Today, they’re back together as Simple Plan support the mighty Sum 41 at London’s packed Ally Pally, and whilst Sum 41 are tonight’s main event, equal numbers of both band’s T-shirts appear on the backs of attendees tonight. 

Simple Plan kick us off, their pop punk sound of ‘I’d Do Anything’ seeping past the doors of the great hall into the queues waiting for burgers outside. The already packed hall became even tighter at the recognition as more fans filed in, enthusiastically screaming the words to a song over 20 years old. 

It’s telling that this band peaked with their earlier material, filling their set list with songs from ‘No Pads, No Helmets… Just Balls’, and only a couple of new ones gracing the bill to a more lacklustre response. Throw in a medley of Smash Mouth, Avril Lavigne and The Killers, and Pierre Bouvier and his friends have won us back over before ending on the ever angsty, ever wonderful, ‘Perfect’. Simple Plan are timeless pop punk kings and tonight proves there’s no shame in leaning into the material you know the fans want. Combine great music with some giant beach balls and a little covid-friendly crowd interaction and you’ve found the perfect recipe for a delightful start to an incredible evening. 

What feels like an eternity passes before ‘Introduction to Destruction’ kicks in, old fans reciting the eerie intro word for word as the lights dim and excited chatter stops, allowing the screams take over. The temporary Sum 41 backdrop falls dramatically, allowing a 3D devil’s head to take its place as Deryck Whibley and co take to the stage to kick off tonight with guaranteed crowd-please, 2001’s ‘Motivation’, much to the delight of the now-packed out great hall.

If you’ve never seen Sum 41 live before, or if you’d class yourself as a “casual fan”, it might surprise you to learn that Sum 41 fit more in the metal camp than in any other genre under the alternative umbrella. The talent that sits within this band can not be understated, as the night kicks off with expertly executed rapid fire drumming from Frank Zummo and dizzying riffs from original lead guitarist, Dave Baksh.

Just a couple of songs in and already tonight’s Ally Pally crowd finds itself under a rainfall of confetti the band sparing no theatrics and pyrotechnics shortly follow during ‘We’re All to Blame’. Among all the madness, we’re reminded to look out for each other as circle pits open up to see out this tour in style, aptly celebrating the 21st birthday of the band’s first album, ‘All Killer, No Filler’ with the fun addition of balloons bouncing over the crowd. 

Where Simple Plan’s covers section felt a little trite, Sum 41’s take on Queen’s ‘We Will Rock You’ leads into a guitar solo that brings this band’s talent to life, once again reminding us that their metal ‘undertones’ were never undertones at all, but the foundation of their technically brilliant sound and this “family” that Whibley refers to frequently throughout the night. 

And it does feel that way, too. This tour is celebrating albums that span two thirds of the majority of tonight’s 30-something crowd, so it’s safe to say Sum 41 have played an integral part in our lives, making up the soundtrack of certain years and reminding us of people and places we perhaps haven’t seen or visited since our youth. Tonight is bringing this crowd together in a tangible yet invisible way and “family” may be the best way to explain the closeness created by our shared sweat and beer, and our collective love for this band. 

The palpable joy that seeps through the crowd is also evident on stage as Whibley labels this the “funnest fucking show of the tour”. It’s also something of a homecoming as he explains it’s his first show in the UK as a British citizen, his entire family hailing from just down the road in Wood Green. With this along with the album celebrations and it being the final show of the tour, tonight has really felt like a celebration – one we’re delighted to have been a part of. 

Closing off with a three-song encore made up of ‘No Reason’, ‘Mr. Amsterdam’ and the iconic ‘Fat Lip’ (cue more confetti), we couldn’t have asked for a more perfect night. Those who entered Ally Pally as casual fans are sure to leave feeling wholly impressed by the calibre of this band, while those who have always understood just how incredible Sum 41 are, will only have fallen more in love tonight. 

With over two decades under their belt, Sum 41 have had a hot minute to refine their craft and tonight’s show has more than proven that they’ve made the most of the opportunity. Here’s to seeing what the next decade has to offer. 

YASMIN BROWN

Bands are nothing without their fan base, and it’s something that Sheffield’s metalcore heroes While She Sleeps are incredibly aware of. They’re displaying their gratitude in the most refreshingly beautiful way, like no other band has expressed it before. They haven’t just made a record for their fans, they’ve made a record BECAUSE of them. If you’re reading this and you already support the band, it’s because of you. The ‘SLEEPS SOCIETY’. They even named the record after you. They must really like you, because the record is quite something, too.

With deep roots in self-belief, personal growth, and conquering hardships when the cards are stacked against you, While She Sleeps make the album’s mission statement known from the off on opener ‘ENLIGHTENMENT (?)’. Gigantic walls of guitars stampede at an infectious pace, with the dual vocal attack of front man Lawrence Taylor and guitarist Mat Welsh declaring “If you feel like giving up, there’s something I need you to know – that I’m here for you.” They’re beginning the record by reaching out their hand to you, and the rest of the record sees them strengthening their grip.

‘KNOW YOUR WORTH’ is a feral anthem of perseverance led by the riffs of Welsh and fellow guitarist Sean Long, providing an aural onslaught that highlights the importance of digging deep and staying strong. ‘YOU ARE ALL YOU NEED’ is a furious pit-hungry beast, driven by the relentless rhythm work of bassist Aaron McKenzie and drummer Adam Savage as they champion self-worth. ‘SYSTEMATIC’ is an industrial-tinged rager, ‘DIVISION STREET’ is a raw and honest ballad that pulls at all your heartstrings, the title track is an ominous and dark entity – there’s a lot of variety here, but it all slots together wonderfully.

There’s some guest spots on offer here too. One is from Biffy Clyro’s ever wonderful front man Simon Neil on ‘NERVOUS’ whose silky and emotive tones add an extra layer of goosebumps to its already spine-tingling atmosphere. Another is from Sum 41’s legendary Deryck Whibley on ‘NO DEFEAT FOR THE BRAVE’, an enormous metalcore gem that harks back to their ‘Brainwashed’ days, and that Whibley’s distinctive voice fits like a glove.

The show stealer, though, is the one that has a guest spot from, well, you guys. ‘CALL OF THE VOID’ features members of While She Sleeps’ very own Sleeps Society, the whole process coming full circle as the band lend their platform to amplify their fans voices. Few bands have this kind of connection with their audience, and even fewer could pull something like this off.

While She Sleeps are in possession of an identity that is wholly, unmistakably theirs. They’re at the point in their career where you can listen to one of their songs for a few seconds and confidently know it’s them, a trait that every band dreams of. ‘SLEEPS SOCIETY’ displays that in troves, the band in total control of each component of their machine and pushing it to perform its optimal level. The riffs are colossal, the melodies even more so, and the vocals have more depth to them than they’ve demonstrated before, flitting between velvety, jagged, and dream-like textures throughout.

On top of all that, the message embedded within the record is truly special. A sincere and genuine recognition of everything their fans enable them to do, interwoven with reminders that, no matter what life throws at you, you are enough and you really are all that you need – something that closing track ‘DN3 3HT’ discusses, as each member of the band details what being able to live their dream means to them as well as saying thank you to everyone that’s helped them keep it alive. About as honest and heartwarming as metalcore can get, executed by one of the Crown Jewels of the UK’s music scene. Did you really expect anything less?

DAVE STEWART

While headliners My Chemical Romance were riding high on the back of the release of ‘Danger Days: The True Lives of the Fabulous Killjoys’, an innovative concept album that challenged listeners with its dystopian future theme, support act Sum 41 looked a band at a perilous crossroads. As Deryck Whibley strained and visibly winced while heaving out atonal notes, the Canadian pop punks looked a band lost.

Sum 41 have always been searching for a way to redefine themselves, but without the necessary tools to do so. Having tapped into the world’s insatiable thirst for the next Green Day in the early-2000s, they enjoyed overwhelming success with their debut ‘All Killer No Filler’ and followed it up with the visceral ‘Does This Look Infected?’ just a year later.

As they flew closer to the sun, however, the wings burned away, and with missteps such as the pop-punk-by-numbers ‘Underclass Hero’ and the genre-scrambled mess of ‘Screaming Bloody Murder’, it was getting harder and harder to define what Sum 41 actually was. There were the dabbles in the emo era, but as time went by their career threatened to hit ‘Ron Burgundy finishing third in a hot dog eating contest’ levels.

In the years that followed that night in Valencia, Whibley would be hospitalised with alcoholism and Sum 41 wouldn’t release any new music for six years.

“It feels good to be on stage”, Whibley poignantly states as he addresses the Manchester crowd. The 17 years since Sum 41 released arguably their last passable album of note, the popularity of the Canadians has not dimmed. The former shipping yard that Victoria Warehouse occupies is packed to the rafters.

The collection of band t-shirts read like a who’s who of early-2000s alternative music, with everyone from Hoobastank to Papa Roach represented. It is a chance to party like its 2002 and while Sum 41 have failed to rekindle those vibes in previous visits, this feels like a band refreshed. There is a whole new energy to Whibley, who plays with the freedom of a man seemingly unburdened by his demons.

The explosion of light and sound that greets the frantic opening, including stone cold classics of ‘Motivation’ and ‘The Hell Song’, transports us back to a time of baggy jeans, spiked hair, and Kerrang! on TV. The welcome return of former guitarist Dave “Brownsound” Baksh has clearly reinvigorated the band and brought back those signature shredding metal riffs.

There are no missteps tonight as Sum 41 rattle through a hit-laden set that demonstrates a range that we thought had been lost. It is delicately pieced together, with the brooding ‘Jessica Kill’ proving that ‘Screaming Bloody Murder’ did have some glimpses of brilliance. Whibley commands circle pits in the hardcore-lite ‘We’re All to Blame’, while new single ‘A Death in the Family’ provides hope that a return to form in the studio could be on the cards.

Whibley himself dips into the Billie Joe Armstrong book of stage presence with various “way-ohs”, conducting a constantly eager crowd. After a punked up version of Queen’s ‘We Will Rock You’, Whibley gives the ravenous hordes what they came to see with the double salvo of ‘In Too Deep’ and the raucous ‘Still Waiting’. And, let’s be honest, these are two tracks that only get better with age.

There is just time to squeeze in a celebratory ‘Fat Lip’ to cap off what feels like a comeback show. While the square of Valencia’s premier arts centre may have proved to be the nadir of Sum 41’s career, eight years later in a warehouse in a Manchester dock it feels like they have been reborn.

The Canadians have got their groove back.

TOM WALSH

The Punktastic team made their way to Reading to report back on all of the best that 2018’s lineup had to offer.

Images: Olly Hanks, Words: Yasmin Brown [YB] / Gemma Rogers [GR]

Trusted with the task of opening the main stage for what is consistently the most popular day of the weekend each year, locals Trash Boat more than delivered. Their heavy sound translates far better to the stage than it does on record, offering a loud, hectic start to the day, and despite having just returned home from a summer on the last ever Warped Tour, the band persisted in putting their all into the performance. They might be known as ‘post-hardcore’ but the number of guitar spins that took place on the main stage was totally classic pop punk, and Trash Boat are by no means confined to one genre when it comes to the fans they attract. The band was evidently grateful for the turnout, with vocalist Tobi Duncan closing the set by stating, “I’ve said thank you like 10 times but I’m gonna say it one more time so thank you”, and they certainly made it worth the early start. [YB]

BLOXX were a highlight of the day, even with their short set early on. The band members are younger than you might expect, but this does nothing to diminish the extent or impact of their talent, enthusiasm, or confidence. The four piece are clearly best friends as well as bandmates, messing around with each other and laughing throughout the set, clearly excited to be there and to have received the impressive crowd that packed out the Festival Republic tent. BLOXX took the live opportunity to showcase their musical abilities, with extended instrumental outros from each member, and vocalist Ophelia Booth maintaining vocal strength despite claiming to have ruined it watching Nothing But Thieves the previous evening. The crowd was lapping up the performance – clapping, climbing on each others’ shoulders and creating circle pits on command. BLOXX might just be starting out but they’ve got a long and fruitful career ahead of them. Reading and Leeds is surely just the beginning. [YB]

Australians Chase Atlantic continued to bring the energy in the Radio 1 tent as we went further into the afternoon. The sound was exceptional in the sweaty tent, and although it was the band’s very first trip to the UK ahead of their October tour, they have picked up quite the following on this side of the world. The sharing of vocals was effective in the live setting, with the often sweet tones working well in contrast with the heavier music, and the addition of the saxophone was unexpected yet successful in setting this pop punk band apart from the hundreds of others on the scene at the moment. As the crowd moved in total unison, from arm waving to jumping, it became clear that Chase Atlantic are already set to take on the pop punk world – and the masses of pop punk fans are ready to embrace them with open arms. [YB]

If ever anyone was to purposefully design the perfect band for a sunny festival afternoon, it would look and sound exactly like Skindred. Lucky for us, then, that they not only exist, but are here at Reading, bringing their unique reggae metal sound to get the Saturday main stage party well and truly underway. The parched ground is now so dusty in the pit that anyone partaking in the mosh turns almost instantly a slightly iffy shade of browny-orange, but it doesn’t seem to deter the masses – particularly when it comes to fan favourites ‘Pressure’ and ‘Nobody’. Then again, with an irresistibly engaging front man like Benji Webbe cajoling the crowd into dancing, chanting participation, there’s little chance of a Skindred show ever being boring. It’s a riotous, fun, upbeat set full of big riffs and singalong choruses – and, of course, the t-shirt swinging Newport Helicopter. We only wish we could have a bit of Skindred to kick start every day. [GR]

Back at the Festival Republic stage, Sea Girls vocalist Henry Camamile exclaimed, “this is fucking cool” as the band received an incredibly warm welcome, particularly considering they’ve only been on the scene for a year or so. Mosh pits ensued, and the enthusiastic crowd continued to sing and dance along to each and every song, pausing momentarily only when the band played unreleased song, ‘Forever’. This set was a pivotal moment in Sea Girls’ career, as they last attended Reading Festival in 2012 and swore then they wouldn’t return unless they were playing. As such, it felt incredibly special, something that the band obviously felt too as Camamile seemed to drink up the sight in front of him – “literally a dream come true”. After climbing onto the barrier separating the crowd from the stage for their final performance of their latest single, ‘Adored’, Camamile proceeded to crowd surf as the set drew to a close. They may be a relatively new band, but Sea Girls undoubtedly know where they want to go in this industry, and their talent is sure to get them there. [YB]

It’s no big surprise that the significant – and enthusiastic – crowd assembled at the main stage for Mike Shinoda’s set includes more than a few Linkin Park fans. It’s also not surprising that this is one of the most emotional sets of the weekend, coming only 13 months after the death of Chester Bennington – though this isn’t just a tribute to the band that made his name. A mixture of songs from former side project Fort Minor, solo material from new album ‘Post Traumatic’ and, of course, Linkin Park are on offer and showcase Shinoda’s diverse talents as pop, metal and hip hop blend seamlessly. The dedication of a beautiful piano version of ‘In The End’ to Bennington is spine-tingling; never has a festival crowd felt so united, and there could be no better way to honour his memory. Shinoda is an outstanding, honest performer, and this is one festival exclusive set that earns itself the label ‘unmissable’. [GR]

Next up, old pop-punk favourites Sum 41 took to the main stage to an endless sea of adoring fans of all ages. It might have been 15 years since the band last played Reading and Leeds, but as the band launched into hit after hit, it was almost as though no time at all had passed since songs such as ‘In Too Deep’ and ‘Motivation’ were the soundtrack to our lives. Despite the length of time Sum 41 have been on the scene, they remain humble and gracious, as shown by front man Deryck Whibley when he thanked the crowd repeatedly for having and embracing them. Sum 41 commanded the stage and the crowd just as they always have, breaking into guitar solos (“It’s time for some heavy fucking metal”) and successfully requesting that we raise our arms in the air and sway for the first few moments of ‘Walking Disaster’. Following this, the craziest pit of the day opened, and standing on the edge all that was visible was a cloud of dust raised by those who no longer cared about maintaining cleanliness. Based on this comeback performance, Sum 41 is a band that will remain relevant long after they stop touring and releasing music – and it’s more than deserved. [YB]

Pale Waves have been described as being The 1975 with a female vocalist, but to label them in such a way is to discredit the unique talent this band have. The Festival Republic stage was home to a number of the most impressive bands of the weekend, and this performance was no exception. With the tent filling up quickly, it became clear that Pale Waves are already insanely popular, despite their short career. Many fans had taken residence at the tent for most of the day leading up to their performance, highlighting the intensity of their fanbase – particularly considering the set was only to be half an hour long. For those that did wait, the power pop performance was sure to be worth it, as each member exuded vivacity and front woman Heather Baron-Gracie blessed everyone’s ears with her ethereal, sweet vocals. It was just one of many performances of the weekend that proved that women belong in the alternative/rock scene and it was very, very cool to witness. [YB]

With the release of their new album ‘Rituals’ just last month, Deaf Havana are in the perfect position to be playing a prime slot at Reading and Leeds’ second largest stage. Prior to the band taking the stage, Radio 1’s Scott Mills and Chris Stark took it upon themselves to introduce them, and later joined the choir for the opening performance of ‘Sinner’, along with the LCV Choir – all of whom were repping Deaf Havana’s merchandise. While the DJs left the stage promptly, the choir remained for the duration, adding stunning harmonies to the band’s music and the religious theme that makes up the album – and acting as a perfect supplement to front man James Veck-Gilodi’s faultless voice. Veck-Gilodi stated that Reading is the band’s favourite festival in the world, and with the massive turn out it’s easy to see why. This is a band that can handle a packed out festival tent or a tiny church in London, all the while maintaining their integrity, and sticking to what they believe in. These facts are reflected in the quality of their live shows and the connection they’ve forged and maintained with their fans, who showed up in their masses to support the band, despite the clash with Panic! at the Disco. [YB]

Beartooth have garnered quite the following since signing to Red Bull Records back in 2013, and their Saturday night set pulled in a crowd that meant any late arrivals would be forced to stand outside outside of The Pit/Lockup stage. It’s common that bands in the alternative music scene – and in this case, post-hardcore – are often drawn to the music as a result of its relatable themes, and prior to launching into new track ‘Disease’, front man Caleb Shomo took a moment to discuss and raise awareness to mental health.  It was a speech that many will be able to relate to, and one that left the crows walking away with a sense of hope infiltrating any persistent painful struggles we may be facing: “I will always feel this way, but that does not mean I’m weak. That does not mean I’m worthless. It just means I’m human.” Comments like this will always strengthen any band/fan connection, and Shomo furthered this by spending much of the set singing in amongst the crowd – creating a sense of togetherness that was sure to leave each person in attendance feeling closer to Beartooth than ever. [YB]

Panic! at the Disco, of course, are no strangers to the Reading and Leeds stages, and Brendon Urie’s stage presence continues to fare him well even after the departure of the rest of the original band members. Accompanied by a full band – including a range of wind instruments and some lovely sounding strings – Urie’s incredible vocal range extended across the field, his insane falsetto reaching from the very front, to the food stalls all the way towards the Radio 1 stage. He may only be one person, but his effervescent personality filled the huge stage effortlessly, entertaining even those too crushed into the crowd to be able to see much of what was happening. As Urie took a seat at the glossy black grand piano to perform ‘Pretty. Odd’s’ biggest hit, ‘Nine in the Afternoon’, the crowd went wild, clearly having followed the band through each wildly different album. From an unexpected and confusing pit opening during ‘This Is Gospel’ to the understanding nods and grateful cheers that came in response to calling ‘Girls/Girls/Boys’ an “anthem for pride”, Panic! greatly improved on previous appearances at the festival, and proved themselves as worthy of arena-sized crowds. Urie’s ability to interact with the crowd, despite the grandeur of it, also showed this – ad-libbing after the crowd cameras honed in on a man dressed as Jesus on his friend’s shoulders (“It’s the second coming!”), to exclaiming “it IS fucking Saturday!” during an insanely well received ‘Saturday Night’, to removing the physical barriers as he climbed into the crowd towards the end of the night.

After effortless backflips and an ever-perfect rendition of Queen’s ‘Bohemian Rhapsody’ (“We’ve been playing [this song] for a number of years ’cause it’s the best fucking song ever written”), we were left with words that would surely resonate with many in attendance long after we’d washed the dirt from our faces and grease from our hair: “I’ve never been happier in my fucking life that’s how important you are. You have an impact.” [YB]

The song is featured on the band’s sixth album, ’13 Voices’, which was released last year on Hopeless Records.

The band will also be making an appearance at this year’s Download Festival on the 9th June.

Not many venues feel as special as a packed Brixton Academy and this was no exception. You could practically feel the anticipation upon walking through the doors and the electric atmosphere only grew throughout what was a triumphant return for the Canadian band. From the moment the huge white curtain dropped until the final song Deryck Whibley & co storm through a career spanning set with an energetic prowess some current bands would struggle to match.

The set includes fan favourites and hits from their back catalogue, which is to the bands credit. It can be rather difficult to please everyone when you’ve been around for the best part of two decades. They also manage to include at least a track from every one of their albums, although the majority do come from last years ’13 Voices’.

If this wasn’t enough there’s even time for them to throw in a cover of Queen’s ‘We Will Rock You’ much to the crowds pleasure, but inevitably its tracks like ‘Fat Lip’, ‘In Too Deep’ and ‘Still Waiting’ which all come towards the end of the set that get everyone lending their voice to Whibley’s. The man has himself been no stranger to personal issues, even taking an emotional moment to thank the fans for their support throughout while he stands atop the sound desk in the centre of the crowd. But there are absolutely no signs of this troubled past on display tonight. Instead he’s back to the fun, confident and explosive personality that we loved all those years ago.

Likewise the band is technically perfect throughout the evening not putting a foot out of place. Rolling back the years their infectious riffs draw the crowd in and Whibley’s vocals seamlessly switch between aggressive and joyful tones. They even find time to allow drummer Frank Zummo to blow everyone away with an insane drum solo.

With their last album being a success and this tour even more so, it’s great to have a band like Sum 41 back on the scene. Whether or not this lasts and the guys decide to record another album only they know. But what we do know, is that this was a return to form for one the most loved pop punk bands around. Now fish out your discman, put on some baggy jeans and pretend it’s the year 2000 all over again.

CHRISTOPHER LEE

The song is taken from the indie rockers’ upcoming third album, ‘Born Yesterday’, which will be released on the 14th April through Royal Mountain Records.

The band are also currently supporting Sum 41 on their UK tour. The remaining dates are as follows.

FEBRUARY
28 GLASGOW Barrowlands
MARCH
02 LONDON o2 Brixton Academy
03 BRISTOL o2 Academy
04 NOTTINGHAM Rock City
06 SOUTHAMPTON o2 Guildhall

photo: Ryan Faist