Words: Kate Allvey  //  Photos: Penny Bennett  //  Sleep Token Photo: Adam Rossi

Loathe

A huge, charismatic boom announced their presence, a blazing wake up call. Loathe’s sound is so heavy but so needed at the same time, their first main stage Download set sending the early birds slamming and kicking up the first dust clouds that will irritate so many eyes before the day is done. Vocalist Kadeem France appreciates every second of the circle pit he creates, and we’re thankful for Loathe kickstarting our brains. 

Currents

Keeping it heavy at the top of the hill, Currents temper their avalanche of sound with melodic choruses, Brian Wille’s passionate vocals tunneling their way out of the landslide. ‘Remember Me’ smashes and breaks into powerful drums, and Wille sings like he’s split his soul in two, whipping his hair as a flag while his band project total mutual cool throughout ‘The Death We Seek’. Their honesty and sheer architectural constructions, projected through sonic bursts, make them a brilliant refreshment. 

Poppy

Poppy appears as an unlikely main stage sensation in her cute red dress but she’s got a scream that commands our attention.’Have You Had Enough?’ is her chance to show off that wail before she dares us all to “beg for forgiveness” over ‘Bloodmoney’ and its furious guitar stomps. She’s a cyborg, dragging us into the future with haunted beats and robotic shred. The ferocity of her growl on ‘The Cost of Giving You Up’ compensates for the overly lolita aesthetic, and when she tells us to go mad in a frenzy of screaming, we can’t wait for the opportunity.

Mothica

Mothica’s come a long way since we last saw her. She’s “eight months sober, playing her first show since rehab”, and is ready to take her place as Gen Z’s Amy Lee. Her version of Bring Me The Horizon’s ‘Can You Feel My Heart’ magnetically draws on us to her, and her tender emotional release on ‘Buzzkill’ signals the start of her new era.  We love all aspects of Mothica, and she indulges her fun side with her blossom sweet cover of Smash Mouth’s ‘All Star’ to counter the depths she’s drawn from in her emotionally raw set. 

Polaris

Polaris are earth-shaking, literally and figuratively; we feel the vibrations from ‘Landmine’ long before we catch sight of the Australians and the tornado their pit has raised. There’s never even a second of silence, and ‘Dissipate’ invokes vivid dreams and nightmares conjured through insomniac shred and apocalyptic beats. The classic rock echoes in the riffs of ‘The Remedy’ are enough to start heads banging in appreciation for the rising metalcore stars. 

Smash Into Pieces

As soon as the wild, twisting intro to ‘Flow’ begins, there’s a rush into the Avalanche stage. We’d desperate to hear a set crammed with fire and riffs that reach into the sky, somehow packed into the smallest tent on site. It’s easy to close your eyes and imagine these guys throwing out choruses on the Apex stage. “Are you ready to jump like it’s 1997?” shouts Chris Sörbye, amping up the festival mood with ‘Let Me Be Your Superhero’, a song that’s ready for anthem status with its retro-heavy dance quality. ‘Boomerang’ gets every hand waving, its pop-rock balanced perfectly with irresistible callouts from a band destined for for bigger things. 

Don Broco

There’s a massive crowd storming the Apex, ready to hear Don Broco achieving their potential. ‘Everybody’ sees them ditching the gimmicks for a straight set inflated with party energy, and ‘Pretty’ spreads a groove across the field as we relish the most joyful act of the day so far before ‘Technology’ hooks us in with pure earworm enthusiasm. Sure, this might be the last time we see these guys for a little while as they reveal they will be working on a new record in the near future, but that only makes the sugary stylings of ‘Come Out To LA’ even more special, and the raft of t-shirts whirled around heads for ‘T-Shirt Song’ move a tiny bit faster in our sun-drenched memories.

Eagles Of Death Metal

Frontman Jesse Hughes is leaning heavily into classic rock and having the time of his life as he does it. “I feel like a solid gold erection covered in diamonds right now,” he declares after the vintage presence of ‘Silverlake’ sweeps over us. Of course, he might be in full swing as a rock ringleader, but he still apologises to his sister somewhere in the crowd for his choice of words, and seconds later their take on Duran Duran’s ‘Save A Prayer’ fills the field with devotion and class.  It’s their Bowie cover, “written for us before we were even born” as Hughes puts it, that cements Eagles of Death Metal as the future festival band of choice because he is absolutely correct; ‘Moonage Daydream’ could have been written with this picture perfect update in mind. 

Twin Atlantic

Minimal and moody in purple, the Scots offer modern realism in the form of ‘Salvation’, fizzing with earnest desperation. ‘No Sleep’ throws in chunks of Placebo-influenced distortion as we crane our necks for a glimpse of one of our Punktastic favourites. Sam McTrusty’s everyman voice, speaking his own truths, resonates so fully with shared, relatable optimism as Twin Atlantic pour everything they’ve got into each song. The wind picks up, and it feels like ‘Get Out’ is carried, light as sand, through to every eager ear milling outside.

Mallory Knox

The renewed and refreshed Mallory Knox have the power to conjure the sun. Confident and sincere, ‘Ghost In the Mirror’ emerges fully mature and their core of diehard fans light up for ‘Beggars’. Every song grows in strength and temp compared to the last, their experiences lyrically floating like suspended hopes during ‘Getaway’. ‘Shout At The Moon’ is the comfort blanket song that touches us with enough emotional fervour to raise our hands and keep us optimistic that Mallory Knox are back for good.  “There’s nothing quite like this feeling, man,” exclaims Mikey Chapman, and he’s right; seeing his band back again on a huge scale must be one of the greatest emotions for so many.

Sex Pistols

The Sex Pistols aren’t just the token legacy act on this year’s bill; whole families have gathered to see the punk icons in their latest incarnation. They’re very much reinvigorated and still necessary with Frank Carter at the helm, and he’s returned to his melodic vocal style rather than trying to imitate a Johnny Rotten sneer. He enthusiastically opens a pit during ‘Pretty Vacant’ and dives in, full of bravado and delight… until the rain forces him to rearrange and stop the fun. “Apparently you can’t have a single circle pit on a sloped hill in the rain – lesson learned!” The frontman laughs, still loving every minute of performing with his heroes. “It’s a pleasure, honour and a privilege to be onstage with these legends,” he declares and he believes every word of it. Of course, the show is a bit of a classic punk shambles, but we wouldn’t expect anything less from a band who took on the world. They’re proud of their music and don’t lean on faded headlines for relevance, and Carter knows know to keep the anarchy flowing.

Sleep Token 

No one likes to call a set “career defining”, but Sleep Token’s appearance at Download can’t really be called anything less. Gorgeously immersive and cinematic from the second the curtain dropped revealing a vast set, they’re more majestic, more metal, the living art they always intended to be. Vessel glides serenely through this window into another world, cracking the set open with a roaring ‘Look To Windward’ that transforms into ‘The Offering’, each guitar drop is just enough to consume us. ‘Caramel’ emerges from the smoke with delicacy and bass you can feel through your whole body, until ‘The Summoning’ is extended out to be its own story in a wall of scarlet fuzz. 

Vessel might be the figure we know and revere, but this show proves how he earned his moniker. He’s now only one small part of a much larger vision that’s coming to fruition after years of foundation. The ninety minutes of their set passes in seconds, as much of a dream as seeing Vessel clad in flames on huge screens during ‘Granite’, and we’re left stunned by what Sleep Token have become. They’ve always denied being a metal band, but after tonight’s cliff-like guitar and the hold they have on the fans, it’s impossible to completely agree with them. However, they’ve become so much more than that, with a set that is unlikely to be topped any time soon. 

First up though, it’s a second London appearance within a month for Call Me Amour. They open with ‘Happy Hell’, keeping their electro side encased in a layer of Rock,  until ‘Chasing Bugs’ opens a crack to allow the dark synth to flood in and buoy us into an early evening jump around. They tap into our readiness, transmitting sparks underfoot that we release through slamming open hands. Mikey Chapman of Mallory Knox teases his later appearance, joining vocalist Harry Radford on ‘Good Day’. He flings himself around, a full body effort that’s fully appreciated. “He’s a beautiful soul, the kindest person ever, with the voice of a fuckin angel!” Radford exclaims. ‘Bloom’ hits like lightning in a rainstorm as he runs to the side steps to lean over us, closing on a dimly murmured title. Call Me Amour’s set passes too quickly, and closer ‘Girl On The Wall’ could almost count as a showcase on its own as they sling electro into swirls of messy harmonics and bass pulses as they smack DnB into the bridge.

Never let it be said that Mallory Knox don’t have a sense of humour, and coming onstage to Taylor Swifts’s ‘We Are Never Ever Getting Back Together’ is the right tone for their return. “It’s so fuckin good to be back… it feels weird saying that!” Chapman exclaims, and he’s right. It’s so strange and familiar at the same time to hear him at his finest again.‘Ghost in the Mirror’ is a dark burst of more than nostalgia. Unbowed by a decade, there’s a renewed, thoughtful tone in the guitar that you wouldn’t expect with how hard this song slams live. “It’s been a long fuckin time, London,” says Chapman to introduce ‘Getaway’, and in the crowd a girl with pink hair blinks back tears as their warmth cushions the song’s bubblegum desperation. It’s so easy to clip our own meaning to each song, but with the way he roars the chorus to ‘Dying To Survive’, it’s clear that this set means as much to the band as it does to us. As they get stronger with every song, ‘Beggars’ sparks a huge singalong, alternating between moods rapidly as sinister steps spring into bounding choruses. There’s an eagerness in the air, a desire to soak it all in and embrace every second of their stacked vocal moments.

There’s a sense of communal history in every part of Mallory Knox’s set. An easy majority of the crowd were at ‘Asymmetry’s launch ten years ago, and any mention of the band’s history produces a sincere emotional vibration. “In 2009 we started this band,” the vocalist explains before ‘Heart & Desire’s delicate guitar notes fall like tiny stars, “we wrote some tunes for ourselves, and the rest is history. If you had told me, even a year or two ago, that I’d be standing here singing in front of you fine people, I’d have called you crazy.” What lights this show up is us; our joy, our willingness to throw ourselves into making the most of every second Mallory Knox are onstage. ‘Oceans’ fills us with satisfaction at  the sensation of being pricked by their lonely chords once again as Chapman extends his vocals to inflate the empty space, before ‘Dare You’ flows slow and strong, a river that can’t be dammed, tapping into a beautiful, hopeful tone. 

If you place your hand at the top of your field of vision to block out the ceiling and focus on the stage, you could fool yourself into believing you were still enjoying a festival summer. That’s how light the atmosphere is as Mallory Knox move into a tender encore. Only neon red initials light their return onstage for ‘She Took Him To The Lake’, a song which contains multitudes and means so much to so many. They’ve added a layer of righteous stomp to ‘Better Off Without You’, which starts a bounce that’s right back to the bar. Mates grab each other and jump, their shouts turning to screams of delight as ‘Lighthouse’ begins. Just existing in this moment is fuel for us as we shout and mine and make the absolute most of every second.

Interviews with the band suggest that it’s too soon to say that Mallory Knox are back for good. This tour might just have been a quick trip to reminisce and celebrate a brilliant album. However, if this was testing the waters for a proper return, then this show should serve as the perfect evidence that Mallory Knox can and should make their reformation permanent. 

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]

Before the emotions really begin to bust their way out, though, main tour support Led By Lanterns have the task of getting things warmed up, and the Birmingham four piece do a perfect job of it. Their immaculate pop rock is dripping with hooks and irresistible energy, and it doesn’t take long for the crowd to warm to them with a varied, tight set that features the band’s poppier EP tracks, a singalong cover of Dua Lipa’s ‘New Rules’, and hugely promising new tracks ‘Disconnected’ and ‘Alive’. Led By Lanterns may be a relatively new band, but they’ve clearly found their feet and are well worth keeping a close eye (and ear) on in future.

The last two years saw everything change for Mallory Knox. In early 2018, after three albums, countless tours, and festival appearances – including main stage sets at Reading and Leeds and Slam Dunk – front man Mikey Chapman made the decision to leave the band. The remaining four members immediately confirmed their intention to continue, with bassist and songwriter Sam Douglas stepping up to lead vocals; it was a path that led them to release their fourth album ‘Mallory Knox’ in August this year, reshaping the band for what looked like a promising future. Unfortunately, it wasn’t to be – but they’re going out on their terms, and tonight is about celebrating that.

As the time rolls around for Mallory to take to the stage, the now jostling crowd are already in good spirits – and an intro song in the form of ‘The Final Countdown’ is about all anyone needs to get the good humour and energy flowing (and/or laughing through the tears, no judgement here). Manchester has a reputation to uphold, having been – as Douglas later tells us – the first place Mallory Knox ever sold out a show six years ago, and tonight’s eager mob don’t disappoint. The show starts in earnest with 2017’s ‘Sugar’, and voices immediately echo around the room as we venture into a set that pulls on every bit of Mallory Knox’s back catalogue and, of course, a whole host of fan favourites.

One of the most satisfying parts of witnessing this set, aside from the sheer and seemingly unending joy of the gathered fans, is seeing just how well received tracks from the latest self-titled album are. Chapman may have had distinctive and loved vocals, but the heart and soul of the band’s songwriting still remained with Douglas; that heart, combined with these tracks that are far more suited to his vocal style, give a bittersweet glimpse into what Mallory Knox could long have continued to be. ‘White Lies’ in particular (“the best song we ever wrote”) is a standout moment in the evening, even nestled amongst heavy hitters like ‘Ghost In The Mirror’ and ‘Shout At The Moon’.

‘Beggars’, ‘Getaway’, and ‘Wake Up’ see some of the biggest and most enthusiastic singalongs of the evening (and there’s plenty of them), while deep cut ‘Oceans’ sets off a sea of madness in the centre of the room that’s tempered only slightly by the realisation that the evening is heading too quickly towards its finale. The band are in fantastic form, with every track sounding just as huge in this small room as it ever did on any festival main stage, and Dave Rawling in particular still as furious a powerhouse on drums as ever. There could be no more suitable way to finish the night than with the uplifting one-two hit of ‘Lighthouse’ and ‘Better Off Without You’, one more reminder of the outstanding lyrical and melodic strength of this band.

Over the last decade, Mallory Knox created something truly great in the toughest of industries, and kept that greatness until the very end – influencing and inspiring countless others along the way. It’s something nobody can ever take away from them, and though this is the end, we are at least left with the memories (and some damn good albums). One thing is for certain and has been proven tonight – Mallory Knox are truly loved, and Manchester know exactly how to give the perfect sendoff, in celebration of everything they are and all they’ve achieved in these ten years. So long, Mallory Knox. We’ll miss you.

GEM ROGERS

While priding themselves as the ‘Anti-Major Festival’ festival, they’ve been shortlisted for awards multiple times. It might not be as well known as say, Download or ArcTanGent, but one thing is for certain – it’s a festival to embrace new and old. It’s a festival for music fans, pure and simple.

With that in mind, here are some of our top recommendations for the weekend.

THURSDAY

Indoor Pets

Market Stage 6.30pm

Feel good alt rock at it’s finest. Indoor Pets have been a staple of the touring scene in the last few years, helping to nurture upcoming talent despite being relatively young themselves. Releasing their debut album ‘Be Content’ last year, they’ve honed their sound – offering a laid back sound that encourages singalong interactions from the crowds. Hits like ‘Hi’ and ‘Teriyaki’ prove their ability to meld pop sensibilities with a creamier rock sound.

Slaves

Market Stage  7.45pm

Taking the headline slot on the Market Stage for Thursday, Slaves are fresh from tearing up Glastonbury. Known for their energetic live shows that smack you in the teeth, as well as a back catalogue full of bluesy riffs, expect the duo to rip this stage up too. Because that’s the nice thing about Slaves – you know what you’ll get. And what you’ll get is catchy, anthemic tunes, and a performance that’ll stick in the bonce for weeks.

FRIDAY

IDLES

Market Stage 3.30pm

We hear you – Idles playing a mid-afternoon slot after a UK headline tour that sold out in hours? Ludicrous. Just be glad you’ll see them, because many couldn’t get a ticket to their tour. While a thirty minute set is frankly not long enough, it’s bound to be full of thrashing melodies, political messages and energy, and if their Glastonbury set is anything to go by, there’ll be plenty of crowd interaction, huge pits, and scream-alongs. Get yourself near the front. Oh, and take yourself a paint colour chart and wait for Joe Talbot’s face to go a lovely shade of magenta through his impassioned hollering.

Nothing But Thieves

Truck Stage 8.15pm

Nothing But Thieves only have two albums to their name so far, but are already well on their way to achieving legendary status. Innovative and exciting, they’re also one of the most incredible live bands on the circuit right now – try not to be blown away by Conor Mason’s soaring, crystal clear vocals, and you’ll definitely fail. You’d be wise not to miss this set, just in case they do finally take that break from touring they’ve been talking about – and this will surely be one of the highlights of the weekend.

Wolf Alice

Truck Stage 9.45pm

Headliners Wolf Alice have been on a steady trajectory since the release of their 2013 EP ‘Blush’ – though saying ‘steady trajectory’ doesn’t give them the justice the deserve. In that time, they’ve released two critically acclaimed EPs, supported countless big-named bands, had their tracks featured in various films a TV shows, have been nominated for multiple awards – even winning the Mercury Award for their 2017 album ‘Visions Of A Life’. It’s only right they’re headlining the Truck Stage. Difficult to nail down in a particular genre, they’ll bounce between lo-fi grunge pop to staggeringly emotive, dreamy alt folk. They might not have the catchiest choruses or be the most sing-a-long band but they know how to write a song that’ll move you. And they’ll definitely move you.

SATURDAY

Hot Milk

The Nest 1.15pm

Hot Milk have been absolutely bloody everywhere this year, and you know what? We’re not even a little bit mad about it. In fact, we want more – and luckily, Truck Fest and The Nest stage are here to deliver. The Manchester quartet’s sparky, addictive emopop is full of energy and the perfect mid-weekend pick-me-up; this singalong (and dancealong) session with one of the best young bands in the scene is a must see.

https://youtu.be/3L8v39N_648

Press To Meco

The Nest 3.15pm

Masters of harmony Press to MECO released their sophomore album ‘Here’s To The Fatigue’ last year, following it up a few months ago with the ‘Acoustic’ EP. Now they’re bringing their unique sound to Truck Fest, blending irresistible hooks and technicality with uplifting pop rock that’s guaranteed to get feet tapping and heads bobbing. The Nest stage is packed with gems on Saturday, and Press To MECO are one of the brightest of the lot.

Milk Teeth

The Nest 4.15pm

If distorted, growling guitars and super poppy melodies packaged up in a big punky, grungy ribbon are your bag – and trust us, these things go together like Australians and Vegemite – this set from Milk Teeth is for you. It’s been a while now since the release of only full length ‘Vile Child’ in 2016, with only a few EPs in the meantime, but that hasn’t dulled their live performance. In fact, with guitarist/vocalist Em Foster (Nervus) having now joined full time, the band have been revitalised; expect some new material to make an appearance in this set, and get excited for the future of Milk Teeth.

Puppy

The Nest 6.15pm

There are a few bands on the bill due to explode in the next 12 months, and Puppy are one of those bands. Big favourites within the Punktastic team, their chunky riffs and pounding heaviness set the tone for their live shows. But don’t let that take away from their good humour. With their fanship growing every day, be sure to get there relatively early. The chances are, it’ll be a set to remember.

Don Broco

Truck Stage 6.45pm

Have Don Broco actually sat down on a sofa for longer than thirty seconds in the past year? Nobody really knows, but it seems unlikely. Having toured both the USA and UK about fifty times each since the release of acclaimed third album ‘Technology’ last February, they’re one of the most sought-after bands for any and all festival line-ups – and no wonder. Nobody starts a party like Don Broco, and you’ll never have more fun screaming the word “FUCK” than as part of the deliriously magical ‘Everybody’. Get your dancing shoes on and get down to the Truck stage.

https://youtu.be/W6JZ6IgCKKo

Mallory Knox

The Nest 8.45pm

It’s safe to say the last eighteen months have been quite the ride for Mallory Knox and their fans. After the departure of vocalist Mikey Chapman in February last year, backing vocalist and bassist Sam Douglas instantly took the helm to guide us into a new era for the Cambridge group. Their new singles have still carried the distinctive Mallory Knox sound, with just a dash more aggression that should translate well to the stage. Come down to see them top a stacked Nest Stage bill, and be part of this new beginning for a beloved band.

SUNDAY

Gaffa Tape Sandy

The Nest 3.45pm

By the time Truck Festival comes around, Gaffa Tape Sandy will have released their long awaited second EP. With cleverly written social observations such as ‘Headlights’ and ‘Meathead’, as well as crowd pleasers like ‘Beehive’, they’re sure to get everyone dancing. The Bury St. Edmunds trio have been getting airtime all over radios and playlists, as well as hitting our very own monthly playlist at least twice. It’s their second Truck Fest in as many years and they’re quickly picking up traction, so be sure to catch them here to jump on that proverbial bandwagon.

Martha

The Nest 5.45pm

If there was a band you would expect to rock up to your house asking if they could play a gig in your living room, it would be Martha. County Durham’s finest DIY indie-folk punks wrap devastatingly frank lyrics around uplifting melodies and will bring a rapturous, celebratory live show to The Nest on Sunday evening. Their latest album ‘Love Keeps Kicking’ is already one of our favourite records of 2019, delivering a smirking take on how a gut-wrenching break-up can actually be a good thing. Gather round The Nest and prepare your lungs for a whole lot of sing-a-longs.

You Me At Six

Truck Stage 7.45pm

If there’s a festival You Me At Six aren’t playing this year, we don’t know about it – the four piece are definitely keeping themselves busy this summer. More than ten years have elapsed since debut ‘Take Off Your Colours’, and the five piece are now an integral part of British rock with upbeat, joyous, electric live performances. It doesn’t matter how many festivals they’re playing this year – You Me At Six are worth seeing at every single one of them.

The Punktastic team are pleased to report that the festival lived up to all expectations, providing a weekend of great music, charity fundraising, glitter, and a lot of laughs.

Friday really kicked off at lunchtime on the main stage with Reading’s Echoic. The crowd was sparse, meaning the band acted as more of a backing track to the day as people started an ever-growing game of frisbee, while others sat and chatted on the number of sofas provided for our comfort. Those that did choose to sit could feel the bass in their backs as they watched front man Connor – donning funky chequered trousers – go red from straining his voice. While the sound was average at best, the band (especially bassist Sam), were putting their all into the performance, a valiant effort for one of the first acts on day one.

Echoic were followed by Funeral Shakes, all dressed in matching black and white shirts, again performing to a crowd that – for the most part – preferred to enjoy the show from the sofas rather than by the stage. Their performance certainly warranted a bigger and more enthusiastic response than they received, but again, with an early time slot, and with Wilkestock being fairly small as far as festivals go, the limited turnout was inevitable. Regardless, the band’s performance was impressive, with incredible vocals and continued attempts at interacting with the crowd, claiming to have brought the sun with them from the notoriously sunny Watford (please note sarcasm), and commenting on the lack of disappointment as they announced their last song. With the appearance of a one-man circle pit, Funeral Shakes truly peaked, and left the stage with a well-deserved bow.

When Gold Key’s main stage performance started, the crowd instantly picked up, although like each of the prior bands, not to the extent they rightly deserved. The band themselves seemed oblivious to this fact, as always putting any energy they could summon into their performance. With guitarist Laurent Barnard doing fancy tricks with his guitar behind his back, it made for an entertaining performance by this Watford rock band.

Assimilate were the first of many bands Punktastic were able to see at the Bella Stage over the course of the weekend – a small, sauna/barn type situation that was unexpectedly home to some of the best performances Wilkestock had to offer. With lead singer Jake Aston flat out refusing to even acknowledge that there was a stage, he joined the crowd with a circle forming around him as he screamed the lyrics directly into the faces of individual audience members. Assimilate’s heavy and confident sound filled the small room, and soon the whole band followed Aston’s lead, jumping into the crowd to form a circle pit with only the drummer left behind. Concluding the performance by climbing up the centre pillar, Aston showed his gratitude to the crowd for their uninhibited participation by blowing kisses around the room. They may just be a small metal band from Hertfordshire for now, but with performances such as this one they’re sure to grow in popularity in no time at all.

Back outside, the main stage still consisted mostly of crowds of people sat with a beer on the musky old sofas when the very cool Fizzy Blood kicked off their set. After summer performances at Reading and Leeds, Boardmasters and Dot to Dot festivals, this is a band that are no strangers to stages of all sizes. Their Wilkestock experience was quite different, though, as once again their indie-rock sound acted as background music to the day. Although this was a shame for the band, who are unbelievable performers and musicians, it set the tone of the early evening exceptionally well, contributing to the consistently chill vibe that seemed to define the festival.

Scottish quartet The Lafontaines followed and were, beyond a shadow of a doubt, the highlight of the weekend. Whether you had heard of the band or not, this rock/hip-hop inspired band easily drew you in with energy fuelled by their Glasgow pride and total confidence as performers. Front man Kerr Okan encouraged the still sedentary crowd to “lift [themselves] off the couch”, before jumping down off the stage and running towards those that ignored his request. The full set was outrageously fun, undoubtedly creating new fans with every minute the band graced the main stage, making it impossible to keep the smile from your face. With an unusual sound, that’s catchy yet complex, The Lafontaine’s live show rivals that of any band with far more touring experience and are worth keeping an eye on as they continue to grow.

The Lafontaines were a tough act to follow, but Trash Boat stepped up to the challenge with their pop-punk/post-hardcore, performing to the biggest crowd of the night so far. With a totally different sound to any of the previous performers, the band brought something a little edgier to the day. Fresh off the main stage at Reading and Leeds festival, the band have surely grown in confidence this summer, and with the crowd now sufficiently inebriated (happily supporting charities Leukemia Research and Keswick Mountain Rescue Team with every pint), they were ready to lap it up. Both crowd and band fed off each other’s energy, resulting in what can only be described as a monumentally fun and messy time.

Friday night headliners Mallory Knox have ample experience when it comes to live performances, but with the recent departure of original vocalist, Mikey Chapman, and existing member Sam Douglas taking over back in February, there’s had to be some readjusting. That said, the band’s set was nothing short of excellent, with the remaining four members playing together as though the line-up had never changed. It was hard to believe the packed out crowd had earlier that day been so sparse, as the space in front of the stage filled in and personal space became just a fond memory. If the fans had been at all upset about the new band line-up, they didn’t show it, dancing harder than they had all day, and truly making the most of the last main stage act of the night. The band themselves remain humble as ever, giving a shout out to clothing brand Bad Monday for dressing them that evening after all their own clothes had been stolen, and thanking the crowd for ending the day on such a high.