Words: Kate Allvey // Photos: Emma Stone and Graham Finney

Scene Queen

The feral monarch of Bimbocore finally gets her main stage moment, and unholy growling, family support and a ‘twerkle pit’ bedazzles a performance which attracts “a shocking number of men” to the crowd. Her doll-shaped love of vengeance flows freely on ‘Mutual Masturbation’, as does her support of the LGBTQ community. The sight of hardened metalheads gleefully singing along to ‘18+’ while Scene Queen skips across the sunlit stage in pink tassels gives us hope for the future, kicking off the day in perfect bimbo style. 

Silly Goose

We’re “rocking with the goose” and their nu-nu-metal energy packs out the Avalanche stage. ‘Live It Up’ prowls on the chorus, adding a dash of seriousness that splashes against their moniker, while ‘Tsunami’ scorches with blistering Korn-style guitar playing. Jackson Foster raps like a doberman straining at the leash, albeit with surprisingly thoughtful drops, and new song ‘Goodnight’ is vicious and explosive – their chaos barely contained within the tent. Surviving the pit that’s ignited by the incendiary ‘Set It Off’ is an early-game achievement for this weekend, and that’s the baptism of fire we need today.

James And The Cold Gun

Soulful, motoring, and filled with authenticity – in contrast to P.O.D., who are playing on the Apex stage at the same time – James And The Cold Gum brings a breath of fresh air with their crashing, rushing and completely honest rock. ‘Fragile’ beams casual cool with James Joseph’s vocals dropping like an ice cube into a fizzing glass of guitar, and the bounce they can conjure from the mid-afternoon Dogtooth crowd is remarkable.

Paleface Swiss

Vocalist Zelli is hangry. If not snacking enough is what drives Paleface Swiss’s thunderous and compelling set, we’d advise him to skip more meals. They’re the kind of band that keeps up the Opus Stage’s reputation of being the home of heaviness, especially with tracks like ‘Hatred’; its live-wire innovation sparks a pit for the metal purists. ‘Please End Me’ is blunt and direct, a scathing scream into the void – as if the lava on every banner has been transmuted into sound; and we’re living for ‘Everything Is Fine’s unexpected melodic breaks. 

Creeper

It’s the first of a few outings for the vampires, and their Opus set feels like a sampler for the uninitiated that focuses on the hits. ‘Mistress Of Death’ is as majestic and polished as ever as it careens through theatrical solos. Meanwhile, ‘Blood Magick (It’s A Ritual)’ practically roars over the slopes of Donnington like a lit firework – Will Gould’s intonation burned into our minds. ‘Lovers Led Astray’ strikes the balance between drama and the type of metal we expect from this weekend, with vast wailing on the chorus from what seems like half the entire festival.

Pendulum

Watching 100,000 people losing their minds to ‘Propane Nightmares’ is an unforgettable image, but that’s all in a day’s work for the mighty Pendulum. We’re loving the absolute musical departure that they bring to their Apex Stage set, and the cheer that signals the start of ‘Voodoo People’ is probably large enough to register an earthquake reading in Derby. ‘Tarantula’ as a closer will go down as a core memory for most of us raving, as we finally and definitively answer the question of whether Pendulum are truly metal. 

Lake Malice

The electronica continues at the top of the hill, albeit with a far harsher edge. Dancers in holographic tutus usher in a cool breeze to the scorching Dogtooth Stage, and new single ‘Ghost In A Hell’ feels like jumping off a cliff with its bass-heavy depth and crystalline synth. Alice Guala’s furious screams channel an inner rage far greater than her fairy-like form, and their entire set is a hypnotic catharsis that deserves a bigger crowd. 

Electric Callboy

It’s been a long time coming. Finally, however Electric Callboy take to the Main Stage. It’s worth the wait too, as ‘Tanzneid’ is an instant party starter. We’re then swept from a relatively loyal cover of  Sum 41’s ‘Still Waiting’ into the top-notch silliness of ‘Tekkno Train’. The peppy Germans bring the musical equivalent of Haribo to a relatively serious day and we’re dancing like there’s no tomorrow to their collab with the Offspring, ‘Let The Good Times Roll’. At this rate, and judging by the overwhelming love they’re getting, Electric Callboy will be headlining within the next few years. 

Sleep Theory

Sincere and deep, Sleep Theory’s set is a haven for those in search of emotional release. Their set is the point in the weekend where the Avalanche Stage begins to feel like a secret club for those revelling in the more intriguing bands on the bill, and the near acoustic regret that permeates ‘Words Are Worthless’ captures our voices for a mass singalong. The sweetness lurking at the edges of ‘Numb’ proves these guys are a band more complex than we first realised, and they’ll find themselves with a far bigger fanbase after this show.

Story Of The Year

Dan Marsala’s gorgeous vocals on ‘Tear Me To Pieces’ cements Story Of The Year as the band who’ll make you cock your head with lyrical interest while you’re slamming in the pit.  “We’re the fourteenth best band of the entire show, give or take,” he jokes before dropping ‘Anthem Of Our Dying Day’; the sound of determination sweeping away loneliness distilled into a rapid few minutes. We’re staring in awe at the needle-sharp longing that fills ‘In The Shadows’, and Story Of The Year are the reminder that sometimes what your day needs is just a smart, honest rock band, playing their hearts out.

Halestorm

An oxygen-defying yell from Lzzy Hale kicks us into ‘Fallen Star’ and Halestorm’s next-level set on the Opus Stage. The classic rock levers are out in force for the Sabbath-influenced ‘Love Bites (So Do I)’, and when they push the metal chug in their sound to the forefront, we sense that this is a band who can take on anything with style. We’re treated to their cover of ‘Bad Romance’, played for the first time in the UK, which just proves that they not only have a sense of humour, but that whatever they touch turns to gold.

Limp Bizkit

Some bands would cancel a set if they learned that their longtime friend and crew member had passed away while en route to Download. We wouldn’t begrudge any band taking the space to grieve, especially one whose former bassist died only months beforehand. However, that’s not exactly Limp Bizkit’s style. From the very start of their set, Fred Durst and co were determined to honour the memory of their friends by putting on the biggest party of the weekend. Yes, the set was marred by a medical emergency in the pit, a band who were clearly going through a tough time, and, errrr, the suggestion that crowdsurfing was a good way to remember your deceased loved ones, but when they slapped down the hits? – there’s nowhere in the world we’d rather be. 

“We’re about to turn it on like it’s 1999,” yells Durst, before a sea of circle pits erupts for ‘My Generation’. Meanwhile, the immaculate vibes for ‘Rollin’ show that we’ve got enough dance in us to power an explosive time machine. Freestyling and innovating is the name of the game that brings a freshness to a guitar-filled celebration of all things Bizkit. ‘Behind Blue Eyes’ is a pure lighters-up moment, and the old school mosh that rips through the beyond packed-out arena on the reprise of ‘Break Stuff’ is the fuel that festival dreams are made of. There’s enough highlights, enough camaraderie built with rapping to the stranger next to you, and enough massive beats to excuse any extenuating circumstances. This is the kind of set which explains Limp Bizkit’s enduring appeal and will go down as a Download memory that’ll go rollin’ home with us. 

Kate Allvey

There is a lot to like about Story Of The Year’s seventh album. It is, as you might expect, made up of big, fun rock songs with an air of pop punk and a whiff of hardcore. If you’ve enjoyed their previous work, there’s a good chance you’ll enjoy the ten songs collected here. ‘A.R.S.O.N.’ is Story Of The Year, but not by numbers. It has different ambitions. It’s neither remarkably inventive, nor particularly different, but it is saying new things. It’s a bold statement. A strong one. There are ideas, flashes of inspiration and, most importantly, great songs. They’ve been doing this since 1995 yet they’ve managed to uncover a degree of freshness. Indeed, while 2023’s ‘Tear Me To Pieces’ was desperately saying: ‘Remember how good we were?’, here they’re saying: ‘Surprise! We’re Still Relevant’, which is a much stronger statement.

Despite the tepid results on their last album, the band has again elected to work with producer Colin Brittain. Trust is important. Clearly they work well together and you’d be forgiven for thinking it would retrace the same steps. But ‘Gasoline (All Rage Still Only Numb)’ almost immediately takes a match to that idea. The result is not really a reinvention but makes different, better choices, capturing a chunky sound that retains enough personality to feel both invigorated and novel. The trick is threading a needle between two sounds, a live band and a studio-based project. It resultantly feels like four guys jamming in a room even when it dips its toes into electronic trickery.

Given the record’s title, you can’t help but think of fire; a rapid, persistent change of state – a transfer of energy. It’s a good way to think about the record as that fieriness defines it. This is partly due to the band’s pop-punk roots but there is also a bounce to the riffs and song structures that feel electric. Indeed, the mix of style and substance has a lot in common with bands like Hot Milk or Fever 333; remarkable when you remember that this band is old enough to have grandkids. You can feel this energy being built around big, string-bendy riffs like on ‘3am’, but more broadly you can hear it in the way different elements interact. The work from drummer Josh Wills is particularly noteworthy and the way he chases grooves around his kit is delightful. You can hear this on ‘Disconnected’ and ‘Fall Away’, both of which have an electronic element but which flow in coherent (if slightly unusual) ways; a clear indication that youthful energy isn’t about copying twenty-year old work.

Unsurprisingly, the record has a lot to say about sequencing. The songs all have a straightforward shape with little fat. It is carefully organised so it hums along, spreading the ‘classic’ style between the more unusual songs here, allowing so much energy to crackle through that you’d think it was strung between two pylons.

Any statement the record makes is of course filtered through vocalist Dan Marsala and by approaching each song with a different emphasis, he reinforces its inventiveness. ‘Halos’ feels like a classic Story of The Year song, with a proper verse, chorus and breakdown and yelling. Meanwhile, ‘3am’ has more of a pop-punk feel and ‘My Religion’ feels like he’s trying to squeeze too many words into one space, only adding to the song’s feisty spark. This continues on ‘Fall Away’, which drops a few rapped bars amongst some of the album’s heaviest riffs, giving it a really unusual flow. It’s a great use of the hackneyed ‘let’s add a rapped verse’ trope while expanding the album’s range.

Slightly silly backronyms aside, Marsala’s lyrics are oblique enough to have a sense of about, without losing the accessibility you’d expect from this type of rock music. He makes a lot of strong, effective choices and gives each song a sense of identity. Notably, there’s a huge chorus to ‘Into The Dark’ which leans into the Woah Woah energy to create the album’s biggest song, and one you’d expect to see as a breakout single. The similarly triumphant closer, the epic and emo ‘I Don’t Wanna Feel Like This Anymore’, is an absolute delight – the kind of song that should become a live staple. Even the slightly forgettable acoustic number ‘Better Than High’ offers a rock-solid piece of songwriting, keeping the overall quality high.

Although ‘Good For Me/Feel So Bad’ harks back to yesteryear, it still manages to bathe in the past’s warm glow while avoiding sounding old and tired, which a surprising feat. It’s overall a step forward, and a strong one too. The past is gone; there is only now. Story Of The Year are comfortable with that. ‘A.R.S.O.N.’ speaks for itself. It’s refreshed, energetic and the strongest record they have made in at least a decade.

 IAN KENWORTHY

In 2003, their debut record ‘Page Avenue’ hit the zeitgeist. While similar bands like A Day To Remember flitted between pop and metal, Story of The Year blended metal riffs with big choruses, and were more sure of themselves but things have changed; that’s no longer true.

2017’s ‘Wolves’ flew under the radar. Its marketing cast the band as teenagers lost in the woods (riding BMXs) which was fitting, and perhaps the key to understanding this new record is also the album cover. It’s deliberately evocative of ‘Page Avenue’. It’s saying “Remember us? Remember when we mattered?” Maybe that’s cynical, but the band want to redefine themselves and their biggest hit is a good place to start.

Given the band has a history of big, powerful singles you’re probably not expecting the album to open with an acoustic guitar, but then whack – the song kicks in and it’s really satisfying. A catchy chorus, a few slick riffs, it’s exactly what you’d expect the band to be doing; not their best song, but solid and exciting. Similarly, ‘Real Life’ is pleasingly upbeat and inoffensive (musically, the lyrics touch on suicide), by using delayed guitar sounds in the verses it evokes many of their most popular singles. However it’s ‘Glow’ that really stands out; taking some big swings and shifts in style, it hits hard with a huge breakdown-style chorus, proving that they can update their sound and be exciting. Afterward, things start to go awry.

The middle section collides with reality; they’re not the band they were. When they’re going hard it’s a thrill but ‘Can’t Save You’ and ‘Ride’ struggle to keep the momentum up. They’re slow, vapid and tiresome, worse still they rely on the same trite production tricks every 2-bit band uses to pad out their sound, meaning they’re anaemic not anthemic. Yet the real low point is ‘2005’. Its light tropicana vibe is unusual but it’s also toothless. While Dan Marsala’s approach to lyrics is often simplistic, it’s usually effective but here he falls into the trap of wishing he was young, without interrogating that idea; he was young and dumb, but what has he learned, what do you as a listener have to take away? – it seems to be “go and listen to Page Avenue*” – which of course you then do, and discover he’s better than this. The band are better than this.

In many ways, the band’s new sound is due to the departure of lead guitarist Philip Snead. In place of his finesse they’re using a fat, chunky, processed sound. There’s still a heavy rock band underneath but it’s all rounded out by synths and there are breaks where electronic loops pop and fizzle. It’s the kind of sound Papa Roach have spent their career chasing, and it can sound massive but also has some real limitations. Largely this is down to the production, which is handled by Colin Brittain. On the one hand, the bassy end thumps and the heavy songs shift internally like tectonic plates to devastating effect. It’s particularly impressive on the title track or ‘Glow’ where the structure makes huge unexpected turns. However this over-emphasis does become wearing as there isn’t a lot of breathing space or fidelity (indeed the benefit of the dull ‘Ride’ is that it gives your ears a rest).

Some choices really hinder the album like the persistent washing ‘white noise’ lead guitar sound that has all the subtlety of an air raid siren. While electronic elements are heavily employed throughout, they are quite boilerplate and combined with the en-vogue production they often feel overworn and uninspired, sometimes even unwise. The inverted bass drops on ‘Use Me’ are inadvertently hilarious as no emotional song should feature an audible and farcical sssshlooop sound just before the chorus. It’s also difficult to explain why a big, hard-hitting song like ‘Knives Out’ is padded with weird choral style chants – it’s like they’re trying to sabotage themselves.

What’s worth pointing out is that Dan Marsala has a likeable singing voice and still has a good ear for a chorus, particularly on the rapid-fire aforementioned ‘Knives Out’. The dirty, angry sounds of ‘War’ and the glitchy ‘Dead and Gone’ give him chance to yell and the simple semi-acoustic ‘Sorry About Me’ really shows off his likeable singing style. There’s a lot to like here, but they’re making it hard work.

Story Of The Year want you to remember who they were. When ‘Tear Me To Pieces’ hits hard, it’s an adequate reminder but not the reinvention they were hoping for.

IAN KENWORTHY

*And of course, ‘Page Avenue’ isn’t their most accomplished record, just the most popular.

The weather is grim (what would a festival be without rain?!) but spirits remain high as we make our way from stage to stage (to stage… to stage…) to enjoy this year’s outstanding lineup.

Words: Yasmin Brown [YB] / Tom Walsh [TW] Images: Penny Bennett / Matt Higgs

It’s always a happy surprise when the first band on your list of acts to see also happens to be one of your favourites, and this was almost certainly the case for plenty of Slam Dunkers this year. Boston Manor are causing a ruckus; ruffling feathers with their controversial yet insightful views about the world today and – of course – those of us who inhabit it. As a result, they’re connecting with their fans in a way they never have before, resulting in absolute mayhem when it comes to their live shows. Taking to the stage with his face covered in a white balaclava, front man Henry Cox is every bit as lively and energetic as you’d expect from someone who wrote the angry lyrics that make up the band’s sophomore album, ‘Welcome to the Neighbourhood’, and the rest of the band aren’t far behind when it comes to energy levels, bounding around the stage and feeling every moment of their 30 minute set right down to their core. And we feel it, too. From a man on crutches fearlessly crowd surfing, to the three minutes of cardio the crowd happily agrees to as one mosh pit turns into an exercise regime, there isn’t a moment of calm. Cox’s vocals are on form, seamlessly transitioning from clean to rough vocals, and the band work tightly together to put on what many might already feel confident in calling the best performance of the day. [YB]

NOFX have brought a little gift to Slam Dunk this year. The Punk In Drublic tour has been making waves across the US and Europe, and Fat Mike has bestowed this celebration of double time drums and craft beer onto Yorkshire and Hatfield. Who better to wake the early crowd from their slumber than Anti-Flag? We’re entering an era where the smell of revolution is thick in the air and Anti-Flag have been a band forever willing to lead the charge. Every song sounds like a battle cry; from the confrontational opener of ‘Die for the Government’, to the raging ‘Fuck Police Brutality’, there is no let up in intensity, even if it is still very early in the day. Closing with ‘Brandenburg Gate’, both bassist Chris Head and drummer Pat Thetic climb down into the crowd to thrash through the last few bars. Just like that, everyone seems very much energised for the day ahead. [TW]

It’s barely 2pm but there’s already strong competition for most energetic performance of the day, as one reunion we all hoped for – but never expected would come to fruition – is realised. Busted are back, baby, and turning up to the Key Club stage just five minutes after the start of the band’s not-so-secret set sees many fans struggling to catch a glimpse of the stage as they sing along to ‘Air Hostess’ from outside the crammed tent. Initially, it’s strange watching pop-punk fans crowd surf to a band whose fanbase in 2003 consisted mostly of 10-year old girls, but when you consider that those 10-year olds are now in their mid-twenties, it all starts to make more sense. Everyone loves a nostalgia trip, and although Busted make sure to add some of their newer releases to the setlist (‘Nineties’ goes down a treat), that’s exactly what this performance is. That’s not to diminish this band’s talent, though. Charlie continues to be host to one of the most recognisably soothing and husky voices in the industry and, as a band, they sure know how to amp up a crowd. As they close the set with ‘Year 3000’ – singing about naked, triple breasted women – it feels as though this is exactly where Busted belong. [YB]

Over at the Impericon Stage, US metalcore band Wage War are laying waste to the tent. It’s an impressive Slam Dunk debut from the Florida natives, as they combine chugging, melodic riffs with the dual vocals of Briton Bond and Cody Quistad. Dipping in to their studio albums ‘Blueprints’ and ‘Deadweight’, it is their latest single ‘Low’ that reverberates around the tent. Wage War do hark back to a metalcore genre of circa 2010, but the soaring clean voice of Quistad provides that stand-out factor. [TW]  

Despite their Australian roots, Trophy Eyes are embraced like family for the duration of their set on the Marshall stage. Not once did the energy let up, with both crowd and band working tirelessly to make this one of the most memorable sets of the day. It’d be easy to assume that smaller stages such as this and the Dickies stage often see fans just passing through, killing time or trying to unearth hidden gems among the bigger names, but Trophy Eyes seem to have pulled in a dedicated fanbase made up of people who connect to this band’s often painful yet incredible music. As the set draws to a close, and Trophy Eyes launch into ‘You Can Count on Me’, there’s a huge sense of togetherness, reflecting the lyrics and creating that safe, comfortable space that so many of us turn to music in order to find. They’re talented musicians, sure, but it’s this ability to create a community that makes them really, really special. [YB]

If you had ever wondered what it would be like to see an amalgamation of a well-built Mick Jagger and Jim Morrison front a hardcore band, Turnstile are here to make that dream a reality. Brendan Yates brings all the sass and swagger that would make these rock and roll icons nod in approval. It feels like a riposte to the often machismo ethos within sections of the hardcore scene to see Yates strut around the stage before hotfooting up the tent support poles. It is not just Yates’ flamboyant performance we’re here to see, Turnstile crank out some delicious chugging and grooving riffs. The thrashing melodies and the guttural screams demonstrate why they are quickly becoming the must-see hardcore band in town. There is an extra treat for the uber Turnstile fans as they end on ‘The Dream’, plucked from their very first EP. [TW]

As streaming and miscellaneous playlists take over from the traditional, structured way of listening to music, genres are becoming muddled. No longer can you honestly say you exclusively listen to pop-punk or hardcore or metal or pop – while many artists have their roots, most are taking influence from elsewhere and Our Hollow Our Home are no exception. Their set is a glorious combination of metalcore and hip-hop, making their heavy sincerity incredibly catchy, too. As a member of the crowd, this means you can dance as much as you can mosh, and they grab this opportunity firmly by the throat, propelling themselves at one another while also fulfilling their dreams of being an extra in the Step Up movies. It’s intense, it’s emotional, it’s raucous and, most importantly, it’s really bloody fun. It’s everything a Slam Dunk performance should be. The wall of death feels anything but frightening as fans help one another off the floor without skipping a beat, immediately throwing themselves back into the pandemonium caused by the equally mad scene occurring on stage. If you haven’t heard of Our Hollow Our Home, it’s about time you rectify the situation. [YB]

The Interrupters’ rise has even taken the band themselves by surprise. “We’re still wondering how we got here”, guitarist Kevin Bivona announces as they begin their short and sweet Punk In Drublic stage set. Their latest record, ‘Fight the Good Fight,’ has gained traction among the punk scene eager for much more of those nostalgia-filled Rancid-esque riffs and anthemic protest songs. It is a hit-laden set with vocalist Aimee Interrupter leading the masses to chant back the words to ‘Take Back the Power’ and ‘She Got Arrested.’ They blend the ska-punk vibes throughout, before ending on the duo of the massive ‘She’s Kerosene’ and the arm-in-arm anthem of ‘Family.’ [TW]

If ever there was going to be a time during the day for a singalong, it was going to be during Simple Plan. Ever wise to their fanbase, their setlist comprises mainly older material, taking the crowd back to the angst-ridden days of their youth. Despite the inherently melancholy nature of songs such as ‘I’m Just a Kid’, ‘Welcome to My Life’, and set closer, ‘Perfect’, front man Pierre Bouvier doesn’t for one second stop smiling, likely due to the “I say jump, you say how high” kind of obedience the crowd are providing him with. This set reminds us exactly why and how this festival started in the first place; it’s the epitome of hating this town (wherever that may be), and feeling misunderstood, yet paradoxically, in this moment, these pop-punk kids have never felt more understood. This much is clear through the passion with which each crowd member sings the lyrics back at the band and how, even after almost 20 years, Simple Plan still draw in the masses as though it’s still 2001. While we know these songs like the back of our hands, there are still some surprises in store, as we see beach balls being launched at us to reflect the theme of ‘Summer Paradise’, and drummer Chuck Comeau switches spots with Pierre, launching himself into the crowd during his five minutes as the ever popular lead singer. If nothing else, this set is proof that Simple Plan are timeless, that we’ll always stay loyal to our pop-punk origins, and that everything is more fun when inflatable beach balls are involved. [YB]

While Slam Dunk definitely has a reputation for being a pop punk festival, it wouldn’t have been the same these past few years without some of the heavier bands that have graced stages such as the Jägermeister, Punk in Drublic, and Impericon. This year in particular, one of the most notable bands that fit into this heavy category is Story of the Year. Effortlessly packing out the Jägermeister tent, they waste no time with slow build-ups, choosing instead to launch straight into it, blowing our minds (and our ear drums, for that matter) the moment they take to the stage. While this band has a back catalogue of five studio albums, there’s a portion of the set where we find ourselves watching an emo cover band taking on all of our favourite tracks of the early 2000s. Story of the Year gave new life to My Chem’s ‘I’m Not Okay’, Taking Back Sunday’s ‘Cute Without the ‘E’’ and The Used’s notorious ‘Taste of Ink’. The highlight, however, is a little more off-brand, as they launch into Yellowcard’s ‘Ocean Avenue’, only to be joined by the pop-punk band’s front man himself – William Ryan Key. While it does seem strange to fill such a short set with covers when your band’s history stretches back 14 years, Story of the Year more than prove their unwavering talent through their unrelenting energy and ability to make old songs feel new again. [YB]

“This is the reunion of the year!”, Liam Cormier triumphantly declares. Cancer Bats are back in the UK for what feels like the thousandth time this year, and they’ve come to party. Cormier is hyped to see all of his friends and the swelled crowd are hyped to one of Canada’s finest exports – after maple syrup and curling. With the pleasantries out of the way, it’s time to get this place moving and Cancer Bats know exactly how to do it. All the stars come out for this 40 minute set with newer tracks ‘Brightest Day’ and ‘Winterpeg’ sounding even more huge. The biggest pops, however, are naturally reserved for the anthemic ‘Hail Destroyer’ and ‘Pneumonia Hawk’, which features a hugely enthusiastic cameo from Pagan’s Nikki Brumen. Cormier has been to this rodeo before and knows how to elegantly command his baying public, and he plays the role of conductor in the breakdown of the homage to the Beastie Boys, ‘Sabotage’. During the breakdown, he implores quiet and you can almost hear the breeze of the oncoming storm waft through the Impericon tent before launching into a rasping scream to signal the crescendo of an end. The chugging riff of ‘Gatekeeper’ brings its all to a close and, yes, now we’re fully warmed up. [TW]

“It’s time to get angry,” declares grandson, aka Jordan Benjamin, as he launches into his 30-minute set inside the Key Club tent. For any fan of grandson, this comment seems redundant, as a large part of his appeal is the anger that infiltrates each one of his songs, but still, we listen, and boy do we get angry. Everything about grandson is incendiary, from his ‘RIP America’ t-shirt, to his speeches about forceful yet peaceful resistance, and it’s only natural that anyone in his presence gets fired up too. If passion is the fuel, the tent is a wildfire, and we are set ablaze. While much of what grandson has to say is fuelled by the dire state in which much of the world currently finds itself, it also encourages positive change, and this is never more apparent than when he asks us to turn on the lights on our phones, and to look around to see just how other people can light up your darkness. There are moments where you might feel bummed out by grandson’s message – and for this he earnestly apologises – but ultimately what this performance is, is a reality check. It opens your eyes to the truth of the world and refuses to allow you to turn a blind eye to the mass shootings, to the systemic traditions that lead to endless cycles of poverty, poor mental health and sheer desperation. As grandson beats his chest and spreads his arms in avidity, you can’t help but feel his passion, too. His performance has all the elements of a great rock show, but it also leaves you feeling empowered, energised, and like you have the ability to make a difference. It’s a rock show, sure, but equally, it’s undeniably a political statement. And for this, as grandson confidently and vehemently states, he will not apologise. [YB]

There is something just effortlessly cool about The Bronx. Whether its Matt Caughthran’s beaming grin and southern Californian drawl, the mustachioed swagger of Joby J. Ford, the grooving tunes, or the raucous atmosphere that their shows create, it’s just done with an attitude oozing cool. The LA hardcore punks stride out on stage and straight into the ode to the working class, ‘The Unholy Hand’. Caughthran’s gruff voice screams of the hardships of being in dead end jobs to make ends meet, before pausing to remonstrate to everyone that we need to “live for today, forget tomorrow, just enjoy everything right here and now”. A huge rendition of ‘Shitty Future’ follows. Caughthran’s presence swings between rock and roll legend to preacher to local comedian, with an aura surrounding him, yet still seeming like someone who’d happily share a beer with you. The Bronx front man continues, “you’ve got a great thing going on here Leeds, there’s so many good and a couple of bad bands, but that’s all cool”, which is met with a knowing laughter from the audience. The Bronx treat us to a rare outing of ‘Cobra Lucha’ before Caughthran drops down into the pit to get up and close with his adoring public, reiterating the mantra of “forgetting tomorrow” before joining the crowd surfers for a celebratory version of ‘History’s Stranglers’. The finale sees him being triumphantly carried back to the stage – this is how a cool party ends, right? [TW]

Four years have passed since Gallows last took to a stage and the rustiness shines through in this highly disjointed set. From the moment they have to stop opener ‘Misery’ so front man Wade MacNeil can join the somewhat static pit, the tone has been set, and bassist Stuart Gili-Ross offers an apology – “sorry, we haven’t played these songs in years.” Fans begin to look on in amusement as Gallows approach the nadir of the set by thrashing into their calling card track ‘Abandon Ship’, only for MacNeil to sing the lyrics for ‘Belly In The Shark’. The faux pas causes another restart and another apology from Gili-Ross. Even the appearance of Liam Cormier to share vocal duties on ‘Last June’ and a shoulder-shrugging cover of The Ramones’ ‘Blitzkrieg Bop’ can’t save a mess of a set. While this maybe a fleeting appearance from Gallows, it is notable that the band opted against airing any tracks from the outstanding ‘Desolation Sounds’ album, instead going for the fan favourites of ‘London Is The Reason’ and ‘Come Friendly Bombs’, which have always felt awkward in the post-Frank Carter era. Ever since the departure of the Carter brothers, Gallows have seemingly struggled to forge a proper identity and break free from a sound that made them so special. While this 12-song set did give fans that pang of nostalgia, it is not one that will have them clamouring for new material. [TW]

With the layout of the Key Club stages, the transition between sets remained smooth throughout the day, with one band setting up on the left, while another played on the right. This means that the aggression and anger that flowed through the crowd during grandson’s set quickly dissipates when LIGHTS takes to the stage, filled with attitude and her sultry and powerful vocals. This is LIGHTS’ first time playing to UK crowd in some years, but you’d never guess that she’s been on a low-key hiatus with the number of fans that fill the tent, singing along in delight to every song. For those who may be unfamiliar with LIGHTS’ music, however, we’re treated to a cover of Cher’s ‘Believe’, ensuring that everyone in attendance felt equally involved as each other. Making her way into the crowd for ‘Moonshine’, gripping onto fans’ desperate hands, LIGHTS proves herself to be an excellent performer as well as a talented musician, and Slam Dunk is lucky to have her. [YB]

As anyone who has been to Leeds Festival can attest, an outdoor music festival in Yorkshire is a blatant provocation to the Rain Gods, and Slam Dunk North’s first open air event falls victim to a springtime downpour as legendary punks Bad Religion take to the stage. A little rain isn’t going to dampen the excitement for one of big hitters of the Punk In Drublic stage, though, as Greg Graffin pokes his head out into the steady rain with a beaming grin before launching into ‘Them and Us’. It is a big year for Bad Religion with their first album in six years, ‘Age of Unreason’, taking a typical repugnant look on the world from one of the original political punks. Even as they near 40 years as a band, there is a still vehement anger and this courses through newer tracks ‘Chaos from Within’ and ‘My Sanity’. The riffs are there in abundance, squealing from the guitars of Brian Barker and Mike Dimkich, while Graffin’s signature vocals are as soaring as ever. They take us on a tour through their extensive back catalogue with favourites such as ‘Generator’, ‘Social Suicide’ and ‘Sorrow’ making the diehard fans forget all about their increasingly damp clothes. There’s even space for a rare outing of the excellent ‘Skyscraper’ and the raging ‘Fuck Armageddon…This Is Hell’. The closing double header of ‘American Jesus’ and ‘Punk Rock Song’ finish a frantic, energetic set, and provide a timely reminder that Bad Religion are the undisputed kings of punk. [TW]

It’s left to the band whose seminal album inspired the name of the stage they stand on to wrap up proceedings on the Punk In Drublic stage. As the rain continues to fall, NOFX struggle to continue the standard set by Bad Religion in a slapdash, plodding set. While they have never been renowned for their live performances, there is something entirely sluggish about tonight’s closing act. Fat Mike’s rambling monologues seem to cause agitation among a now sodden crowd with one audience member exasperatedly shouting “just play a fucking song”. When NOFX finally get into their rhythm there are early renditions of ‘Bob’ and ‘The Brews’, which kind of feel like bargaining chips to keep the hardcore fans interested. Much like Bad Religion, NOFX’s latest record ‘First Ditch Effort’ felt like a sea change in the band’s approach with much more personal and angry tracks. There are airings of the excellent ‘Six Years On Dope’ and the poignant ‘I’m So Sorry Tony’, before which, Fat Mike gives a heartfelt ode to the late Tony Sly, whose death provided the inspiration. NOFX finish on a celebratory note with ‘Linoleum’ and a cover of Bad Religion’s ‘We’re Only Gonna Die’, to rectify what threatened to be a damp squib of a headline set. [TW]

While we’ve been consistently soaked by varying levels of precipitation throughout the day, it turns out that All Time Low might actually be pop-punk’s very own Mother Nature. Not only has the downfall cease just in time for their headline set, but everyone in attendance is delighted to note that ATL have “made a rainbow, you motherfuckers! One whole rainbow!” As well as the stunning scenery that now surrounding us, with it being 10 years since the release of the band’s sophomore album, we’re treated to an ode to what many maintain is All Time Low’s best release to date – playing eight out of the 12 tracks on ‘Nothing Personal’, including a cameo performance from Waterpark’s Awsten Knight on fan favourite ‘Break Your Little Heart’. Tears are cried during ‘Therapy’, but quickly dried when the gates to the stage are opened and countless fans join All Time Low for a manic dance party during 2011’s ‘Time Bomb’. Despite Jack Barakat’s countless inappropriate comments, and minor confusion caused by Rian altering the finale of ‘Lost in Stereo’, it’s an otherwise joyous end to an incredible day. [YB]

Slam Dunk continue to bring in the best bands and artists from our world, and we can’t wait to see what next year has in store for us.

NOFX, New Found Glory, Waterparks, Story Of The Year, Mad Caddies, Silverstein & Gallows (!) will be joining headliners All Time Low on the 25th & 26th May 2019.

After the huge success of Slam Dunk’s move to Hatfield House last year, the festival has also announced plans for a new site for Slam Dunk North, moving to Leeds’ Temple Newsam Estate. Sadly this means no more Slam Dunk Midlands (you will be missed) but  bigger sites mean even more pop-punk fanatics can make their way to the definitive date of the alternative diary.

Tickets are on sale Friday 19th October at 9am fromhttp://slamdunkfestival.com/ 

Ticket Price £59. All subject to booking fees.

The song is taken from their fifth album ‘Wolves’, which was released earlier this month via PledgeMusic.

It is taken from their upcoming fifth album, ‘Wolves’, which will be released on the 8th December via PledgeMusic.

It is taken from their upcoming fifth album, ‘Wolves’, which will be released on the 8th December via PledgeMusic.

It is taken from their upcoming fifth album, ‘Wolves’, which will be released on the 8th December via PledgeMusic.