Words: Kate Allvey  //  Photos: Penny Bennett and Download Festival – Todd Owyoung

Dead Pony

As we already wilt in the shade of the Avalanche tent, Dead Pony deliver glitching, late night club energy in the middle of the afternoon. The spiritual descendants of the Prodigy pour a vodka lemonade fizz of a sound across the tent, which slowly fills as each siren song from vocalist Anna Shields entices us closer. ‘Freak Like Me’ is the grimy, pop-punk highlight of the Scots’ Download debut, and as they shift into ‘RAINBOWS’ gritty message of self-love, we feel, to quote Shields, absolutely ‘ready to fuckin go’ for our Download weekend. 

Boston Manor

The boys from Blackpool add a dash of casual darkness early into our day. They drop “the heaviest song we’ve got”, ‘Container’, confidently and efficiently, exposing it’s melodic heart to an impressively-filled field of fans. Vocalist Henry Cox uses his spotlight to spread his message of support for Gaza before ‘Heat Me Up’s deep bass focus sends a seismic groove through the earth and ‘Halo’s chimes crunch inwards for the guitar breakdown. Far above us, planes soar, unaware of the joy we feel below at being part of the pit jumping our way through ‘Passenger’. 

Northlane

Khaki co-ords and bass booms cut with piercing melodica draw us to the top of the hill. Assertive and raw, the profound echoes from ‘4D’ betray a heavy, optimistic Pendulum influence before Marcus Bridge’s screamo vocals drag us back to this reality, They display a whole festival’s worth of multi-faceted influences and moods on their own, with the moodily blooming ‘Bloodline’ as the centrepiece of a set from a band determined to give their all at every turn. 

Graphic Nature

The hardcore heroes create a sound clash wherever they go, separating the loves of the seriously heavy from the lightweights. The smaller but dedicated crowd are loving the honest, refreshing brutality from Harvey Freeman and co. “You are now locked into the sounds of the 404,” he intones, his confessional rage poised to started a distorted hurricane. He’ll have won a lot of new fans by the time he’ll have finished his set, judging by the approving nods and raucous, riotous smacking beats that drive us to greater love for the British heirs to Slipknot’s crown.

Rise Against

“I think six times’ the charm,” laughs Tim McIlrath, and there’s a reason why Rise Against keep getting invited back to Download. They’re sticking to the roots of their sound, all jagged guitars and soaring choruses, and ‘Satellites’ is rich in stunning minimalism before the bouncing chorus  fades into a whispered bridge. McIlrath poses with a megaphone, preaching unity, as we’re led into ‘Ready to Fall’, it’s explosive guitar and melancholy tinges to the melody twisting into the clouds as our shadows lengthen. 

Jimmy Eat World

‘Sweetness’ rings across the arena, transporting us back to simpler times. Jim Adkins’ iconic everyman voice has a tougher edge acquired with age, adding depth and a contemplative touch to their punchy live takes on their classics. ‘My Best Theory’ and ‘Let It Happen’ are more than enough to bring a tear to the eye of more than one bearded metaller, and ‘A Praise Chorus’ feels like a pleasant dream renewed with uptempo vigour. Our hidden smiles are revealed as ‘The Middle’ drips sunshine with sunshine. 

Opeth

You won’t expect a heavyweight band like Opeth, whose sets spark with drama and innovation at every turn, to have such a wry sense of humour. “We write songs about beer and the Royal Family,” Mikael Åkerfeldt grins, raising an eyebrow and apologising for his shortened set. ‘§1′ is hypnotic, the vocalist’s instantly recognisable growl reaching into the deep prog side of the heavy scene, and ‘Master’s Apprentices’ maximises heaviness and varies their narratives second by second. The guitar worshippers are more than satisfied with their four song set when each tune is this packed with absolutely everything that they can throw at it.

Weezer

Opening with a rough and ready take on ‘Hash Pipe’ spreads an aura of calm over the day that floats gently throughout Weezer’s set, blanketing us in nostalgic prom energy. Rivers Cuomo’s passionate, tender wailing blends with frantic solos to remind us that Weezer always were a rock band. When they speed up, we feel the distortion deep in our souls. Just like Jimmy Eat World, they stick close to their greatest hits, and ‘Undone (The Sweater Song)’ flips out a Mexican wave before the tropic slide guitar sends us off into the golden glow of ‘Island In The Sun’. It’s a warm respite, and reminder that Weezer are so much more than we recall them being. 

Within Temptation

A whole Roman temple onstage and a frontwoman who strides in like a shakespearean queen? That’s how if you know Within Temptation are here, setting the standard for stagecraft this evening. Sharon den Adel rips off her gold mask midway through ‘We Go To War’, letting loose a tougher version of ‘Bleed Out’ that commands this corner of the field. The eighties tinges to their live take on ‘Faster’  are infectious; singing back to her at the top of our lungs feels completely natural, as does their pro-Ukraine stance to ‘Stand My Ground’, presented with passion and poise. 

Apocalyptica

If pop punk on a huge scale isn’t to your liking, on top of the hill the world’s most gothic string section are brewing the antidote. With a sound like a classical murder storm, they unearth the serious side of Download like an ancient prophecy to expose the wild complexity at the heart of Metallica’s back catalogue. Their power and drama speak to the determined minority crammed into the Dog tooth stage in the mood for a musical nightcap, and in terms of technical wizardry they must be up there as one of the most intricate acts of the weekend. 

Green Day

Billie Joe Armstrong is not happy with the state of the world, and he’s returning to his American Idiot era to channel that into maximum frontman gold. Of course there’s lashings of fun, with inflatable hands holding grenades and gently floating blimps above our heads, but the message is clear. “This song is anti-war!” Armstrong screams before ‘Holiday’ drops, punctuated with fire, the riff as clear and immediate as if the intervening years since our first listen mean nothing. “Ladies and gentleman, we are slipping into fascism,” he declares bluntly through a megaphone before the rolling boil of resistance we’ve felt in the air all the day erupts into ‘Know Your Enemy’. The cold goosebumps raised by ‘Boulevard of Broken Dreams’ are so real and every single voice, with no exception is raised. ‘Bobby Sox’ comes into its own as a gender-exploring pop hit, the newest songs shining just as vibrantly.

Green Day’s evolution has reached its peak tonight. Older hits like ‘Welcome to Paradise’ screech into view with a “yeehaw!”, and ‘Hitchin A Ride’ electrocutes Armstrong, his eyes wide as he shakes through our cheers. These earlier songs feel like a gift, an acknowledgement of the first stage of their development and a reward for our faith, while ’21 Guns’ emerges as an anthem for hope. On cue, we feel the first cold drops of drizzle kiss our faces as Armstrong sings of rain in ‘Wake Me Up When September Ends’, a perfect second of coincidence, and a sea of phone lights floats like art across the arena as they close with ‘Good Riddance (Time Of Your Life)’. It’s a gorgeous sight, the perfect background to a band who move with the times, remoulding every song into a shape relevant for today to show off how magnificent they still are. 

Words by Liam Knowles [LK] & Ellie Odurny [EO]. Photos by Paul Lyme.

Respire

Self-styled “post-everything collective” Respire have travelled all the way from Canada to play ArcTanGent, so it’s excellent to see a healthy crowd for them despite an early billing. The band are usually at least seven or eight members deep on stage, with violins and brass instruments making up several layers of their multi-faceted sound, but for this particular jaunt they’re down to a core five made up of just guitars, bass, drums and vocals. Thankfully this doesn’t dull their impact, as their white-hot brand of blackened screamo mixed with a smattering of post-rock is still beautifully harrowing without the extra instrumentalists. It’s fantastic to finally hear songs from 2020’s stellar album ‘Black Line’, particularly the blistering set opener ‘Tempest’ and chaotic anthem ‘To Our Dead Friends’. If Respire can hit this hard when it’s barely lunchtime and they’re missing half their lineup, lord only knows how powerful their performance must be when they’re firing on all cylinders. [LK]

Ithaca

Only a couple of weeks before this ATG performance, UK metalcore darlings Ithaca released ‘They Fear Us’, and the buzz around that album has made this set one of the most anticipated of the entire weekend. Unsurprisingly, Ithaca absolutely live up to the hype. Captivating vocalist Djamila Boden Azzouz takes to the stage in a striking orange dress accessorised with Shibari ropes, her band behind her clad in white, stirring themselves up before launching their assault. They launch straight into ‘In The Way’ and don’t let up for a full half hour. The new songs sound massive; the frenzied panic chords and savage breakdowns we’ve come to know and love from Ithaca are all present in ‘Camera Eats First’ and the positively wild ‘Cremation Party’, but what really stands out is how far Djamila has come as a performer since the band’s last ATG performance. Her clean vocals are incredible when taking on the big choruses in ‘The Future Says Thank You’ and the new album’s title track, and she is unwaveringly confident and genuinely intimidating throughout the set. Their fanbase has also clearly increased in both size and fervour, as the pits throughout the set are absolutely mental, particularly during the aforementioned ‘They Fear Us’ and older number ‘Impulse Crush’. Ithaca are a band with seemingly limitless potential, and carry with them an authentic and important message of inclusivity and healing. It’s truly exciting to consider where they could go next with this much talent, creativity and passion. [LK]

Heriot

Speaking of hype, another hotly tipped band right now is Heriot, who pack out the PX3 stage with plenty of time before their set actually starts. Their sound is somewhere between that of Nails and early Code Orange, after they dropped the Kids from their names but before they started to sound like Spineshank and dress like Orgy. The twin vocal assault of bassist Jake Packer’s deep roar and guitarist Debbie Gough’s unholy shriek makes for an overwhelming experience as the band tears through bludgeoning tracks like ‘Enter The Flesh’ and ‘Cleansed Existence’. Considering the fact that this incarnation of Heriot only released their debut single in 2020, they already feel like a fully formed unit that can easily hold their own against similar bands that have been around much longer. At this rate Heriot could be one of the biggest names in the UK metal underground within a year or two – watch this space. [LK]

Conjurer

The anticipation for Conjurer grows steadily for the ten minutes preceding their Saturday afternoon set, with the Arc tent filling to near capacity before the first crushing metal chords are unleashed. The whole set is  a whirlwind of cleverly balanced heaviness and exquisitely timed breakdowns, with mesmerising slower sections erupting into frantic blasts and guttural growls. The pit is total carnage, and for those of us slightly further back, at points all that can be seen through the throng of thrashing heads is a glimpse of bassist Connor Marshall’s windmilling hair, spinning at close-to-breakneck speed as he churns out doom-laden rhythms. The band transition seamlessly between small moments of refined clarity and brutal, screaming noise, with every tight stop and acceleration into another onslaught of double-timed ferocity delivered with precision and passion. [EO]

Frontierer

You’ll struggle to find a more viscerally bonkers band at ATG than math-metal lunatics Frontierer. From the second they screech into set opener ‘Corrosive Wash’, the packed-out Yokhai tent is subjected to an onslaught of flailing limbs, flying band members, dial up internet sounds and riffs that sound like a printer trying to kill you. Towering vocalist Chad Kapper holds a monolithic presence on stage while various other band members climb the rigging and hurl themselves around with no regard for their own safety. The set itself is pretty much a 50/50 mix of material from 2021’s ‘Oxidized’ and 2016’s ‘Orange Mathematics’ – for some reason their 2018 album ‘Unloved’ barely gets a look in with only ‘The Molten Larva’ making an appearance. Honestly though, who is keeping track of what song is being played when you’re too busy dodging guitarists and trying to keep your head above water in a sea of wild mosh gremlins, all desperately searching for a time signature that stays still long enough for them to headbang to. If you like your music to sound like a futuristic panic attack, you need this band in your life. [LK]

Devil Sold His Soul

Devil Sold His Soul have been around since 2004, but the intensity of their ambient, cinematic post-hardcore hasn’t wained in that time, nor has the energy they play it with. Today’s main stage set is entirely made up of material from 2021’s excellent ‘Loss’, which was the first of their recordings to feature both original vocalist Ed Gibbs and his replacement (and now co-vocalist) Paul Green. The two frontment hurl themselves around the stage while expertly trading vocal lines on emotional tracks such as ‘Witness Marks’ and ‘Beyond Reach’. The band’s sound is as enormous as always, and having two vocalists has made them even more powerful than previous iterations, so you can only imagine the jaws on the floor when Ithaca’s Djamila Boden Azzouz and Frontierer’s Chad Kapper join the band on stage to help them deliver a four-pronged vocal assault on ‘The Narcissist’. As the band and their guests all scream the final lyric “only time will tell” in unison, it’s clear to everyone present that they’ve just witnessed one of the coolest moments of the entire weekend. [LK]

The Armed

Not since the heady days of The Dillinger Escape Plan and The Chariot has there been a live band as unpredictable as The Armed. On their 2019 UK tour they sent a person in a gilly suit into the crowd to rile up the already excitable crowds. At 2000 Trees later that year they set up a table and chairs in the middle of the pit, and used it as a platform to pass out water, beer and pastries to the crowd, before abruptly launching into their chaotic set from their seats. You’d think, given that they’re on the largest stage at ATG, that they’d have to tone down the shenanigans a bit, but you’d be wrong. Two of their many manly muscular vocalists (what are their names? No-one really seems to know) seem to spend more time in / on top of the crowd than they do on stage, while Cara Drolshagen remains on stage in what appears to be a Harley Quinn outfit combined with a studded gimp mask, and adds a higher pitched vocal to the already absurdly unhinged sound. It’s tough to describe The Armed musically, especially the material from ‘Ultrapop’ which makes up the bulk of the set – at times they’re as wild and technical as the aforementioned Dillinger Escape Plan, but they also carry the sass and flair of The Blood Brothers, the rock’n’roll party vibe of The Bronx, and the progressive sensibilities of latter-day Fucked Up. Regardless of influences, all of it is delivered with equal parts rabid venom and light-hearted fun, somehow both at once; even when a guitar is launched recklessly into the crowd from the stage it’s laughed off by those in its path, passing it back to the stage before immediately starting the next circle pit. The Armed are as punk as it’s possible to be in 2022: diverse, unpredictable and 100% marching to the beat of their own drum – this could well be the best set of the festival. It’ll certainly be the most memorable. [LK]

This Will Destroy You

As mellow beginnings go, ambient Texan instrumentalists This Will Destroy You (TWDY) open with the some of the gentlest sounds of the weekend. As with many of their more melodic counterparts, the band use delicately layered guitars, keys and effects to build each track into a swelling, emotionally charged atmospheric experience. With TWDY, the rising levels of sound rarely seem to peak with enormous intensity, however there is a magic in the subtlety of each track. The elements of synth over the lower bass notes add depth to the set, with the stage lighting once again adding to the ambience in the tent. It’s an hour of beautifully constructed and sensitively performed calm amidst a sea of heavy angst. [EO]

Leprous

Unlike most bands, Leprous didn’t let a little thing like a global pandemic stop them from playing live, broadcasting a number of live shows from their hometown of Notodden and also from Sentralen studios in Oslo throughout 2020 and 2021. Combined with a relentless touring schedule prior to their appearance at ArcTanGent, the band have a developed a dynamic on stage that is one of togetherness and self-assurance, without ever tipping over to arrogance. Vocalist Einar Solberg’s phenomenal voice is complemented by guitars and a rhythm section that is as tight as it is impassioned. Every chord seems to be packed full of feeling at the same time as being technically on-point. Solberg’s range is exceptional, switching seamlessly from booming deep notes to powerful falsetto. From the haunting melancholy of ‘Below’ to the epic closer ‘The Sky Is Red’, by way of the jerky, perfectly timed prog rhythms of ‘The Price’ and the amusingly introduced fan-collaboration ‘Nighttime Disguise’, the set to close the Yokhai stage for the weekend is a shining example of the band’s extensive writing and performing talent. [EO]

Opeth

Swedish prog metallers Opeth are no strangers to the UK, and with their extensive back-catalogue, slick production and confident stage presence, it’s not hard to see why their appeal has lasted for their thirty-plus year career. With tracks spanning nine of their thirteen albums, there is something for everyone on tonight’s setlist, with the older, death metal numbers sitting comfortably alongside the proggier sounds of more recent releases. Vocalist Mikael Åkerfeldt chats to the audience between songs, his light-hearted humour going down well with the crowd, at one point stating simply “We saw a pig today. It had humongous balls.” Farm life aside, Åkerfeldt also describes how Opeth differ from some more energetic bands, telling everyone “We’re not like David Lee Roth. We don’t do split jumps, we entertain in our own boring way. We entertain by playing our songs”. It’s unlikely that anyone here tonight would describe Opeth’s performance as “boring”, with husky growls leading into dulcet harmonies on ‘Ghost of Perdition’, macabre screams on ‘Demon of the Fall’ and syncopated beats, complex guitar trills and pounding bass popping up throughout the evening. That being said, Opeth finished their set with ‘Deliverance’ a full half hour before their scheduled finish time. With no further explanation, they left the stage leaving a hungry crowd a little baffled at the headline act closing the festival so early. Chatter suggested that they played their touring setlist, which only happens to be 90 minutes long, but it still feels like a slight anti-climax after what was a thoroughly enjoyable presentation of their work. [EO]

Her Name is Calla

For some, Opeth’s early finish is a blessing in disguise, as it allows those who chose not to wait around watching the crew load out to catch the last half hour of the one-time-only reformation of English post-rock outfit Her Name Is Calla. It’s a stark contrast from the glossy bravado of Opeth to the raw emotional style of Her Name Is Calla, and it’s a wonderful display of the variety of musical brilliance that’s been on display for the whole festival. There’s a real vulnerability to the stripped-back songs, with strings and soft harmonies adding to the poignancy of the moment. As their set draws to a close, the energy in the PX3 tent takes on a kind of enchanting tranquillity, a sombre but heartfelt goodbye to a rollercoaster of a weekend. [EO]

In this regard, ‘In Cauda Venenum’ (or, “Poison In The Tail”) is modern Opeth perfected. Not just that, in fact, but with three decades under the belt, this may just be a perfect blend of their band’s signature sound throughout the years, blurring the lines between metal and prog rock to create something not quite either – undeniably heavy, yet soft and mysterious at the same time, and utterly enthralling throughout.

When it comes to crafting albums, Mikael Åkerfeldt – currently the longest serving member – certainly enjoys a pick ‘n’ mix style of songwriting. Songs like ‘Charlatan’ and ‘All Things Will Pass’ dip into the heavier side of the troupe’s repertoire, while singles ‘Heart In Hand’ and ‘Dignity’ play to their more modern, lighter feel. Of course, there are tracks in which Opeth just decide to throw the playbook out of the window and get weird in a way only they can – such as on ‘The Garroter’, a smooth-yet-sinister jazz fusion number. It’s a wonderful piece of brevity that, like the jazz/lounge inspired experiments on 2014’s ‘Pale Communion’, demonstrates a love for performance and experimentation more than anything else. It may not contribute much to the album as a whole, but it shows that the passion is still there for the band.

The low points in ‘In Cauda Venenum’, when the band play it safe and stick with elements more familiar to old school fans, are few and far between. They still make for good listening, but the highs are staggering when Opeth are able to deliver a serious heaviness without resorting to growling or walls of sound. ‘Next Of Kin’ is intense and violent but somehow remains ethereal and mysterious. ‘Continuum’ is methodical and weighty yet fuses woodwind instrumentation like oboes with some killer guitar work by Fredrik Åkesson. With high strings and choral accompaniment, there are moments in nearly every track that give the album an operatic feeling, but despite circumventing traditional metal tropes, nothing feels weak or light. It’s all still metal, just not what we may classify as ‘traditional’, as it borrows from so many other styles and genres. That may turn some people off this album, but expecting Opeth to stick to a formula is a fool’s game no matter what stage of their career they’re at.

As a cherry on top, and for even more of a time sink, ‘In Cauda Venenum’ has been released in both English and Swedish. For accessibility, the focus of this review has been the English version, but the Swedish version arguably wins out in terms of authenticity. Like watching a subtitled foreign language film rather than a dubbed version, it just feels right listening to Åkerfeldt wax lyrical in his mother tongue. You won’t miss out on something hugely important if you have a preferred version to stick to, but it speaks to the level of craftsmanship that the album holds up in two different languages.

If you’ve never listened to an Opeth song, this is a great album to start with. If you fell off the bandwagon and are looking to jump back into their discography to see how the band has evolved, it’s a fantastic  starting point. If you’ve been a die hard fan since the beginning and are simply hoping for a good record, it will not disappoint. Something for everyone and then some, ‘In Cauda Venenum’ will satisfy everyone sonically – except those who hope Opeth pick a lane and stay in it. The sun will most likely burn out before that ever happens.

FIACHRA JOHNSTON

Of course, being set in the lovely fields of England’s Midlands means that it’s also inevitably on the receiving end of some of our island’s most punishing weather – although increased drainage was installed after 2016, with around two months’ worth of rain arriving at exactly the same time as thousands of campers (of course) this year, there was to be no avoiding the mud. Lots, and lots of mud. With such a stellar line-up, though, it would take a lot more than a bit of dirt and rain to dampen the spirits of most festival goers – it is a metal festival, after all.

As many campers don’t arrive until Friday morning, day one gets off to a later start, but with more rain it doesn’t take long for the hallowed turf in the arena to be mulched by thousands of clomping wellies. RIP green stuff. Still, with energy at peak levels (well, almost) and waterproofs at the ready, it’s time to break out the moshpits for another one of our favourite weekends of the year.

Images: Penny Bennett, Words: Gem Rogers [GR], Dave Stewart [DS]

GroundCulture

For the number of people in the Dogtooth tent at this still relatively early hour (yes, it’s 1.30pm, but it’s the first day of Download – the rules are different here), you’d think it was raining outside, prompting punters to seek shelter. Not so; it’s actually one of the first sunny patches since Wednesday, and the real reason the tent is full is for the Download debut of melodic hardcore newcomers GroundCulture. It’s only their fifteenth show, but they’ve got the stage presence of a group with far more experience as they pummel their way through their 25 minute set, drenched in furious, tent-filling riffs. Front man Roy Watson’s vocals are consistently powerful, with gloriously deathy, melodic growls topping hard-hitting tracks that are impossible to ignore. Closer ‘Catalyst’ begs for movement, and gets it – GroundCulture have proved they’re a force to be reckoned with, and their first trip to Download is very unlikely to be their last. [GR] 

Kvelertak

Guitars, guitars, and more guitars are order of the day over on the Zippo Encore stage as Kvelertak issue a rush of sound to all in the vicinity. Three guitar bands don’t come along very often and Kvelertak are true masters of creating a huge, well blended sound that’s part-classic rock, part-classic Norwegian metal – though it’s not completely all about the guitars, with piercing vocals from front man Ivar Nikolaisen and thundering beats from Kjetil Gjermundrød. Unfortunately for them, it’s just started to rain (again) and the crowd response is a little muted, despite some attention grabbing flag-waving and wrist-cigarette-stubbing antics from Nikolaisen, who is celebrating his birthday in pretty fine style. In a packed weekend line-up, Kvelertak struggle to deliver the most memorable set, but it’s a solid and enjoyable performance nonetheless. [GR]

Blackberry Smoke

The main stage was transformed into a blues rock haven when Blackberry Smoke strolled onto it. Boasting some of the best beards of the entire weekend, the Atlanta based quintet used the breaks in the clouds to their advantage, sucking up every ounce of sunlight and using it to scorch everybody in the crowd with their soulful and sultry tones. Front man Charlie Starr casually strutted his stuff all across the stage, effortlessly blistering through southern tinged riffs and booze drenched solos like he could play them in his sleep. They didn’t put on much of a performance, but they didn’t need to – the music did all the work for them. The style and class radiating from every member of the band was almost too much, spilling out beyond the barriers and getting everybody’s feet tapping. A slick set from a criminally underrated band. [DS]

Conjurer

Easily one of the most anticipated acts to grace the Dogtooth Stage this weekend – not least by unexpected metalhead and comedian Ed Gamble (seriously) – there are also few bands more capable than Conjurer of living up to the hype. Stepping onto the stage as smoke machines billow clouds through the tent, Conjurer deliver a set every bit as dark and heavy as the clouds outside, with the caustic combination of Brady Deeprose’s screaming vocal and Dan Nightingale’s punishing, guttural roars forming an almost overwhelming wall of noise. It’s sludgy, raucous, and everything you could possibly hope for from a heavy metal set – it’s no wonder Conjurer is the name on absolutely everyone’s lips this weekend, and will surely long continue to be. [GR]

Clutch

If you love southern bluesy rock with extra punch and you haven’t heard of Clutch, you should be ashamed of yourself. They’ve been churning out some of the most infectious gospel-tinged belters for years, with the enigmatic Neil Fallon at the helm in an almost preacher like role. Why a preacher? Because it’s hard to take your eyes off him, and when he’s on stage, you listen to every single word he says. Their performance on the main stage was no different, only this was the biggest, drunkest choir they’ve preached to by a long shot. The band put on a thunderous performance, charging through every song with absolute power and grace as Fallon stomped across the stage recruiting more and more followers with every single step. Their set was like aural whiskey – all of the crisp taste and warmth, but none of the bitter kick. An energetic rager of a set that temporarily transformed the main stage into a gigantic barn dance. [DS]

Zebrahead

If any band can bring the party to a damp day in a field, it’s the thoroughly daft and eternally upbeat punk rockers Zebrahead. Sticking largely to old favourites like ‘Rescue Me’, ‘Mike Dexter’, and ‘Hello Tomorrow’, the band are on great form and get the busy tent moving – and singing along – in no time. The only real negative is their reliance on some slightly tired old japes for entertainment between songs, especially for anyone who’s seen them before – the ‘Drink Drink’ song was funny once, but it’s probably come time for them to freshen up their set a little. Despite this, though they may not be obvious Download fare, Zebrahead make for a perfect break from the heavy stuff; after all, sometimes it’s just nice to kick back and have a dance. [GR]

The Interrupters

Everyone at Download Festival was on edge about the weather the entire weekend – especially after the solid downpour that Wednesday and Thursday brought. People started to worry a lot less when the sun fully broke through the clouds on Friday, though, and The Interrupters are probably what caused it to happen. The Avalanche stage was full to the brim, and everybody in their had one thing in mind – they all wanted to party. The Interrupters provided the perfect soundtrack for that party, displaying themselves as incredible entertainers as they performed it. The set was almost like pantomime in places as they teased the crowd with tiny snippets of covers, stopping and going into another excerpt before settling on a high octane version of ‘Time Bomb’, originally made famous by Rancid. They made crowd work look like child’s play, taking the crowd through a riotous performance of ‘Family’ before they left the stage to masses of applause. One of the most fun sets of the entire weekend. [DS]

Opeth

Over on the Zippo Encore stage, Opeth gave onlookers a strong taste of their legendary prog metal cocktail. They gathered the biggest crowd this stage had seen so far, all of them hungry to fill their ears with some real sonic punishment. Renowned for their incredible live performances, their Download set was no exception, blasting through a selection of songs that represented the strength of their back catalogue. Set closer ‘Deliverance’ was particularly powerful, with its meaty chugs stampeding through the crowd, their weight powerful enough reduce a mountain to dust. Their set wasn’t too long, which front man Mikael Åkerfeldt said was their own fault for writing such long songs, but it didn’t make the performance any less impressive. The darkest set during one of the brightest spots of the day – the perfect juxtaposition for the metalheads in attendance. Proggy brilliance from masters of their craft. [DS]

Reel Big Fish

Continuing the ska-punk theme back on the Avalanche Stage are old reliables, and masters of The Crowd-Pleasing Festival Set, Reel Big Fish. Wellies might not be the ideal footwear for a skanking session, but it doesn’t stop most of the packed tent from giving it a go as the band plunge through their everlasting and well-loved back catalogue, including  ‘Beer’, ‘Trendy’, and singalong classic ‘Take On Me’. Yes, it’s almost identical to every other set they’ve ever played, but when they do it so well, it’s hard to find fault in it – every song still feels fresh, not to mention outrageously good fun. The rain may be pouring outside, but in here it’s nothing short of a beach holiday with Reel Big Fish for company (the tent-shaped roof probably helps too). [GR]

Slash

Back on the main stage, festival goers were treated to a blistering set from rock royalty as Slash took the stage. Accompanied by the ever brilliant Myles Kennedy and The Conspirators, he strutted his way through a setlist crammed full of flamboyance, swagger, and undeniable musical ability. He couldn’t have created a sleazier sound if he tried – each sound just oozed that classic rock and roll sound, with a pinch of that dirtiness that made Guns N Roses so popular. The Conspirators were solid, providing Slash with a faultless foundation, and Myles was perfect – not a single note out of place. No doubt a lot of the crowd were there hoping they’d witness some songs that his former band had made, and were treated to a stunning rendition of ‘Nightrain’, but this wasn’t the centrepiece of his set. His solo material stands sturdily on its own, regardless of whether he included any throwbacks or not. One of the greatest rock guitarists proving exactly why he’s worthy of that title. [DS]

Eagles Of Death Metal

As the mud continues to increase like something from a horror film and the area around the Avalanche and Zippo Encore Stages become a boggy nightmare, sunshine merchants Eagles Of Death Metal are just what’s needed to distract from the dark clouds. Their classic rock ‘n’ roll tunes and attitude may occasionally border on cheesy, but it’s in the most enjoyable way – chuck in some uplifting, rockabilly riffs and a cover of David Bowie’s ‘Moonage Daydream’ (the result of a crowd vote that we can’t help wishing the second option of a Bon Jovi cover had won), and it’s no wonder there’s a sizable crowd for this Friday evening slot on Download’s second stage.  When Jesse Hughes declares that “rock and roll will never die”, he means it – and Eagles Of Death Metal are the ones to save it. [GR]

Jinjer

If you tried to make your way inside the tent over at the Dogtooth stage to try and watch Jinjer, there’s a pretty high chance that you didn’t make it inside at all. The tent was spilling out onto the festival grounds long before they even took the stage. When the Ukrainian quartet finally took the stage the whole tent felt like it moved in unison – all stuck together in one clump as the sound waves put the entire crowd into motion. All the band dressed in black apart from powerhouse front woman Tatiana Shmailyuk dressed in a flashy gold jumpsuit – there wasn’t a single eye in that tent that wasn’t complete transfixed on the chaos enfolding in front of them. The sound was very bass heavy, but it didn’t stop everyone in earshot from losing their minds – they’d made it inside the tent and they were going to make the most of it. The set was a powerful beast, particularly ‘Pisces’, which saw the crowd launch the words back at the stage in greater volume than the band. As triumphant a Download debut as you’ll ever see. [DS]

Rob Zombie

Rob Zombie is a familiar face at Download these days, having last headlined this very stage only two years ago, and expectations are high for his set on the Zippo Encore stage. With his infectiously movement-worthy blend of dirty industrial beats, metal riffs, and shock rock attitude, he has everything it takes to captivate a crowd for an hour. On this occasion, though, it feels like something is missing. Older tracks like ‘Superbeast’ and ‘Meet The Creeper’ are every bit as groove-laden and powerful as ever, but vocally, Zombie struggles significantly – the melody of ‘Living Dead Girl’, in particular, is barely recognisable. His newer releases fare better, tending to be in a higher register, but it’s disappointing that some of his greatest work isn’t being done proper justice to an almost uncomfortable extent. A mid-set cover of The Beatles’ ‘Helter Skelter’ fits in well with the vibe, alongside the usual nods to his earlier White Zombie work in ‘More Human Than Human’ and ‘Thunder Kiss ‘65’, making a pleasingly varied set despite frustrations with the vocal performance.

Visually, the set is once again a bit of a let-down. Yes, the lights are flashy, but for someone capable of Rob Zombie’s level of showmanship, there’s nothing innovative on display – instead relying mostly on repetitive and shoulder-shruggingly dull video clip backdrops. That said, what’s clear from tonight’s set is that Zombie is still one of the most captivating performers anywhere in the alternative scene, by a long way; it’s nigh on impossible to tear your eyes away from his non-stop movement, and if his aim is to get the party started, his infectious energy is a solid place to start. He also has the benefit of one of music’s greatest guitarists in John 5, with a few minutes being given over at the tail end of the set to some mind-melting guitar solos. It’s a fairly standard fixture in Zombie’s sets these days, but more than appreciated by a crowd who stand with mouths agape. We’re finally left with a preview for a forthcoming second sequel to his cult classic ‘House of 1000 Corpses’ before an encore of ‘Dragula’ – and although impossible to resist a dance to, it’s an anticlimactic end to a set that fell long short of expectations. [GR]

At The Gates

Anyone arriving at the Dogtooth stage within ten minutes of Friday’s final band kicking off is met with a hefty challenge when it comes to making it inside the tiny tent; Swedish melodic death metal giants At The Gates are, rightfully, proving to be a phenomenal draw, despite the late start time. From the get go, their set is a lesson in everything that is truly great about metal – filled with a raging power, utterly relentless and melodic riffs, and drums that are just about capable of pummelling you into another dimension. Though avoiding material from their earliest releases, it’s a varied ‘Best Of’ style set including favourites like ‘Slaughter Of The Soul’ and ‘To Drink From The Night Itself’, as Tomas Lindberg’s ferocious vocals lead the crowd through 40 minutes of Swedish mayhem for the perfect ending to an exhausting first day at Donington. [GR]

Along with these headliners, Download also announced the following bands will be playing at next years festival.

Slash featuring Myles Kennedy and the Conspirators
Whitesnake
Rob Zombie
Trivium
Amon Amarth
Carcass
Delain
Die Antwoord
Me First and the Gimme Gimmes
Opeth
Power Trip
Reel Big Fish
Skindred
Starset
Tesla
The Amity Affliction
Underoath

“‘Storm Son’ deals with the duality of man and nature, how important and basic that relationship is,” explains songwriter and guitarist Ivar. “Everything we do and create are imitations of nature; as we evolved from nature, that is how it must be – yet modern man thinks he and she is independent of nature, that we somehow are so superior that we do not have to take nature into consideration other than as a backdrop for shitty movies. Or festivals. Losing touch with nature is basically to lose touch with being human.”

‘E’ is set for release on October 13th and available to pre-order now via Nuclear Blast

Enslaved support Opeth on their forthcoming UK tour:
November:
15th – Manchester – o2 Ritz
16th – Glasgow – Barrowlands
17th – Belfast – The Limelight 1
18th – Dublin – The Academy (IRL)
19th – Nottingham – Rock City
21st – Bristol – o2 Academy
22nd – Birmingham – o2 Institute

The band will also be performing a special headline set in London:

Nov 24th – London – Islington Assembly Hall

It will be released on the 13th October via Nuclear Blast Records. It follows their 2015 thirteenth album ‘In Time’.

The band will also be playing the following UK/Ireland shows this November, most of which will be with Opeth.

NOVEMBER
15 MANCHESTER O2 Ritz
16 GLASGOW Barrowlands
17 BELFAST Limelight
18 DUBLIN, IRE Academy
19 NOTTINGHAM Rock City
21 BRISTOL O2 Academy
22 BIRMINGHAM O2 Institute
24 LONDON Islington Assembly Hall*

* Enslaved only