Since releasing ‘What It Means to Fall Apart’, the band haven’t exactly been quiet, but they have been taking their time. They’ve played some one-off shows and festivals here and there, but mostly, they’ve been behind the scenes; writing, reflecting, and getting back to what made them fall in love with their craft in the first place. That time away from the spotlight gave them space to create something that feels fresh but still true to their roots. ‘Sweet’ is the first part of that – a new chapter in the form of a three-part, self-released project that’s as personal as anything they’ve ever done.

They’ve grown up, sure. But they haven’t lost what makes them Mayday Parade. If anything, this feels like them stepping back into the world with more intention and heart than ever.

This eight-track offering begins with ‘By The Way’, navigating the bittersweet nuances of a breakup. Derek Sanders’ unmistakable vocals shine here, and the opener is quintessentially Mayday Parade. ‘4,000 Days Plus The Ones I Don’t Remember’ follows, bringing back those same feelings of angst and fervour from a track like ‘Oh Well, Oh Well’.

This energy continues as it cuts through ‘Who’s Laughing Now.’ It’s followed by ‘This Personified’, a fleeting 20-second piano interlude that gives the listener a brief moment to reset. ‘Who We Are’ comes next, a mid-tempo ballad that leans into soaring melodies and heartfelt lyrics, with full-band instrumentation that keeps it grounded in that classic Mayday Parade sound. From there, it moves into ‘Natural’, a similarly reflective track, but with a slightly faster pace and a standout guitar melody that adds warmth and subtle intensity.

The introduction of strings in the latter half of ‘Towards You’ make a gorgeous addition to what is already a beautiful, dreamy track. ‘Sweet’’s closer, ‘Pretty Good To Feel Something’ snaps you out of the dreamlike undercurrent of the previous track, upping the ante with an anthemic chorus you can imagine being screamed out by crowds across festivals this summer.

‘Sweet’, though a cohesive and fluid collection of songs, doesn’t pack as much of a punch as their earlier records. That’s not a criticism. This is a band that is twenty years into their career; they’ve mellowed and matured as artists and people, and to expect them to be following the same pattern after all this time would be witless. Yes, this release feels, at least musically, a little ‘safe’, but this is not a band known for their genre-bending experimentalism. Mayday Parade are known for being able to make the listener feel something. That, ‘Sweet’ does.

To celebrate 20 years of doing what they do best, Mayday Parade are heading out on the ‘Three Cheers for 20 Years’ Tour. It kicks off on the 22nd of this month in St. Petersburg, Florida, and runs through until 6th June. They’ll be joined by Microwave, Grayscale, and Like Roses; it’s an emotionally-charged lineup that feels fitting for the kind of presence Mayday Parade have always cultivated. Later in the year, they’re also set to play the ‘When We Were Young’ festival in Las Vegas on 18th October, which feels like the perfect place to mark a milestone like this one.

KATHRYN EDWARDS

State Champs kick off our evening with a full embrace of their emo sound, evidently resonating with the crowd as their raspy voices filling the room in support. The band brings with them a cohort of fans who spend the set crowd surfing, successfully setting a tone for the evening – the same can be said of the band as their energy lingers with us even after leaving the stage.

With vocals that teeter on the edge of a roar, Mayday Parade holds nothing back for the short time they have with the room, ensuring to fill it with the noise of their purest pop-punk sensibilities, marked by relentless drums and ferocious guitar riffs. Their introspective musings, though a different energy to what is upcoming, hold true to the roots of the band. Finishing with crowd-pleasers ‘Jersey’ and ‘Jamie All Over’, the final taste left in the mouth is that of ferocity, and now the stage is set.

Simple Plan frontman Pierre Bouvier has to take a breath as his eyes flicker beyond the headlights of the stage, he’s showing a clear sense of awe as the black clad audience begin to swim in front of him to the beginning riffs of ‘I’d Do Anything’. Throughout the song, drummer Chuck Comeau cuts through with rapid precision, his eagerness to hit each note resonating with the swelling crowd as we meet the first chorus. The unfolding setlist only ups the ante, with songs like ‘Jump’ inciting mass dedication to the lyrical instruction. 

It’s easy to see the members’ smitten faces, lips turning upward, cracking smiles and exchanging sideways glances between moments. Their energy is kinetic, the stage heightening the best parts of them, whether it’s Bouvier’s charisma on the mic, guitarist Jeff Stinco’s spotlighted solos, or their guidance of audience members on stage for a fan photo op that brings nothing but a sense of camaraderie. 

As we are swept through their career highlights like ‘Addicted’ and ‘Welcome To My Life’ it’s still easy to find the joy in them. Sure, the words may play into juvenile stereotypes, but at some point or another, everyone in the room felt understood, and that feeling lingers.

The show’s levity shines through when the band performs ‘What’s New Scooby Doo?’ A fitting moment where pop culture meets pop culture, forever solidifying the band’s legacy whilst still playing upon their comedic edge. In an era dominated by fleeting successes, you can’t help but wonder how a band can stand out? Well, why not write a theme song for a misfit-ridden mystery cartoon that perfectly epitomizes the  core of what you stand for? The crowd revels in the moment, thrashing in time with the cutting guitar melodies overlaid with distortion, evoking the time it was written.

Some frontmen can feel formidable, as if they weigh the room down, but this is not the case for Simple Plan. Bouvier exudes a natural presence, his steps light, his quips funny, and his voice unfaltering. He makes it look easy without arrogance, charismatic without eagerness and relatable without inauthenticity. It’s these qualities that make it easy to understand why the band has sustained themselves for decades. Despite their music evolving through numerous eras, they seamlessly tap into each album with grace. We can all name a few bands who stand resentful of their past releases but Simple Plan are not one of them. The crowd is mirroring the genuine enthusiasm of the band, this being the case for the whole setlist, deep dives and new alike.

Bouvier decides it’s time to swap places with Comeau and both are able to take the others reigns with ease. Where drummers sometimes get lost in the mix during live shows, that’s not the case tonight. His bassier voice carries through up into the rafters and Bouvier’s kick drum remains in sync, the moment is a testament to their cohesion and skill.

The band tightens their grip with the final procession of the encore. ‘I’m Just A Kid’ becomes a portal back to childhood angst when youth was still the problem, not one foot remains on the ground, and we’re jumping in meaningful synchronicity, reliving once again a moment in time, but this time… we’re together. Simple Plan reminding us why they continue to be a beacon for outcasts and alike, a rallying force for nonconformists – and what a night to celebrate that.

JESSICA MCCARRICK

‘Howell Canyon’ is “about dealing with the sadness that comes from an important chapter in my life ending. The song takes a look back but also forward towards a more hopeful future,” and there’s something about the desperate vocals over the tinny drum machine that covers this song in pathos like bitter birthday sprinkles. “Your love is one in ten,” sings Derek, and there’s something so cuttingly mundane about that sentiment. Mike Hanson from local Tallahassee band Goodbye Love jumps in to give a regretful punkish edge to ‘With You On The Ground’, possibly the song which is the closest to a ‘punk’ track and lets the vocals float in like tiny lapping waves over an oil slick. ‘True Story Of The Boy Whose Exploits Panicked A Nation’ is the soundtrack to a candlelight vigil for chances lost, and the soft Lord Of The Rings intro takes your hand and leads you out of the darkness like a mysterious friend.

For the Mayday Parade faithful, final track ‘For Dear Life’ will be doubly bittersweet: this is the first time Sanders has shared the microphone with former Mayday Parade frontman Jason Lancaster since his departure in 2007. Slow and minimal piano chords with a touch of quiet strings make this number half Disney duet and half religious experience, and the layering of their voices is what lifts this song out of the schmalz. 

‘The Heavy Box’ is a dreamlike EP, and Derek Sanders has definitely got in touch with his inner ethereal woodland creature. If you’re expecting a new Mayday Parade record, you will not find it here.  But you will find something personal, raw and somewhat lovely, a set of songs which Sanders needed to get off his chest and out into the world. A perfect record for the small hours of the morning when the rain begins to fall. 

WORDS: Gem Rogers [GR] (North), Yasmin Brown [YB] (South)
IMAGES: Glen Bollard (North), Penny Bennett (South)

Blood Youth

There can be few better ways to kick start a festival than with a gigantic dose of riffs, and there are few better bands to deliver them than Yorkshire locals Blood Youth. Despite their early start there’s a sizeable crowd gathered in the Jagermeister tent, and it’s the perfect place for anyone looking for somewhere to get amped up for the day ahead – one word from vocalist Kaya Tarsus and a pit swiftly engulfs the floor of the tent, taking full advantage of the aural hammering that is opener ‘Iron Lung’. Elation and excitement fills the air as Blood Youth cover favourites both old and new with incredible precision; from recent single ‘Cells’, to  ‘Starve’ track ‘Spineless’, to the older ‘Playing The Victim’, this is a devastating set, awash with the kind of deep, dark heaviness that stops your heart and immediately starts it again. There is, however, a note of sadness that accompanies the band’s sets this weekend, as they’re also the last for Tarsus. An inimitable vocalist, his presence will undoubtedly be missed, and performances like this show why – but as he says himself, this is far from the end. Blood Youth forever. [GR]

Doll Skin

It felt like we were only just starting to get acquainted with Doll Skin, back on their first tour of the UK in late 2019, when the-thing-that-shall-not-be-named came along and put a two year spanner in the works. Fortunately, Slam Dunk has brought us back together, and you’ll be unlikely to find a more spirited, joyous set today; vocalist Sydney Dolezal is filled with a giddy energy that lights up the whole area, not least when they introduce latest single ‘Eat Shit’ with a guided singalong (is there much better than standing in a crowd of people bellowing swear words at the top of their lungs?!). A few technical hiccups along the way do nothing to impinge on the enjoyment of this set, and Dolezal’s vocals are nothing short of flawless – Doll Skin’s punk spirit and earworm pop melodies make for the perfect festival half hour, and we couldn’t be more delighted to be back in their company. [GR]

HelloGoodbye

Hands up if the name ‘Hellogoodbye’ immediately takes you straight back to 2005. Keep your hands up if you now have ‘Here In Your Arms’ stuck in your head? This has been our constant state since this throwback band were announced for Slam Dunk and after today’s performance, we doubt they’ll ever leave our minds again. It may be a slow starter, but after a while, the words come back to us like old friends and it really is magical to have this band back in front of us playing their fun and folky emo pop to a full crowd under blazing sunshine. Naturally, ‘Here (In Your Arms)’ and ‘Baby, It’s Fact’ receive the warmest welcome, but it’s amazing just how much comes flooding back over the course of the set. Front man Forrest Kline marvels at the sight before him, noting earnestly that he would love to come back a million times and by the looks of things, this Slam Dunk crowd would greet them just as excitedly were that to be the case. It’s been year – over a decade – since Hellogoodbye have graced our shores but we’re left praying that it won’t be that long again. [YB]

McFly

As the day creeps towards 2pm, to say the crowd assembled around the Key Club stage is astronomical still feels like somewhat of an understatement – and with the ‘secret special guest’ band taking to the stage late, there’s plenty of time for more people to join the curious and eager masses in the top corner of the Temple Newsam hill. It’s an eclectic crowd, too, and yet when pop pioneers McFly appear, you’d be hard pressed to find a single frown. Much like when Busted played two years ago, everyone seems, quite honestly, absolutely bloody thrilled. The singalongs to tunes like ‘Star Girl’ and ‘All About You’ are so loud they almost certainly echo all the way to Leeds city centre, and ‘cheesy’ though it may be, this is clearly the exact happiness tonic so many people needed this afternoon. No pressure, Slam Dunk, but… McBusted 2022? [GR]

Lizzy Farrall

It’s no secret that Lizzy Farrall is one of our favourite up and comers in 2021. We are, quite frankly, obsessed, and it seems we’re not alone in that, either. “There are so many people! Fuck!”, she exclaims with the wildest of grins on her face, and as you look around you’ll see that same grin reflected on the hundreds that have turned up to catch her set. It’s her second show back in over a year and a half (the first being at Slam Dunk North the day before), and everyone will be in easy agreement that while the wait was hard, we’re over the moon to be back here today and maybe, just maybe, it was worth it. As she bounces around the stage, you can’t help but notice Farrall’s impressive stamina as she maintains perfect pitch as she executes each of the catchy yet bitter and slightly depressing songs on the setlist. Fans sing along emphatically and you can’t help but dance as the sun continues to beat down, perfectly matching the atmosphere. Friends clamber on shoulders during ‘Balloon’, and Farrall threatens to cry at the sheer magnitude of the response she’s receiving. Closing off with “the one you’ve all been waiting for”, ‘Barbados’, we can’t help but be sad that it’s already over. Here’s to hoping there’s not another 18 months to wait until she’s back on our stages once more. [YB]

Creeper

Up next, over on the main stage, are a band who always help make Slam Dunk feel that little bit more like home – and it’s always a pleasure to see Creeper deliver yet another masterclass in performance. Their punk-infused sound may be more suited to the cover of darkness (though on this cloudy Leeds afternoon, we’re not too far off), but Creeper’s ultra-theatrical stylings feel like an almighty celebration of life today, pulling on material from across their back catalogue to delight their crowd from start to finish. The dual vocals of ‘Midnight’ form a particularly well received highlight, and Creeper continue to go from strength to strength – the top slot on this stage awaits, and we’re willing to bet it won’t be too long before it happens. [GR]

We Are The In Crowd

They might be super late on stage, but after six years of waiting for a reunion, what’s another 20 minutes, right? Right. Absolutely right. Playing right before Mayday Parade on the main stage, this lineup feels like another 2011 throwback – a time when these two bands came hand in hand like peanut butter and jam, or salt and pepper. The fans here today are choosing to skip out on a surprise performance from the McFly boys, a British staple, so there’s a lot to live up to and We Are The In Crowd do not disappoint. A cheshire cat smile sits unwavering on the face of vocalist Tay Jardine as she acknowledges the sight before her, only growing wider as it becomes blatantly clear that those in attendance aren’t merely here to kill time. It’s been a while, sure, but how could we forgot the lyrics to what were our favourite songs as we made our way through high school and into university. There’s unspoken but unanimous agreement that we’re all absolutely delighted to be here as bodies fly into the air and tears unexpectedly roll down cheeks at the realisation that this reunion is happening. Jardine’s voice has aged like a fine wine over the years, still working in perfect harmony with co-vocalist Jordan Eckes. Claiming to have brought the sun with them from New York, it’s another sweltering performance, but neither fans nor the band themselves could care less as they throw themselves into this set entirely. What a flawless reunion for what has always been a flawless band – it’s taken a long time to get here but we couldn’t have hoped for more. [YB]

Trash Boat

On paper, Trash Boat are probably one of the least heavy bands to grace the Jagermeister tent this weekend – but as anyone who’s seen this band live will attest, they can more than hold their own on any stage, and the power they bring into their live performance is second to none. Not only is this Slam Dunk set no exception, but Trash Boat feel almost like a different band entirely, in the best possible way. Yes, their recent sound has changed – as vocalist Tobi Duncan acknowledges mid-set – but with it has come a whole new level of confidence, transforming Trash Boat into a band who quite simply decimate this tent with the most glorious ease. Armed with undoubtedly the best and clearest sound of the weekend, this set is a wild ride from start to finish as the crowd revel in the bold, igniting tones of the likes of ‘Don’t You Feel Amazing?’ and ‘Bad Entertainment’, and bring full throttle pit mayhem for old favourites like ‘Tring Quarry’. Today’s crown, though, without question belongs to the tracks from latest album ‘Don’t You Feel Amazing?’ – with the force of this new sound, Trash Boat have delivered one of the standout sets of the weekend, and it’s one that’s sure to be remembered for a long time. [GR]

Mayday Parade

It’s doubtful that there will ever be a time when Mayday Parade are not seen as a pop-punk favourite among those of us who were there to experience them in their heyday circa 2007, and they’ll always be at the top of our list of must-see bands when they appear on festival lineups. Today is no different as they take to the stage right after their friends in We Are The In Crowd to play the second of their first shows in almost two years. How lucky we are that they chose us for their comeback! Throughout the set, it’s easy to see that most fans are here for the older songs – those from ‘A Lesson In Romantics’ or ‘Anywhere But Here’, but in reality, some of Mayday’s best music came in the early 2010s and if the singalongs to songs like ‘When You See My Friends’ or ‘Oh Well, Oh Well’ are anything to go by, our favourite Mayday songs may still be to come. As front man Derek Sanders delicately puts it, “we all needed this”, and it’s clear to see that every member of this band is truly embracing the experience, not really knowing for sure when the next one might be. Never one to ignore a fan gift, Sanders quickly puts on a T-shirt that’s thrown onto stage, depicting a rainbow cat riding a shark, rocking it proudly for the last few songs. It’s not Mayday Parade’s best performance by any stretch of the imagination, but it really doesn’t matter. Just having them back on stage is quite enough for now. [YB]

Funeral For A Friend

If anyone ever fancied testing the limit of capacity in the Jagermeister tent, Welsh legends Funeral For A Friend seem more than happy to help this afternoon. Thousands of fans spill far outside the tent, and though arranging the lineup for this year’s festival was surely a significant (and unenviable) task, it’s hard not to think that such a momentous set would have been far better with the unrestricted space of the main stage. It’s not the only issue this set faces – for anyone towards the back and sides of the tent, the sound is disappointingly poor and muddy, such that at times the only way to identify the song playing is by the singalongs that manage to spread throughout the space. The end result is, sadly, underwhelming, through no real fault of the band – that said, the finale trio of ‘Roses For The Dead’, ‘Into Oblivion (Reunion)’ and ‘Escape Artists Never Die’ is something to behold, even in a set that’s already packed with beloved classics. ‘Into Oblivion (Reunion)’ feels especially potent today, and as thousands of voices come together in an outpouring of blissful emotion, we’re reminded once more of the power of live music – and of Funeral For A Friend. [GR]

Skindred

There’s a reason that Skindred rarely switch up their festival performances and it’s simply that it always goes down spectacularly well. While the inside of the tent is not an ideal environment for these showmen, it doesn’t deter fans from cramming in, with hundreds of others spilling outside just to catch a glimpse or engage in a singalong. The band’s reggae metal goes down a treat on the Jagermeister stage, and even those who may not know the band are eagerly drawn in. Performed to sheer technical perfection, you simply cannot fault Skindred at any single point, the only potential downfall being the sheer difficulty of performing the Newport Helicopter in such close confines. They may not have released an album in three years, but they still remain one of the most popular bands on any lineup, and today is no different. As the sheer delight filters through the crowd, we hope it always stays this way. [YB]

State Champs

The sun may not be shining on Temple Newsam today, but it’s hard not to feel warm when State Champs roll around with the very best pop punk in town (and hey, at least it’s not raining). Never a band to scrimp on energy levels, ‘Elevated’ gets the set off to a suitably buoyant start, and the crowd take full advantage by descending into immediate, delirious chaos. God, we love live music… In amongst the likes of ‘Losing Myself’, ‘All You Are Is History’ and ‘Secrets’, there are a few special treats in the form of the debut play of ‘Just Sound’, and the even newer, unreleased single ‘Outta My Head’. Playing a wholly new song at a festival is a bold choice, but when you’re a band like State Champs, you can’t go too far wrong – and sure enough, ‘Outta My Head’ is not only instantly memorable, but also utterly easy to fall in love with. If there’s a downside to today’s performance, it’s that front man Derek DiScanio has some occasional and uncharacteristic vocal issues throughout, but none are significant enough to have any real impact on what is otherwise a thoroughly uplifting set. [GR]

Vukovi

If you haven’t yet heard of Vukovi you may well have been living under a rock. At the bottom of the ocean. Making their way onto every relevant festival lineup this summer, this is a band that are demanding to be heard and goddamn are they worth listening to. Fronted by Janine Shilstone, Vukovi ooze fun and silliness, and yet when it comes to their music you would be a fool not to take it seriously. The moment Shilstone takes to the stage, you sense her fierce presence and you’ll struggle to look away as she starts to attack the setlist with stunning force and accuracy, despite spending most of the performance floating around in the crowd somewhere, rather than being confined to the stage. Fans soon follow suit as crowd surfers emerge en masse before circle pits take over during the chaotic performance of ‘Claudia’. Despite the apparent ease with which Shilstone hits every note, just two songs from the end she breathlessly states, “I’m fucked”, and it becomes clear that however many shows they’ve played during these past few weeks of freedom, nothing compares to the stamina you build over months of relentless touring. Regardless, the band executes their music to perfection and the smile on drummer Martin Lynch’s face shows just how much fun they’re having – however tired they may be. Closing off with fan fave ‘La Di Da’, Wargasm’s Milkie Way joins them on stage for a hug and it’s a true delight to see two women who are storming our industry in one place – a reminder that women really do rule the world. Long may they reign. [YB]

Normandie

The Key Club stage is often home to some of the strongest rising acts in our scene – the ones picking up the dedicated fanbases, delivering exciting new sounds, and paving their way to future main stage slots. Sweden’s Normandie comfortably fit that label, with third album ‘Dark & Beautiful Secrets’ seeing them expand their reach this year, and though the impact of the first few tracks is dulled a little by some unfortunate sound issues, it by no means dampens the enthusiasm of the gathered fans, or the band’s ability to fuel it. New tracks ‘Holy Water’ and ‘Hostage’ sound especially gigantic, the perfect blend of heavy hitting riffs and soaring melodies, while older tracks ‘White Flag’ and ‘Collide’ bring some joyous singalongs (alongside a fair helping of crowdsurfers). Normandie have more than proven themselves today, and with songs and performances like these, taking main stages by storm will be an easy task. [GR]

Alkaline Trio

Seven years is a really bloody long time to wait to see a band. It feels longer still when it’s for a band as beloved as punk rock kings Alkaline Trio, so it’s not too surprising that the crowd at the Punk In Drublic stage stretches back a long, long way – and even a half hour delay to the start of the set doesn’t seem to deter anyone. Hey, we’ve already waited this long, right? When the infamous Trio finally take to the stage, they bring with them a set packed with favourites – it would be hard not to, with so many to choose from – but the delight is especially evident when tracks like ‘Armageddon’ and ‘Emma’ make an appearance. Best of all, the band sound perfectly on form, despite their lack of rehearsal – “We practiced twice, by the way,” Skiba jokes in defence of earlier suggestions that it had only been the once. Though the volume could do with being cranked up a few notches or ten, this is the comeback set that dreams are made of, and makes the news of a 2022 UK tour all the more welcome. [GR]

Holding Absence

To see Holding Absence live is to transcend to another world. They have, as they gently put it, been “grinding this shit” for years, slowly rising through the ranks at Slam Dunk Festival since the band’s early days and it has been a delight to see just how much they’ve grown. Today, there’s just one band ahead of them on the Key Club stage lineup and within seconds, it’s glaringly obvious as to just how much they deserve this slot. Front man Lucas Woodland has a voice that can be rivalled by none. It seeps into your soul and fills you with glitter and gold until it simply must flow out of your eyes in the form of salty tears. The words are important, of course, but it really is the music that does the talking for Holding Absence – Woodland’s melodies included – and this is only more powerful in a live environment. Desperate to exert this emotion in whatever ways they can, fans throw themselves into intense circle pits and launch themselves on top of one another, crowd surfing across a sea of willing supporters with no two songs receiving a more excitable response than ‘Like a Shadow’ and ‘Beyond Belief’. Woodland echoes everyone’s thoughts when the emotions get too much and he claims he “could do this for the rest of my life until I keeled over and died”, a sentiment that may sound dramatic when taken out of context, but in the moment feels like a perfectly reasonable comment and one with which we are all in agreement. 

Emotions aside, the performance is technically perfect, too – the precision with which each song is played is genuinely mind boggling, particularly when you’re reminded that for anything off of April’s ‘The Greatest Mistake of My Life’, this is only their fifth outing in a live environment. With just one song left to go, the sombre ‘Wilt’ seems like an odd choice, particularly for a festival, but in reality there couldn’t have been a stronger choice. Friends clutch one another as they sing along through their tears and in this moment, we couldn’t possibly love them more. [YB]

Boston Manor

It’s been mere seconds since the chaotic notes of ‘Everything is Ordinary’ first blasted our eardrums, but from the depths of the Boston Manor pit you already have to fight for air. Of all the festivals you may have spotted this Blackpool five-piece over the years, Slam Dunk really does feel most apt for their somewhat unplaceable sounds, and the crowd’s response is only cementing that suspicion. As the not-so-secret headliners of the Key Club, Boston Manor have a lot of pressure on their shoulders but they carry it with ease, performing each of the seven songs on their setlist with as much enthusiasm and energy as the last. This is a band that have performed in countless venues of varying sizes over the years, but somehow they feel most comfortable here – even more so in some ways than at their own headline shows. In fact the crowd is so enticing that front man Henry Cox dives in himself, performing ‘You Me & the Class War’ from the circle pit he’s just commanded open. Slowly but surely, he amps up the crowd as they chant the bridge increasingly aggressively, supported by his band mates on stage, until permission is given to lose their minds. The set continues in much the same way, with both crowd and band throwing all they have into the short but intense set – from crowd surfing to mosh pits to screaming ourselves hoarse and everything in between. The sense of pride they have at closing off this stage shines through as Cox shouts out as many bands as he can recall that have played there across the day, and affectionately referring to Slam Dunk as a “festival full of greebos” before allowing said greebos to carry him to the edges of the crowd and back again during what may forever be the fan favourite, ‘Halo’. 

It’s over too soon, as it always is, but we can think of no better way to see out the Key Club stages – which have been home to so many incredible acts today – than with our favourite miscreants in Boston Manor. [YB]

While She Sleeps

For as long as they are a band, ‘Sleeps Society’ will always be the perfect set opener for the Sheffield-based five-piece While She Sleeps. It’s a song that encompasses everything they are and, most importantly, sets the scene for the raucous performance that is inevitably to follow. And if that’s your expectation for today, you won’t be disappointed. This idea of a ‘society’ makes for a powerful fanbase – bringing fans and band members together in a community without boundaries – and it’s clear from today’s performance just how powerful this community really is. At the helm, backed by red WSS flags, is front man Lawrence ‘Loz’ Taylor and he leads by perfect example, his energy never once waning as he commands the stage, conducting the crowd as he does so. It’s sweaty and exhausting, but with fan favourites aplenty (will ‘Guilty Party’ ever get old?), you simply don’t want it to end. But end it must and as sweat continues to pour down our faces and we can physically scream no more, the last notes of ‘Nervous’ and ‘Systematic’ still ringing clearly in our ears, we know we’ll be smiling at the memories for a long time to come. [YB]

Don Broco

If any band have long been destined for a Slam Dunk headline set, it’s Bedford (where’s Bedford?) legends Don Broco. The quartet don’t have a reputation for phenomenal live shows for nothing, and tonight feels like the most magnificent culmination of all their years of graft, bringing their unique blend of electrifying, mosh-inducing rock together with dazzling visuals that feel like the ultimate finale to an incredibly special day. It’s impossible not to be swept up in the excitement, and the ground at Temple Newsam is almost definitely on the verge of an earthquake under thousands of jumping, dancing feet. ‘Pretty’ makes short work of re-energising anyone feeling the effects of a long festival day, and from here on out, there’s no real chance to catch your breath. Let’s hope everyone stocked up on the Red Bull for this one, then.

Stage presence is in no short supply here, either, with vocalist Rob Damiani wrapping the crowd around his little finger – it’s hard to tear your eyes away, their music embodying the same attitude with which they command the stage. Above all else, it’s just really damn good fun – recent single ‘Gumshield’ is a beat driven monster, while the dancy groove of tracks like ‘Automatic’ and ‘Priorities’ remains as irresistible as ever. It’s in their new songs, though, that some of the standout moments of the evening come – when While She Sleeps’ Loz Taylor and Waterparks’ Awsten Knight take to the stage for ‘Action’, it’s hard to imagine anything more fantastically chaotic, and it’s followed by the stadium-esque ‘One True Prince’, feeling unlike anything we’ve heard from this band before. The next evolution of Don Broco is well underway, and it’s looking better than ever.

By the time we reach the encore one-two hit of ‘Everybody’ and ‘T-Shirt Song’, there’s still no sign of anyone tiring – as darkness has closed in and left only the illumination from the stage, the fans in front of the main stage have become one in a constantly swirling sea of movement. It’s not only the pits that are keeping things going, either, with the dancing and t-shirt swinging stretching back far beyond the food and ice cream vans – a true sign of a thoroughly enjoyable (and thoroughly enjoyed) headline set. Exhaustion and aching feet are but a small price to pay for a weekend spent relishing the triumphant return of one of our favourite festivals, and there could be few better ways to round off the day than these final few hours with Broco. Welcome back, Slammy – we missed you. [GR]

They’re the kind of songs you want to listen to when you’re so loved up you feel you could fly, or so heartbroken that the catharsis that comes with the tears is nothing but relief. From the Goodbye Love cover of ‘For Lauren’ – a mostly unknown track Sanders originally covered for his wife with no intention of sharing with the world – to The Juliana Theory’s ‘August in Bethany’, you can feel the romantic intent radiating from both Sanders’ voice, and from the delicate way he plays his guitar and keyboard.

Jimmy Eat World’s ‘A Praise Chorus’ is a highlight, with a guest appearance from Stages and Stereos’ Daniel Lancaster, providing perfect harmonies to Sanders’ already gorgeous vocals. It’s a track that on any other day would get you dancing, but in this stripped back state, you’re forced to focus on the beauty of the lyrics and the true romance that lives within the song, giving it a whole new meaning and allowing you to enjoy it in a whole new way.

While most of these covers will be new to fans, there’s one that will jump out at anyone that’s seen Mayday Parade perform live over the past few years. ‘Punk Rock Princess’ tends to make an appearance at every headline show as Sanders performs his solo part of the set and this recording easily transports you back to those warm, dark rooms. It’s a perfect choice for this EP as it’s a song that’s clearly close to Sanders’ heart, and since these are all songs he was listening to at 15-16, they’re likely to be close to the hearts of his fans too; the ones that have grown up with him and the rest of Mayday Parade. 

While these renditions don’t offer much more than a softer, sweeter version of the originals, for many Mayday Parade fans, this EP will be a nostalgia trip presented to them by a voice that defines much of their youth. Most of us were just teenagers ourselves when Sanders’ voice became one that offered endless nights of comfort, and to be able to combine that with the songs that did that for him is a very special thing indeed. 

YASMIN BROWN

The first headliner to be revealed is Don Broco, whose Slammy D set will be their UK festival exclusive for 2020 and so is definitely not one to be missed.

Broco will also be joined by State Champs, The Wonder Years, Mayday Parade, Four Year Strong, Knuckle Puck, Bayside, Issues, Ice Nine Kills, Motion City Soundtrack and Hands Like Houses in a weekend long, pop-punk bonanza.

AND there are still plenty more acts to be announced.

Tickets on sale now!

Prices range from £59 for a limited number of early bird tickets up to VIP tickets at £99.
Please visit www.slamdunkfestival.com for more info and to buy tickets.

MAY
23 SLAM DUNK NORHTH – LEEDS, Temple Newsam
24 SLAM DUNK SOUTH – HATFIELD, Hatfield Park

Pulling from all of Punktastic’s very favourite genres, it’s one of our most anticipated times of the year, and 2019’s line-up had us drooling with excitement for months before the bank holiday weekend rolled around. Regardless of the weather, we love Reading, and this year the sweltering heat (coupled with litres and litres of water), made for an unforgettable weekend – one we can’t wait to repeat all over again in 2020.

Words: Yasmin Brown [YB], Catie Allwright [CA]; Images: Tash Greene, Matt Higgs

White Reaper

Sunday kicks off with a little indie-rock provided by the wonderful White Reaper. It would be brilliant (and well deserved) if everyone in The Pit / The Lock Up tent was here to see the band on stage, but realistically, a large portion of the crowd are sitting down and seeking respite from the sun. Either way, they couldn’t have chosen a better band than White Reaper to accidentally stumble upon. Upbeat, summery garage punk, they’re a little bit heavier than your standard indie band with some rock and roll riffs from vocalist and guitarist Tony Esposito, guitarist Hunter Thompson, and bassist Sam Wilkerson. Everyone taps their feet along to the beat of Nick Wilkerson’s drums and you can’t help but dance to Ryan Hater’s keys. The set peaks, however, during the performance of ‘Judy French’, taken from their 2017 album ‘The World’s Best American Band’ – it’s clearly their best-known track, perfectly setting Reading up for another afternoon of fun. [CA]

SWMRS

If there’s any one band on today’s lineup that was built to open main stage slots at festivals such as Reading and Leeds, it’s SWMRS – at least in regards to their fanbase. Their early main stage slot brings in the masses, all of whom seem unconditionally loyal and dedicated to this band. Accompanied by weird and wonderful background graphics, SWMRS are perfectly in sync with one another, highlighting the time spend perfecting this set. Met with an insanely loud crowd, SWMRS are given the opportunity during this set to be the pop-punk/rock band they aspire to be, and while there are moments where it feels authentic, when you take away the enthusiasm of the crowd, there are moments in which this label feels forced and disingenuous. The band’s music does stand out among the masses, particularly with hits such as ‘Trashbag Baby’, but it may be a while before SWMRS find their feet in regards to performing in a way that seems defined by them, rather than fitting into a label with which they’d like to identify. [YB]

Mayday Parade

Comparatively, Florida’s favourite pop-punk band, Mayday Parade, know exactly who they are after over a decade of writing and playing music together. The main stage backdrop simply reads, ‘Mayday Parade is an emotion’, and boy do we concur. As always, frontman Derek Sanders bounces across the stage barefoot, donning a t-shirt that bluntly states, ‘Thank God for good people’. Again, we are in agreement. Despite the fact that the band’s longtime drummer, Jake, isn’t in attendance, the band are as put together as ever, blasting through their hits during a set that feels far too short for a band of this calibre and who have so much more to share with this Reading crowd. It’s a shame, then, that they use 3 of their precious minutes to play a cover of The Killers’ ‘Mr Brightside’, rather than pulling another song from their own lengthy discography, however it works in getting passive bystanders involved, and so while it’s a shame for fans, Mayday Parade definitely know how to command a festival crowd. [YB]

The Faim

As you wander around the festival grounds, it’s impossible to miss the endless promo for Aussie pop punk band The Faim. The hype pays off, too, as there’s a big crowd and even bigger energy at the BBC Radio 1 stage during their early afternoon slot. Josh Raven’s vocals sound extremely similar to Brendon Urie – which can only be a compliment – with the instrumental quality and a sense of fun from the band to back him up. Raven dances, jumps and runs through the crowd amidst orange and yellow strobe lighting, matching his yellow jumpsuit and the huge band logo, met only with enthusiasm before the set finishes with the 2018 track ‘Summer Is a Curse’, rounding off a memorable performance with a bang. [CA]

Stand Atlantic

Everyone seems to know the opening track from Stand Atlantic, a pop punk quartet from Sydney. Vocalist Bonnie Fraser encourages us to crowd-surf, with guitarist David Potter threatening to come and show us how it’s done. Somehow, the majority of The Pit / The Lock Up tent ends up sitting in lines on the ground and rowing. Demanding this level of movement from the crowd seems to work, as everyone is having a good time and singing along to tracks from last year’s album release, ‘Skinny Dipping’, and the 2017 EP ‘Sidewinder’. Overall – kudos to their ability to work a crowd, but the music itself doesn’t stand out as anything spectacular. [CA]

Yungblud

The sun continues to beat down on the main stage as Yungblud takes to the stage in a black, silk slip, which is just about all anyone can bear to have on their bodies in this heat. His energy is unwavering from the very first to the very last moment of his set, and his pure happiness at the scene in front of him is contagious, with each grin that spreads on his face quickly appearing on the faces of the crowd members, too. A definite highlight of the set comes as Machine Gun Kelly appears to perform the pair’s collaboration (alongside Travis Barker), ‘I Think I’m Okay’ – an appearance that sees the crowd lose their minds even more than they had been just seconds earlier. The more Yungblud gives, the more his fans reflect this energy. Yungblud is clearly overwhelmed by the turn out, and by the number of fans screaming back the lyrics, and he gives his all, pushing through the heat as though it’s not awfully uncomfortable to be leaping around the stage as he is. This all goes a long way in making him all the more likeable, and while his music is certainly niche, there’s simply no way you could walk away from this set without your heart feeling a little warmer for this Yorkshire lad. [YB]

nothing, nowhere.

Sadly, over in The Pit, nothing, nowhere. is held up, meaning that what should have been a 30-minute set is just four songs long. That said, he gives his all to what little time he’s able to offer us, slowly gaining confidence and moving his eyes from the floor to the crowd in front of him. It’s a shame we’re not able to enjoy this set for longer, as nothing, nowhere. proves himself to be even more fierce on stage than on record, inciting more emotion than you could think possible through the power of his voice combined with the hard-hitting lyrics of songs that explicitly broach his struggles. ‘hammer’ undoubtedly receives the greatest response from the crowd, and by this point, nothing, nowhere. is seemingly more comfortable on stage and encourages a pit – a request to which fans are quick to oblige. With faultless execution of each of his songs, never missing a breath as he raps through his four most popular songs to date, the set brings about emotions that you feel yourself holding onto long after nothing, nowhere. walks off stage. Our only criticism is that it wasn’t longer. [YB]

Amazons

If you haven’t made it to the Radio 1 tent with plenty of time before the Amazons take to the stage, you’re out of luck, as the tent overflows to the point that there are just as many fans watching the screens outside as there are watching the stage under cover. For the Amazons, this is a hometown show, and it’s clear their southern fanbase is overjoyed to catch them on such a momentous occasion. The band is powerful, and it’s evident that in the past 12 years, as they’ve gone from fans crushed against the barrier to performers on this very same stage, they have grown and matured monumentally over time. With a surprise appearance from Yonaka’s Theresa Jarvis, the set reaches its peak shortly before it draws to a close, at which point fans watch as Amazons’ drummer Joe Emmett proceeds to all but destroy his kit. Actions like this make it hard to respect bands, particularly when most start as artists struggling to afford even one kit, and it puts a dampener on an otherwise spectacular set. [YB]

Anteros

In contrast to Amazons’ disappointing finale, Anteros are truly a pleasure to watch. Laura Hayden floats around stage in a black puffball outfit, flicking her hair and singing from the front barrier while adorning the crowd’s bucket hats. Anteros’ debut album ‘When We Land’ was released a few months ago, featuring funky indie pop gems like ‘Afterglow’, ‘Fool Moon’, and ‘Breakfast’, which pepper their Reading set list. Naturally, many artists use their Reading platform to send a message – Anteros’ is that we need more women in music, more festivals supporting female artists, and more women supporting women to give them freedom to be whoever the fuck they want to be. Amen to that. [CA]

Frank Carter & The Rattlesnakes

19 years ago, Frank Carter came to Reading Festival as a “small, ginger, much less tattooed man”. Third on the main stage lineup were Foo Fighters. Fast forward to 2019 and the Foos are headlining with Frank Carter & The Rattlesnakes taking the third spot, which also happens to be the last night of their tour together. As this legendary British punk rock band deserves, the crowd is vast, and Carter has the charm to command it; cheekily blowing kisses, keeping us bouncing and introducing us to “the most beautiful girl in the world”, his daughter. Guitarist Dean Richardson is clearly having the time of his life, playing behind his head and joining Carter as he crowd surfs before returning safely to the stage: “We’re only as strong as our foundations. And if you people are our foundation, we’re going to be just fine”. ‘Wild Flowers’ is dedicated to the women in the crowd, particularly those who have suffered at the hands of men (including domestic violence, sexual harassment and misogyny), and women are encouraged up as the only crowdsurfers in a safe environment. The best moment of the set is during ‘I Hate You’ when, without any verbal explanation, a dedication to the UK government appears on screen, followed by reeling through quotes from Prime Minister Boris Johnson and his cabinet. Let’s just say, these quotes don’t paint them in a favourable light. Carter’s music has always been politically charged, so it’s unsurprising that the closing screen is about how we can create change together, with a call to arms for people to register to vote. Given the younger audience of Reading Festival, this is exactly the kind of message they should be hearing and acting upon. [CA]

FIDLAR

There’s barely room to squeeze into The Pit / The Lock Up for FIDLAR, and the tent is filled with cameras as the LA-based punk rockers are allegedly filming for Netflix. Some post-festival research suggests this might be a regular trick to get the crowd hyped, but if that’s what it takes to get us chanting and causing a scene – so be it. Blasting tracks from the new album ‘Almost Free’, as well as some classics from 2015’s ‘Too’ and 2013’s self-titled ‘FIDLAR’, their lyrics strike a balance between drinking and partying, and the “tragedies and irritations of modern life”. It’s clear how much some songs mean to the crowd, judging by the sing-back during ‘40oz. On Repeat’: “Everybody’s got somebody, everybody but me. Why can’t anybody just tell me that I’m somebody’s?” Following in a similar vein to Frank Carter, lead vocalist Zac Carper opens a ladies-only mosh pit – and we’re at that point in the festival that everyone is exhausted, but only a few hours remain, so there’s nothing left to do but let loose and enjoy ourselves. [CA]

A Day To Remember

Despite arriving on stage 10 minutes late, A Day to Remember are an undeniable highlight of the day. They clearly know their audience well, pulling mostly from their older albums as they make their way through the set. The performance can be said to reach its peak as we’re treated to a surprise inclusion of ‘Sticks and Bricks’, as Jeremy notes that even “if you’ve seen our band before, you probably haven’t seen this before”. Cue a deafening roar emerging from the guts of each crowd member. From the (very) dangerous ‘crowd surfing on top of a crowd surfer’, to the copious amounts of pyrotechnics, to the momentary appearance of a t-shirt canon during ‘Degenerates’, to rolls of toilet paper flying around during ‘All Signs Point to Lauderdale’, this is a performance to remember. It’s not only a whole lot of fun, but it’s also well put together and thought out, with each song more well-received than the last – ensuring that as the set draws to a close, we’re only left wanting so much more. [YB]

Enter Shikari

Sunday is nearing its close now, and Enter Shikari are back for the third time, ready to take on The Pit. Today’s sweaty mayhem is a stark contrast to yesterday’s sweet acoustic set, as Rou Reynolds wastes no time in running around the tent and climbing the staging, shirtless and wearing a bucket hat. The seemingly endless supply of streamers, as well as the culmination of sounds created both on stage and in the crowd, are manic – to the point of being overwhelming – yet there’s not a single moment in this set where you find yourself wishing any part of it would stop. This is the kind of set that suits Shikari best, taking you back to the club gigs where fans were given finger lights long before Coldplay ever brought in those light up bracelets. While Reynolds comments on the nerves and butterflies that inevitably precede playing Reading Festival, the band have never looked so comfortable and at home as they do right now. The set comes to a close under a confetti rainfall as we scream along to ‘Live Outside’ for the final time this weekend. It’s clear we can all agree that the beauty and diversity that Reynolds speaks of in relation to Reading Festival is now present in us all. [YB]

Basement

Basement have played Reading three times before and the sparse crowd are ready to welcome them back again, this time on the Festival Republic stage. An inflatable ball has migrated over to the Festival Republic stage from A Day To Remember’s earlier set, but this isn’t an audience that needs gimmicks. It would be hard to call this a ‘fun’ set, but it’s certainly heartfelt and it’s apparent by the response that those in attendance are genuine fans. The set list digs deep into the British punk band’s repertoire, with tracks from the 2018 album ‘Beside Myself’ all the way back to ‘Colourmeinkindness’ from 2012. Basement are potentially a better when headlining their own show, but an opportunity to see them live in any setting shouldn’t be sniffed at. [CA]

Foo Fighters

If you can think of a single better way to end your weekend than spending three hours with the almighty Foo Fighters, we’d like to hear it. There are fireworks from the moment they take to the stage, ensuring we’re well aware this is going to be a show to remember (as if we didn’t already know), with guitar and drum solos increasing what would otherwise be four minute songs to nearly 10 minutes each. If you went into this evening wondering how the hell the Foos were going to stretch out their set to the full three hours, the first 30 minutes answer this question. The drum kit seems to stretch the full width of the stage (the bass drum features an image of Noel and Liam Gallagher in what seems to be a Reading-wide petition to get Oasis back together…), and drummer Taylor Hawkins makes sure to use every element of the kit throughout the band’s time on the main stage.

The night is made up of good spirits, good humour, and really fucking good music – a trio that’s more than enough to ensure everyone in attendance feels that their time is being well spent. From a dedication to Keith Richards (“I wanna see some Prodigy shit”) during ‘Run’, to covers of Queen’s ‘Under Pressure’ and AC/DC’s ‘Let There Be Rock’, to a duet of ‘Never Gonna Give You Up’ with the one and only Rick Astley, this set isn’t just an ode to Foo Fighters, it’s an ode to rock music as a whole. We don’t even mind the side steps away from the Foos’ own music, as with the set being so long, this tactic perfectly involves everyone in attendance and guarantees that the crowd stays jam packed from start to finish.

Foo Fighters are nothing if not versatile, bringing with them to the stage a team of back up singers to accompany their band – an unusual sight at a rock show. But that’s just it, this isn’t ‘just’ a rock show. It’s a blues show and a comedy show, too, and whether you’re a longtime fan of the Foos, a casual fan, or just along for the ride, there is something for everyone to enjoy over the course of the evening.

We are blessed to have this band, and the fact that we are lucky enough to be able to close our entire weekend with such legendary musicians is not lost on us. There are times you find yourself pinching yourself as a reminder that, yes, that really is the Dave Grohl, and yes, we are stood in a field of tens of thousands of people who are just like us. Music – and, in this instance, Foo Fighters in particular – brings people together in a way very little else can, and we live in a time where our weekends can be made up of every sub-genre under the ‘alternative’ umbrella – and we are so very grateful that Reading Festival continues to thrive. May next year (somehow) be even greater. [YB]

Click here to view the full final day gallery.