertaining but technically it fell flat. When played live, songs such as ‘Had Enough’, ‘Dumb’, and ‘Far Q’ should be felt as well as heard, but something about the performance prevented the music from coursing through your body, forging a real connection with the music. Thankfully, the almost constant crowd engagement more than made up for this downfall, with Mike jumping into the crowd to join one of the many circle pits or to crowd surf on a number of occasions. When combined with audience members being coerced into downing their drinks before the band themselves followed suit (excess beer spilling down their chins and onto their shirts) it felt more like watching your best friends play their first gig than a professional performance that hundreds of people had paid to attend. We may not have felt a connection with the music, but there was undoubtedly a personal bond formed between everyone in the room.

There were occasions where this bond faltered, though, and the crowd interaction didn’t go quite to plan. You only have to listen to the band’s song ‘Had Enough’ to know that lead singer Mike Duce has a bit of a temper, and as it turned out, not even the joy of a hometown show was enough to mellow him. The rest of the band dispersed, leaving Mike alone on the stage with just an acoustic guitar, which he proceeded into the crowd after instructing us to sit down in a circle around him. What we expected was an acoustic performance of the band’s oldest ballad ‘Another Sad Song’, but when the crowd continued to heckle him, Mike returned to the stage stating that the crowd had ‘ruined it for [themselves]’, and any hopes we may have had of a truly intimate performance were crushed.

While an air of awkwardness swept over the audience, the band returned to the stage, immediately moving on from the disappointment, clearly no stranger to Mike’s outbursts. By the time the last notes of proceeding song of ‘Love Someone Else’ were played, all seemed to have been forgiven as Mike took the time to thank everyone for spending their Friday night with the band before launching into other fan favourites ‘Beech Like The Tree’ and ‘I Would’. These notions of gratitude were scattered throughout, and while they sometimes came across as an afterthought, this went unnoticed by the audience who accepted them graciously.

The night drew to a close with performance of ‘Words Don’t Come So Easily’ and ‘Here We Go’, two of the most popular tracks from the band’s self-titled album. With the end in sight, both band and crowd appeared to find a whole new surge of vitality with which to throw into the last few minutes. With both performances allowing for the crowd to take over from Mike on vocals, they defined the evening and were a perfect choice with which to close the set. Sonic flatness and awkward moments aside, Lower Than Atlantis unquestionably know how to put on a show.

From the 2nd to the 15th April, Milk Teeth will be joining them. Last month they released their latest EP ‘Go Away’ on Roadrunner Records.

Meanwhile, Boston Manor will be supporting the band from the 3rd to the 14th May. They recently released their new single ‘Drowned in Gold’ through Pure Noise Records, which follows their 2016 debut album ‘Be Nothing’.

Australian band The Faim will be opening the whole tour. As for the headliners themselves, Lower Than Atlantis released their released their fifth album ‘Safe in Sound’ earlier this year on Easy Life Records and Red Essential Records.

APRIL
02 LINCOLN Engine Shed*
03 CAMBRIDGE Junction*
04 LEAMINGTON SPA Assembly*
06 SWANSEA Sin City*
07 PONTYPRIDD Muni Arts Centre*
08 GLOUCESTER Guildhall*
09 BATH Komedia*
11 EXETER Lemongrove*
12 SOUTHAMPTON Engine Rooms*
13 WATFORD Colosseum*
14 SOUTHEND Chinnery’s*
15 BRIGHTON Concorde 2*
MAY
03 OXFORD Academy^
04 READING Sub89^
05 WREXHAM Central Station^
07 LIVERPOOL Hangar34^
08 ABERDEEN Lemon Tree^
09 EDINBURGH Liquid Rooms^
11 MIDDLESBOROUGH Empire^
12 HULL Welly^
13 YORK Fibbers^
14 SHEFFIELD Plug^

* w/ Milk Teeth
^ w/ Boston Manor

Earlier this year the band released their fifth album ‘Safe in Sound’ on Easy Life Records and Red Essential Records.

APRIL
02 LINCOLN Engine Shed
03 CAMBRIDGE Junction
04 LEAMINGTON SPA Assembly
06 SWANSEA Sin City
07 PONTYPRIDD Muni Arts Centre
08 GLOUCESTER Guildhall
09 BATH Komedia
11 EXETER Lemongrove
12 SOUTHAMPTON Engine Rooms
14 SOUTHEND Chinnery’s
15 BRIGHTON Concorde 2
MAY
03 OXFORD Academy
04 READING Sub89
05 WREXHAM Central Station
07 LIVERPOOL Hangar34
08 ABERDEEN Lemon Tree
09 EDINBURGH Liquid Rooms
11 MIDDLESBOROUGH Empire
12 HULL Welly
13 YORK Fibbers
14 SHEFFIELD Plug

It is taken from their fifth album, ‘The Spark’, which was released in September.

The band will also be playing the following UK shows this month with Lower Than Atlantis and Astroid Boys.

NOVEMBER
16 LIVERPOOL Arena
17 CARDIFF Motorpoint Arena
18 NOTTINGHAM Motorpoint Arena
19 NEWCASTLE Metro Radio Arena
21 MANCHESTER Victoria Warehouse
22 BRIGHTON Centre
24 BIRMINGHAM Barclaycard Arena
25 LONDON Alexandra Palace

The band explain that, “The video demonstrates that appearances can be deceiving. We went full on Die-Hard shooting this music video and wanted to create something that shows that anyone can be dangerous if they put their mind to it.”

The track was written by frontman Ash Wilson following years of being bullied while growing up. He says, “The person that gave me the inspiration for this song irritates the hell out of me! ‘Dangerous!’ is about looking your enemies in the face and squaring up to them with a smile. I went through hell and high water and ‘Dangerous!’ was the result… it’s gonna stick to you like a leech.”.

Kill The Ideal play the following shows:
Sep 29th – Pi Bar, Leicester
Sep 30th – Thinking Cap Alldayer, Leeds
Oct 28th – 2Q Festival, Lincoln

It is taken from their upcoming fifth album, ‘The Spark’, which will be released on the 22nd September. Pre-orders are available here.

The band will also be playing the following UK shows this November with Lower Than Atlantis and Astroid Boys.

NOVEMBER
16 LIVERPOOL Arena
17 CARDIFF Motorpoint Arena
18 NOTTINGHAM Motorpoint Arena
19 NEWCASTLE Metro Radio Arena
21 MANCHESTER Victoria Warehouse
22 BRIGHTON Centre
24 BIRMINGHAM Barclaycard Arena
25 LONDON Alexandra Palace

The dates will be in support of Enter Shikari’s upcoming fifth album ‘The Spark’, which will be released on the 22nd September via PIAS Recordings and Ambush Reality. It can be pre-ordered here.

The latest record from Lower Than Atlantis is their fifth album ‘Safe in Sound’, which was released earlier this year on Easy Life Records and Red Essential, whilst Cardiff grime punks Astroid Boys will be releasing their debut album ‘Broke’ on the 29th September via Music for Nations.

NOVEMBER
16 LIVERPOOL Arena
17 CARDIFF Motorpoint Arena
18 NOTTINGHAM Motorpoint Arena
19 NEWCASTLE Metro Radio Arena
21 MANCHESTER Victoria Warehouse
22 BRIGHTON Centre
24 BIRMINGHAM Barclaycard Arena
25 LONDON Alexandra Palace