Words: Kate Allvey, Rob Dand Photos: Penny Bennett, Abbi Draper-Scott

As Everything Unfolds

Kicking things off on the GoPro stage, the festival’s loose home for its delegation of heavier bands, As Everything Unfolds ushers in the first mosh pit of the day before the end of set opener ‘Slow Down’. The band proceeds to rattle through highlights from their two full-lengths, peaking at just the right time with the now-familiar closing duo of ‘Felt Like Home’ and ‘On the Inside’. The one slight dull edge on an otherwise razor sharp performance comes when niggling technical issues resulting in the sole guitar intermittently cutting out, illuminating just how much heavy lifting the backing track is doing. Nevertheless, the energy is there in abundance and vocalist Charlie Rolfe in particular turns in a strong showing. Slam Dunk 2024 is officially off and running. [RD]

The Dangerous Summer

The Slam Dunk stage openers dish out heartbreaking optimism with the heart of Ataris, offering a furtive start to our day with a bass heavy punch of Americana and emo. The spirit of Brian Fallon watches over their dashes of guitar and ‘The Permanent Rain’ smoulders like dying, thoughtful embers, at odds with the congenial atmosphere surrounding their set. If they were playing at 2am, or sharing a slot with The Wonder Years, The Dangerous Summer would be sublime; as a first act, they’re still really damn impressive. [KA]

Honey Revenge

The first IYKYK band, judging by the crowd running in as soon as they spot the hot pink co-ords onstage, Honey Revenge announce their presence with a gawky wave. ‘Seeing Negative’ makes for a subversive bubblegum eighties start with sonic bass, and vocalist Devin Papadol is overjoyed to be here. “Welcome to our first ever festival set, baby,” she squeals like a Barbie customised with koolaid and safety pins. Brand new song ‘Recipe For Disaster’ swerves past self-loathing and into hit status, and ‘Are You Impressed?’ swings wildly between adorable chiming, frustration and rocket launch bass. ‘Airhead’ ends their set on a high, eliciting eager and unironic horn signs as they stride offstage. [KA]

As December Falls

As December Falls are in a celebratory mood, marking their first main stage billing at Slam Dunk with an effervescent set spanning much of their discography to date, including several cuts from last year’s top 20 album ‘Join the Club’. Opening with old favourite ‘Ride’ and closing with the exuberant ‘Carousel’, the band attack every opportunity with their infectious enthusiasm, and today’s sun-soaked fiesta will likely win over some new converts. [RD]

The Red Jumpsuit Apparatus

Third on the lineup but first in our scarred emo hearts, The Red Jumpsuit Apparatus open with ‘Brace Yourself’ and its gorgeous payoff after the intro. They endlessly twist between loud and soft to intensify the impact of each lyric, and ‘False Pretence’ draws a static but observant crowd to appreciate Ronnie Winters’ vocal gymnastics amid the song’s live hardcore ferocity. ‘Damn Regret’ seems to move in slow motion as we’re finally ready to jump, and dropping in a cover of Blink 182’s ‘All The Small Things’ is an easy win to create a positive energy across the field, drawing in those otherwise distracted to appreciate the joy radiating from their set. [KA]

Head Automatica

The surprise return of Daryl Palumbo’s Head Automatica to the UK festival circuit was one of the more eyebrow-raising points of note on the Slam Dunk roster. We’re ostensibly gathered to mark 20 years since the release of debut album ‘Decadance’, a flamboyant maelstrom of post-hardcore, soul and danceable indie rock. Unfortunately, some early technical issues derail disappointingly loose renditions of ‘At the Speed of a Yellow Bullet’ and ‘Brooklyn is Burning’, and while the band persist to find something resembling their stride as the set progresses, Palumbo’s delivery seems loose; almost pained at times. Despite this, Slam Dunk most definitely came to dance, and while the Hatfield crowd becomes the first to hear new song ‘Bear the Cross’ in a live setting, it’s the older material – and most notably set closer ‘Beating Hearts Baby’ – that predictably gets the most raucous reception. It’s not quite the vibrant canvas it was supposed to be, but the smiling faces and questionable dance moves suggest that plenty of people used their imagination to paint by numbers and fill in the blanks. [RD]

One Step Closer

One Step Closer draw a modest but committed crowd over on the Key Club stage. It’s possible that they fly just below the radar of a typical Slam Dunk attendee, which is a shame, because their brand of melodic hardcore is consistently enjoyable and very accessible. Their sound is evocative of early 2010’s Deathwish/Bridge Nine favourites, with newer songs like ‘Giant’s Despair’ adding a touch of the alt-rock flavour brought by bands like Basement and Balance And Composure. Their set focuses on material from recent record ‘All You Embrace’, and their impassioned performance is another fine showing for a band that are slowly winning over UK crowds. [RD]

RØRY

Opening with a predatory electro pulse as we stampede towards the front, RORY has tapped into a shared waterfall of emotion with her music, and the world outside the tented Kerrang stage seems to shrink away during ‘Anti-Repressant’. More than a few in the crowd tear up for ‘Alternative’, and security drop their professionalism and start to film the vocalist as she lays her pain out for us to find strength in. That’s not to say that this is a po-faced set by any means; she serenades a guest dressed as baby in the character of her ex-boyfriend during ‘Baby Vendetta’, and new song ‘Blossom’ lets electro synths water the seeds of rage and triumph under the shade of Evanescence at their most pop. This is RORY’s first festival set, and it definitely will not be her last. [KA]

The Skints

The Skints have “done a lot of Slam Dunks,” as guitarist Josh Rudge explains, and only seem to be cementing their reputation as mainstays in the punk section of the lineup. ‘Mindless’ is a soft opener, but it’s ‘Rise Up’ that attracts curious onlookers with its rapid fire echoes and seismic bass drops. ‘Ratatat’ is the song that makes this sunny corner feel like how you’d expect a festival to feel. “If you know what a ‘capdown’ is, and what it means to your heart,” calls Rudge in reference to the defunct iconic British ska punk outfit before launching into a blistering cover of ‘Ska Wars’, leaving us with a sense that the Skints are the strongest torch bearers of the UK ska punk revolution. [KA]

The Blackout

The boys from South Wales draw a huge crowd, probably the largest outside of the headliners. ‘Save Our Selves’ (The Warning)’ is thrown into the deep waters of heavy rock and swims, not sinks, directed by Sean Smith and his magnificent mullet with help from guest Charlie Rolfe of As Everything Unfolds. ‘Top Of The World’ comes across far cuter live, like a little burst of Blink-ish optimism in the sunlight, and the racing clap-along for ‘Said And Done’ starts a huge pit. It’s the fifteenth anniversary of the Blackout’s ‘Best In Town’ album, and we’re gently chided for singing happy birthday to the band instead of the record. ‘We’re Going To Hell…So Bring The Sunblock’ (“Our attempt to be metal,” according to Smith) fills the field by the Go Pro stage with candy floss fronds of friendship and there’s a tangible, warm bond between us, the band and all the others on the lineup with whom they seem genuinely thankful to be friends. [KA]

Mallory Knox

It’s been five years away from Slam Dunk for Mallory Knox, and seven for returning vocalist Mikey Chapman, who left a little before the band originally called it time. There’s a slightly awkward dynamic onstage as Chapman references his extended break (“Whose fucking fault was that?” asks bassist Sam Douglas  – the man who stepped into Chapman’s shoes for their final self-titled effort – with most of his tongue in cheek, if not all). But from the moment ‘Beggars’ twinkles into life until the final defiant chorus of ‘Lighthouse’, their hard-edged pop-rock soars over the Hatfield crowd and marks a triumphant return. [RD]

Against the Current

Somehow, Against the Current have never performed at Slam Dunk, despite slotting perfectly into the lineup. Newly independent, and with a slew of recent singles just aching to be launched out into a festival crowd, they do not waste the opportunity that their debut appearance brings. We’re treated to an enthusiastic rendition of ‘Running with the Wild Things’, and older cut ‘Gravity’, but for the most part the band are focusing on their newest material, with vocalist Chrissy Costanza covering every inch of the stage in her efforts to connect with the large crowd that has gathered. Their first Slam Dunk, but undoubtedly not their last. [RD]

The Ghost Inside

Legend has it that it never rains on Slam Dunk South, but if any band could cause the clouds to open, it’s the heaviest band on the earliest part of the bill: The Ghost Inside. Live, ‘Mercy’ is dark, sludgy and somewhat polarising (with many retreating to the sunnier climes of The Selector’s set), but with a hidden complexity which tunnels through the compacted grass and up into our spines. ‘Pressure Point’ is fuelled by a violent purity and ‘Wash Away’ evokes less a domestic task and more a weather warning as unexpected keyboard lines contour up nu-metal memories. Disruptive drumbeats and ironic raving from the crowd make this a set of epic proportions. [KA]

La Dispute

La Dispute came crashing out of the blocks over a decade ago with a gloriously brash debut, before crafting a more reflective sound on their genre-defining follow-up. Today’s set largely sidesteps these two towering behemoths of the scene, however, and leans most heavily on material from third album ‘Rooms of the House’, now celebrating its 10th anniversary. In truth, some of the more introspective numbers are hampered by the positioning of the Key Club stage, and anyone further than 30 feet from the monitor is treated to a jarring mash-up of State Champs and the Bouncing Souls drifting in from either side. Regardless, set closer ‘King Park’ snakes in like muscle memory for virtually everyone in attendance, twisting through its breathless build toward its heartbreaking conclusion. The sound of a few hundred people screaming “Can I still get into heaven if I kill myself?” may not seem like an obvious mid-afternoon festival highlight, but ‘King Park’ is both some of their strongest material and a high-watermark for the entire genre, and worth sticking around for. [RD]

Asking Alexandria

Eschewing a buildup or lead-in, Asking Alexandria appear as a sudden lightning slam of brutal guitar that dissolves into 8-Bit keyboard. In the pit, a man dressed as a mime climbs onto his friends’ shoulders and films, the only spot of colour against the black backdrop and equally funereal band. Asking Alexandria keep their sound sharp and harsh, leaping between steely cold roaring guitars and vocal ripples. Vocalist Danny Worship folds one arm behind his back like he’s delivering a lecture before passing the metaphorical baton to guitarist Cameron Liddell for a solo that dispels any lingering loneliness. Most of the crowd are flagging in the heat as we draw on the same core of molten lava that the band do and push ourselves to even higher jumps. The clouds finally part during ‘Dark Void’, such is the power of Asking Alexandria. [KA]

Pennywise

A lot of bands have joked about being old over the course of the day but ironically, as one of the oldest bands on the bill, Pennywise show they’re still a force to be reckoned with. ‘My Own Country’ slams harder than it has any right to while still maintaining the strutting nineties rhythm popularised by the Hellcat stable. Pennywise’s sideways slide into full on street punk is working for them, with their coarser sound fitting in with who they’ve become. Of course, there’s a bit of silliness in the form of covering Men At Work’s ‘Land Down Under’, but we can forgive their missteps when ‘Fuck Authority’ is still as fury-filled and urgent as ever and ‘Bro Hymn’ inspires those with mohawk to full-throated song. [KA]

Funeral for a Friend

Atop the Hatfield site’s only hill, Funeral for a Friend take to the stage along with guest vocalist Lucas Woodland. One arm held aloft, a familiar sight for Holding Absence fans, he stands ready to conduct the gathered crowd. As if there was ever any doubt, Slam Dunk is about to witness one of those special performances that will be talked about for years to come. Uniquely positioned to do justice to Matt Davies-Kreye’s impressive legacy, with both the talent and humility in spades, Woodland confesses to his admiration for the band, having grown up in their shadow as part of the vibrant South Wales scene of the time. Energised by his obvious deep connection with the source material, the band deliver an absolute masterclass, seeming as fired-up as they have in many a year.

The crowd mirror this exuberance, singing back every word to a hit-filled set that reminds us just how important this band was in shaping the British response to the largely US-dominated post-hardcore scene at the turn of the millennium. Bathed in the glorious golden hour light of the early evening, this is Funeral for a Friend viewed through Instagram’s Valencia filter – warm and familiar. They’ve played Slam Dunk before, but this is something else entirely. It’s an absolute triumph and quite possibly the standout set of the festival. [RD]

Goldfinger

John Feldman has returned to these shores, briefly removing his mantle of pop punk mogul to revert to his original incarnation as Goldfinger’s frontman as the sun begins to set over Slam Dunk. A lot of the older ska acts really can still pull it out the bag when it comes to an energetic show, and Goldfinger are no exception. Vocally, Feldy can’t seem hit the heights he was able to back in the nineties, but in the midst of the angst and emotional outpouring across the Slam Dunk site, Goldfinger provide an oasis where we’re having fun, counting the days and dancing like we’re still kids. With an incredibly strong fanbase willing to overlook the weaker parts of their set, ’99 Red Balloons’ can’t fail to hit the mark, especially when it’s backed by Reel Big Fish’s brass section. [KA]

The Wonder Years

If there’s one thing that’s abundantly clear, it’s that despite some logistical challenges in recent years that have led to a lot of soul-searching, Slam Dunk is still held in incredibly high regard by many of the artists. None more so than the Wonder Years, who recall a time in 2010 when their career trajectory changed – something they attribute to their performance here. Ever since, they’ve answered the call in return, even pulling a double shift in 2022 when a last-minute slot on the lineup became available.

They may only be playing the smallest stage at the festival tonight, but they wear their Key Club headline slot like a badge of honour, in solidarity with the bands lower down the bill who embody the old-school approach to carving out a career in the music industry. Opening with the quickfire double of ‘I Don’t Like Who I Was Then’ and ‘Low Tide’, the band take us on a journey through their discography, spanning from old favourite ‘Washington Square Park’ to newest track ‘Year of the Vulture’ – which is played for the first time live here tonight, and gets the appropriately feverish response it deserves from the pit.

The set ends in familiar fashion, with a buoyant performance of fan favourite ‘Came Out Swinging’. More familiar still is the way in which vocalist Dan Campbell has no qualms in stopping his bandmates mid-flow and cutting the song short by a few seconds in order to allow an audience member to receive medical treatment – just as he did here two years ago. The Wonder Years love Slam Dunk, and Slam Dunk loves The Wonder Years. [RD]

You Me At Six

The big ticket item for most of the Slam Dunk crowd has to be the final festival appearance of You Me At Six before the band split next year. Some are taking it poorly (the main banner featuring vocalist Josh Franceschi becomes steadily covered in graffiti as the day goes on), but for many, this is an emotional moment. ‘Save It For The Bedroom’ and ‘Reckless’ are a safe start to their set, but it’s ‘We Are Believers’ which begins the cascading tears and chest-clutching from the audience before the sweetness and forceful vocal downstrokes within ‘Kiss And Tell’ cause the sentiment we feel to be transformed into the urge to dance.

It takes a good twenty minutes for the band to hit their stride and bring out the harder songs, but when they do, we revel in their command of a “nice loud communal singalong”, as Franceschi puts it. The splintering riff and gutsy bridge on ‘No Future? Yeah Right’ and Sean Smith of The Blackout’s chanting appearance on ‘The Consequence’ remind us how very good You Me At Six are at what they do, and makes it all the more poignant that this will be their last festival show.  The band are fully aware of this mixed sentiment, and absolutely make the time to squeeze the last remaining juice from our sunburnt emotions. ‘Stay With Me’ bursts with life and starts a long, lazy line of swaying right to the back. “Thank you for making our dreams come true for the last twenty years,” gasps Franceschi, “this is our love letter to you,” before the lilac magic of ‘Always Attract’ fills the air and friends hug each other tightly before the lovely slide into ‘Take On The World’. Thousands upon thousands of tiny phone lights glow in the night on each tender line.

A gentle bounce to ‘Beautiful Way’ grows and intensifies as thousands take their last chance to enjoy You Me At Six; the desperate slam like their lives depend on it, the sensible begin to stream away into the darkness to rejoin the real world. It’s a masterful set that toys with the emotions and leaves you with a sense of both privilege and loss. [KA]

How are you chaps?

Sean: Still alive.
Bob: We’ve been sat down for awhile.
Sean: And now we’re stood up. Things can happen at any moment. One minute I’m sitting down, the next I’m standing up. Wild.

This is your last ever festival.

Bob: It is. It’s our last South Coast show as well. That’s not a surprisingly long band name, it’s just our last show on the South Coast. When I was looking at the poster, I was like “Why is our name so small? Who’s the band Last Ever South Coast Show? Oh.”

How are you feeling?

Bob: I’m excited to play.
Sean: Rhys is the reason the band split up. If anyone wants to send him hatemail, just go to his Twitter.
Bob: He’s not really.
Sean: I’m telling the truth. It’s Rhys’ fault. He left, and then Matthew left. Scum. Subhuman scum.

What next?

Sean: Probably an Extreme Fishing show like Robson Green.
Bob: Let’s fucking fish then, butt.
Sean: They’re all gutted fish by the time I finish with them. The thing is, you can ask these questions and have the same answers like every band in the room, or you can have answers about extreme fishing. It’s more entertaining than “Yes, we have a new album coming out soon, and it sounds like a slowed down Young Guns”.

Now the band is finishing so you can say whatever you want.

Sean: I never really cared anyway.
Bob: We played this festival two years ago and I was about ten years older than everyone else. I felt like their dad for the day. All these 22 year old men in their vests.
Sean: But we’re still the best in town: this town, today.

The best band who are playing their last ever South Coast show today.

Sean: Should be, but Matthew broke his wrist the other day. So one Monday he says, “I broke my wrist playing football.” And he broke his ankle doing the same thing. So next week I’m gonna go sword swallowing and firebreathing just before our last tour.
Bob: Why don’t we just add a ‘V’ into our name like ‘PVRIS’ and ‘CHVRCHES’? I’ve not heard them, I’ve not met them, I’m sure they’re lovely, but they’ve got a stupid fucking name.
Sean: Write that, PVNKTASTIC.
Bob: Let’s change all vowels to Vs! Stupidest trend I’ve ever seen. And this is coming from a man who grew up with bands who had numbers in their name. Like Linear 77. What does that mean?!

I think I’m gonna cry at your last show.

Sean: Me too, like a vagina.

Can we all cry together?

Sean: Yeah, if you can get onstage.
Bob: We can synchronise it time-wise, but I’m not setting aside a time.
Sean: CRY NOW!
Bob: It’s gonna be a weird one, that one. It’s gonna be good and bad. It’s gonna be a lot of fun. What I reckon is, we’re gonna come on and everyone’s gonna have a top laugh for half the set, and then bit by bit, everyone’s gonna be like [bawls]. I’m looking forward to it, but…
Sean: I just wanna play. I’ve been so bored sitting in my house. I’m all for a cry, don’t get me wrong. It’s gonna be a very wet floor in Merthyr that night. Rhys got drunk once on tour and he was watching a documentary or something –
Bob: No, I think it was Black Hawk Down.
Sean: Then he started crying and he said, “Ohhhh, I don’t want to bring a child into this world” and then he said, “Snoz, wipe away my tears”.
Bob: He had Snoz’s hand in one hand and a beer in the other hand, and he wouldn’t put the beer down, so he made another person wipe away his tears.

Remember when you put Rhys in a bin?

Sean: Oh yeah, on Warped Tour. That was a good time.

There have been many good times in The Blackout camp.

Sean: Yeah, about seven or eight.

I’ve known you for 13 years. That’s half of my life.

Sean: I feel very strange.
Bob: I always forget how young you were when you first started wandering about the place. Madness. Half your life!
Sean: That’s about a tenth of your life Bob. And now it’s all gone, because of Rhys.

Shall we schedule in a reunion show now?

Sean: Yeah, we’re gonna do one on March 29th. Or maybe April 1st. Wait until April 1st comes, we’ve got a tweet that’s gonna rock the world. Everybody, The Blackout’s back alright. What’s that band that said “Oh, we’re leaving”, played two massive sellout shows, and six months later announced another tour? Genius, boys. Come on then, we need a bassist. Splitting up is the new carrying on. That’s your quote.
Bob: £10,000 if you wanna use that Lais. Fictional or real money. I’d prefer the latter but I understand how it is.

I have £40 if you want it.

Sean: At this point I will take any money.
Bob: What’s interesting now is that when we do press nobody can ask us about the next record. I’m waiting for one to ask, “What have you got coming up next?”
Sean: Excellent journalism.

I can’t wait for the reunion show already.

Sean: If you could just make sure you print: “It’s all Rhys’ fault.” Thanks a lot!
Bob: Lovely stuff!

LAIS MW

Taking place in Guildford from the 18th until the 20th July, GuilFest 2014 have added The Blackout and The Skints to their line-up, alongside confirming Fun Lovin’ Criminals on the Friday main stage.

The recent additions – rounded off with Slim Chance, Ward Thomas, Hannah Wants and B. Traits – join the previously confirmed The Boomtown Rats, Kool & The Gang and The Human League as headliners.

The Blackout, Soulfly and Gallows will headline the festival’s Big Cheese Cave, as the likes of Sham 69 and Buzzcocks take to the Vive Le Rock Stage.

For more information and tickets, head to the official GuilFest 2014 website.

Our first band of the night are Hacktivist, who are generating an awful lot of hype at the moment. Tonight they absolutely smash it, and this is definitely one of their best live performances. Their mixture of rap and metal goes down a storm with the Skindred fans, and the whole band are contagiously energetic. The highlight of their set is undoubtedly their cover of ‘Ni**as In Paris’, which is utterly fantastic. It’s just a shame that Astroid Boys couldn’t be on this bill as well.

Next up are main support band The Blackout, who have come from down the road in Merthyr Tydfil. They start the set unsure as to whether Skindred’s crowd will like them, but they finish completely triumphant in the knowledge that they’ve put on a great show for their own fans and converted a lot of Skindred’s too. Frontman Sean Smith in particular has excellent banter with the crowd tonight, and songs like ‘Shut The Fuck Uppercut’ and ‘Start The Party’ rev the crowd up completely. Fantastic show, and more proof that they’re still one of the best live bands out there.

And so we come to the main event tonight: Skindred. They are well known as a spectacular live band, and if anyone can back that up, they can. Tonight they well and truly blow every single person in that room away. There are genuinely no words that can do justice to their live performance: they are relentlessly energetic and utterly compelling. Frontman Benji Webbe is most definitely one of the best frontmen in the world and can only be matched in terms of energy by Papa Roach’s Jacoby Shaddix (who apparently did a rendition of ‘Warning’ with them once).

Tonight the band’s set consists of a mixture of their five albums, and it’s pretty impressive how well the crowd respond to tracks off their new album ‘Kill The Power’. For such a recent release, the fans seem to know every word, and it’s testament to the fact they’ve written a great record. Every single track gets a rapturous reaction tonight, including DJ Dan Sturgess’ segment: he does a kind of electronic interlude, and his mini DJ set includes massive bangers like Macklemore’s ‘Thrift Shop’. It’s utterly fantastic, and it gives frontman Benji a chance to do one of his outfit changes (and all three of them are brilliantly eye catching).

There’s no doubt that tonight’s highlight is ‘Warning’, which they play during their encore, mainly because of the famous Newport Helicopter. This is actually the first time they’ve done the Newport Helicopter in Newport, and it’s unreal. For the uninitiated, the Newport Helicopter involves every member of the crowd taking off a garment and swinging it above their heads, and it looks unbelievable. It’s a brilliant moment, and every single person in the room leaves with their mind completely and utterly blown. One of the best live bands in the world? Very possibly.

LAIS MW

Exeter’s Rat Attack are here to get the crowd pumped, and they do an incredible job. Considering they’re the new boys on the scene, they get a brilliant response. Frontman Mike Hodges wears a top that closely resembles a disco ball, yet somehow pulls it off, and the crowd love it. Songs like ‘Saturday Night Feeling’ go down a storm, and this is largely down to the infectious energy they show at all times. They have some great potential.

Next up are Derby’s LostAlone, who are slowly getting more and more recognition. Despite being influenced by Queen, the three-piece have an incredibly distinctive sound and don’t make the mistake of taking too much from their idols. Their sound is big, and frontman Steven Battelle’s voice is just as strong live as it is on record. Keep an eye on these ones.

Last but not least are tonight’s main event: The Blackout. They have a great turnout at The Fleece tonight, and the crowd are clearly a dedicated bunch. It’s a great send off for The Final Party tour: the setlist is absolutely spot on, and their performance is fantastic. One thing you can guarantee from seeing The Blackout live: they will put on a brilliant show, and if you want to have fun, then you’re in the right place.

Frontmen Sean Smith and Gavin Butler bounce off each other, and the whole band are on fire tonight. Playing all of the hits keeps the crowd wildly happy for over an hour, which is a pretty impressive feat. It’s hard to pick a highlight from tonight, but it could be the banger that is the excellently named ‘Shut-The-Fuck-Uppercut’, or the part when the whole crowd get down on the ground for ‘Save Ourselves’ without even being asked. The Blackout have got such a great live presence that the crowd know exactly what they need to do without even being prompted.

And so The Final Party tour comes to an end, and The Blackout should feel victorious. Along with being hugely good fun to watch and having a discography full of bangers, they still mean something to every single person that watches them. From their onstage banter to their unstoppable energy, they are still right up there with the best.

LAIS MW

http://www.facebook.com/theblackoutband