The sense of wideness in ambition and scale is encapsulated in the single ‘Can I Get A’, a song surprisingly mild and straightforward by Skindred’s standards but one that takes flight with Benji Webbe’s vocals; the idiosyncratic tether that keeps Skindred grounded. ‘You Got This’ begins to thread the album together, with songs that boost you up before the party. Between quoting AC/DC and an infectious backing in the style of The Rolling Stones’ ‘Sympathy For The Devil’, it’s a hell of a festival manifesto. ’Born Fe Dis’ takes Webbe’s growl to new depths. With jolts like a stubbed toe, it’s impossible to resist the blunt confidence that each bar instils, and ‘My People’ jacks you into the pure Skindred party energy that’s keeps them making pits wherever they go. 

If we’re in the business of predicting singles, then ‘Big Em Up’ has to be the next on their hit-list, and it’s also the biggest hallmark of Skindred’s accelerating modernisation. They aren’t content to exist in their own genre hybrid world any longer, and judging by the song’s dramatic beats and the increasingly complex riffs that drop by the end of the track, they’re accelerating attempts to reconnect with the world. Webs of community are what powers ‘You Got This’, and songs like ‘Do It Like This’, which plays with a re-worked nu-metal sound, demonstrate that they’re aiming to extend their bling tentacles even further. 

That is, of course, if they avoid the trap which they have previously always fallen into: namely, to load up every album with a couple of killer singles at the expense of the rest of the record, with power thus unsustained over the entirety of the release. While it’s true that they’re still following this formula, the filler tracks on ‘You Got This’ have a charm that elevates them above the skippable. Take ‘Broke’, a slice-of-life track with a sunny beat about the Tesco Basics lifestyle. Its sweetness is tempered with a dash of comic bitterness about the state of the world to make for a better-than-average Skindred fluff track. Similarly, ‘Give Thanks’ might be somewaht un-metal, but as a heartfelt closer bursting with appreciation for their families? – it works as a gorgeous finale to an album of feel good tunes. Meanwhile, delving into the personal on ‘Glass’ – Webbe’s tribute to those he’s loved and lost – makes for a ballad with some serious heat. While Skindred have always been a singles band, it looks like they’ve sidestepped the dark side of this talent with a more balanced offering this time. 

There’s so much to love about ‘You Got This’. The sense of gratitude that stems from every song – alongside the accelerating ambition that bounces from every dancehall metal second of their latest release – makes for a winning formula. We’re left with a question: If ‘Smile’ made it to number two in the UK Chart, how high can ‘You Got This’ take Skindred? No matter where it takes them, they’ll be slamming with a smile on their face and a resolute belief in the joy of an original sound. 

Kate Allvey

Opening ‘Smile’ with ‘Our Religion’ feels like a statement, drawing a line to say “we’ve still got it”, and indeed, they can still make smart, slamming music which feels like the most righteous parts of multiculturalism put through a blender. ‘Black Stars’ is a spooky, clap-heavy number that doesn’t skimp on social commentary, and the mighty ‘Unstoppable’ is an affirmation of the power of independence and a shiny spine over a primitive, essential beat. ‘Gimme That Boom’ is an absolute stomper that would send a wave of fear through any security guard at the edges of the pit; as soon as Webbe finishes that commanding title to open the track, you just know limbs will start flying. Even ‘State Of The Union’, which is light on the metal but heavy on the electronic pop is an enjoyable vocal exhibition piece. If you’re looking for a good time (of the head-banging variety), give the version of Skindred that made these tracks in particular a call. 

There’s a Jekyll and Hyde character to this record. It could be due to an acknowledgement of Webbe’s roots, or an experiment in a new sound, or just plain old wanting to have fun, but there’s more than a few songs that aren’t very Skindred at all. Yes, ‘Set Fazers’ contains guitar that snarls like an overexcited pitbull, but the band’s attempt to bring in Afrobeat rhythms makes this song come across like a Diplo B-Side. ‘Life That’s Free’ is like a remix of itself. Throwing Jungle beats under metal guitar might be an amusing musical variant to find on YouTube, but Skindred should be better than that; dipping and weaving within genres on the same song smacks of uncertainty. Then, there’s ‘L.O.V.E (Smile Please)’, AKA the song that will give new Skindred fans a very misleading impression about what they sound like. Jolly pop-reggae featuring Muppets in the video would not have been in anyone’s predictions for inclusion on their new album. If it’s supposed to be a joke, it’s one that’s provoking tumbleweeds of confusion. If it’s a serious new direction, then we all collectively need to have a quiet word with the band and check they’re ok. 

This would have been a tremendous album if Skindred had used their newly polished sound to give the people what they want. There’s more than a few top-tier songs on here that belong on the band’s greatest hits list, but those diamonds are in the middle of a lot of confusing lukewarm pond water. With a UK tour lined up to coincide with the release of ‘Smile’ and carrying on into the autumn, the big hitting songs on this album will likely play very well and become setlist staples. With any luck, some of the more ‘inventive’ tracks will be gently left as footnotes to an otherwise glowing renaissance.

KATE ALLVEY

The rolling hills of the Cotswolds are looking particularly enticing as pundits first start dragging camping gear (not to mention copious amounts of booze) through the fields of Upcote Farm. Dew-dappled grass graciously makes way for polyester ground sheets, the spongy soil hugging tent pegs, willing to play their part in providing a haven for thousands of heavy music fans to rest their no-doubt-pounding heads.

Buckle up then! The bands are about to start, and there’s plenty of fun to be had, kicking off with…

Words: Aaron Jackson.  Images: Paul Lyme and Penny Bennett

Gaffa Tape Sandy

Not even an errant wasp making their way past security and getting up in vocalist/bassist Catherine Neilson’s business was enough to stop this Brighton-based trio from missing a beat in their set. A punchy thirty minutes of easy punk marked a fantastic start to what was about to be a very busy, very loud day.

The beauty of Gaffa Tape Sandy is simply in the accessibility of their music. Each song coming with its own hook kept heads nodding and toes tapping throughout a crowd that just kept getting bigger after every song that the band rattled through. Standout performances came in the jaunty ‘Beehive’ and ‘Headlights’, the call and response between Neilson and vocalist/guitarist Kim Jarvis a perfect marker of the synergy throughout the band. A perfect gateway, not just for this year’s 2000trees festival, but for heavy music in general.

Ithaca

Taking full ownership of the festival’s biggest stage with a confidence that filled the space, one can’t help but feel like Ithaca are in their element. Fronted by the tour-de-force that is Djamila Boden Azzouz, the London five-piece cut a powerhouse image and on that Thursday afternoon especially, they meant business.

Showcasing a well-balanced setlist, with plenty of cuts from Punktastic’s number one album of 2022, ‘They Fear Us’, the likes of ‘The Future Says Thank You’ and ‘Camera Eats First’ were delivered in emphatic fashion, performed unflinchingly by each member. A mention must go to guitarist Sam Chetan-Welsh who flawlessly executed intricate riffs with an apparent ease that was just such a treat to watch. Most important, of course, is the message that Ithaca promote, with Chetan-Welsh taking a moment in between melting faces to speak on the importance of health, growth and positive change. Ithaca are a band with bigger things on their mind than their already colossal music – long may it continue.

Graphic Nature

One of the most exciting outfits of the UK hardcore scene, Kentish quintet Graphic Nature brought their brash brand of nu-metal to The Cave stage and threatened to bring the whole thing down on the first day. Texturally rich thanks to electronic backing elements bedded underneath obscenely down-tuned guitars, this lot sounded brutal in the best way possible. Cuts like ‘Killing Floor’ and ‘Sour’ from this year’s debut album ‘A Mind Waiting To Die’ whipped the crowd into a frenzy, with frontman Harvey Freeman orchestrating their every move from the start.

Freeman was another artist to seize the opportunity to share words of support with his audience: “I ain’t the only one here today going through shit”. It’s astounding how music so abrasive can reflect such a safe place for so many and yet the band and listeners alike felt entirely united in this experience, and what an experience it was.

Prince Daddy & The Hyena

After releasing their most accomplished work to date in 2022’s self-titled LP, Prince Daddy & The Hyena seem to have the world at their feet. That said, the licence to be able to open a set with a song called ‘***HIDDEN TRACK***’ from their first EP ‘Adult Summers’, and for it to be met with the rapture that it was in The Axiom that afternoon, demonstrates that this band are already cemented as cult heroes to many. Other older cuts like ‘Really?’ and ‘I Forgot to Take My Meds Today’ similarly hit the mark, with fans yelling every syllable back at the New York four-piece.

However, it was during the likes of ‘Shoelaces’, ‘Keep Up That Talk’ and ‘El Dorado’ that the quality really started to shine through. Despite recurrent technical issues causing a pause in the set (during which the band awkwardly fumbled through some Weezer and The Beatles riffs), the crowd were constantly onboard. If anyone in that tent wasn’t a fan of Prince Daddy & The Hyena before the show, they would surely have been won over by the band’s sincerity and endearing approach to their craft.

Kid Kapichi

Having debuted at the festival for the first time last year, Kid Kapichi’s elevation from an opening slot in the Cave to the Main Stage is unarguably justified. The band’s debut album ‘This Time Next Year’ and 2022’s ‘Here’s What You Could Have Won’ are littered with hits which delivered an action-packed setlist in the roaring sunshine. Their powerful, politically charged music and palpable stage presence meant that they had the 2000trees faithful in the palm of their hands – while chucking chocolate bars into the crowd before crashing into ‘Rob the Supermarket’ also helped build morale.

The swaggering ‘I.N.V.U’ was undoubtedly a highlight of the set, as the crowd danced along to the catchy chorus. While the band also displayed their more poised songwriting capabilities with ‘5 Days On (2 Days Off)’ and ‘Party at No. 10’ which captured the energy of the festival, confirming it to be a safe space to rebel against the bureaucracy of the everyday. The band oozes confidence in their performances and the aura they create is sure to see them continue to grow, maybe into a 2000trees headliner one day. Watch this space…

The Wonder Years

The impressive growth of 2000trees can be measured by the increasing number of bands on the line-up that have chosen to exclusively travel to the event just to play their set and then return home. One of these bands was The Wonder Years who, having last played the festival to a packed Cave tent in 2021, made their return in a prime slot on the Main Stage.

Traversing some uncharacteristic Main Stage sound issues through the opening ‘Cardinals’ and ‘Cardinals II’, the band quickly found their stride as the sizable crowd anthemically chanted “We’re no saviours if we can’t save our brothers” back at the sextuplet. The setlist blended old favourites with the highlights of their newest album – ‘The Hum Goes on Forever’ – which were all met with similar energy and passion from the respectable crowd.

Elation over the band’s return to the UK was only elevated with the exclusive announcement that they would be returning in November to play a handful of shows to celebrate the 10th anniversary of their genre-defining album, ‘The Greatest Generation’. The set was perfectly concluded with the anthemic ‘You’re the Reason I Don’t Want the World to End’ and, of course, their staple hit, ‘Came Out Swinging’ – which, as the opening drum pattern crashed in, pandemonium erupted amongst the band’s most dedicated fans.

Skindred

The closest experience in likeness to seeing Skindred live is that of riding a rollercoaster at a theme park. The brilliantly eccentric frontman Benji Webbe was born to do precisely this and he seizes his opportunity to perform every single time he takes to the stage. With what was comfortably the biggest crowd of the festival to that point in the palm of their hands, Skindred delivered a non-stop setlist of unique reggae/metal riots that kept everyone engaged and guessing until the final note.

Whether it was the bizarre ‘Wonderwall’ cover spliced into ‘Rat Race’ or the ‘Back In Black’ refrain during ‘Pressure’, there was always something to keep those smiles plastered across everyone’s faces. Naturally, ‘Nobody’ from the band’s debut 2004 LP ‘Babylon’ was a hotly anticipated number and did not fail to disappoint. Then, closing out with ‘Warning’, complete with a gorgeously observed “Newport Helicopter” (fans are welcome to take off their top and frantically swing it above their heads) was the perfect argument for why Skindred could comfortably be headlining this festival.

Soft Play

After a long four years out of the game, Kentish duo Soft Play (formerly known as Slaves) were back and on the festival’s biggest stage with a point to prove. Only giving themselves one warm-up show at their hometown’s Tunbridge Wells Forum a few nights prior, it was no doubt a tough ask for Isaac Holman and Laurie Vincent to headline the first day. Any doubts were briskly brushed away after the opening chords to ‘Sockets’ rang through the air, bringing with them an electric giddiness completed by just a hint of nostalgia.

There was a party vibe throughout the performance, namely during ‘Feed The Mantaray’ which saw a pundit dressed as a mantaray pulled from the crowd to dance on the stage before surfing across the sea of sweaty bodies. Furthermore, Soft Play’s cover of Skepta’s ‘Shutdown’ has become somewhat quintessential to the band and, even with Holman addressing the irony of the matter before launching into the song, it got everyone moving and shouting the song’s title back with venom.

There was a certain element of relief to hear long-term mainstays to the Soft Play arsenal like ‘Fuck The Hi-Hat’, ‘Where’s Your Car Debbie?’ and ‘Girl Fight’ amongst the songs played by the pair on the night. Even though this return marks the start of a new era for Soft Play, they are still firmly in touch with what propelled them to such status in the first place. Brazen and loutish, their formula is simple on the surface, but it works. Yes, they may have a new name and, yes, Holman himself referred to them as “soft cunts” during the show but rest assured, there’s nothing soft about these two.

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

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

Cancer Bats

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

The Bronx

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

Jinjer

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

Puscifer

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

Skindred

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

Metallica

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

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

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

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

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

Words: Ellie Odurny; Images: Penny Bennett

Pengshui

The gates of the arena haven’t yet been open an hour, yet a few of the crowd assembled in the Avalanche stage for Pengshui seem to have been on the breakfast beers, already throwing themselves around to the sing/shout-along chorus of ‘Break The Law’. For those not quite as awake yet, the thundering bass and infectious energy from the genre-crossing trio quickly spreads throughout the tent, with even the stragglers around the edges nodding in agreement when MC Illaman asks, “Ain’t it nice to be back in a field with loud music?”. By the time we get to penultimate track ‘Nobody Cares’, the circle pit erupts with fervour, peppered with additional percussion from Illaman smashing the microphone against his head. If every band on the bill over the next three days brings this level of enthusiastic, filthy noise, we’re all in for a treat.

Bury Tomorrow

Instantly aggressive, Southampton metalcore outfit Bury Tomorrow waste no time making their presence known, opening with the brutal onslaught of ‘Choke’ and ‘The Grey (VIXI)’ from 2020 album ‘Cannibal’. Perhaps luckily for the throng of energetic fans, the melodic moments of keyboardist Tom Prendergast’s clean vocals in both tracks give everyone a chance to breathe, soaking up the relentless heat of the early afternoon sun. Lead vocalist Dani Winter-Bates tells the crowd “I’ve been dreaming about this day for a long fucking time” and the sense of pride, relief and excitement to perform from the whole band is palpable. With both Prendergast and rhythm guitarist Ed Hartwell being new additions to the band, replacing Jason Cameron last year, today gives us the first live rendition of recent single ‘DEATH (Ever Colder)’, complete with flames bursting from the front of the stage. The contrast of screaming and clean vocals throughout is brilliantly balanced, always underpinned by savage beats, crushing basslines and slick guitar licks. With some huge circle pits and more crowd-surfers than you can shake a fist at, it’s clear that Bury Tomorrow can deliver an impressive main stage set, and it can’t be long until they’re climbing up the bill for an ever-growing fanbase of the metal masses.

Black Veil Brides

Black Veil Brides arrive on stage in a puff of smoke and leap straight into the thundering riff of 2014’s ‘Faithless’. The smoke and lights don’t do quite enough to distract from the fact that the sound isn’t great, however, and the slightly sparse crowd don’t seem to be blown away by the opening minutes of the set. Vocalist Andy Biersack seems as comfortable as ever though, donned in dark sunglasses, chewing gum and striding across the stage, addressing the crowd in his unmistakeable Californian drawl. Despite the overarching lukewarm reception, the die-fans still scream with joy for favourites ‘Rebel Love Song’ and ‘Knives and Pens’, and the earlier sound troubles seem to improve throughout the set. Guitarists Jinxx and Jake Pitts frequently meet centre-stage, adopting the characteristic back-to-back rock stance to showcase their strumming and picking talent, and by the end of the set, a few more heads are nodding along with closing classics ‘Fallen Angels’ and ‘In The End’. From a shaky beginning, Black Veil Brides finish on a high, leaving smiles on faces of glam metal-loving, black-clad revellers.

Meet Me @ The Altar

US east coast trio Meet Me @ The Altar bring their energetic brand of pop punk to a small but dedicated crowd at the Avalanche stage. With steadily growing popularity since releasing 2021 EP ‘Model Citizen’, their Download debut is full of enthusiasm, positivity and confidence. The tuning isn’t always on point, but the reaction to their popular mash up of covers ‘Sweetness’, ‘My Friends Over You’, ‘Break Stuff’ and ‘My Own Worst Enemy’ more than makes up for any vocal wobbles. With an album scheduled for release in 2023, Meet Me @ The Altar have plenty of time to keep spreading their 21^st century take on pop punk across the world, and there’s no doubt that this is exactly what they intend to do.

Skindred

The huge crowd gathered for Skindred on the Apex stage is testament to a band whose reputation for putting on a stonking live show precedes them. Arriving on stage to the sound of The Imperial March, vocalist Benji Webbe’s enormous stage presence blasts across the site as the band launch into ‘Under Attack’. He interacts with the crowd seamlessly throughout the set, simultaneously exuding the charisma of a total rockstar and accessibility of a Newport local. There are few front men who manage to display such unbridled magnetism without a hefty side dose of over-inflated ego, but Webbe somehow nails it – time after time. Skindred are a band who are impossible to pigeon-hole into one specific genre and this diversity continues with the live debut of new track ‘Smile Please’. The chilled, reggae-influenced beat and singalong chorus of “L-O-V-E, Love” are a departure from the heavier riffs but the catchy and upbeat tune has great sync potential and goes down a treat with the sun-drenched masses. The quartet deliver a set packed with hits like ‘Pressure’ and ‘Kill the Power’ and by the time we reach closer ‘Warning’, the majority of the crowd are already grinning from ear to ear and spinning various items of clothing above their heads for the legendary “Newport Helicopter”. Skindred have perfected the art of putting on an impeccably fun show that’s particularly suited to a festival atmosphere and today is no exception.

Bokassa

A late scheduling shuffle means that Skindred are right in the middle of entertaining the hordes gathered down the hill when Bokassa take to the stage in the Dogtooth tent. The Norwegian stoner-punks still have a decent sized, slightly older audience present, who are gently headbanging along to some old-school heavy riffs and fuzzy bass. There’s maybe not as much amusing chatter from vocalist Jørn Kaarstad as fans of the band might have expected but that could be because the mic doesn’t seem to be turned up nearly high enough. It’s a shame, as what we could hear sounded great, but with a set list packed full of potential, Bokassa weren’t sounding their best today.

Sleep Token

For a band who essentially never interact with their audience, Sleep Token have mastered the art of captivating a crowd through their music alone. With the tent at the Avalanche stage full to the brim, they appear in their typical black gowns and masks, opening with 2021’s ‘Alkaline’, the fans singing along in impressive harmony. Given that Sleep Token are heavily reliant on mystery and atmosphere, one wonders how they might have fared on a larger stage in the blazing evening sunshine but here in the shade of the tent, the light show does its job as the band hypnotise everyone with their ambient, heavy riffs. The bass on ‘Jaws’ is huge, and it’s hard not to get caught up in the raw emotion of ‘Mine’ and ‘Higher’. The band have been performing their “rituals” for long enough now that it’s clear none of their style is a mere gimmick. As they close out the set with favourite ‘Offering’, it’s clear that fans will continue to flock to worship the deity “Sleep” for as long as Sleep Token continue to deliver their unique style of poignant, heavy, industrial-infused metal.

Frank Carter & The Rattlesnakes

Festival favourites Frank Carter & The Rattlesnakes bring their charismatic punk energy to close the Opus stage on Friday Evening. A respectable sized crowd is immediately bopping and singing along, hitting colourful beach balls in the air and being covered with an explosion of ticker tape even before opening song ‘My Town’ has come to an end. Always a big fan of a bit of chatter, Carter gives a promo speech for his Hoxton tattoo studio Rose of Mercy before playing ‘Go Get a Tattoo’, and later describes track ‘Cupid’s Arrow’ as an ode to Hoxton. There’s the ever-popular “ladies only” mosh pit, Carter’s propensity to walk out onto the shoulders of the crowd, touching moments during slower numbers like ‘Angel Wings’, and a cover of The Distiller’s track ‘Drain The Blood’ – a tribute to the slot that the LA band were due to play before postponing all European dates earlier in the year. With the amusing sight of thousands of merry people still singing “I hate you and I wish you would die”, they announce that there’s time for one more song and end the set triumphantly with the toe tapping rock’n’roll ‘Crowbar’. It might not have been the slickest set, but the variety of hits and a sense of passion and infectious vitality mean the punk rock party spirit lingers on as the festival goers gradually disperse.

Kiss

If you believe them this time, tonight’s headline performance from rock stalwarts Kiss is to be their last at Donington, the band having announced their imminent retirement after this “farewell” tour. With giant statues of the band flanking the stage, the theatrics begin as the curtain drops and Paul Stanley, Gene Simmons and Tommy Thayer are lowered to the stage on individual platforms, with drummer Eric Singer bashing out the opening beats on a levitating drum riser. Still looking great for a band who are all over 60, they open with classic pairing of ‘Detroit Rock City’ and ‘Shout It Out Loud’. Perhaps they’ve not quite warmed up properly, or maybe it’s the mellowing effect of the last of the summer evening daylight, but the opening part of the set doesn’t seem to pack the punch that you might expect from these veterans’ last hurrah. The hits are delivered with skill, it’s all in tune and on time, but the magic just isn’t quite there. The band are incredibly good at playing to the camera, and this level of performance saves the solos from becoming entirely self-indulgent and devoid of entertainment value, with comedy moments carefully curated to elicit cheers and chuckles from those in the crowd who are still paying attention.

It seems that as the light fades, the energy increases and by the time we’re into the latter part of the show, it’s all guns blazing for the theatrical Kiss spectacle. Simmons’ infamous blood drool serves as a precursor to the massive ‘God of Thunder’, and a 70-year-old Stanley still wows the punters by ziplining over to the sound tent to perform hits ‘Love Gun’ and ‘I Was Made for Lovin’ You’ to a now backwards-facing crowd. By the time we get to the triple-threat encore of ‘Beth’, ‘Do You Love Me?’ – complete with scores of giant white “Kiss” balloons launched into the crowd – and ‘Rock and Roll All Nite’, everyone is singing along in great spirits. It’s been a farewell show thankfully light on sentimentality and heavy on hits, with the showmanship and crowd interaction improving steadily over the course of the two hour set. Leaving with a flourish of fireworks, confetti and a message on the screens simply saying “Kiss loves you Donington”, the Friday night headliners close on a high, a fitting send-off for these illustrious flamboyant rockers.

Wasting no time whatsoever, the pounding drums at the start of ‘Stand For Something’ was an ample invitation for the mosh pits to open up. Limbs flailed as the band tore through their first song and continued to do so into fan-favourite ‘Rat Race’. Capped off with a singalong of Oasis’ ‘Wonderwall’, fans were well and truly onside (as if they needed any encouragement in the first place). Then, the frantically percussive ‘Sound The Siren’ led into ‘Doom Riff’, the chorus of which was similarly lapped up by the audience, with cries of “woah” reverberating around the venue at every angle.

The second nod to AC/DC in the setlist came as an interjection in early favourite ‘Pressure’. In addition to the obvious fan service that a cameo of such an iconic song elicits, minor deviations such as these demonstrate Skindred’s proficiency as an outfit to shift their sound with relative ease. Furthermore, it’s performances like that of ‘That’s My Jam’ that really highlight Benji Webbe’s excellence, not just as a frontman, but as an all-round showman. Before starting the song, Webbe commandingly divided the crowd into sections, instructing each one to sing different parts of the hook. Naturally, all obeyed and the participation of the crowd fuelled a standout run-through.

Reluctant to show any signs of slowing down yet, Skindred then delivered a double-barrel blast of ‘Ninja’ and ‘Kill The Power’, both of which were taken from the band’s fifth studio album ‘Kill The Power’. The latter of the two performances was particularly impressive, largely due to the fact that the audience’s chants of the track’s title comfortably drowned out those from the band themselves.

‘Saying It Now’ was a stark, but not unwelcome change of pace. Dedicated with sincerity to the “fallen troops” of the world’s recent hardship, this rare ballad provided a poignant point of reflection amongst the otherwise breakneck-paced evening. Following this, the band’s ever-effervescent performance of ‘Nobody’, and the crowd’s reciprocal reaction was a true testament to the genius of Skindred’s dynamic. Genre-bending and infectiously chaotic, the unique brilliance of this song has cemented it as a landmark hit, not only in Skindred’s oeuvre, but in the history of rock and metal.

Launching into their encore with a brief remix/cover of Slipknot’s ‘Duality’ sent the crowd straight back into their state of perpetual frenzy. Then, as if there could ever be any other way, the four-piece drew their set to a close with the anthem to the famous Newport helicopter, ‘Warning’. Following some words of encouragement from Webbe, shirts were keenly peeled off in anticipation of the song’s big drop. Upon detonation, fans were met with a cool breeze mildly scented with the musk of body odour as said shirts were cyclically whipped in the air. One glance around the Roundhouse showed that even those seated were passionately flinging their garments around. Nature truly is healing.

Exiting the stage to the sound of Carly Simon’s ‘Nobody Does It Better’, it’s hard to disagree with the sentiment of that song title. Since the release of their debut LP ‘Babylon’ in 2002, Skindred have enjoyed a career that will inspire generations to come. Standing out from the crowd but fundamentally promoting a message of unity is at the core of this band’s DNA and the importance of this should not be understated nor lost in the noise that they make. Undoubtedly, Skindred’s impact and influence struck everyone in attendance thanks to a simply unforgettable performance.

AARON JACKSON

WORDS: Gem Rogers [GR] (North), Yasmin Brown [YB] (South)
IMAGES: Glen Bollard (North), Penny Bennett (South)

Blood Youth

There can be few better ways to kick start a festival than with a gigantic dose of riffs, and there are few better bands to deliver them than Yorkshire locals Blood Youth. Despite their early start there’s a sizeable crowd gathered in the Jagermeister tent, and it’s the perfect place for anyone looking for somewhere to get amped up for the day ahead – one word from vocalist Kaya Tarsus and a pit swiftly engulfs the floor of the tent, taking full advantage of the aural hammering that is opener ‘Iron Lung’. Elation and excitement fills the air as Blood Youth cover favourites both old and new with incredible precision; from recent single ‘Cells’, to  ‘Starve’ track ‘Spineless’, to the older ‘Playing The Victim’, this is a devastating set, awash with the kind of deep, dark heaviness that stops your heart and immediately starts it again. There is, however, a note of sadness that accompanies the band’s sets this weekend, as they’re also the last for Tarsus. An inimitable vocalist, his presence will undoubtedly be missed, and performances like this show why – but as he says himself, this is far from the end. Blood Youth forever. [GR]

Doll Skin

It felt like we were only just starting to get acquainted with Doll Skin, back on their first tour of the UK in late 2019, when the-thing-that-shall-not-be-named came along and put a two year spanner in the works. Fortunately, Slam Dunk has brought us back together, and you’ll be unlikely to find a more spirited, joyous set today; vocalist Sydney Dolezal is filled with a giddy energy that lights up the whole area, not least when they introduce latest single ‘Eat Shit’ with a guided singalong (is there much better than standing in a crowd of people bellowing swear words at the top of their lungs?!). A few technical hiccups along the way do nothing to impinge on the enjoyment of this set, and Dolezal’s vocals are nothing short of flawless – Doll Skin’s punk spirit and earworm pop melodies make for the perfect festival half hour, and we couldn’t be more delighted to be back in their company. [GR]

HelloGoodbye

Hands up if the name ‘Hellogoodbye’ immediately takes you straight back to 2005. Keep your hands up if you now have ‘Here In Your Arms’ stuck in your head? This has been our constant state since this throwback band were announced for Slam Dunk and after today’s performance, we doubt they’ll ever leave our minds again. It may be a slow starter, but after a while, the words come back to us like old friends and it really is magical to have this band back in front of us playing their fun and folky emo pop to a full crowd under blazing sunshine. Naturally, ‘Here (In Your Arms)’ and ‘Baby, It’s Fact’ receive the warmest welcome, but it’s amazing just how much comes flooding back over the course of the set. Front man Forrest Kline marvels at the sight before him, noting earnestly that he would love to come back a million times and by the looks of things, this Slam Dunk crowd would greet them just as excitedly were that to be the case. It’s been year – over a decade – since Hellogoodbye have graced our shores but we’re left praying that it won’t be that long again. [YB]

McFly

As the day creeps towards 2pm, to say the crowd assembled around the Key Club stage is astronomical still feels like somewhat of an understatement – and with the ‘secret special guest’ band taking to the stage late, there’s plenty of time for more people to join the curious and eager masses in the top corner of the Temple Newsam hill. It’s an eclectic crowd, too, and yet when pop pioneers McFly appear, you’d be hard pressed to find a single frown. Much like when Busted played two years ago, everyone seems, quite honestly, absolutely bloody thrilled. The singalongs to tunes like ‘Star Girl’ and ‘All About You’ are so loud they almost certainly echo all the way to Leeds city centre, and ‘cheesy’ though it may be, this is clearly the exact happiness tonic so many people needed this afternoon. No pressure, Slam Dunk, but… McBusted 2022? [GR]

Lizzy Farrall

It’s no secret that Lizzy Farrall is one of our favourite up and comers in 2021. We are, quite frankly, obsessed, and it seems we’re not alone in that, either. “There are so many people! Fuck!”, she exclaims with the wildest of grins on her face, and as you look around you’ll see that same grin reflected on the hundreds that have turned up to catch her set. It’s her second show back in over a year and a half (the first being at Slam Dunk North the day before), and everyone will be in easy agreement that while the wait was hard, we’re over the moon to be back here today and maybe, just maybe, it was worth it. As she bounces around the stage, you can’t help but notice Farrall’s impressive stamina as she maintains perfect pitch as she executes each of the catchy yet bitter and slightly depressing songs on the setlist. Fans sing along emphatically and you can’t help but dance as the sun continues to beat down, perfectly matching the atmosphere. Friends clamber on shoulders during ‘Balloon’, and Farrall threatens to cry at the sheer magnitude of the response she’s receiving. Closing off with “the one you’ve all been waiting for”, ‘Barbados’, we can’t help but be sad that it’s already over. Here’s to hoping there’s not another 18 months to wait until she’s back on our stages once more. [YB]

Creeper

Up next, over on the main stage, are a band who always help make Slam Dunk feel that little bit more like home – and it’s always a pleasure to see Creeper deliver yet another masterclass in performance. Their punk-infused sound may be more suited to the cover of darkness (though on this cloudy Leeds afternoon, we’re not too far off), but Creeper’s ultra-theatrical stylings feel like an almighty celebration of life today, pulling on material from across their back catalogue to delight their crowd from start to finish. The dual vocals of ‘Midnight’ form a particularly well received highlight, and Creeper continue to go from strength to strength – the top slot on this stage awaits, and we’re willing to bet it won’t be too long before it happens. [GR]

We Are The In Crowd

They might be super late on stage, but after six years of waiting for a reunion, what’s another 20 minutes, right? Right. Absolutely right. Playing right before Mayday Parade on the main stage, this lineup feels like another 2011 throwback – a time when these two bands came hand in hand like peanut butter and jam, or salt and pepper. The fans here today are choosing to skip out on a surprise performance from the McFly boys, a British staple, so there’s a lot to live up to and We Are The In Crowd do not disappoint. A cheshire cat smile sits unwavering on the face of vocalist Tay Jardine as she acknowledges the sight before her, only growing wider as it becomes blatantly clear that those in attendance aren’t merely here to kill time. It’s been a while, sure, but how could we forgot the lyrics to what were our favourite songs as we made our way through high school and into university. There’s unspoken but unanimous agreement that we’re all absolutely delighted to be here as bodies fly into the air and tears unexpectedly roll down cheeks at the realisation that this reunion is happening. Jardine’s voice has aged like a fine wine over the years, still working in perfect harmony with co-vocalist Jordan Eckes. Claiming to have brought the sun with them from New York, it’s another sweltering performance, but neither fans nor the band themselves could care less as they throw themselves into this set entirely. What a flawless reunion for what has always been a flawless band – it’s taken a long time to get here but we couldn’t have hoped for more. [YB]

Trash Boat

On paper, Trash Boat are probably one of the least heavy bands to grace the Jagermeister tent this weekend – but as anyone who’s seen this band live will attest, they can more than hold their own on any stage, and the power they bring into their live performance is second to none. Not only is this Slam Dunk set no exception, but Trash Boat feel almost like a different band entirely, in the best possible way. Yes, their recent sound has changed – as vocalist Tobi Duncan acknowledges mid-set – but with it has come a whole new level of confidence, transforming Trash Boat into a band who quite simply decimate this tent with the most glorious ease. Armed with undoubtedly the best and clearest sound of the weekend, this set is a wild ride from start to finish as the crowd revel in the bold, igniting tones of the likes of ‘Don’t You Feel Amazing?’ and ‘Bad Entertainment’, and bring full throttle pit mayhem for old favourites like ‘Tring Quarry’. Today’s crown, though, without question belongs to the tracks from latest album ‘Don’t You Feel Amazing?’ – with the force of this new sound, Trash Boat have delivered one of the standout sets of the weekend, and it’s one that’s sure to be remembered for a long time. [GR]

Mayday Parade

It’s doubtful that there will ever be a time when Mayday Parade are not seen as a pop-punk favourite among those of us who were there to experience them in their heyday circa 2007, and they’ll always be at the top of our list of must-see bands when they appear on festival lineups. Today is no different as they take to the stage right after their friends in We Are The In Crowd to play the second of their first shows in almost two years. How lucky we are that they chose us for their comeback! Throughout the set, it’s easy to see that most fans are here for the older songs – those from ‘A Lesson In Romantics’ or ‘Anywhere But Here’, but in reality, some of Mayday’s best music came in the early 2010s and if the singalongs to songs like ‘When You See My Friends’ or ‘Oh Well, Oh Well’ are anything to go by, our favourite Mayday songs may still be to come. As front man Derek Sanders delicately puts it, “we all needed this”, and it’s clear to see that every member of this band is truly embracing the experience, not really knowing for sure when the next one might be. Never one to ignore a fan gift, Sanders quickly puts on a T-shirt that’s thrown onto stage, depicting a rainbow cat riding a shark, rocking it proudly for the last few songs. It’s not Mayday Parade’s best performance by any stretch of the imagination, but it really doesn’t matter. Just having them back on stage is quite enough for now. [YB]

Funeral For A Friend

If anyone ever fancied testing the limit of capacity in the Jagermeister tent, Welsh legends Funeral For A Friend seem more than happy to help this afternoon. Thousands of fans spill far outside the tent, and though arranging the lineup for this year’s festival was surely a significant (and unenviable) task, it’s hard not to think that such a momentous set would have been far better with the unrestricted space of the main stage. It’s not the only issue this set faces – for anyone towards the back and sides of the tent, the sound is disappointingly poor and muddy, such that at times the only way to identify the song playing is by the singalongs that manage to spread throughout the space. The end result is, sadly, underwhelming, through no real fault of the band – that said, the finale trio of ‘Roses For The Dead’, ‘Into Oblivion (Reunion)’ and ‘Escape Artists Never Die’ is something to behold, even in a set that’s already packed with beloved classics. ‘Into Oblivion (Reunion)’ feels especially potent today, and as thousands of voices come together in an outpouring of blissful emotion, we’re reminded once more of the power of live music – and of Funeral For A Friend. [GR]

Skindred

There’s a reason that Skindred rarely switch up their festival performances and it’s simply that it always goes down spectacularly well. While the inside of the tent is not an ideal environment for these showmen, it doesn’t deter fans from cramming in, with hundreds of others spilling outside just to catch a glimpse or engage in a singalong. The band’s reggae metal goes down a treat on the Jagermeister stage, and even those who may not know the band are eagerly drawn in. Performed to sheer technical perfection, you simply cannot fault Skindred at any single point, the only potential downfall being the sheer difficulty of performing the Newport Helicopter in such close confines. They may not have released an album in three years, but they still remain one of the most popular bands on any lineup, and today is no different. As the sheer delight filters through the crowd, we hope it always stays this way. [YB]

State Champs

The sun may not be shining on Temple Newsam today, but it’s hard not to feel warm when State Champs roll around with the very best pop punk in town (and hey, at least it’s not raining). Never a band to scrimp on energy levels, ‘Elevated’ gets the set off to a suitably buoyant start, and the crowd take full advantage by descending into immediate, delirious chaos. God, we love live music… In amongst the likes of ‘Losing Myself’, ‘All You Are Is History’ and ‘Secrets’, there are a few special treats in the form of the debut play of ‘Just Sound’, and the even newer, unreleased single ‘Outta My Head’. Playing a wholly new song at a festival is a bold choice, but when you’re a band like State Champs, you can’t go too far wrong – and sure enough, ‘Outta My Head’ is not only instantly memorable, but also utterly easy to fall in love with. If there’s a downside to today’s performance, it’s that front man Derek DiScanio has some occasional and uncharacteristic vocal issues throughout, but none are significant enough to have any real impact on what is otherwise a thoroughly uplifting set. [GR]

Vukovi

If you haven’t yet heard of Vukovi you may well have been living under a rock. At the bottom of the ocean. Making their way onto every relevant festival lineup this summer, this is a band that are demanding to be heard and goddamn are they worth listening to. Fronted by Janine Shilstone, Vukovi ooze fun and silliness, and yet when it comes to their music you would be a fool not to take it seriously. The moment Shilstone takes to the stage, you sense her fierce presence and you’ll struggle to look away as she starts to attack the setlist with stunning force and accuracy, despite spending most of the performance floating around in the crowd somewhere, rather than being confined to the stage. Fans soon follow suit as crowd surfers emerge en masse before circle pits take over during the chaotic performance of ‘Claudia’. Despite the apparent ease with which Shilstone hits every note, just two songs from the end she breathlessly states, “I’m fucked”, and it becomes clear that however many shows they’ve played during these past few weeks of freedom, nothing compares to the stamina you build over months of relentless touring. Regardless, the band executes their music to perfection and the smile on drummer Martin Lynch’s face shows just how much fun they’re having – however tired they may be. Closing off with fan fave ‘La Di Da’, Wargasm’s Milkie Way joins them on stage for a hug and it’s a true delight to see two women who are storming our industry in one place – a reminder that women really do rule the world. Long may they reign. [YB]

Normandie

The Key Club stage is often home to some of the strongest rising acts in our scene – the ones picking up the dedicated fanbases, delivering exciting new sounds, and paving their way to future main stage slots. Sweden’s Normandie comfortably fit that label, with third album ‘Dark & Beautiful Secrets’ seeing them expand their reach this year, and though the impact of the first few tracks is dulled a little by some unfortunate sound issues, it by no means dampens the enthusiasm of the gathered fans, or the band’s ability to fuel it. New tracks ‘Holy Water’ and ‘Hostage’ sound especially gigantic, the perfect blend of heavy hitting riffs and soaring melodies, while older tracks ‘White Flag’ and ‘Collide’ bring some joyous singalongs (alongside a fair helping of crowdsurfers). Normandie have more than proven themselves today, and with songs and performances like these, taking main stages by storm will be an easy task. [GR]

Alkaline Trio

Seven years is a really bloody long time to wait to see a band. It feels longer still when it’s for a band as beloved as punk rock kings Alkaline Trio, so it’s not too surprising that the crowd at the Punk In Drublic stage stretches back a long, long way – and even a half hour delay to the start of the set doesn’t seem to deter anyone. Hey, we’ve already waited this long, right? When the infamous Trio finally take to the stage, they bring with them a set packed with favourites – it would be hard not to, with so many to choose from – but the delight is especially evident when tracks like ‘Armageddon’ and ‘Emma’ make an appearance. Best of all, the band sound perfectly on form, despite their lack of rehearsal – “We practiced twice, by the way,” Skiba jokes in defence of earlier suggestions that it had only been the once. Though the volume could do with being cranked up a few notches or ten, this is the comeback set that dreams are made of, and makes the news of a 2022 UK tour all the more welcome. [GR]

Holding Absence

To see Holding Absence live is to transcend to another world. They have, as they gently put it, been “grinding this shit” for years, slowly rising through the ranks at Slam Dunk Festival since the band’s early days and it has been a delight to see just how much they’ve grown. Today, there’s just one band ahead of them on the Key Club stage lineup and within seconds, it’s glaringly obvious as to just how much they deserve this slot. Front man Lucas Woodland has a voice that can be rivalled by none. It seeps into your soul and fills you with glitter and gold until it simply must flow out of your eyes in the form of salty tears. The words are important, of course, but it really is the music that does the talking for Holding Absence – Woodland’s melodies included – and this is only more powerful in a live environment. Desperate to exert this emotion in whatever ways they can, fans throw themselves into intense circle pits and launch themselves on top of one another, crowd surfing across a sea of willing supporters with no two songs receiving a more excitable response than ‘Like a Shadow’ and ‘Beyond Belief’. Woodland echoes everyone’s thoughts when the emotions get too much and he claims he “could do this for the rest of my life until I keeled over and died”, a sentiment that may sound dramatic when taken out of context, but in the moment feels like a perfectly reasonable comment and one with which we are all in agreement. 

Emotions aside, the performance is technically perfect, too – the precision with which each song is played is genuinely mind boggling, particularly when you’re reminded that for anything off of April’s ‘The Greatest Mistake of My Life’, this is only their fifth outing in a live environment. With just one song left to go, the sombre ‘Wilt’ seems like an odd choice, particularly for a festival, but in reality there couldn’t have been a stronger choice. Friends clutch one another as they sing along through their tears and in this moment, we couldn’t possibly love them more. [YB]

Boston Manor

It’s been mere seconds since the chaotic notes of ‘Everything is Ordinary’ first blasted our eardrums, but from the depths of the Boston Manor pit you already have to fight for air. Of all the festivals you may have spotted this Blackpool five-piece over the years, Slam Dunk really does feel most apt for their somewhat unplaceable sounds, and the crowd’s response is only cementing that suspicion. As the not-so-secret headliners of the Key Club, Boston Manor have a lot of pressure on their shoulders but they carry it with ease, performing each of the seven songs on their setlist with as much enthusiasm and energy as the last. This is a band that have performed in countless venues of varying sizes over the years, but somehow they feel most comfortable here – even more so in some ways than at their own headline shows. In fact the crowd is so enticing that front man Henry Cox dives in himself, performing ‘You Me & the Class War’ from the circle pit he’s just commanded open. Slowly but surely, he amps up the crowd as they chant the bridge increasingly aggressively, supported by his band mates on stage, until permission is given to lose their minds. The set continues in much the same way, with both crowd and band throwing all they have into the short but intense set – from crowd surfing to mosh pits to screaming ourselves hoarse and everything in between. The sense of pride they have at closing off this stage shines through as Cox shouts out as many bands as he can recall that have played there across the day, and affectionately referring to Slam Dunk as a “festival full of greebos” before allowing said greebos to carry him to the edges of the crowd and back again during what may forever be the fan favourite, ‘Halo’. 

It’s over too soon, as it always is, but we can think of no better way to see out the Key Club stages – which have been home to so many incredible acts today – than with our favourite miscreants in Boston Manor. [YB]

While She Sleeps

For as long as they are a band, ‘Sleeps Society’ will always be the perfect set opener for the Sheffield-based five-piece While She Sleeps. It’s a song that encompasses everything they are and, most importantly, sets the scene for the raucous performance that is inevitably to follow. And if that’s your expectation for today, you won’t be disappointed. This idea of a ‘society’ makes for a powerful fanbase – bringing fans and band members together in a community without boundaries – and it’s clear from today’s performance just how powerful this community really is. At the helm, backed by red WSS flags, is front man Lawrence ‘Loz’ Taylor and he leads by perfect example, his energy never once waning as he commands the stage, conducting the crowd as he does so. It’s sweaty and exhausting, but with fan favourites aplenty (will ‘Guilty Party’ ever get old?), you simply don’t want it to end. But end it must and as sweat continues to pour down our faces and we can physically scream no more, the last notes of ‘Nervous’ and ‘Systematic’ still ringing clearly in our ears, we know we’ll be smiling at the memories for a long time to come. [YB]

Don Broco

If any band have long been destined for a Slam Dunk headline set, it’s Bedford (where’s Bedford?) legends Don Broco. The quartet don’t have a reputation for phenomenal live shows for nothing, and tonight feels like the most magnificent culmination of all their years of graft, bringing their unique blend of electrifying, mosh-inducing rock together with dazzling visuals that feel like the ultimate finale to an incredibly special day. It’s impossible not to be swept up in the excitement, and the ground at Temple Newsam is almost definitely on the verge of an earthquake under thousands of jumping, dancing feet. ‘Pretty’ makes short work of re-energising anyone feeling the effects of a long festival day, and from here on out, there’s no real chance to catch your breath. Let’s hope everyone stocked up on the Red Bull for this one, then.

Stage presence is in no short supply here, either, with vocalist Rob Damiani wrapping the crowd around his little finger – it’s hard to tear your eyes away, their music embodying the same attitude with which they command the stage. Above all else, it’s just really damn good fun – recent single ‘Gumshield’ is a beat driven monster, while the dancy groove of tracks like ‘Automatic’ and ‘Priorities’ remains as irresistible as ever. It’s in their new songs, though, that some of the standout moments of the evening come – when While She Sleeps’ Loz Taylor and Waterparks’ Awsten Knight take to the stage for ‘Action’, it’s hard to imagine anything more fantastically chaotic, and it’s followed by the stadium-esque ‘One True Prince’, feeling unlike anything we’ve heard from this band before. The next evolution of Don Broco is well underway, and it’s looking better than ever.

By the time we reach the encore one-two hit of ‘Everybody’ and ‘T-Shirt Song’, there’s still no sign of anyone tiring – as darkness has closed in and left only the illumination from the stage, the fans in front of the main stage have become one in a constantly swirling sea of movement. It’s not only the pits that are keeping things going, either, with the dancing and t-shirt swinging stretching back far beyond the food and ice cream vans – a true sign of a thoroughly enjoyable (and thoroughly enjoyed) headline set. Exhaustion and aching feet are but a small price to pay for a weekend spent relishing the triumphant return of one of our favourite festivals, and there could be few better ways to round off the day than these final few hours with Broco. Welcome back, Slammy – we missed you. [GR]