WORDS: JESSICA MCCARRICK; IMAGES: EMMA STONE

WILLOW

Given the tremendous growth in popularity she’s faced over the last year, it was surprising to see Willow play only second on the Main Stage East on Friday afternoon. However, the slot didn’t hinder her performance as she quickly made her large crowd swarm with her breakthrough tracks ‘Meet Me At Our Spot’ and ‘Wait A Minute’. Her set came from the depths of punk pop’s past, spurred on by the drum patterns that are inseparable from Travis Barker and his 90’s punk influence. She manages to bring new life and energy to the genre and judging by the crowd that clung to her soft syllables – they love it! Her voice is so delicate at times but is still powerful to cut through her ravenous band’s production, expertly straining over the emotional climaxes of her set list. [JM]

Pale Waves

Adorned in a gothic black outfit, front woman Heather Baron-Gracie had lace on her fingertips and magic in her voice. The band moved succinctly into their reimagined punk sound that features all the notes of post grunge angst, as well as a fresh, clearer sound that is cleaner than the harsh distortion that sometimes falls into the genre. Given their Manchester roots, it wasn’t hard to see the northern edge presenting itself as they continued, running widely across the stage with energy galore. There’s something intimate about the way the band play their respective instruments – it feels as though we’re watching them practise in a garage, a pure and candid look into what they have to say, and we’re listening. The bassist was working intricately and stole the spotlight at moments throughout with solos and riffing. Their delicate pop offerings kept the crowd light and flowing as their subtle stylistic choices rolled over the crowd’s upthrown hands carried across the whole vicinity. [JM]

Run The Jewels

Before the performance began it was shocking to see the minimal crowd that had formed in front of the iconic rap duo but as soon as the first beat dropped a surge of people seemed to rush forward and pits opened up across the huge spaces in the front section. The crowd involvement from this moment forward was unparalleled, screaming RTJ between each song with hands stretched in the air making their classic fist and finger combination. The duo are pure professionals who command the attention of all as they strut across the stage cheekily interacting with one another. Their hard hitting, infectious beats set a focused backdrop to irreverent and aggressively performed lyrics, speaking of self worth and general mischief. This act is so much fun as they merge their heavy rock infused production over passionate wordplay that you can’t help but feel energised by – a highlight of the day thanks to this fact. [JM]

Halsey

In the opening song ‘Nightmare’ there was a montage of abortion rights protest imagery that fit perfectly with the themes in the song, the empowered crowd singing along to lyrics like “I keep a record of the wreckage of my life // I gotta recognise the weapon in my mind”. It was a powerful moment for Halsey as she expressed her surprise at how well the slot was working for her; she was exactly what the crowd needed, especially given the political happenings that have fuelled her anger. The crowd were gripped by her mesmerising performance, chanting along to every word and watching an act that we generally don’t see take slots like these at UK festivals in total awe. Her music is littered with pop rock influences that the live setting only enhanced, the whole performance was a punky and gritty take on her discography. She performed a cover of the recently revived Kate Bush song ‘Running Up That Hill’, giving the song a more ominous feel; a great dark and moody choice. With hits like ‘Gasoline’ and ‘Without Me’ she even pulls in passers by as she commanded the stage with no excessive production, just passion and a god damn great voice. [JM]

There’s a mild sense of optimism in the air. We’ve been given a vague timeline of when things should be better, and while some festivals are rightly being cancelled, some are being moved to later in the year. And you know what, we cannot wait to see you all in a pit, all sweaty and beer-soaked. But before we count our eggs, here’s another edition of our collaboration playlist.

With recommendations from our Patrons, as well as a few staff ones thrown in, we’ve built our playlist with love and care, to bring a selection of tracks that we recommend, with highlights below. So why don’t you take a listen to the compilation whilst browsing over the Self Care Club. You’re only a few short clicks from joining, so get involved and join the fun.

Nicholas Cage Fighter – ‘Devil’s Head’

Nicholas Cage Fighter – “Devil’s Head” – Discovered this Aussie four piece’s debut EP thanks to the PT New Music Friday playlist a few weeks ago (get ya ears on it!). Metallic hardcore that hits all the sweet spots if that’s your thing, with the 5 track EP slapping harder than a right hook from Gail Platt. All of this before even mentioning how rad their name is!

BRAD STRATTON

Mogwai – ‘Ritchie Sacramento’

‘Ritchie Sacramento’ is absolutely faultless, and devastatingly beautiful. Nice to hear vocals on a Mogwai track, which always feels like bonus content. If anyone hasn’t seen it, I would recommend checking out the video, made in Unreal Engine. tt manages elevates the beauty in the track in my opinion.

SAM LOVELY

The Royal They – ‘Full Metal Black’

The Brooklyn trio make one hell of a racket. The drumfill in the intro is mindbending, leading into a verse full of wailing, distortion and subtle melodies. Possibly the most noticeable part is the way the vocals change pitch as they head into the chorus. Legitimately impressive, it’s a stunning way to change key into the chorus. There’s an essence of Bikini Kill thrown in here, bordering on a grungy sound with saccharin vocals that can switch in an instant. As with much of The Royal They’s material, it’s the drumming that stands out though, with an almost Dave Grohl ‘on the verge of fucking it up’ style that’s rapid as hell. Don’t let that sound like a bad thing though. The balance is superb. FFO Dinosaur Pileup.

ALAIN SMITHEE

HEADACHE – ‘mike’s back’

Since the disbanding of Lower Than Atlantis, Mike Duce has thrown some pretty left field stuff at us under his solo venture, HEADACHE. Although there’s not a single guitar to be found, Duce combines his rock band experience with new influences to experiment on something totally new. And it’s wicked. This track in particular sees him attempting to rap, which could be considered cringe but in actuality, it works pretty well. ‘mike’s back’ will tie your tongue in knots but you’ll have a whole lot of fun learning the words and be hit with a wave of satisfaction once you finally nail it.

YASMIN BROWN

Hotel Books – ‘Run Wild, Young Beauty’

Stick with me on this one. Spoken word poetry seems a little off brand for Punktastic, but it shouldn’t be, particularly when it’s as cleverly written and, dare I say it, poetic as this. The pictures painted by Cam Smith are vivid and vast, with metaphors aplenty. Within ‘Run Wild, Young Beauty’, Cam explains that he can change into whatever is needed in a partner, mailable enough to bend but not break, so as he won’t be lost or left alone. The backing instrumentation is delicate, with gentle, melodic riffs peppering the ears that doesn’t overpower the importance of they lyrics, but adds a level of power and prowess to it’s meaning. If La Dispute leaned more into emo than post-hardcore, you would have Hotel Books. It’s cripplingly affecting. So yeah, spoken word poetry. It might be pretentious, but it’s far less pretentious than this write up. FFO: Listener, La Dispute, Levi The Poet,

ANDY JOICE

Spidergawd – ‘Is This Love?’

A band that are one of many underrated gems of the Norwegian Scandirock scene. This stupendous song is from their fourth album released in 2017 and it’s scandalous that a rock song this good and catchy is pretty unknown, so consider this me giving it a signal boost of sorts. The Foo Fighters wish they could have released a song this good in the last ten years (Sorry Dave).

BRAD STRATTON

Pale Waves – ‘Easy’

I love a song that reminds me of the deepest and most enduring pain in my life, and no track is doing that more at the moment than ‘Easy’. For those still going through heartbreak, it’ll remind you of the good times, and for those in an outrageously happy relationship, you’ll find yourself wanting to text your partner just to tell them you love them. This Avril Lavigne influence has worked so well for Pale Waves but if you haven’t embraced it yet, this should be your starting point.

YASMIN BROWN

Iron Maiden – ‘The Clansman’

I’ve gone down a bit of a rabbit hole with Iron Maiden recently, embracing a heavy dose of nostalgia. Yeah, The Number Of The Beast is a hell of a record, but lets throw a bit of credit at Blaze Bayley. Can’t have been easy to step into Bruce Dickinson’s shoes, but he does so pretty well. Case in point, The Clansman – a song about the Scots fighting the oppression of the bastard English – it might not be the most technical song, the riffs might not be as memorable as Fear Of The Dark or be as thunderously quick as The Trooper, but tell me the chorus of ‘Freedom!’ doesn’t make you want to stand up and shout along. Even Mel Gibson’s speech in Braveheart doesn’t rouse the spirits as much as this song does. Up The Irons

ELLIE JOICE

The Dirty Nil – ‘Hello Jealousy’

On my third listen of “Fuck Art”, the moment the chorus of this track kicked in was when the quality of this album truly clicked with me. The sort of rock’n’roll that has me missing sweaty overcrowded gig venues for the umpteenth time since the world shut down.

BRAD STRATTON

Lonely The Brave – ‘Keeper’

They may have brought on a new front man, but Lonely the Brave are bigger than ever with their new album ‘The Hope List’, and never more so than with ‘Keeper’. A track fuelled by love and appreciation, it’s also produced perfectly to reflect the arena-sized nature of this band. With Jack on board, there’s now no ceiling to this band’s success and although the album is newly released, I still can’t wait to see what’s coming next.

YASMIN BROWN

Keen to get involved with community features? What songs do you want to shout about? Join the Punktastic Self Care Club Patreon and you help share the love.

Hayley Williams

Ah — Hayley Williams. The woman every “female-fronted” (not a genre) band has been compared to since the early 2000s, and yet who is, frankly, incomparable in every way. Williams has faced unparalleled pressure in the years she’s been active as a musician and a songwriter, and her pain has been boldly expressed through her music over the years. Unafraid of being vulnerable (see latest solo release ‘Flowers for Vases’ as cutting proof of this), Williams was one of the first women in music to tell us that it’s okay to express your feelings, and it’s totally cool if those feelings aren’t always positive. Williams validates our anger, our grief, our love — however crazy it may seem — and our bitterness, and who knows what this industry would be today without her. [YASMIN BROWN]

Heriot

If you’ve ventured into the world of “metal Twitter” at any point then you have almost definitely come across one of Debbie Gough’s guitar videos — and with good reason, she’s super fucking talented. If she’s not getting her shredding shared by bands like Knocked Loose and Code Orange, she’s rubbing shoulders with Lamb Of God or doing videos for Marshall Amplification. Her band Heriot have also been making waves, with recent singles ‘Cleansed Existence’ and ‘Recreant’ garnering attention from Kerrang!, Knotfest, and other high-profile outlets. It will be interesting to see if Heriot can keep this momentum going but for the time being, these two girthy slabs of groove-laden metal are well worth your time. [LIAM KNOWLES]

Pinkshift

With some bands, a few singles are all it takes to know they’re going to kick the shit out of the universe, and make a huge impact as they do it. Pinkshift are one of those bands. A bit grungey, a bit punk rocky, a bit pop punky, Pinkshift are a lot of things all rolled into one, not least of which is being seriously addictive; vocalist Ashrita Kumar revels in angst, spitting out her words with snarling, glorious sharpness that begs to be played at earsplitting volumes. The lyrics, too, are equally biting, the perfect therapeutic soundtrack for those days when the world needs to get in the bin – and honestly, if the song title ‘i’m gonna tell my therapist on you’ isn’t enough to sell you on this band, we really can’t help you here. Mark our words, 2021 is the year of Pinkshift, and we can’t wait. [GEM ROGERS]

Laura Jane Grace

Laura Jane Grace is a fucking badass. Whether on latest solo offering ‘Stay Alive’, side project The Devouring Mothers, or as front woman of Against Me!, Grace’s music demands attention with astute social commentary and brutally honest storytelling. Her songwriting recounts narratives that scream with raw emotion or leave their mark through a poetic vulnerability – and then there are the live shows. A sweaty and euphoric trip delivered at breakneck speed with intimate moments of stripped-back beauty… all delivered with Grace’s trademark smile. An icon and inspiration to many, Grace’s anarchic punk roots and personal journey continue to start conversations, provoke thought, and challenge preconceptions. Her ability to hold a mirror to the punk scene and society at large is deserving of both recognition and celebration. [RYAN CRAIG]

Ithaca

It’s hard enough being a straight, white woman in metal, so add being a person of colour and a member of the LGBTQ+ community into the mix and you’re almost definitely going to face some backlash if your band is in the public eye. Luckily, Ithaca vocalist Djamila Azzouz is hard as fuck and will not put up with any bullshit thrown her way. You only have to glance at the band’s social media to see that Ithaca are a deeply political band, with strong stances on social justice, mental health, human rights, and cultural representation. With Djamila acting as the band’s mouthpiece, they are utterly unapologetic about standing up for what they believe in. Lots of bands won’t speak about certain things because they’re worried about alienating fans or pissing off the wrong people, but Ithaca are not that band. Their debut album, 2019’s stunning ‘The Language of Injury’ is 31 minutes of incandescent rage, harking back to the glory days of white-belt metalcore bands like Poison The Well and Misery Signals. So if you want to have a mosh but also feel empowered to make the world a better place, then Ithaca are the band for you. [LIAM KNOWLES]

Pale Waves

Fronted by the coolest emo, Heather Baron-Gracie, Pale Waves have easily moved themselves away from their association with The 1975 since their inception in 2014, and proven themselves to be massive in their own right. Their latest record ‘Who Am I?’ debuted at number 3 in the UK charts in the week of its release, proving that you don’t have to follow anyone’s lead in order to be a successful woman in 2021. 

Their last UK tour was in support of Halsey last March (remember live music? Those were the days…), but despite the lack of their usually extensive festival schedule last summer, Pale Waves have still gone from strength to strength, growing their fanbase monumentally. It won’t be long before these guys are headlining arenas, and you’ll absolutely want to be a part of the fun when that dream becomes a reality. [YASMIN BROWN]

RedHook

It wouldn’t feel right to celebrate IWD without also shouting about the women who are about to make a huge new impact on the music scene we love – and Redhook’s Emmy Mack is surely among that number. The Aussie group have been around for a few years, but have really found their feet over the last 18 months with a tantalising blend of rap, rock, metal, and a hefty dose of “fuck you” attitude; if you listen to this music and say it doesn’t immediately make you feel like you could take down a ten storey building with your bare hands, we simply don’t believe you (although it also probably isn’t recommended to try). Mack and RedHook have something truly unique and utterly empowering, and there can be no doubt they’re about to change the game for everyone – ignore them at your peril. [GEM ROGERS]

Men I Trust

Founded in 2014 by multi-instrumentalists Jessy Caron and Dragos Chiriac in Montreal, Quebec, Men I Trust started their career by laying down dreamy instrumentals and collaborating with a variety of different vocalists. However, it wasn’t until singer and guitarist Emmanuelle Proulx became a permanent fixture in 2016 that Men I Trust’s sound was truly completed. Proulx’s delicate, almost whispered, vocal stylings stamp an identity on the band’s dynamic that makes for an extraordinarily pleasant and refreshing listening experience. A unique fusion between indie pop-rock, jazz, and R&B, 2019’s ‘Oncle Jazz’ perfectly showcases what Men I Trust are capable of. The album features reworked versions of eight singles that were released since Proulx’s full-time inclusion in 2016 as well as a multitude of fresh genre-transcending pieces that make the record irresistible to return to time and time again. [AARON JACKSON]

Nova Twins

Once touted by rock royalty Tom Morello as “the best band you’ve never heard of”, London duo Nova Twins have moved from strength to strength since forming in 2014. Driven by fierce riffs and delivered with a ruthless punk attitude, Nova Twins pack a punch that is even better experienced live. Amy Love’s vocals relentlessly traverse from rapped verses dripping with grime to shouted choruses that rival any hardcore punk band at the top of their game. Equally, Georgia South’s proficiency on bass is crucial to Nova Twins’ brilliance. An instrument that is too often overlooked, South stretches her bass guitar to its limits with effects pedal wizardry and expert technique to ensure that her contributions simply can’t be missed. 2020’s debut LP ‘Who Are The Girls?’ (released via 333 Wreckords Crew) is the essential gateway into the fast-emerging Nova Twins movement. Get involved. [AARON JACKSON]

Tramp Stamps

They may only currently have two singles to their name, but those two tracks easily show that Nashville’s Tramp Stamps are going to take the world by storm in no time at all. Their latest single, ‘1-800-miss-ur-guts’, released earlier this month, takes the bubblegum pop punk of ‘Sex With Me’ and strips it back, allowing for a more emotional element to their otherwise unapologetic attitude. Made up of singer Marisa Maino, guitarist Caroline Baker, and drummer Paige Blue (Baker and Blue also working together as co-producers), this is a band that screams female empowerment, but there’s a lot of fun in their approach to songwriting — a breath of fresh air in an industry that can feel so damn serious sometimes. With their debut EP set for release mid-year, we’re super excited to see what’s coming next from Tramp Stamps. [YASMIN BROWN]

Svalbard

“Metal is the most inclusive, tolerant, and welcoming community there is.” That’s something you’ll see quite a lot in the comments section of almost any major music publication. If that’s the case, why do so many people (usually men) go ham-pink with rage every time Svalbard guitarist and vocalist Serena Cherry dares to speak on her experiences as a woman navigating the scene? It’s almost as if metal isn’t actually a utopia of tolerance after all. The simple fact of the matter is that whilst progress has undeniably been made in recent years, your beloved metal scene is still rife with sexism, misogyny, homophobia, transphobia, racism, and pretty much every other form of prejudice you could think of. That’s why we need bands like Svalbard making it clear as day — in both their lyrical content and their public interview statements — that we cannot turn a blind eye to it anymore. It helps that their blistering blend of black metal, hardcore punk, and shoegaze is utterly fantastic, but their steadfast, unflinching message is what makes Svalbard a truly special band. [LIAM KNOWLES]

Meet Me @ The Altar

They’ve been around for a little while but it’s only recently that Meet Me @ The Altar have been picked up by Fueled By Ramen and, subsequently, made a huge name for themselves. The band is made up of Edith Johnson, Téa Campbell, and Ada Juarez, three young adults who met online, bonding over bands such as twenty one pilots and Paramore — both of whom are now their label mates. This band is a perfect example of dreaming big and achieving every. Single. Goal.

As well as making super-catchy pop-punk tunes, though — and they are catchy and fun as hell— MM@TA have a mission with their music, and that is to contribute to wider representation in the industry.

“We want to be the representation we didn’t have growing up. We hope to encourage young girls, especially black and brown girls like us. We definitely have a different perspective than the average pop-punk white dude crying about his girlfriend. Even as a band, we experience the music world in our own way. It gives us an interesting viewpoint that we put into the songs.”

Fierce can-do attitude combined with unstoppable success, Meet Me @ the Altar are set to be an inspiration to young artists — particularly women and non-binary — worldwide. [YASMIN BROWN]

Wolf Alice

From debut EP ‘Blush’ to The Mercury Prize-winning ‘Visions of a Life’, Ellie Roswell and co. have danced from album to album and through genres upon genres with careless abandon. Are they folk? Pop? Indie? Grunge? They’re none and all of them, styles borrowed and sampled like they’re strangers’ hats on a night out. It’s this ethereal mysticism that has grown the group’s reputation as one of rock’s most exciting groups, and with acts like Siouxsie and the Banshees, Elastica, and Courtney Love touted as inspirations, they’ve rather gracefully inherited the legacy of a long line of female powerhouses of the industry. With a third album looming on the horizon, and new experiments by this fae coven of a band already teased, it’s hard not to be utterly enraptured by this almost asymmetrical style of rock, and be excited as to where they may take it next. [FIACHRA JOHNSTON]

Pillow Queens

It was only three short years ago that selling out a modest-sized venue in their hometown of Dublin was what Pillow Queens would class as overwhelming success. Flash forward to the present day, and they’re being beamed into the homes of hundreds of millions of Americans while performing on The Late Late Show with James Corden. From their early scrappy EPs to their long-awaited, and beautiful debut album ‘In Waiting’, the all-girl group of Sarah Corcoran, Rachel Lyons, Cathy McGuinness, and Pamela Connolly have been penning heartfelt and powerful songs. Their signature four-part harmonies and wicked sense of humour make every show — whether it be in a sketchy practice space next to a garage or the grand halls of Whelan’s in Dublin — a celebration. And in their success, they provide inspiration for female and LGBTQ+ musicians wanting to find their voice. If you haven’t seen them before, make it your absolute priority — they are going to be huge. [TOM WALSH]

Petrol Girls

“We’re not finished, we never fucking will be,” Petrol Girls’ Ren Aldridge calmly states at the end of their seminal 2019 record ‘Cut + Stitch’. Those eight words encapsulate what their mantra is all about. This is much more than just a band; it’s a movement, led by the fearless and outspoken Aldridge. It’s an assault on the toxic masculinity and the glass ceilings that women have to face each day and Petrol Girls are here to hold the mirror up to society. Their sound is raw, mighty, and explosive, their lyrics poignant, vulnerable, and with a razor-sharp edge. The post-hardcore scene is generating more and more female voices, thanks to the empowerment that Aldridge and Petrol Girls demonstrate with every record. A truly wonderful band with a powerful message that will never be quietened. [TOM WALSH]

Bloxx

Bloxx are one of those bands that spent 2018 and 2019 getting on every festival bill that suited their sound until there was no way regular festival-goers could possibly emerge from the summer without knowing who they are. And they are a band that deserves to be known. Fronted by Fee Booth, Bloxx’s unapologetically indie/pop/rock sound is the exact encouragement you need to crank up your crackly bluetooth speaker and pour a beer into a red plastic cup while you lounge (or dance) in the garden with your best mates. They are, undeniably, the sound of sunshine and laughter — even if sometimes their music is more likely to make you cry. While their support slot with Twin Atlantic was cut short last year, there’s still so much more to come from this band, and once we’re all back crammed together in sweaty clubs or feeling liberated in our bras in muddy fields, Bloxx are undoubtedly going to be a part of that experience for many people. [YASMIN BROWN]

Dream State

It’s hard to believe only three years have passed since Dream State released their sophomore EP ‘Recovery’, catapulting them to the forefront of the upcoming alternative music scene in the UK. The impact of their songs is not one that can be understated, and it’s something driven by vocalist CJ Gilpin; through ‘Recovery’ and 2019 debut album ‘Primrose Path’, Gilpin has shown us that vulnerability and strength go hand in hand, revealing her own struggles to provide comfort and hope for others. It’s a message that extends beyond their music, and is central to everything Dream State do – it only takes one live show to see the spirit, passion and energy that flows from Gilpin in particular, and it’s not only an uplifting experience, but a life changing one. Latest single ‘Monsters’ proves Dream State still have plenty more to say and more hope to share, and we should consider ourselves incredibly lucky to have them. [GEM ROGERS]

Pupil Slicer

There has been undeniable hype around Pupil Slicer in the last few months. Their debut album ‘Mirrors’, is being touted by those who have already heard it as a potential Album Of The Year contender, and if the singles they have released so far are anything to go by, those people may well be correct. The London-based trio have been compared to seminal bands like Botch and The Dillinger Escape Plan, thanks in no small part to Kate Davies’ incalculable vocal performance. Their sound is as belligerent and chaotic as their name is eye-watering, so if that sounds like your cup of razorblades and broken glass then keep an eye out for Pupil Slicer. No pun intended. [LIAM KNOWLES]

Rivals

Somewhere in between outright heaviness and ultra pop is a magical land where the two combine, that unexpected power couple who walk into the room and immediately grab everyone’s attention. With minor keys aplenty and a thundering darkness that underpins some heavy lyrical content – mental health, addiction, and the challenges of growing up all make appearances here – LA band Rivals also bring plenty of light in the form of towering, gorgeous melodies, brought to life by vocalist Kalie Wolfe. There’s a depth and emotion in her voice that adds so much more to every song, whether it’s softer, hope filled tracks like 2018’s ‘To Leila’, or all out ragers in the form of recent single ‘Fake Rich’; Wolfe is, without question, a musical force to be reckoned with. With their second album coming in just a few weeks, expect Rivals to be popping up on more radars very soon – and it’s attention they definitely deserve.

[GEM ROGERS]

Cultdreams

One thing is abundantly clear from Cultdreams’ discography: the duo of Lucinda Livingstone and Conor Dawson are resolve incarnate. The pair’s debut, ‘Seafoam’, delivered their mission statement with force and gusto, from the raucous ‘Berlin’ to the airy ‘I Don’t Want to Be Sad Forever’. Even before the pandemic, the duo made a career out of long distance production, working on their sophomore album between Leeds, London and Berlin. The result, ‘Things That Hurt’, spared no expense in drawing from trauma to tell a stark tale of disenfranchisement with the system. Bleak but hopeful, sharp but comforting, Cultdreams’ shoegaze-infused baring of the soul makes grand use of tension and release, and Lucinda continues to stand as one of the most unique punk vocalists in the UK. [FIACHRA JOHNSTON]

So get ready to hit play, turn the volume up to max and sing (or cry) your heart out, because this album is everything Pale Waves fans have been waiting for. And it’s really bloody wonderful. 

‘Who Am I?’ touches on every aspect of love, from bitterness to terrifying perfection, and everything in between, but it’s not just about those external relationships – it’s also about our relationship with, and love for, ourselves and the lack of control we often have over that. Between the wild frustration (‘Change’), the intense heartbreak (‘Wish U Were Here’), and the idea of loving someone so much you’re just waiting for the other shoe to drop (‘Fall to Pieces’), ‘Who Am I?’ serves as a fierce reminder to take a second to focus on you, too. There’s a reason that this record’s title is centred around the individual, and it’s because the overarching message isn’t about interpersonal relationships – it’s a plea to all Pale Waves fans to work hard to ensure that whatever may happen in their relationship, they will be okay if the only person around to love them is them. 

Sonically, it’s impossible to discuss this album without addressing the clear similarities between its sound and that of Avril Lavigne circa 2002 when ‘Let Go’ was released. From the moment the record kicks off with first single ‘Change’, we’re hit with a welcome revival of the acoustic, pop punk sound that has long since defined Lavigne’s golden age, and while front woman Heather Baron-Gracie may have a few more years behind her than Lavigne did at that time, you can easily make connections between themes of angst, rebellion, and the vulnerability that you’ll unearth if you take a second to listen back to Lavigne’s most beloved music. 

While the similarities are undeniable, Pale Waves still easily stand out in their own right and it’s Baron-Gracie’s signature vocals that really set this album apart from anything we’ve heard before, delivering hard-hitting lyrics in the most unique way. Among the declarations of love and admissions of fear – ‘Fall to Pieces’ ‘She’s My Religion’, and ‘Odd Ones Out’ – are tracks that touch on more hard hitting topics, most notably ‘Tomorrow’ and ‘Who Am I?’. It’s these two songs in particular that set Pale Waves apart, cementing them as a more mature band despite their teenage influences. ‘Tomorrow’ – which made its live debut in September 2019 – pleads with named individuals to keep trying even when life gets hard. Its beauty comes in that personalisation, reaching out to Ben and Emily, Kelsi and Haley, touching on their personal stories and asking them directly to keep trying even when life seems impossible. And while individual names are used, Baron-Gracie really could be speaking to anyone – the kid who just came out to his parents, the 20-something year old who is struggling to find happiness in ‘the real world’, the girl comparing herself to supermodels – and in that sense it’s easy to take it to heart and apply it to your own situation. This is a track that makes you feel as though Pale Waves are there for you, holding your hand through life’s greatest hardships. 

The acoustic and desperate ‘Who Am I?’, on the other hand, flips this support on its head, as Baron-Gracie reaches out to ask for help and for answers as she continues on a quest to find herself in what has turned out to be a pretty turbulent world. It’s certainly the most vulnerable track on the record, encompassing every doubt that’s previously been addressed into one, seemingly simple yet realistically impossible to answer question. While it may at first seem like an odd choice to close what has otherwise been an upbeat album, its power is immense as it leaves you reflecting on not just everything you’ve heard up until that point, but also your own life, how you want your future to pan out and, most importantly, who you are.

While Pale Waves may only be two albums deep, they’re already pushing boundaries and testing brand new waters with everything they release. A far cry from 2018’s ‘My Mind Makes Noises’, ‘Who Am I?’ sees this band moving forwards at a phenomenal pace and will undoubtedly see them pick up brand new fans as well as appeasing those who have been around for a while. This is a band that are already so exciting, and that this is still only the start of their journey shows just how much we have to look forward to.

YASMIN BROWN

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

The LaFontaines

Our day starts on the Dance Stage, where Glasgow’s The LaFontaines pay no attention to the time of day as they happily cause a ruckus with their Scottish hip-hop/rock sound and endless enthusiasm. Prior to experiencing the set, their place on the Dance Stage seems confusing – but by the time frontman Kerr Okan is done with the crowd, there’s no denying that there’s no better place for this wonderfully mental band. If there’s one way to describe the short set, it’s ‘fucking fun’, as Okan amps up the crowd ready for the long weekend to come, not only jumping into the front few rows of the crowd, but actually leaving his mic behind altogether as he runs front to back through the crowd who are, by this point, equal parts ecstatic and confused. The LaFontaines are something different, and their popularity highlights this. Who ever knew they needed a very Scottish sounding rap/rock band? Certainly not us, but today only highlights that the music scene is a better place for having them in it. [YB]

I Don’t Know How But They Found Me

Nobody likes the opening band; their set time’s far too early and I’ve never heard of them. The chances are, they won’t go far… or at least, that’s what the opening lyrics of the Utah-based pop-rockers I Don’t Know How But They Found Me set, from the aptly named ‘Nobody Likes The Opening Band’, would tell you. What they lack in stage presence – and who can be surprised, really, with only two band members and no on-stage theatricals to fill the vast Main Stage – iDKHOW make up for in dry humour and unspeakably high notes from vocalist Dallon Weekes. iDKHOW’s self-aware performance is a gentle easing into the festival weekend, with 1980’s-inspired funky beats like ‘Social Climb’ and crowd-movers like ‘Do It All The Time’. Their opening track finishes “if you lend an ear and give them just one little chance, you may just like the opening band”, and we couldn’t agree more. [CA]

Sea Girls

As iDKHOW perform on the main stage, we’re also on our first of many visits to the Radio 1 stage this weekend, and we’re delighted to be able to catch Sea Girls one more time before the summer is over. This is a band that has grown beyond human comprehension over the past year, going from performing to mere handfuls of people at festivals in 2018, to filling tents and being entirely drowned out by the sound of their fans’ voices – not least during ‘All I Want to Hear You Say’ and set closer ‘Call Me Out’. While they’ve grown in popularity, the band members themselves don’t seem to have changed a bit, with happy-go-lucky guitarist Rory still grinning as though every day spent on stage is a new life highlight, and front man Henry continuing to venture into the crowd part way into the set. The band has always been tight, but with what must be close to fifty festival appearances under their belt since the beginning of summer 2018, Sea Girls have become ones to watch and deservedly picked up as one of Radio 1’s favourite newcomers. [YB]

Twin Atlantic

In comparison to the freshness of Sea Girls, Twin Atlantic are a band that have been commanding the main stage at Reading and Leeds festivals for years now, and each year they come back with more gusto (and more fans) than ever before. The weather has reached I-Would-Like-to-Die levels of hot now, but not for a second do either the crowd or band let this deter them from making the most of this Glaswegian four-piece’s live summer comeback. With new music on the horizon, the half hour set is not only filled with performances of tracks from across their current discography – each met with more excitement than the last – but the debut performance of unreleased track ‘Volcano’. Having been given a small glimpse of what’s to come with new music (that has been three years in the making since the release of GLA in 2016), the crowd is even more amped, pushing through the sweat and dust to make the most of every second of this set. It’s a glorious and triumphant return that has only left us anxious for more. [YB]

Patent Pending

All the way from Long Island, New York, Patent Pending’s set at The Pit / The Lock Up can only be described as complete and utter chaos, in the best sense of the word. Energetic front man Joe Ragosta asks the crowd who’s heard of Slick Rick, a one-eyed felon known for his iconic lyric “the roof is on fire”. As it turns out, Patent Pending borrowed the line and are now in a legal copyright battle, but it doesn’t stop them performing ‘Let It Burn’. The set appears to follow the theme of the band’s 2017 album ‘Other People’s Greatest Hits’ as Ragosta leads into ‘Every Time We Touch’ by saying “I wrote this song and it made me a millionaire. That may or may not be true – deal with it.” There are some originals too, like ‘Hey Mario’, which explores the relationship between Mario and Princess Peach, and ‘Psycho In Love’ – complete with its signature pirate hooks dance move, which fill the tent. Incorporating pop punk, rap metal, ska, and electronic elements, make no mistake that although they don’t take themselves too seriously, it’s not for lack of musical talent, and after almost two decades together, there’s no indication that Patent Pending are slowing down. [CA]

Press Club

Continuing Punktastic’s occupancy of The Pit / The Lock Up stage, Press Club join us from Melbourne’s independent punk scene to deliver a stunningly raw performance. Natalie Foster is messy haired and fresh faced, and completely embodies the music with no frills – just an incredible vocal range, which she flexes to deliver her lyrics with tenderness through to anger and conviction. Far from formulaic, drummer Frank Lees and guitarist Greg Wietwyk take the crowd on an unexpected journey of fast-paced rhythms and catchy riffs, receiving the best reactions to anthemic ‘Suburbia’ and my personal favourite, ‘Separate Houses’, taken from albums ‘Late Teens’ and ‘Wasted Energy’ respectively. Live music has a beautiful way of bringing people together – and this is the kind of band that would be as exhilarating to watch in a dark and smoky bar as it is to dance along to in a festival tent on a scorching Friday afternoon. [CA]

You Me At Six

Nobody does Reading and Leeds quite like You Me At Six. Having played here more times than we can count, and headlining the Radio 1 stage just two years ago, it’s a second home to this Surrey five-piece. This time, however, they’re back for an early evening main stage slot, as always making the most of this incredible opportunity and putting on a live show fans will be recalling for years. Front man Josh Franceschi carries enough charisma for the whole band, speckling the set with motivational speeches about love and acceptance, cementing himself as the passionate, caring, and opinionated man we’ve always loved. Even without the mic, however, the personalities of every band member shines through in their performance, and it’s easy to tell from the casual nudges or friendly jibes that these five best friends were made for this life, and they were made to live it together. Today, in among his consistently smooth vocals, Franceschi makes many impressive yet unexpected attempts at screaming. With the introduction of new dance-rock track ‘What’s It Like’, as well as a mention of more new music to come in October, it suggests that perhaps this is the direction the band may be moving. By the reaction of the crowd, it seems this change in sonic direction is welcome and, as with Twin Atlantic earlier in the day, the set leaves us filled with anticipation for what this band has to offer us moving forwards. [YB]

Puppy

How can three people make so much noise? Let’s set the scene – it’s now 6pm in The Pit / The Lock Up tent and the crowd is a little sparse, but Puppy are killing it. Where to start – the earth-shattering riffs straight out of the 1990’s, the unlike-any-other vocals, or the genre-breaking result of them coming together? If you’d never seen Puppy before, you’d probably picture Nine Inch Nails, Soundgarden, or something along those lines – not three young lads from London with a goofy sense of humour. But it works. It really, really works, and gives vocalist and guitarist Jock Norton, bass guitarist Will Michael and drummer Billy Howard Price a hugely likeable quality. Combining tracks from their occult-like debut album ‘The Goat’ (2019) such as ‘Black Hole’, and earlier singles like ‘Forever’, Puppy give one of the best performances at Reading. If they’ve managed to come this far since just 2014, you know that this is only the beginning. [CA]

Laura Jane Grace & The Devouring Mothers

Reading is an old stomping ground for all three musicians we’re about to see, but today is their first time playing together as Laura Jane Grace & The Devouring Mothers. It’s disappointing to see the turnout, but this is quickly forgotten as it’s clear that only the true fans have made it to The Pit / The Lock Up – shown as we hang off every word, only interrupted by shouts from the crowd about how much Grace is loved. The set features tracks from 2018 album ‘Bought To Rot’, including ‘The Hotel Song’, which gives thanks to hotels around the world for their sanctuary, the importance of being ready to leave, and only taking with you what you need – a beautiful metaphor for resilience and personal growth. ‘Valeria Golino’ tackles the struggles of needing help but being sexualised, whilst ‘Born In Black’ is about taking that thing others ridicule you for and turning it into a sense of empowerment. Grace is always open about her battle with mental health, dedicating ‘Manic Depression’ to anyone suffering. Although much more sombre than earlier performances, the set is powerful, emotive and touching – with a number of people staying behind to meet the band. [CA]

Pale Waves

If there’s ever a band that is going to have you both crying and dancing with joy in the same heartbeat, it’s Pale Waves. Their often painful lyrics are disguised among upbeat melodies, and it’s not difficult to find yourself confused as to how you should feel. In a live environment, this is even more poignant, and throughout the Radio 1 set fans find themselves with tears running down their faces, while still unwittingly dancing along in a confusing yet cathartic emotional breakdown. This is what makes Pale Waves so wonderful; their ability to evoke multiple emotions at once, and while front woman Heather Baron-Gracie can be pitchy at times as she struggles to juggle both vocals and guitar, the band’s live show is consistently one to remember. Today is no different, as Baron-Gracie blows kisses and dances in the most endearing way, seemingly unaware of the impact she has on the band’s fans as she notes to the already misty-eyed crowd that “we’re gonna get emo”, midway through the set. As if we need another reason to cry.  The gratitude that flows cyclically between band and fans reaches its peak as the set draws to a close with ‘There’s A Honey’, and Baron-Gracie clambers into the crowd to hug those in the first few rows, the farewell screams reaching almost deafening levels. This is a band that deserves their following, both in regards to their music and who they evidently are as human beings, too. [YB]

PUP

Now firmly in headliner territory, PUP bring one of the liveliest crowds of the day, promising to “just play as many fucking rock songs as we can”. Everyone is clapping, singing and bouncing through tracks from the Canadian punk rock band’s most recent album, ‘Morbid Stuff’, as well as screaming requests for older track ‘Dark Days’, from their self-titled 2014 release. The tempo is brought down a little with ‘Scorpion Hill’, the crowd swaying along as the sun set around us, then up again all the way through to the undeniably catchy final track ‘DVP’. It’s not clear who is having more fun – bandmates Stefan Babcock, Steve Sladkowski, Nestor Chumak, and Zack Mykula, or the tent full of fans. Either way, it doesn’t feel like there was a huge divide between the two – just hundreds of people having a great time. [CA]

Royal Blood

As the sun starts to descend behind the carnival backdrop of the festival, Royal Blood take to the stage. Met with a seemingly infinite crowd, this Brighton two-piece show no fear as they launch into their catalogue of hits. For a rock band to have such a mainstream following can make fans nervous, but Royal Blood continue to put out authentic rock ’n’ roll music, perfectly designed for a main stage slot like this. The pair exude talent, their tight performance and flawless sound making this a set that anyone could enjoy, regardless of the extent of Royal Blood knowledge. With dramatic pauses for effect and a drum solo that can only be described as ‘epic’, they’re the perfect warm up for tonight’s headliners, The 1975, although there are moments where you’re left wondering whether they themselves should be running this show. [YB]

The Maine

Our Friday night draws to a close with the ever wholesome The Maine over in the Lockup tent. Tonight is the band’s first time at Reading and Leeds, and while they “didn’t think anyone would show up”, the tent is packed to the brim with fans singing along and swaying to every song, with more spectators trickling in as the set continues.

As we’ve grown used to with The Maine over the years, this is a group who don’t take themselves too seriously – highlighted as front man John O’Callaghan practices his ‘sexy’ dancing during ‘Am I Pretty?’, and a fan named Alex is brought on stage to join the band for ‘Girls Do What They Want’, during which time O’Callaghan kisses Alex (with permission, of course), and the crowd chants the fan’s name as though he’s exactly who we came here for tonight.

The set is exquisite, with O’Callaghan’s vocals merging perfectly with the band’s perfectly played out beats and melodies. The grins prompted by the experience of singing along to ‘Another Night on Mars’, arm in arm with their best friends and other loved ones, are reflected on the faces of each band member, and we all undoubtedly concur with O’Callaghan as he notes, “I’m gonna remember this night for fucking ever”. Friday may be over, but we’re never going to forget it. [YB]

Click here to view the full day one gallery from Reading & Leeds.

The Punktastic team headed along to check out some of our favourite bands – and with break out areas providing hammocks, bean bags, and makeshift pubs, it not only provided us with a stellar lineup, but an outstanding environment in which to enjoy it, too.

Images: Tash Greene, Words: Yasmin Brown

We kicked off the day with London’s effortlessly cool Sea Girls. After playing pretty much every festival you can think of last summer and being fully embraced by Radio 1, they’ve seen huge growth in popularity over the past year. Immediately it’s easy to see the difference in crowds in just 12 months, and despite opening the entire festival, Sea Girls have pulled in a decent sized crowd, with the majority singing and dancing along enthusiastically to every song on this half hour setlist. There’s infinite energy coming from both crowd and band, allowing both parties to feed off one another, perfectly warming us up for the rest of the day. With an unquestionable knack for writing catchy yet relatable tracks and an unrivalled stage presence, Sea Girls are only going to grow from here, and it won’t be long before we see them easily making their way up festival bills until they’re headlining stages across the country.

After being blown away by them at last year’s Reading Festival, there was no way we were going to miss Yonaka. Oozing attitude, this band continuously put on one of the most memorable sets at any festival, regardless of where they sit on the bill. Front woman Theresa Jarvis defines confidence, jumping around, pulling signature facial expressions as she hits note after note with perfection. We’re treated to new songs set for release at the end of May, as well as more familiar tracks that, to existing fans, feel like coming home, and not for a moment do you feel tempted to stand still. This is a band that attracts fans of all descriptions, most notably a mother and her toddler singing along to ‘Teach Me to Fight’ in unison, both with index fingers pointing towards the sky as the daughter sits on her mother’s hips. This is music for our generation, and for generations to come. It’s timeless in its message but most poignant today, and whether you had heard of Yonaka previously or not, there’s no way you could possibly leave the main stage without having been impacted in some way.

Our first act on Stage 2, The Blinders take to the stage masked in a screen of smoke. Slowly, as the smoke dissipates, the three members emerge creepily, with front man Thomas Haywood maintaining a stage persona that requires him to paint his entire face white with just one stripe of black to break up this ghostly appearance. While the band’s Arctic Monkeys/Sex Pistols hybrid sound is certainly interesting, it saw a number of crowd members leaving the tent in favour of other stages. Hailing from Manchester, just 20 miles away, this band’s sound is clearly niche, attracting a very specific kind of music fan and perhaps ostracising a wider audience as a result. That said, this ensures that the band remains authentic, creating music for themselves rather than to draw in the masses and focus on making money. It’s a commendable approach to creating art, and one that will likely see them develop a loyal, if limited, fanbase. This was cemented by the fact that those who did stick around were screaming along to every lyric, throwing themselves into the music without a single consideration to what anyone might think of them.

Regardless of what you think of Maxïmo Park’s music, there’s no denying that they have one of the strongest stage presences of the day. Smashing through their back catalogue that extends back 20 years, this northern band never once falter, offering a thoroughly entertaining thirty-minute set. While they’ve remained largely off the mainstream radar since the release of sophomore album ‘Our Earthly Pleasures’ in 2007, they put on one hell of a show and are undeniably made for festivals. Donned in a royal blue shirt over a red/pink patterned shirt, front man Paul Smith makes no effort to blend in, his flamboyant character being a huge part of what makes this band a joy to witness. Maxïmo Park’s more recent music may have made less of an impact, but their earlier releases more than make up for this in a live environment. Not only that, but having been playing together for over two decades, this band is tighter than ever, feeding off one another and putting on a musically faultless show.

While Nothing But Thieves haven’t released new music since 2017, they continue to find themselves on festival bills across the country, consistently pulling in massive, passionate crowds. There’s no denying that front man Conor Mason has the strongest vocals of the day, but the performance is let down by a distinct lack of energy from not just Conor, but the rest of the band, too. There are few moments where you see a smile form on the band members’ faces, making it difficult to fully embrace the set despite the impeccable musical performance. The energy picks up midway through, however, when – at Mason’s request – a circle pit forms in the centre of the crowd, and songs such as ‘I’m Not Made By Design’ and ‘Live Like Animals’ are so excellent in their own right that the entire band could be sitting on stools and the crowd would still lose their minds. Due to the band’s more placid nature, their performance of ‘Particles’ is the most stand moment of the set, with Mason’s voice reaching all new heights, and crowd members singing along emphatically with their eyes closed as they feel every word. Ultimately, while it feels a little lacklustre at times, Nothing But Thieves are talented enough that the music itself is enough to make any set phenomenal, and it was a perfect way to kick off the second half of the day.

Fueled by an ongoing legal battle with their ex-management and record label, The Hunna have come back from a short hiatus more fierce than ever. Despite taking to the stage an entire time slot early due to a delay in Pale Waves reaching the site, the Stage 2 tent is packed to the brim with fans. Opening with ‘We Could Be’ – a not-so-subtle nod to the struggles faced over the past few months – the crowd needs no encouragement when it comes to starting circle pits, happily launching their bodies at one another. The entire set is chaos from start the finish, the kind of absolute mayhem you hope for at any rock gig; sweat quickly coats every inch of the crowd, and voices become hoarse through the sheer passion with which fans scream the lyrics back at the band. Even the two new songs that make the setlist are met with enthusiasm, the tent maintaining the excitable atmosphere that defines this forty-minute set. We are lucky to have The Hunna, and as the crowd takes over as lead vocalist for both ‘She’s Casual’ and ‘Bonfire’, it’s clear that The Hunna are lucky to have us, too.

You’d never guess that Pale Waves only landed back in the UK from America mere hours earlier as they take to the stage with unwavering charisma and energy. Front woman Heather Baron-Gracie wastes no time encouraging the crowd, highlighting that they’re local – hailing from just a few miles away in Manchester – and repeatedly asking, ‘How you fucking doing?’, inciting thousands of positive responses in the form of wild screaming. The set itself reflects the band’s debut album, ‘My Mind Makes Noises’, with beams of red lighting up the stage and Baron-Gracie dressed head to toe in the stark colour, making the band’s mid-set performance of ‘Red’ all the more striking. Playing together seems to come naturally to this four-piece, as despite the definite jet lag and exhaustion they never once trip up – the only hint of their severe lack of rest being the intermittent moments where Baron-Gracie sounds a little off key. Due to the switch in set times, Pale Waves’ performance is sadly shorter than expected, but they more than made up for it with their positivity and vibrancy, and only left us wanting more.

No strangers to the British festival scene, You Me At Six can always be counted on to put on an explosive performance, whatever size crowd they might be playing to. This headline slot at Neighbourhood Weekender is no exception, and despite a false start that sees front man Josh Franceschi flailing about and trying to remember the lyrics to opening song ‘Fast Forward’, it’s still the best end to the night we could possibly hope for. Franceschi’s vocals are on top form as he puts his all into every song while still keeping a keen eye out on the crowd to ensure their safety, allowing himself to get distracted during ‘Fresh Start Fever’ when someone seems to be hurt, continuously checking up on them while, for the most part, maintaining composure.

As always, this band combines great music with an opportunity to forget any issues you may be facing outside of the confines of the venue, always highlighting their shows as a safe space filled with positivity, and fans make the most of this opportunity to lose their minds; to scream, cry, and dance until they have nothing left to give. Not that it’s at all difficult to enjoy, as YMAS play hit after hit, and – always looking for an excuse for encouraging crowd surfers – Franceschi takes a moment to get us excited as he talks about new music, and how we can expect a single before the end of summer. He uses this excitement to get us launching ourselves across a sea of arms, grappling around for stability and a high-five as we reach the front of the crowd and safely land on our feet. There’s no better way to end a festival than on the high that You Me At Six will always leave you with. As tired as we may be, when we leave the fields with our favourite songs still rattling around in our heads, we simply can’t wait until we get to do it all again.