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]

Never a band to quite grasp the saying ‘new year, new me’, one thing Reel Big Fish have often been criticised for is sticking to the same formula – whether that be playing almost the exact same setlist for the latter half of their careers, or just the long absences of new material. Luckily, with their latest release, the band have solved the problem (kind of) with a collection of brand new ska infused party anthems that everyone loves them for. The likes of ‘You Can’t Have All of Me’ has already helped to reinvigorate their live show.

It is a shame that ‘Life Sucks… Let’s Dance!’ has been released at the end of winter, as it would have been the ultimate summer album. The title track opener hits you straight into the good times feel with a huge chorus and even a sax solo. ‘Ska Show’ and ‘The Good Old Days’ have that nostalgic brass focused, The Beat-style ska flow that will have you strutting down the beach or skanking in the summer heat at the back of your garden. Unfortunately, a low point on the album is the track ‘Bob Marley’s Toe’, which sounds exactly how you imagine; bad reggae with unfunny humour.

Full of teenage angst despite being in their mid forties, ‘Pissed Off’ is classic Fish; a track that both makes you want to dance until you drop and swear at your boss at the same time. ‘Tongue Tied and Tipsy Too’ offers a much faster paced, short and almost hardcore influenced punk rock track (complete with a ridiculous guitar solo) which ups the tempo and keeps the album interesting just at the right time.

Never a band to be ashamed of treading on old ground, ‘Love Again’ proves that just when you think you’ve heard every heartbreak song that Reel Big Fish can come up with, they will find a unique way to add another hit to their epic collection of tongue-in-cheek romantic tales.

Even though Reel Big Fish have hardly reinvented their sound and the gimmick wears thin towards the end of the album, ‘Life Sucks… Let’s Dance!’ sits perfectly well next to the rest of a back catalogue that you can always rely on to lift your spirits. There will be no better way to start the year on a high than to give this album a listen and have a skank along to it.

LOUIS KERRY

Tours of this ilk are always a good litmus test of how old you feel. Manchester’s O2 Ritz is a sea of 30-somethings who first picked up a ska punk record when they were 13. They heard Reel Big Fish’s ‘Sell Out’ on Kerrang! or Scuzz while bobbing their head along to Less Than Jake’s ‘All My Best Friends Are Metalheads’, playing Tony Hawks Pro Skater on their old PlayStation.

Now we’re all grown up, the hangovers sting a little more than they used to, and it’s getting a little bit harder to shift that muffin top, but there is one thing we all still secretly love – ska punk. So when Reel Big Fish open their set with their unmistakable cover of A-Ha’s ‘Take On Me’ everyone is instantly transported back to a time of buying copied albums off friends at school.

Every man, woman, child and, for some reason, a Staffordshire bull terrier is here for a night of fun and Reel Big Fish set the tone immediately. It feels like a celebration of a simpler time where things didn’t seem so suffocating and youthful ignorance dominated our thoughts. Heads nod along as front man Aaron Barrett has everyone singing that “they’re doing the fish” to the still infectiously brilliant ‘Trendy’ and the tongue-in-cheek love song ‘She Has A Girlfriend Now’. Barrett takes a moment to announce that they’ve “got a new song to play… later”, which is met with a knowing laugh from the audience.

We’re not here for new material, we all want to dance around to ‘Where Have You Been’ and a cover of ‘Monkey Man’. Reel Big Fish do sneak in their latest single ‘You Can’t Have All Of Me’ but only revealing this after the fact. Best to keep that quiet and wrap up with celebratory renditions of ‘Sell Out’ and ‘Beer’.

You can’t really have a ska punk nostalgia-fest without the presence of Less Than Jake. You especially can’t have one without them when they can open a headline slot with the rapturous ‘Gainesville Rock City’. This is soon the party everyone anticipated it to be, as bass player Roger Lima starts dishing out cups of BrewDog Punk IPA to delighted hordes.

Lead singer Chris DeMakes encourages everyone in attendance to raise a glass for being hungover in work tomorrow as he introduces ‘History of a Boring Town’. Beach balls fly through the venue, fan after fan are brought up on stage (and, for some reason, then immediately ignored as they dance awkwardly at the back) and toilet roll is fired into the crowd.

This is what we all remember, right?

Every word of Less Than Jake’s set is echoed by a crowd that first bought an album when they wore baggy jeans and were constantly falling off their skateboard. The duo of ‘She’s Gonna Break Soon’ and ‘Johnny Quest Thinks We’re Sellouts’ still sound huge, while the closers of ‘The Science of Selling Yourself Short’ and ‘All My Best Friends Are Metalheads’ produce the biggest sing-a-longs of the night.

The next morning will provide the hangover we could once bounce back from, the mohawk will have to be combed back down, and the Airwalks will have to go back in the cupboard for another year – but for these nights, we can all be transported back to 2001. And that’s pretty good.

TOM WALSH

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

The Punktastic team were there to witness yet another fantastic experience at one of the country’s most treasured festivals.

Images: Penny Bennett, Words: Mark Johnson [MJ] / Becky Mount [BM]

Merseyside’s Loathe get Slam Dunk started with a bang – a very loud bang – ensuring that everyone inside Leeds’ O2 Institute is awake and pumped up for the day ahead. The band’s uniquely heavy, vastly down-tuned sound, is bolstered by eerie samples and with the addition of distorted black and white imagery playing alongside them onstage, it’s a fully immersive experience. The atmosphere is slightly tempered by a computer glitch after the first song, but it’s swiftly resolved, allowing the band to get back to their rampant pace and destruction. Vocalist Kadeem France commands the stage, whipping the crowd into a frenzy of moshing and circle pits and with the huge sounding instrumentals to accompany him, the band deliver one of their best performances to date. With unrivalled power, imagination and talent at their disposal, Loathe are fast becoming one of the most exciting bands in the UK alternative scene. [MJ]

It’s somehow been ten years since Rise or Die Trying and Four Year Strong are on the Jager Main Stage to prove that easycore never dies. No, seriously. It’s endless pop punk riffs that kickstart our Slam Dunk South perfectly, a set full of fan favourites that still stand the test of time. [BM]

For a band yet to release a record, it’s amazing to see a packed out Rocksound Breakout Stage awaiting the arrival of Holding Absence, and it’s even more impressive to see so much passion from the crowd as they sing back every word that’s sung with pristine perfection by Lucas Woodland. Holding Absence are used to playing smaller, more intimate club venues where they can get in the faces of the crowd and share in their sweat and tears, but it seems that no stage is big enough to contain the band’s enormous ambient post-hardcore and they look as comfortable on this larger stage as any other they’ve performed on in the past. There’s a palpable sense of momentum behind this band and with performances as consistently flawless as this, it’s certainly well deserved. When Holding Absence eventually release their debut record, they could become unstoppable; in the meantime we’re more than happy to enjoy the stream of excellent singles and drink in the atmosphere of their intense performances. [MJ]

Keeping that nostalgia ball rolling are Say Anything. With an almost cult status, Max Bemis and co. are a welcome addition – albeit a fairly last minute one – their own brand of emo going down a treat. It’s a set for the fans, focusing on really, what most people* (*everyone) came to hear; Belt, Woe and Alive With The Glory of Love to name a few. Would it have been nice to hear some newer material? Sure. But Say Anything in the UK feels rarer than hen’s teeth and frankly, it feels nice to be pandered to. Just maybe they could try not to leave it so long between visits… [BM]

Dream State keep the energy going on the Rocksound Breakout Stage, helped in no small part by vocalist Charlotte-Jayne Gilpin. Gilpin is a relentless ball of energy bouncing around the stage and though she exerts a massive amount of effort working up the crowd, her voice remains solid throughout, whether projecting soaring melodies or tearing into aggressive screams. Songs from the band’s recent EP ‘Recovery’ feature heavily in the set and sound massive live, bringing unrivalled energy to the stage and exposing Dream State as a definite band to look out for. [MJ]

There is no ignoring Creeper’s meteoric rise, and it’s so very apparent at Slam Dunk. Going from a one in, one out set just a couple of years ago to an afternoon slot on the Jager Main Stage is no mean feat. And whilst they are undeniably brilliant, there’s a restless feeling amongst the crowd. It’s a set that’s been heard time and time again; it’s still great, but since their inception just a few short years ago, we’ve been spoiled with (what felt like) endless new material. It’s far from stale though, and they still put on a faultless performance that is a sure fire highlight of the weekend but it may be time for a little fresh blood. [BM]

Amongst many, many things, Slam Dunk is good at two in particular – ska, and nostalgia. The Fireball stage may see some (too) familiar faces year after year, but they also have a knack of bringing out some real Easter Eggs. And this year? It was Save Ferris. Serving up a perfect slice of 90s Americana, it’s been close to two decades since they’ve played the UK. It’s everything you want from a ska set, and it’s an utter delight to have them back. [BM]

Taking to the Signature Brew stage at Slam Dunk North, it’s gloriously sunny for Broadside; just the cliche you want for a pop punk set. It can be hard not to overlook bands when there’s so much buzz around them, but Saturdays set proves that they’re certainly worth the fuss. It’s an enigmatic, energetic performance – frontman Oliver Baxxter is nothing short of captivating – which is hit after hit, inducing countless singalongs and the ever-growing crowd is testament enough to their allure. Surely Broadside aren’t far off a bit of scene domination? Let’s place bets now on how long it’s going to take before they’re back at Slam Dunk, working their way up the line up with ease. [BM]

Counterparts take to the Impericon Stage, with the signature brand of devastating, heartbreaking hardcore that almost feels uncomfortable at times. Their set was a welcome addition to the weekend – a friendly reminder that if you aren’t a fan by now, that needs to change – and it hits every post-hardcore spot. Emotive, melodic, and yet always brutal, Counterparts make it all look so easy yet still cause enough destruction to leave a lasting impression. [BM]

State Champs have the privilege of playing in Leeds’ First Direct Arena, home of the Jagermeister Stage at Slam Dunk North. The massive stage and huge sound system gives their performance a sense of grandeur, and to the band’s credit their pop punk anthems fill the arena admirably, easily justifying their position on this stage. The band open with favourites ‘All You Are Is History’, ‘Losing Myself’ and ‘Simple Existence’ before addressing their upcoming new record ‘Living Proof’ by charging into new track ‘Dead and Gone’. The chorus “whoa ohs” were made for the stage and the crowd oblige in full voice, proof that the new material has gone down well, slotting in nicely alongside the band’s already impressive array of anthems. State Champs last played Slam Dunk in 2014 on one of the small stages, something that hasn’t gone unnoticed by vocalist Derek DiScanio, who takes the time to thank the audience for their part in promoting the band to an arena four years on. With another flawless performance to their name, State Champs have worked hard to get to this point and prove that when you can consistently churn out great songs, big things will happen. [MJ]

The thing about Comeback Kid is that you know what you’re going to get. And that isn’t a bad thing – it’s far from it. Did we watch them at every single Slam Dunk date, three days in a row? Yes. Was it enough? No. Giving just about everyone else a lesson in mastering your art, the hardcore stalwarts are immaculate each and every time. An unsullied sound that somehow hasn’t changed but at the same time, hasn’t ever aged. The phrase “lay to waste” springs to mind, with every breakdown and gang vocal sending the crowd into a frenzy because really, who can ever get bored of Wake The Dead? Not us. [BM]

Taking on the Rock Sound Breakout Stage are Milestones. Not letting a few too many brutal band clashes get in the way of their Midlands set, their performance is a prime example of just how great the UK rock scene currently is. It can be hard to be a smaller band at festivals like Slam Dunk, but apparently that wasn’t the case here – devoted fans meant one hell of a crowd, all sing songs and goosebumps. A dynamic band, it feels like Milestones are on the cusp of something great. [BM]

Lower Than Atlantis are always a safe bet for a festival; their foot-tapping, easy listening alt-rock songs are well suited for an outdoor stage on a bright sunny day and as they storm through some of their better known anthems, the amassed crowd are happy to lap it up. Mike Duce can be hit and miss but he puts in one of his better vocal performances here, belting out strong choruses while doing a fine job orchestrating the crowd’s movements. The whole band are full of energy, particularly drummer Eddy Thrower whose hard hitting display adds power to their delivery. It’s an assured, professional performance that shows why they continue to secure main stage slots at some of the UK’s top festivals every year. [MJ]

Frank Carter and The Rattlesnakes will forever whip fans and bystanders into a frenzy, and Slam Dunk is no different. The trademark outfits, designated female only crowd surfing and Carters very own brand of acrobatics tick all the boxes – everything you’ve come to expect from a Rattlesnakes performance. Of course the songs are still as ferocious as ever, each one packing one hell of a punch no matter how many times you’ve heard it. They’re certainly an act that’s getting harder and harder to ignore, a refreshing inclusion on a stage full of great yet somewhat predictable bookings. [BM]

Sometimes it doesn’t feel like Slam Dunk without Taking Back Sunday. No one delivers singalongs quite like them. It’s a frenetic set of just about anything you could want to hear from the pillars of your emo youth, the new songs fit in seamlessly alongside the songs we all know and love, enough to sate even the most fair weather fan. Their sound varies over the course of the weekend – technical difficulties or maybe just a band not quite as young as they once were – but frankly it’s not an issue when you have endless fans screaming along to every word like it’s 2005. And you know what? We wouldn’t have it any other way. Like so many other bookings that Slam Dunk nail year after year, Taking Back Sunday feel like a constant, a comforting reminder of what makes the weekender such a pinnacle of the UK festival scene. [BM]

PVRIS have been extensively touring their incredible second album ‘All We Know of Heaven, All We Need of Hell’ for the best part of a year, so it’s no surprise that their arena show on the Jagermeister Stage is a condensed version of their recent UK shows, heavily featuring tracks from their most recent album. And that’s certainly not a bad thing; the record’s diverse range of electronics and instrumentation demands all three permanent members play multiple instruments on stage, most notably Lynn Gunn who switches between keyboards, guitars and samplers, as well as an occasional flurry on the drums. The ceaseless touring hasn’t fatigued Gunn’s impressive vocals, which stay level and note-perfect throughout, filling the arena with words that demand to be sung back at full volume. With two albums’ worth of huge hits to pick from, PVRIS aren’t short of rich material to fill their set and before you know it, 50 minutes has passed in a flash. If PVRIS continue on this trajectory, it won’t be long before they’re looking at headlining slots at this festival. [MJ]

At some point during a multi-stage festival, you’re going to be faced with the dilemma of clashes. With so many headliners to choose from at Slam Dunk, it’s difficult to pick a side, but one thing that’s even more predictable than festival clashbusting, is the energy, power and dependability of an Every Time I Die performance. Latest album ‘Low Teens’ has added even more heavy ammunition to their already staggering arsenal and the band unload as much of it as they can into the packed out O2 Institute. Any set that opens with ‘The Coin Has a Say’ means business and the dual riffing power of Jordan Buckley and Andy Williams remains relentlessly pummelling from the opening notes of the song, right through to the end of the set. The band offer a brief respite while they saunter through Southern-rock-tinged single ‘It Remembers’, which allows Keith Buckley to demonstrate his vocal diversity with well-executed passages of clean vocals, before he returns to a barrage of face-melting screams. Just as you think the power of Every Time I Die’s instrumentation can’t get any bigger, another track pounds straight in to prove you wrong, showing why they’re regularly called up to close out festivals: theirs is the type of performance you don’t forget in a hurry. [MJ]

If you want to leave the grounds of a festival with a smile on your face, then Reel Big Fish are the perfect send off. Headlining the Fireball Stage, the Orange County ska legends make you forget the time of day; even though it’s now dark outside, Reel Big Fish’s humour and party anthems make it seem like the sun is still shining. The combination of jangly chords and brass section provides the perfect rhythm to move your feet, turning the Fireball Stage’s car park venue into a joyous arena of dancing and japery, and when the band launch into their cover of ‘Brown Eyed Girl’, the audience goes into skanking overdrive. Reel Big Fish are no strangers to Slam Dunk and with performances like this, long may the relationship continue. [MJ]

It feels like Jimmy Eat World have been around since the dawn of time. Maybe they have. Who knows, or cares, because to this day they are still one of the most important bands we’ve got. They put on an utterly flawless performance at Slam Dunk Midlands – it’s all radio friendly phenomenons and deep cuts, with new tracks slotting seamlessly into a gloriously familiar set. We’re not entirely sure Jimmy and co. can do any wrong, there’s just something so comforting, so enthralling about a band who have done it their way for so long without ever faltering. And is there anything as unifying as a big old karaoke session for The Middle. Suggestions not welcome, because you’re wrong. [BM]

Say what you like about Good Charlotte, they can put on one hell of a show. Their welcome return has been nothing short of relentless – an all American comeback that showcases just what a career they’ve had (and how much they’ve been missed). It’s a fit-to-burst set of hits and earlier success’, the band never once turning their back on the hits or their history. The quips between the Madden brothers go down a storm – there’s something about their performances that feel like you’re at a big budget, all singing all dancing show and they make it feel like Slam Dunk is some kind of homecoming. Leaning heavily towards the pop side of things, Good Charlotte manage to pull in overwhelming crowds…no mean feat when up against a band like Jimmy Eat World. But therein lies the power of Good Charlotte. [BM]

Catch Less Than Jake and Reel Big Fish at the following dates at the end of the year.

OCTOBER
30 LONDON O2 Forum Kentish Town
31 LONDON O2 Forum Kentish Town

NOVEMBER
2 BOURNEMOUTH O2 Academy
3 NOTTINGHAM Rock City
4 BRISTOL O2 Academy
6 NEWCASTLE O2 Academy
8 LEICESTER O2 Academy
9 LIVERPOOL O2 Academy
10 LEEDS University
11 BIRMINGHAM O2 Academy
13 NORWICH UEA
14 MANCHESTER O2 Ritz
15 GLASGOW O2 ABC
17 DUBLIN Button Factory
18 DUBLIN Button Factory

Tickets go on sale Wednesday June 13.

The show will showcase artwork from the band’s upcoming new album, ‘American Fall’, designed by Doug Dean and Noah Scalin. As well as this, the band will reveal the record in full and will play an intimate acoustic set. Be warned, get there early as space is limited!

The new record will be released on the 3rd November via Spinefarm Records.

The band will also be playing the following UK shows with Reel Big Fish, Mad Caddies and Sweet Little Machine.

OCTOBER
12 BRISTOL O2 Academy w/ Tree House Fire
13 LEICESTER O2 Academy w/ Last Edition
14 LEEDS O2 Academy w/ Eat Defeat
16 LONDON O2 Forum Kentish Town w/ River Jumpers
17 LONDON O2 Forum Kentish Town w/ The Bottom Line
18 NEWCASTLE O2 Academy w/ Death to Indie
19 GLASGOW O2 Academy w/ Lost in Stereo