Words: Kate Allvey.  Images: Penny Bennett and Download Festival

Code Orange

“Wake the fuck up,” screams Code Orange vocalist Jami Morgan and there’s no way we could stay asleep with their opening volley of maximum volume metalcore. Morgan’s bleeding by the end of first song ‘Grooming My Replacement’, their moodiness Korn-ish without being corny, their harshness the brutal shaking we need to start the third day of Download. In fact, they try to play on after the end time of their shortened set and that level of dedication to providing music to make our teeth rattle needs to be applauded.

 Creeper

Combine AFI, Misfits, the Damned and the cast of Phantom of the Opera, and what do you get? Southampton’s own Creeper, adding a dash of drama to the main stage. ‘Cry To Heaven’ drags power chords and maximum gothic intonation from vocalist Will Gould into the daylight, explaining why there’s such a big turnout for a band so early on the bill. The duelling drums between Gould and second vocalist Hannah Greenwood, the retro anti-cuteness of ‘Down Below’ or the fact they are so damn stylish as a band could also be the big factors in drawing the masses to the bottom of the hill, but with a surprise appearance from Dan Jacobs of Atreyu on ‘Lovers Led Astray’, our early rising is richly rewarded. 

Kerry King

The legendary guitarist is intent on forging his own path away from Slayer, and his set at Download is the first time his solo supergroup (featured members past and present of Machine Head, Death Angel and Testament) have visited the UK. It’s a set that’s understandably heavy on songs from his recent solo debut, ‘From Hell I Rise’, which if we dare say it, sounds very close to everything else King has worked on in his career, the extent that ‘Raining Blood’ and ‘Black Magic’ are indistinguishable from the solo tracks. The classic metal sound is a quintessential part of Download and there’s a transparent reason why King at the top of the heavy metal pantheon, and his set is very much playing to the guitar worshippers in the crowd. ‘Toxic’, “about the fucked up state of politics and politicians across the world” according to vocalist Mark Osegueda, feels a bit clumsy considering the nuanced political statements shared by many other acts, but the old school aggression is a welcome oasis in the Download experience.

Parkway Drive

“Whatever you do, don’t tell anyone,” warned Friday headliners Queens of the Stone Age on ‘The Lost Art of Keeping a Secret’, and the rumour mill had been running overtime about who might fill the empty slot on Sunday. Slipknot and My Chemical Romance were mentioned, as were heretical swedes Ghost, but the alert finally confirmed an hour before their set that Australian metalcore superstars Parkway Drive would be the surprise addition. Naturally, the crowd stretched twenty metres in every direction outside the tiny Dogtooth Stage, with nervous security unsure of the severity of the upcoming band posted on every corner. They needn’t have worried though. Parkway Drive create the kind of uplifting atmosphere that every festival needs, a shared community of folk ready to dance through ‘Glitch’s unearthly guitar as the ground squelches beneath our feet. They drag out the bridge of ‘Prey’ for heightened pleasure before ‘Idols and Anchors’ satisfying payoff and slow-motion slamming. We embrace for ‘Wild Eyes’, the passion poured into the drums diffusing out into the clearing sky. 

Of Mice and Men

Heavy, bouncing and compelling, Of Mice and Men capture the interest of those for whom the stage-clashing Sum 41 are anathema. ‘Obsolete’s grow up emo translates into all seeing darkness that hypnotises onlookers rather than provoking a visceral reaction, until singalong song ‘Castaway’ adds a little cyber energy for our approval and we’re suddenly dancing like our lives depend on it. ‘Would You Still Be There’ feels like it belongs in the future, an era yet to be discovered that grabs a full tent who sing as they run in, and ‘O.G. Loko’ is a big fan favourite, even with toddlers dressed as unicorns who perch on their parents’ shoulders and mash their hands to the roof of the tent in time to the music. 

Thy Art Is Murder

Thy Art Is Murder kick off to a slow and dirty start with ‘Slaves Beyond Death’ keeping the contrast high between the stages, guttural screaming from Tyler Miller as the only appropriate accompaniment to the drum onslaught from Jesse Beahler. In each circle of friends in the crowd, one person loves Thy Art Is Murder and slams like it’s their calling in life while the rest look on politely. At the front, the core acknowledged as “muddy and disgusting” by Miller (a fair statement) will place this as their top set of the weekend, feeling every second of the beautiful juxtaposition between the barrage of noise highlighted with sirens and the late afternoon sunshine. ‘Blood Throne’ is just the perfect example of the kind of wholesome brutality that characterises this corner of the spectrum of bands at Download. 

Corey Taylor

The Slipknot frontman has shed his mask both literally and metaphorically to present a set that’s equal parts raw, sophisticated and silly. ‘Post Traumatic Blues’ comes across as very classic rock until he opens his mouth and let’s out the the full hardcore roar he’s known for, minimising the melodic parts of his range. A show like this, with roughly half the crowd in Slipknot shirts, is like shooting fish in a barrel for him but he puts his all into the solos, determined to live up to his own legend. “There’s no way I was missing this show,” he says sincerely, referring to his health issues which prevented him from touring earlier this year, and with a clean, gleaming smile, he takes over on rhythm guitar for ‘Black Eyes Blue’. Much of his set tackles serious topics with gravity and charisma, until he breaks into the SpongeBob Squarepants theme, winning over those hesitant about his solo prowess with his humour. 

Limp Bizkit

It’s impossible to separate Limp Bizkit’s performance from the inexplicable cult status, and they were, without a doubt, the band with both the biggest crowd and the most enthusiastic response of the weekend. However, the choice to alternate each song with a recording of a pop song, which frontman Fred Durst sways awkwardly through, was an odd one, as was bookending their set by playing ‘Break Stuff’ twice. “We’re just kinda warming the place up for Avenged Sevenfold, keeping it mellow for you guys,” he explains in one of the excruciatingly long pauses between songs. But when they decide to focus, Limp Bizkit still have the magic that sent them to the top of the charts. The reaction to ‘Rollin (Air Raid Vehicle)’ and ‘Take A Look Around’ is genuinely vibrant, creating the atmosphere that you’ve seen on countless YouTube videos and desperately hope to experience for yourself. Yes, there’s a distinct irony in a fifty-three year old with a Santa beard singing about how people don’t understand ‘My Generation’, but the sheer joy that most take from hearing their karaoke staples played across the main stage is infectious. They know how to manipulate, how to masterfully create a buildup, and when they use their maximum energy, it’s easy to see how they’ve won over so many fans who weren’t there the first time around. Thousands simply go home after Limp Bizkit’s set, their Download weekend concluded with a satisfying high. 

Avenged Sevenfold

As the sun sets on another Download Festival, we enter the rich and mysterious world of Avenged Sevenfold. There’s so many sides to their set, from complex narratives, sweet moments and even some plan old rock songs, and they emerge from technical issues as a triumphant headliner. Early song ’Afterlife’ stimulates our remaining brain cells like a sledgehammer with choruses that reach to the darkening sky as ghostly visuals fade to dust in our final twiddly guitar fix of the weekend. “Today is a special day, it’s Father’s Day. There is nothing cooler in this world than being a good dad,” declared vocalist M.Shadows before ‘Hail To The King’, and our weary fists punch upwards in a show of survival as we wail the chorus back. They dedicate ‘Fiction’ to former member The Rev, who passed away in 2009, their baroque piano sincerity prevailing in a tender and honest moment without pretension.

Of course, their most straightforward songs smack the hardest. ‘Bat Country’ is a huge hitter, provoking manic dancing between the drying puddles, and ‘Nightmare’ wins the fight against sound system issues to emerge as the memorable anthem of the last day. ‘A Little Piece Of Heaven’ shakes us through a nightmare with thunderous glee and the level of spectacle you’d expect from a headliner, with monstrous skeletons serenading on the saxophone projected behind. The misty and mystical penultimate ‘Save Me’ drifts into ‘Cosmic’ as an emotional finale, bidding farewell to the weekend in a way that feels fundamentally right and giving us the closure we crave to before rejoining the real world. 

Click the below image for the full ‘Download Festival – Sunday’ gallery

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

Cassia

We start off our Saturday exactly as we need to: in the Radio 1 tent, listening to Cassia and enjoying the soft, indie nature of their music as it cures our Friday hangovers and eases us gently into day two. The band feels tropical, suiting the still-warm weather perfectly; allowing you to picture yourself on a beach, cocktail in hand, if only you’re to close your eyes. With a cover of Martin Solveig’s ‘Hello’, the crowd’s enjoyment reaches its peak, clapping and singing along in the shade of the tent as they prepare themselves for the rest of the day. [YB]

Against The Current

Against The Current are a strong opener for the Main Stage, serving up a generous helping of good old-fashioned feel good pop rock. They played Reading Festival for the first time two years ago, coming back to draw a surprisingly large crowd given the time and the midday heat. The set is fun, a sentiment matched by drummer Will Ferri’s boldly patterned shirt and vocalist Chrissy Costanza’s pink inner-eye make-up – let’s just say that ATC have nailed their brand. From 2018 album ‘Past Lives’, ‘Voices’ is a highlight of the set, showing off Costanza’s voice and accompanying it with some infectious rhythms and melodies, as well as ‘Almost Forgot’, which wouldn’t be out of place in mainstream charts. It’s a polished performance, although lacks the same emotional weight as some other bands this weekend – but fans will be pleased to know that they will be back in the UK in December for shows in Manchester and London. [CA]

Higher Power

There’s a very different energy over at The Pit / The Lock Up stage, full of angst and ready for Higher Power. The crowd are already moshing as the first song begins, keen to clap along as vocalist J Town professes to “bring some hardcore style to Reading Festival”. His first hardcore experience was watching Hatebreed and the like in The Lock Up tent many years ago, so it’s clear how meaningful it is for him to return with his own music. While it can be hard to get on board with the new wave of hardcore bands, it’s still possible to appreciate the artistry of the genre, the escapism it offers and the community surrounding it, and surrounding the crowd through Higher Power’s set. J Town keeps the crowd moving and head-banging through the heat, supported by Ethan on bass guitar, Alex on drums and both Max and Louis shredding their guitars. Their second track is aptly named ‘Can’t Relate’, but luckily, the rest of the crowd would most definitely disagree. [CA]

Boston Manor

If Cassia allowed for a gentle easing into the day, Boston Manor create a polar opposite atmosphere in their slightly later Radio 1 set. These Blackpool boys don’t allow for a single second of rest, encouraging circle pits from the get go, ensuring everyone in attendance is well and truly dripping with their own (and others’) sweat by the end of opening song ‘Flowers in Your Dustbin’. It’s been 10 years since the members of Boston Manor first attended Reading festival as fans, and to now be playing the second largest stage on what is usually the most popular day is not lost on these humble men. This is an opportunity they refuse to waste, and as bodies are thrown into the air during ‘Bad Machine’, it’s one that is embraced not just by the band, but by everyone in attendance. Boston Manor have only existed in the public eye since 2013, yet the tightness of their set is second to none, and it’s clear as Henry launches himself into the crowd for ‘If I Can’t Have It, No One Can’, there’s no doubt in anyone’s mind that this band was born to perform, and to perform together. If you happened to find yourself in attendance during this set, you’d surely agree that this short but sweet experience is one of the best of the whole weekend. [YB]

Enter Shikari

When will you ever find yourself in a position wherein you’re able to see Enter Shikari perform three times in one weekend? At Reading Festival, of course. Already set to perform twice on Sunday, Enter Shikari popped by a day early for a secret set on BBC’s Introducing stage. This is a band we’re used to seeing play huge venues and stadiums, yet here we are, watching them play a stage that’s barely large enough to hold them, ready to perform the acoustic set we never knew we needed. It’s a soft set, in total contrast to what we’re used to from Shikari, yet the impact is by no means lessened as a result. Rather, front man Rou Reynold’s voice only sounds more stunning, and it highlights just what a versatile band Enter Shikari are. It’s intimate, as Reynolds shares his feelings on the world, and introduces some chords that help him to feel better, as well as commenting that those who turned up with just an hour’s notice are “the real deal” and “the force behind this band”. In this moment, we feel it; the connection that has been maintained over the years that Shikari have been a band, and the years in which they have grown to a size that almost no one could have anticipated after the release of ‘Take to the Skies’. Closing this stunning set with Oasis’ ‘Wonderwall’ highlights the fact that the members of Shikari don’t take themselves too seriously, and it only results in us loving them even more. [YB]

Dinosaur Pile-Up

Dinosaur Pile-Up join Reading festival goers after two and a half months touring the United States. The crowd is the biggest The Pit / The Lock Up has seen all day and, unsurprisingly, the British alt rock band note that it’s one of the best crowds they’ve ever played to. “You wanna have fun?”, lead singer and guitarist Matt Bigland asks. Of course we do. There’s crowd-surfing, there are beach balls, and there is dancing along to tracks that include ’11:11’, ‘Back Foot’, and ‘Thrash Metal Cassette’ from the 2019 album ‘Celebrity Mansions’. Bass guitarist Jim Cratchley keeps it funky whilst drummer Mike Sheils throws down rhythm after rhythm – there’s a good reason Dinosaur Pile-Up are a firm favourite at Punktastic. [CA]

Poppy

Beginning ten minutes behind schedule, American singer-songwriter Poppy comes onto The Pit / The Lock Up stage to the narration: “Is Poppy a girl? Is Poppy a boy? Is Poppy gender neutral?”. This isn’t really answered, and nor does it need to be, but it’s clear that Poppy takes the same approach to their music with outright refusal to be constrained by one genre or vocal style. Combining heavy metal riffs with Japanese-inspired sugary vocals and gimmicky costumes, Poppy appears to have built up a strong following over the past couple of years as the tent is packed to the rafters with tangible excitement. The performance is attention seeking and deliberately weird, but the crowd is in raptures and opens up a huge circle pit. Musically, Poppy’s vocals are strong and the talent of the musicians can’t be faulted – as a punter, you just need to be open to what on earth might come through the speakers next. [CA]

PVRIS

Back in the shelter of the Radio 1 stage, we have PVRIS. Another band who are no strangers to Reading Festival, they only find themselves faced with a larger, more emphatic crowd every time they perform. Lynn Gunn’s vocals will likely always remain unparalleled, and the band’s stage presence feeds the crowd with an instant energy that you can’t help but give into. Even PVRIS’ latest track, ‘Death of Me’, is met with the warm embrace of a song you’ve known for years, showing the power this band has on their fans. It doesn’t go unnoticed by Gunn, either, as during ‘Holy’, she removes her earpiece to take in the magnitude of the crowd in front of her, singing more loudly than Gunn herself. PVRIS are one of those bands whose phenomenal talent only shines through in the live show, and while they’re still hugely enjoyable on record, there’s nothing quite like seeing Gunn put down her guitar only to sit at the piano to effortlessly accompany her own vocals during ‘Heaven’. Nor can you visualise the images that appear on screen, providing an immersive experience and further context that could never be imagined through your headphones. PVRIS are simply a band you must see live. [YB]

Of Mice & Men

Of Mice & Men are a band that know how to put on a damn good show. The Pit / The Lock Up tent is loud, the pit opens before the first song even begins and, of course, there are pyrotechnics. Their Reading set ticks all the boxes of what you’d expect to see at a heavy music gig; guitarists Phil Manansala and Alan Ashby in power stance, long hair being whipped around, guttural vocals from Aaron Pauley and relentless drumming from Valentino Arteaga. Introducing new songs ‘Mushroom Cloud’ (about “losing your fucking mind”) and ‘Earth and Sky’, OM&M show remarkable stamina that the entire tent is more than happy to keep up with. Getting everyone down on their knees is a little overdone, but with OM&M it gives a huge adrenaline rush, and undoubtedly some great footage, so the crowd are happy to oblige. This Californian metalcore quartet are true masters of their craft, and made the most of every second on stage. [CA]

twenty one pilots

Tonight’s main stage headliners are twenty one pilots, and it’s only when you place yourself in front of the main stage that you can even come close to comprehending exactly what this band has achieved in just a few short years.

Tyler Joseph and Josh Dun have gone from support acts, to club headliners, to arena headliners, to main stage festival headliners in the space of just four short years, and as we watch them take to the stage to embark on a meticulously planned out spectacle, it’s hard not to feel your eyes welling with tears of pride for this Ohio duo.

twenty one pilots revel in the detail, to the point where even their amps have had the classic Marshall logo replaced with ‘Bandito’ in Marshall’s font. Everything has been considered; from the outfits to the stage design, there’s not a single moment across this 90 minute set you could pick fault with – the sign of a band that has embraced growth (albeit with a little fear – see: ‘Chlorine’) and fought to continue to prove themselves worthy.

While this band have played to countless arena crowds over the past few years, they’ve acknowledged that riding that wave at a festival won’t necessarily win over the crowd waiting for co-headliner Post Malone to take to the stage. This acknowledgement sees front man Tyler Joseph commenting on the respect he has for the British festival scene, before our second Oasis cover of the day commences, this time in the form of ‘Don’t Look Back in Anger’ – a cover that sees a crowd of 10,000+ Brits singing passionately, proud of our musical heritage. It’s a smart move, winning over the less passionate among the crowd who may not consider themselves part of the band’s Skeleton Clique fanbase, and certainly highlights their self-awareness and humility.

That said, there are plenty of moments that are delicately placed throughout the set just for this ‘Clique’, including the reappearance of 2014’s skeleton hoodies during 2018’s ‘My Blood’ – a track released just for the fans – and it doesn’t go unnoticed. While you may think this is subtle, when you look around and note the number of fans rapping seamlessly to ‘Car Radio’ and ‘Holding Onto You’, it’s clear that they stem back far further than 2015’s ‘Stressed Out’ – the song that ultimately propelled twenty one pilots into the mainstream world of music – and that twenty one pilots simply don’t know what it’s like to have a ‘casual fan’. 

This set is so intricate that you could spend your whole life delving into every detail if you wanted to (or, you know, if you had the time), but ultimately, it’s the combination of professionalism and personalism that makes this twenty one pilots live show as unforgettable as it always is. From comments from Joseph about his hair, which has been cut by his wife just before the show and dancing security guards, to on-stage drumming and podium climbing, there’s nothing you can fault, and if you started Saturday feeling nonchalant about twenty one pilots, there’s little chance you left with the same ambivalence.

When you compare their Radio 1 set back in 2016 – when we saw the entire show switched off due to Joseph climbing the scaffolding without permission – to today, with scaffolding built just for them, it’s hard not to feel emotional about the growth of this band. The fireworks and confetti are all wonderful additions to this set, but it’s only Joseph and Dun – the only two people on stage – who can be given credit for where they are today.

For Punktastic, we can’t think of a better way to have ended our Saturday. [YB]

Click here to view the full gallery from day two at Reading and Leeds.

It is taken from their upcoming new album, ‘Defy’, which will be released on the 19th January via Rise Records.

The band will also be going on a UK tour via the following dates with Wage War and Sylar.

APRIL
21 BRISTOL O2 Academy
22 GLASGOW O2 ABC
23 MANCHESTER O2 Ritz
25 BIRMINGHAM O2 Institute
26 NORWICH UEA
27 LONDON Koko
29 DUBLIN, IRE Academy
30 BELFAST Mandela Hall

The band will be releasing their upcoming new album, ‘Defy’, on the 19th January 2018 via Rise Records.

As for the supports; the latest album from Wage War is their second LP ‘Deadweight’ from earlier this year on Fearless Records, whilst Sylar released their second album ‘Help!’ On Hopeless Records last year.

APRIL 2018
21 BRISTOL O2 Academy
22 GLASGOW O2 ABC
23 MANCHESTER O2 Ritz
25 BIRMINGHAM O2 Institute
26 NORWICH UEA
27 LONDON Koko
29 DUBLIN, IRE Academy
30 BELFAST Mandela Hall

It is the title track from their upcoming new album, which will be released on the 19th January 2018 via Rise Records.

The band will also be playing the following UK shows with Five Finger Death Punch and In Flames.

DECEMBER
17 BIRMINGHAM BCA
18 GLASGOW SSE Hydro
20 LEEDS Arena
21 LONDON Wembley Arena

The song is taken from their upcoming new album, ‘Defy’, which will be released on the 19th January 2018 via Rise Records.

The band will also be playing the following UK shows with Five Finger Death Punch and In Flames.

DECEMBER
17 BIRMINGHAM BCA
18 GLASGOW SSE Hydro
20 LEEDS Arena
21 LONDON Wembley Arena

The band will soon be recording their upcoming new album. This will follow the singles ‘Back to Me’ and ‘Unbreakable’, which were released earlier this year via Rise Records.

The band will also be playing the following UK shows with Five Finger Death Punch and In Flames.

DECEMBER
17 BIRMINGHAM BCA
18 GLASGOW SSE Hydro
20 LEEDS Arena
21 LONDON Wembley Arena

Following their last single ‘Unbreakable’, it provides insight into the band’s yet to be titled follow up to their 2016 fourth album, ‘Cold World’.

The band will be returning to the UK on the 10th June for an appearance at this year’s Download Festival.

Following up last year’s fourth album ‘Cold World’ on Rise Records, this is the band’s first new material since former Austin Carlile departed the band in December and the first with bassist Aaron Pauley on lead vocals.

The band will be returning to the UK on the 10th June for an appearance at this year’s Download Festival.

“We’re so psyched to wrap up our UK and Europe adventures with these shows,” says Hellions frontman Dre Faivre. “Of Mice & Men are a great band and absolute legends for having us. This will also mark the beginning of a new era of Hellions being released to the world, and the anticipation is near killing us.”

Of Mice & Men will be celebrating their Slam Dunk appearance with the release of ‘Live At Brixton’, a double-disc collection due on the 27th May.

Hellions released their ‘Indian Summer’ LP back in February 2015.

MAY
26 LONDON O2 Academy Islington
28 LEEDS Slam Dunk Festival
29 BIRMINGHAM Slam Dunk Festival
30 HATFIELD Slam Dunk Festival

JUNE
01 KINGSTON Hippodrome