Words: Fiachra Johnston and Lisa Fox.  Images: Penny Bennett and Download Festival / Abbie Shipperley

Polaris

If I had a nickel for every time an Australian band opened up the Apex stage at Download Festival I’d have two nickels, which isn’t a lot, but it’s strange how it’s happened twice in two days. Maybe it’s the way they can get a crowd moving at 12 in the afternoon? Polaris start up the dust storms that will continue throughout the day with a rendition of ‘Hypermania’ that immediately puts the speaker system to the test. It’s a basic but effective set, a classic explosion of metalcore as vocalist Jamie Hall violently wheels around onstage. This is sadly one of the last shows on their EU tour before having to recuse themselves due to the passing of their guitarist Ryan Siew. We send them all the love in the world, and we cannot wait to have them back with us soon.

Stray From The Path

Long Island residents Stray From The Path know where they are, and how to get the crowd moving. Right from the start of ‘Needful Things’, the vicious nu-metal throwbacks have the audience on their side, with front man Drew Dijorio directing them in a storm of circle pits. Launching into the ever-relevant “Goodnight Alt-Right” with a statement that minority communities that “will always be welcome at a SFTP show” and that “Nazi punk motherfuckers” will promptly meet a metaphorical boot heel only gets people going even more. Maybe this is how Dijorio is able to inject enough energy into a dust-covered, already exhausted crowd into bouncing for ‘Guillotine’. SFTP perform like they’re the last act of the day, and the crowd move as if they don’t have another 10 hours to go. Will it come back to bite us as we dredge through the 25 degree wasteland without shade? Absolutely. Was it worth it? Most definitely.

Ice Nine Kills

Half of the enjoyment of an INK set comes from vocalist Spencer Charnas’ antics on stage, and there are antics abound as they took to the Apex. From his role as a psychotic hostel customer in ‘Wurst Vacation’, to murdering a poor misfortunate banker in ‘Hip to be Scared’, to full on knife crime against the Download Dog for ‘The Shower Scene’, INK’s set is as much a horror film as it is a musical performance, one we can’t tear our eyes away from. Musically, they’re as talented as they’ve ever been, though they only pull from their two ‘Silver Scream’ albums, avoiding their more classic work in favour of further cementing themselves as a full-force, blood-fuelled, horror-themed band. Charnas kills it (pun intended) on vocals, the action on stage not detracting from the vicious breakdowns and tight guitar lines that avoid many of the tech bungles that other bands have been plagued with on the Apex.

Still, we feel bad for the poor Download Dog. Wonder what poor shmuck they roped into climbing into that thing…

Bob Vylan

Passing by Bob Vylan in the Avalanche tent, you can’t help but grin ear to ear. Bobby and Bobbie have turned the fit to burst Avalanche into a madman’s disco, with Fever 333 joining briefly for ‘Pulled Pork’ and nearly blowing out the nearby sound systems with ‘Wicked and Bad’. The announcement they would be doing an after hours set “well after Metallica’s bedtime” is met with raucous applause, and you can’t help but wonder how big Bring Me The Horizon’s Church of Genxsis could really be in comparison to the duo’s cult of personality. We later hear their secret set went so long security came to shut them down, leading them to crowdsurfing offstage by an enthusiastic crowd to further party elsewhere. Now that’s punk.

Motionless In White

It’s their fourth go around at Download, but it is always a joy to see Motionless In White at Donington. Evidently, many share the sentiment, as even before the first notes of ‘Disguise’ drop, the jam packed crowd is electric. Ever the burst of charisma, Chris Motionless celebrates the year anniversary of their latest record by conducting the crowd through ‘Scoring The End of the Word’. ‘Slaughterhouse’ sets the Opus alight even without Knocked Loose’s Bryan Garris, its breakdown maybe the most violent of the day, and ‘Reincarnate’ draws exclamations of joy as the 2014 classic adds a layer of nostalgia to the electricity onstage. It’s a pretty standard MIW set, not reinventing the wheel but never letting the energy fall below manic levels, and there’s no doubt Chris and co. will be more than welcome back with the crowd they’ve drawn.

Kid Kapichi

Kid Kapichi may not think they belong, with lead singer and resident “old man in a young man’s body” Ben Beetham’s little spots of self-derision throughout the set (“We probably sound like Miley Cyrus compared to what you’ve just heard but thanks for giving us a chance”) but the crowd certainly do by the time thudding bass of ‘Rob The Supermarket’ hits. The Hastings group are full of love for a receptive crowd, losing themselves at how packed the tents gets as their open, airy guitars cries out in ‘Death Dips’. There’s so much charisma on stage, its hard not to see why they were Frank Carter’s band of choice for his birthday, and as ‘Smash The Gaff’ is launched into with a battle cry of “What the fuck is up Denny’s?”, its clear that the mix of humour, sincerity and old school bash-your-head-in punk rock will carry this relatively young band a long way.

Alexisonfire

Alexisonfire are, like Bring Me The Horizon, something of an odd pick for Download 20, though only a few weeks off from the release anniversary of ‘Otherness’ – their first record together in over a decade – the Ontario post-hardcore outfit also have cause for celebration. Their scale certainly fits the Apex, and after combating with the sound system a bit with ‘Sweet Dreams of Otherness’, they settle into a rhythm. Apart from a few cursory introductions and crowd check-ins, vocalists George Pettit and Dallas Green are rather taciturn and clinical in their onstage performance, giving the crowd something of a breather in between some rather heavy hitters. It’s a solid set, one perhaps most mired by the heat of the day and some unfortunate mixing by the tech crew but the most dedicated of us are bellowing along to ‘We Are The Sound’, and the quintet enthusiastically retort with a powerful rendition of ‘Blue Spade’. Though they wouldn’t have been many’s first pick for a slot at the Apex, they certainly made their mark.

Deaf Havana

Fresh off a secret set last night at the Sidesplitter stage, Deaf Havana are here to nurse our hangovers. Sadly, there’s a frustrating amount of mic issues for the Veck-Gilodi boys and their backing members, impacting the otherwise wonderful renditions of ‘Fever’ and ‘Hell’. This doesn’t stop a loyal crowd from singing along to every hit however, heat and tech issues be damned. It’s cathartic then, when the issues are wrangled under control ‘The Present is a Foreign Land’, and much like their late night set the night before, the curious blend of folk and alt-rock makes them one of the unique sounds in the metal-laden Donington.

Monuments

Monuments have some of the most unfortunate luck, starting their set surprisingly late due to ongoing tech issues in the Dogtooth stage, yet it doesn’t dampen the audience spirit, continuously chanting for the band and hollering with glee when vocalist Andy Cizek pops on to help with mic setup. Cizek has only been with the band since 2019, but the man can scream. In what may be one of Download’s most eardrum-busting sets, Monuments absolutely hammer home how cohesive their current lineup is, debuting ‘Nefarious’ live for the first time to rabid reaction. The crowd is equally here to prove something, keeping the energy high, forming pits aplenty as ‘Lavos’ threatens to tear the tent of its supports. Somehow, the mass of bodies in here forgets about the stifling heat for one moment, resulting in a set that could have kept on the entire night if not for a frantic stagehand trying to keep sets on time. Please, if you get the chance, see these boys live, they will not disappoint.

Creeper

If people were angry about the Coheed and Cambria/Placebo clash before, the announcement of a surprise set by Creeper at the same time drove most over the edge. Of course, we couldn’t resist attending Fright Night at the Dogtooth and despite a late start similar to Monuments, it was worth every second. The tightly packed crowd is enamored as Will Gould and the band’s unique brand of goth punk sweeps through the tent, bringing out the live debut of a new track, ‘Sacred Blasphemy’ to a stellar reaction. The set will of course garner comparisons to tomorrow’s Opus headliners Ghost, but the suave nature of the band, how they go from the ‘Cry To Heaven’ to monstrously vampiric in ‘Poison Pens’ makes the tent wholly theirs. Criminally, the set is cut to shreds for time to make way for the headliners over at Apex, leading to ‘Annabelle’ being cut and a shortened version of ‘Hiding with the Boys’ (dedicated to the equally macabre Ice Nine Kills) before sending the crowd home ghoulishly grinning with ‘Misery’. As far as Download secret sets go, Creeper have carved their name into the annals succinctly but savagely.

Metallica

Throughout the day there has been a sea of camping chairs turning the journey to the front of the Apex stage into a human slalom course. With the heat sucking the energy out of every person in Donington (which no one can be faulted for), it makes navigating throughout the day feel like an escapade within a people-littered hedge maze. Fortunately, as what feels like the entire population of the festival descends on the main stage, the chairs are packed away, as everyone rises for Metallica’s second set of the weekend, and their record tenth Donington show.

Compared to Thursday, Metallica are praetorian in their performance, immediately picking up the pace from their entertaining, but slightly hollow Thursday show. ‘For Whom The Bell Tolls’ comes early and hits hard, reinvigorating a sun poisoned crowd back into life. ’72 Seasons’ like it’s Thursday brethren from the titular record, is as devastating as any classic Metallica track, feeling right at home on a big stage. The most noticeable change is how at home the demiurges of destruction now feel onstage. The band poke fun at this only being Lars ninth outing at Donington (“He’s playing with every band tomorrow to catch up) and making light at the bands weaker moments, as Hetfield compares a snare test to St. Anger: “Please stop, it’s torture”. Some dad jokes are thrown around (“the crowd at Download are in-tents!” to a chorus of groans). James struts and puffs gusts of smoke as the chug through ‘The Call of Ktulu’, and a little girl brought on stage bursts into tears standing next to Lars (poor guy can’t catch a break). It’s a energetic, charismatic outing that reminds us how the four of them have stayed in the hearts of so many for so long: this is ultimately a rip roaring gig.

Darkness finally envelopes Download to the chorus of ‘Wherever I May Roam’, and ‘Moth to a Flame’ incites the largest pyrotechnic display of the night, the funnels of flame able to be felt from the back of the park. Their rendition of ‘Whiskey in the Jar’ incites some pride in the Irish festival goers next (Is deas i gcónaí cuimhní baile nuair atáthar thar lear). James lets loose with a surprisingly animalistic scream for ‘One’, something we haven’t heard in a long, long time while ‘Enter Sandman’ gets the crowd moving for one final time. Of course, an explosive firework sendoff is in order as we walk away from the arena, and its deserved. Ten outings at Donington and Metallica have given a clinic of a performance. Three days in, against a crowd with dust in their lungs and sunburn on their backs, yet the quartet’s masterful command of the show make them seem like they were in the prime of their career. It’s easily the weekend’s most dynamic, and largest attended, performance.

Then again, Corey Taylor waits patiently in the wings.

So, with this year marking 20 years of Download Festival –  and 53 years of festivals at the esteemed Donington Park – how did Download fair with so many eyes turned towards the fabled Apex stage? It certainly wasn’t an uneventful weekend, as the usual classic rock and metal of past festivals was instead blended with a cavalcade of new genres and some surprising new faces. While our sunstroked staff couldn’t cover every blistering high and searing low over the weekend, we did have some favourites in between lashing on SPF 50…

Words: Fiachra Johnston.  Images: Penny Bennett and Download Festival  / Andrew Whitton

Cancer Bats

If you want a Download started properly, you bring in Cancer Bats. This is their sixth go around at the festival, and despite working with equipment borrowed from their friends in Graphic Nature, Liam Cormier and the Ontario outfit are just as explosive as they were in 2007. ‘Sorceress’ gets the crowd into a suitably aggressive mood, with the energy only spiraling upward as Cormier incites them to form greater and greater pits during ‘Let It Pour’. The band are just what a sleepy Thursday afternoon needs, with even tracks like ‘Radiate’ from their newest record resonating with a hungry audience. Their thundering cover of Beastie Boys’ ‘Sabotage’ isn’t meant to be their closing track but alas, before they have a chance to launch into finale, ‘Hail Destroyer’, they are cut off due to time constraints. Undeterred, they press on – cut off by the sound team but still just about audible over the roar of a supportive crowd – until at last they are forced to move by an oncoming stage tech team. They won’t be the last to suffer the curse of the Opus this year, with many groups taking to the second stage suffering from a swathe of technical issues and delayed sets, but if you thought a band called Cancer Bats were ever going to surrender the stage without a fight, well, that’s on you.

The Bronx

As you’ll see from a lot of our choices for Thursday, Opus stage is where the energy is at. While Haken and Perturbator turned Dogtooth into Download’s own underground club, and State Champs cranked up the heat at Avalanche, Matt Caughthran and The Bronx are whipping up the first of many dust storms to come. The always popular ‘Heart Attack American’ sees the crowd properly dive into the chaos that is Californian punk rock, guitarists Ford and Horne’s riffs throwing the crowd back to the days of Tony Hawks’ Pro Skater 2. ‘Knifeman’ sees Caughthran jump into the crowd to supervise the circle pit himself, much to the chagrin of the poor stagehand left to figure out how to stop 30 feet of microphone wire becoming a 40 person tripping hazard. Sadly, their eight track set contains nothing from their three albums of mariachi music, so we have to settle for the otherwise gnarly, dusty and manic punk set that aptly sets the tone for the rest of the weekend.

Jinjer

The Apex stage was no letdown on day one, with Download classics such as Halestorm and Alter Bridge making their return to Donington for its anniversary. You’ll no doubt hear about how wonderful their sets were (with good reason; Lzzy and Myles rarely disappoint), but in what will be one of the Apex’s most underrated performances, Jinjer – on tour as ambassadors of Ukraine – make quite the statement, launching into ‘Perennial’ as if they’ve always been a DL mainstay. This year saw Download’s signature lineups of classic metal acts merge with more ‘scene’ genres and bands, and with their blend of melodic metal and Tatiana Shmailyuk’s truly impressive hardcore vocals, both young and old show-goers are invigorated as ‘Colossus’ puts Apex’s speaker system to the test. Shmailyuk marches across the stage during ‘Copycat’ and ‘Teacher, Teacher!’ as if she’s the main event of the night, promoting peace in their country throughout the show but causing an absolute riot in the pit with her vocal performances. It’s a short set but an impactful one and while they might have come into this show as an afterthought, Jinjer leave day one as a future must see.

Puscifer

Maynard James Keenan is a weird fellow, but he by no means rests on his laurels. Between a deluge of hobbies and three touring bands, he still finds time to attend Download, added to the lineup with the cancellation of their Brixton date. Maynard and Puscifer, or rather, Agent Dick Merten and the spooks from the “TMZanon Division of Pusciforce” take to the Opus stage looking for signs of alien life in the crowd. In between conspiracies that singer Wendy O Williams faked her death and returned as the frontman of Tool, and fellow agent and frontwoman Carina Round squat-lifting the frequent “alien visitors” that attempt to interrupt their set, Puscifer finds time to deliver an altogether excellent performance of both newer tracks and remixed renditions of older classics, such as the Versatile mix of ‘Momma Sed’. The multileveled stage setup, the multimedia aspects, and some truly incredible riffs from guitarist Mat Mitchell (‘The Remedy’ live is something that must be see to be believed) all support Round and Keenan’s antics. Their manic energy and choice of the band’s most off-kilter tracks such as ‘Apocalyptical’ and ‘Man Overboard’ leave this one of the weekend’s most surreal experiences, only hindered by how much needs to be cut from their usual set to fit the festival time limit.

Skindred

Oh Benji, what would Download be without you? The Opus stage headliners aren’t even meant to be here, filling in at the last minute for a sadly unavailable Five Finger Death Punch. This brings Newport’s resident rockers to Download for an incredible fourth year in a row. Of course there are people who may be displeased but most, if not all, complaints melt away the second Skindred take the stage. Charismatic to the nth degree, Benji Webbe holds the crowd in the palm of his hand like no one else can, deftly moving between tongue-in-cheek Harry Styles samples to heartfelt monologues to their classic reggae infused metal. With a new album on the way, new songs like ‘If I Could’ and ‘Set Fazers’ inject new life into an otherwise ancient setlist, and not content to leave DL20 without a surprise, Apex stage’s Lzzy Hale joins them in a hellacious rendition of ‘Warning’. It isn’t the second stage headliner we expected, but there’s a reason Skindred are Download’s MVP.

Metallica

Eight headline shows. Eight. If there’s ever a band that embodies the spirit of metal at Donington Park, it would be Metallica. First appearing at 1985’s Monsters of Rock, James Hetfield and co have spent the better part of four decades thrashing their way into our hearts. It’s unknown if the end is near in sight for juggernauts of thrash; if the M72 World Tour, with its massive schedule of double shows spanning the length of 2024 signals some kind of last hurrah, but for tonight at least Metallica are content to remind the world while they are one of the greats.

As AC/DC’s ‘It’s a Long Way to the Top (If You Wanna Rock ‘n’ Roll)’ blares over the speakers, a montage of tour photos from the last 20 years appears on each screen, slowly dissolving into Metallica’s tradition Ecstasy of Gold intro, before all hell breaks loose as the opening ‘Creeping Death’ sets the crowd alight.

Yeah, Metallica still have it. Hit after hit, nary a word said until ‘King Nothing’, where the introductions are brief before Lars counts the crew into a double hit of new material in ‘Lux Æterna’ and ‘Screaming Suicide’, tracks that, despite their youth, flow surprisingly well into their classic material. Metallica still have an aura like no other, commanding the stage with the stoic presence of a steel giant, but there’s perhaps a sense of seriousness that separates it from previous tour sets. James makes some wisecracks at Lars’ utterly mangled snare after ‘Fade To Black’, and a jab at their newest line of merch (“Yellow on a t-shirt, it’s… eh it’s maybe not our best”), but otherwise they are wholly focused on the performance tonight. There are any number of factors for the lack of levity, but it is missed, and when it makes its return on the Saturday set (spoilers!), even for a brief moment, it’s much celebrated.

There’s a little bit of something for everyone tonight. ‘Orion’ makes a welcome return to the setlist, and a ripping rendition of ‘Blackened’ manages to keep the crowd alight even after a near two hour performance. Yet even after closing with the ever popular ‘Seek and Destroy’ and ‘Master of Puppets’, this may go down as the weaker of the two sets. Even then, nearly 40 years removed from ‘Master of Puppets’, Metallica deliver one of the most impressive live performances in the industry. The titans of thrash are beyond needing to prove themselves at this point, and as the last of the pyro turns whatever clouds remain in the midnight sky into vapor, we leave Thursday wondering how we could ever have doubted them.

If you were unfortunate enough to have been caught up in the hell that was Wednesday’s rush for parking and camping space, Download’s first day provides ample opportunity to recover. Cooler, calmer, and shorter than the following three days. It’s no secret that this extra day only exists to support Metallica’s current schedule of two shows per tour location, but given the quality of the acts Download has built around it, the fortuitous timing of the festival’s anniversary and how hectic the remaining days were expected to be, this day makes for a well needed buffer to allow the crowd to truly get into the festival spirit.

All of this is with good reason; when they’re at their best Metallica has made some of the highest quality, most influential metal music of all time. Their latest offering, ‘72 Seasons’, is the San Francisco-based foursome’s eleventh studio record, their first since 2016’s ‘Hardwired… To Self Destruct’, and second to be self-released on the band’s own label, Blackened Recordings. So with all of that in mind, how does ‘72 Seasons’ hold up?

It’s probably no surprise to say that this record is unlikely to be considered to be as influential or brilliant as classics like ‘Master of Puppets’, ‘Ride the Lightning’ or ‘Metallica’ (better known as The Black Album) in their canon. However, it’s still a great record that will more than satisfy long-time fans of the band. If you separate ‘72 Seasons’ from Metallica’s back catalogue and purely take it on its own merits, you’ll find a superb metal album that stands a head and shoulders above the majority of metal bands releasing music today. No band with four decades of touring experience under their belt has any right to sound this heavy, vital, or explosive. Yet here Metallica are, continuing to do so even as they approach their 60s.

For the most part, the Metallica we get on ‘72 Seasons’ is a slower and more contemplative band than they have been throughout much of their career. While they’ve never been strangers to a longer song, final track ‘Inamorata’ is the longest song they’ve ever put on a studio record (unless you count ‘Lulu’, their divisive collaboration with Lou Reed) clocking in at over eleven minutes. That’s not to say the album is any less heavy for it though; it starts out loud and doesn’t let up without even a hint of a ballad across the entire runtime. As always with any Metallica record, the guitar work is a particular highlight, with James Hetfield and Kirk Hammett laying down groovy riff after groovy riff throughout. Vocally, Hetfield is in fine form, barking out the lyrics in his trademark gruff delivery.

For any band more than forty years into their career, the very minimum that fans will be hoping for when a new record drops is a few songs that will stand alongside the classics in a live setting. ‘72 Seasons’ comfortably delivers that, with a handful of songs that could slot into a setlist alongside many decades’ worth of classics. The title track and ‘Lux Æterna’ in particular stand out as likely additions to the live show when Metallica hit the road in support of ‘72 Seasons’. The latter is among the album’s standout moments, a pacy number with driving drums and riffing. It is – by some distance – the shortest track on the album with a superbly wailed vocal hook by Hetfield, and a ‘Master of Puppets’-esque solo from Hammett.

Four of the tracks on the album have writing credits for Hammett, who didn’t contribute from a songwriting perspective on the previous record after losing his phone containing all of his song ideas at an airport. The first that he helped write is the title track ‘72 Seasons’ which is one of the album’s finest songs. It’s a suitably pacy and bombastic number, with all four members of the band ripping through a whirlwind of modern metal. There’s also a run of three songs towards the end of the album that Hammett helped write, ‘Crown of Barbed Wire’, ‘Chasing Light’ and ‘If Darkness Had a Son’. Hammett has clearly been brimming with ideas, as this run of three is one of the strongest parts of the record. The latter is probably the best of the three, with an incredible, stadium-ready intro, chugging guitars, and gloomy vocal delivery from Hetfield.

‘72 Seasons’ doesn’t quite live up to the impossibly high standards Metallica set for themselves in the 80s and 90s, so if you’ve somehow not come across Metallica’s music before, you’d be best off grounding yourself in the classics first. However, it does serve up 77 minutes of the band’s signature metal sound, providing fans with plenty to get their teeth stuck into. Eleven albums and 42 years into their career, Metallica once again prove that even a record that isn’t their best work still stands head and shoulders above almost everyone else.

ASH BEBBINGTON

It will be located at 45 Charlotte Road in Shoreditch, opening from 12pm to 8pm (except for the 23rd; 12pm to 6pm). It will feature some new and exclusive collectable items for fans of the band. Last year the band released their tenth album, ‘Hardwired…to Self Destruct’.

Additionally, the band will also be re-releasing their 1986 third album, ‘Master of Puppets’. This expanded release features previously unreleased new material including demos, live tracks, rough mixes, interviews and more. It will be released on the 10th November and can be pre-ordered here.

The band will also be playing the following UK arena shows with Kvelertak.

OCTOBER
22 O2 ARENA London
24 O2 ARENA London
26 SEE HYDRO Glasgow
28 MANCHESTER ARENA Manchester
30 GENTING ARENA Birmingham

This expanded release features previously unreleased new material including demos, live tracks, rough mixes, interviews and more. It will be released on the 10th November and can be pre-ordered here.

In October the band will be playing the following UK shows with Kvelertak. The dates will be in support of their 2016 tenth album ‘Hardwired…to Self Destruct’.

OCTOBER
22 O2 ARENA London
24 O2 ARENA London
26 SEE HYDRO Glasgow
28 MANCHESTER ARENA Manchester
30 GENTING ARENA Birmingham

The dates will coincide with band’s UK dates supporting Metallica that month. Last year they released their latest album ‘Nattesferd’ on Roadrunner Records.

As for London alt metallers Puppy, last month they re-released their 2016 second EP ‘Vol. II’ via Spinefarm Records.

OCTOBER
22 O2 ARENA London*
23 BRIGHTON The Haunt^
24 O2 ARENA London*
25 NEWCASTLE Think Tank^
26 SEE HYDRO Glasgow*
27 SHEFFIELD Corporation^
28 MANCHESTER ARENA Manchester*
29 NOTTINGHAM Rescue Rooms^
30 GENTING ARENA Birmingham*

* w/ Metallica
^ w/ Puppy

photo: Stian Andersen

It is taken from the Norwegian metallers’ latest album, ‘Nattesferd’, which was released last year on Roadrunner Records.

As well as playing at Download Festival on the 10th June, they will also be touring the UK with Metallica in October. The dates for all this are listed below.

JUNE
10 DORSET Download Festival
OCTOBER
22 O2 ARENA London
24 O2 ARENA London
26 SEE HYDRO Glasgow
28 MANCHESTER ARENA Manchester
30 GENTING ARENA Birmingham

photo: Stian Andersen

The legendary metal band will five arena shows in October, including two nights at the O2 Arena in London. The tour is in support of their 2016 album, ‘Hardwired… To Self Destruct’. Support on the tour will come from Kvelertak.

Tickets for the shows go on sale on March 24th, and you can see the dates for the tour below.

October
22 O2 ARENA London
24 O2 ARENA London
26 SEE HYDRO Glasgow
28 MANCHESTER ARENA Manchester
30 GENTING ARENA Birmingham