It also sets a new challenge for a bands like Rancid, The Skints and The Bronx, who’s music fits so perfectly with the intimate confines of a smaller venue. In the case of the headliner, by now well into their third decade without including time spent in Operation Ivy, it is a sound synonymous with sweat and bounce. In the large chamber that is Wembley Arena, there was always a risk that the chance of seeing the whites of Tim Armstrong’s eyes would be lost. Thankfully, for all three bands, the energy never fades – these are three acts still capable of pulling you in even in the echoes of the Arena, who still haven’t quite figured out how to make guitar music work in the space. Walking into the hall, we were suddenly taken back to 2004, to one of the (first) final blink-182 shows – the ambient guitar noise flickering from this wall to that wall. It was the same almost nineteen years later – but then Wembley Arena has fallen well down the priority for bands touring the UK, and perhaps this may kickstart a resurgence and possibly some investment in new equipment.

By now, The Bronx are elder-statesmen of American punk rock, taking their influences and reproducing a real vitality and energy as they continue what always appears to be a relentless touring schedule. Frontman Matt Caughthran is electric, pulling the crowd in, lighting up the room. On ‘White Shadow’, the band bring a tightness reserved only for bands at the peak of their powers. The Bronx return to the UK later on this year to play far smaller spaces like the New Cross Inn and The Joiners, and it’s a reflection of their ability as a live act that you can be sure they’ll be just as home there as in the cavernous settings of Wembley Arena.

The same can be said for The Skints who deliver a blistering run through all things punk-adjacent, carrying the crowd as they wait for the main event. This is a band who do not seem daunted by the size of the crowd. It does make you wonder if, in another musical landscape, a UK band such as these might find themselves more regularly on stages these sizes. Much like The Bronx, their next London date will find them at Dingwalls.

When Rancid finally take the stage, you’re instantly reminded why this is a band that figures in the same breath as the great legends of punk rock. Although at points there were attempts to picture Rancid in the same conversation as Green Day, they’re far closer to The Ramones than they are to Reel Big Fish. Rancid recorded one of the all-time great punk albums in ‘…And Out Come The Wolves’ and this is a set that draws heavily from that timeless classic. However, they’re not a band who rest on their laurels.

Opening with ‘Tomorrow Never Comes’ from the new album of the same name, the standard and level of songwriting is still there. The song bleeds seamlessly into ‘Roots Radicals’, which from the opening notes throws the crowd into a full singalong that doesn’t really let up until the very end. On bass, Matt Freeman is captivating. The iconic solo on ‘Maxwell Murder’ still floors you and the energy is unrelenting. Approaching this show, it was easy to forget just how many hits Rancid produced over the years, with some even being left off (this reviewer was slightly disappointed not to hear ‘Red Hot Moon’).

There is space for Indestructible’s ‘Fall Back Down’ which elicits a great sing along from the, by this point, rather inebriated crowd. And on closer ‘Ruby Soho’, the band showed that you don’t need a lot of pageantry to put on a great headlining show in a big ol’ stadium. All you need are classic songs and a crowd on your side. And in this case, Rancid certainly had both.

ALEX SARYCHKIN

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

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

Cancer Bats

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

The Bronx

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

Jinjer

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

Puscifer

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

Skindred

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

Metallica

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

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

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

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

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

 It may have only been nine months since we were last here, but today couldn’t come soon enough. Here’s what we got up to…

Words: Yasmin Brown [YB] and Catie Allwright [CA]; Images: Penny Bennett & Slam Dunk

CASKETS

After a forced name change back at the start of 2021, Caskets have returned with a vengeance, with fans quickly forgetting they ever existed under a different alias. Today, they fill the tent that protects us from the intermittent sun and equally threatening clouds at The Key Club Stage, playing to an overly excitable crowd despite this early set time. Even from the back of the tent, the clean and dirty vocals complement one another stunningly, the heaviness never once overbearing the melody and, despite minor setbacks, this is a band who have mastered their sound and will soon be climbing up the ranks at festivals such as Slam Dunk. Today is made for them, and they are made for this crowd – we can’t think of a better way to have kicked off our day. [YB]

CASSYETTE

Hot on the heels of her My Chemical Romance support shows, Cassyette opens the Jagermeister tent with remarkably fierce energy. It’s only midday so we’re still waking up and sipping on our first pints, overlooked by ominously grey clouds, but that’s soon forgotten by everyone listening to Cassyette’s phenomenal, husky voice and getting enthusiastically stuck into a pit. It’s a short but punchy set with popular tracks including ‘Dear Goth’, ‘Mayhem’ and ‘Prison Purse’, as well as her new single ‘Sad Girl Summer’ (add this to your Spotify playlists and thank us later). A regular Slam Dunk punter, this is the 29-year-old’s first time on stage at the festival – but with Cassyette’s voice and energy, it definitely won’t the be the last. And we’re willing to bet that next time, it won’t be a warm-up act. [CA]

THE BRONX

Bringing the California sunshine to Hatfield for their final show of the tour, The Bronx are next on the Dickies stage and are looking positively pumped to be there – despite losing absolutely everything on their flight over from New Zealand. Thanks to the generosity of stage-mates The Suicide Machines, The Dropkick Murphys and Hot Water Music, the quintet make it work with borrowed instruments, proving that the “community of motherfucking punk rock” is very much alive and well. 

Slam Dunk’s ‘rock and roll policy’ wouldn’t allow a charity crowd surf, with $5 donated by The Bronx to mental health crisis centres for every sweaty body lifted over the barrier, so they opt instead for $10 for anyone who climbs onto another’s shoulders. This gets a disappointingly lukewarm reaction, and allegedly the southern crowd can’t bring the noise as loudly as the north the day before, but there’s still a huge circle pit (monitored closely by security staff in high vis). It’s vocalist Matt Caughthran’s goal for everyone to move their bodies and have a good time and we do just that… whilst playing by the rules, of course. [CA]

YOURS TRULY

Fresh of a last-minute support slot for You Me At Six at this same venue just two days prior, Yours Truly are more than warmed up for today’s set. Mixing up the setlist slightly, those in attendance earlier in the week are treated to something new, and those who are catching the band for the first time are certainly seeing Yours Truly at their best today. Front woman Mikaila Delgado, who wastes no time wishing everyone “Happy Pride!”, continues to bring the energy throughout, bouncing around the stage with ease, her charisma overshadowing the fact that her usually ferocious vocals and the vital backing track are disappointingly drowned out by her bandmates. Regardless, the crowd are clearly delighted to be here with this Australian four-piece today, screaming as each next song is announced, for the most part making it easy to ignore any sound issues. Here’s hoping they return soon so we can witness these up and comers reach their full potential. [YB]

HOT MILK

No strangers to festival lineups, it’s been almost a year since Hot Milk opened up the main stage at the Download Festival Pilot in 2021. Since then, they’ve only become more comfortable on such stages, improving as time has passed and building more of a fanbase with every set. Today, they sound stronger than ever, bouncing off the walls for the duration of their thirty minute set. It’s clear today what the fan favourites are – ‘I JUST WANNA KNOW WHAT HAPPENS WHEN I’M DEAD’ and ‘Candy Coated Lies’ to name just a couple – but each song is met with excitement from the busy Rock Scene stage. The chemistry between the band members is tangible, in particular vocalists Han Mee and Jim Shaw, each interacting with each other throughout without missing a beat. As the clouds start to dissipate, fans leave the tent looking delighted with the experience and we can’t think of a more apt way to kick start the bright and sunny afternoon. [YB]

SILVERSTEIN

Back at the Jagermeister stage, which may as well have been dubbed the Canada stage for 2022, Silverstein are here to party with some early emo anthems like ‘Smile In Your Sleep’ and ‘My Heroine’. Slam Dunk always strikes the perfect balance between bittersweet nostalgia and showcasing emerging talent (or just new material), so Silverstein’s hit singles including ‘Afterglow’ and brand new tracks like ‘Ultraviolet’, from the freshly dropped album ‘Misery Made Me’, land almost as well. After making a name for themselves back in the early noughties, Silverstein are now “on their 22nd lap around the scene” and still feel like they’re only getting started. Seeing their lively performance and one of the biggest crowds of the afternoon, it’s more than believable that they really do have so much more to offer. For fans who enjoyed (or missed) the show, be sure to grab tickets for their Camden and Birmingham dates at the end of the year. [CA]

CANCER BATS

Cancer Bats have waited a long time to be back on stage in the UK and it feels “real good” – just take one look at the elated expression on drummer Mike Peters’ face. The hardcore fans of hardcore are familiar to lead vocalist Liam Cormier, who is all too used to seeing their contorted faces screaming back at him, but the wider crowd are formally introduced to the motherfucking Cancer Bats. He calls out the “sick lineup” with so much representation from Canada – Silverstein, Cancer Bats, Counterparts and the world-class headliner Alexisonfire (with vocalist George Pettitt joining for his guest verse in ‘Pneumonia Hawk’). 

Cancer Bats have played at Slam Dunk “7, 8 or maybe twelve times” so it’s an old stomping ground for most of the band, except guitarist Katie Lamond who’s playing in the UK for the very first time. She’s more than up-to-speed with the band’s discography, tearing her way through tracks including ‘Sabotage’, ‘Hail Destroyer’ and ‘Lonely Bong’ from their latest release, ‘Psychic Jailbreak’. For such angry music, it’s an upbeat set with everyone both on- and off-stage absolutely pumped to be there. [CA]

WITH CONFIDENCE

How to accurately convey the joy that With Confidence bring to Slam Dunk? There’s barely a bucket hat in sight at Slam Dunk today and yet front man Jayden Seeley breaks the mould, wearing his with pride, alongside a grin that never once subsides over the 35-minute set – a grin reflected on the faces looking up at the stage. This is Australian pop-punk at its finest and if you close your eyes you could almost be on Warped Tour with the searing heat now beating down and catchy riffs filling your ears. There’s an appropriate level of confidence exuding from the band who seem to know that fans will sing along word for word from the moment they start playing, a well-oiled machine made up of four slick musicians making it very easy to love them. It’s been three years since the band were last here but they’re met like old friends, talking to the crowd as though they are, too – from call and responses to that endearing Australian banter, the time between songs is filled well, making every moment enjoyable and leaving you wishing it might never end. [YB]

HOT MULLIGAN

Hot Mullligan haven’t played a single note yet and they’re already demanding that a pit opens up in the Key Club stage’s crowd. Today’s rammed and already sweaty crowd obliges without question before ‘Something About a Dead Dog’ kicks in and they happily follow yet another request: “If you know the words, sing it”. Beers they’ve queued an hour to purchase for an extortionate price are flung into the air, soaking those below it, and it’s very quickly clear what a chaotic half hour this is turning out to be. You’d never guess from the band’s wild popularity that this is their first time in the UK; as each song passes, increasingly more crowdsurfers sprint out from in front of the barrier, adrenaline coursing through their veins, ready to do it all over again. It’s hard to pinpoint a fan favourite here today, as each song is met with the same level of enthusiasm as the last, and with the four-piece being so perfectly in sync, playing each to perfection, it’s not hard to see why. This may be their first time on our shore but if today proves anything, it won’t be their last. [YB]

THE WONDER YEARS

Under the canopy of the Rock Sound tent, anticipation is palpable as we wait for The Wonder Years to begin their double set. It’s off to a go with a chant for guitarist Nick Steinborn, who was in COVID quarantine until this very morning. And what a day to have the freedom to play again; the album ‘Suburbia I’ve Given You All and Now I’m Nothing’ came out in 2011 and its 10-year anniversary celebration is now long overdue.

With so many changes and hiccups in the band’s formative years, vocalist Soupy (Dan Campbell) admits he wasn’t even sure they’d be on stage a year later. But here they are, coming out swinging to the opening track ‘Came Out Swinging’, with hundreds of people singing along. And not just singing, the kind of screaming that rips from the pit of your stomach through your hoarse throat, with well-rehearsed words that clearly mean so much to every person there.

The Wonder Years are far too humble, claiming to be a band who plays basements rather than festival tents, and are always surprised to see people waiting for them as they walk out on stage. But they didn’t simply play this year’s Slam Dunk, they retained an engaged crowd through two albums played in their entirety – with ‘The Upsides’ (2010) following ‘Suburbia’. So they might be the underdogs, but at Slam Dunk it’s where they belong. As Campbell said himself, it’s here they’re home. [CA]

MAGNOLIA PARK

Somewhat new kids on the block, Magnolia Park have recently made a name for themselves, deservedly picking up a host of new fans, finding themselves on the cover of Kerrang! back in May and collaborating with Mayday Parade’s Derek Sanders. It makes sense then that the band’s set today should go down like a house on fire, with those fans standing front and centre screaming along to each and every word as they make their way through the setlist. A surprise cover of Fall Out Boy’s ‘Sugar We’re Going Down’, while not necessary, picks up those hanging around the edges, bringing them further in and getting them just that little bit more on board. This band pushes boundaries, sounding unlike anything we’ve heard today, and their performance is sure to see them picking up new loyal followers aplenty. Shortly from the end of the set, the band encourage the whole Key Club tent to get down on the floor before jumping up at ‘that moment’ in the song. This energy carries us through to the end of the set and beyond, leaving us more than satisfied and endlessly intrigued to see what’s coming next. [YB]

BEARTOOTH

In your chest, you can feel the power pulsating from the speakers before Beartooth have played a single note. They’re here to do one thing and one thing only, says frontman Caleb Shomo, and that’s “to rip our fucking faces off with rock and roll”. It’s loud and intense and, of course, there’s a healthy amount of naked flame. 

The weight of the music and guttural vocals are beautifully juxtaposed against the grinning face of every single crowdsurfer who’s running past the barrier and diving straight back in to experience it all over again (and again).‘Disease’, which Shomo hates singing alone, and ‘In Between’ get the biggest and most powerful reaction – the crowd is vast and alive. Ending with ‘The Last Riff’ is an unusual choice, with little opportunity for spectators to get involved as the five-piece jam on stage, but maybe this is a moment just for the band.

You can’t underestimate the catharsis of seeing live music, which Shomo talks about, having had conversations with fellow bands about how we’ve all been sorely missing these opportunities to let loose, let go of our bullshit and rid ourselves of everything we’ve been holding in. With it being the first proper festival season since pandemic restrictions were lifted, it has even more gravity this time around. The truth, Shomo says, is that music isn’t just ‘something’. It’s everything: the blood coursing through his veins, his first language and it truly means the world when people come and watch Beartooth play. [CA]

THE STORY SO FAR

Stepping into The Wonder Years’ very big shoes are Californian four-piece, The Story So Far. Rivalling their predecessors for the largest crowd at The Rock Scene stage today, it’s no surprise that this band has been on the scene for 15 years as they receive a roaring welcome when taking to the stage. Today’s set is made up of hit after hit, each seeing the crowd all but drown out front man Parker Cannon (sometimes taking over entirely as in ‘Roam’) as they easily recall the lyrics from their old favourite songs. It stands, then, that the energy never once wanes, arms stretching in the air desperately, reaching for an unknown prize, and crowd surfers’ limbs flailing – an energy that’s matched by those on stage. After 15 years or so of practice, their performance is polished and goes off without a hitch and it’s clear to see how this band have persevered in a cut throat industry for such a long time. Here’s to the next 15. [YB]

ALEXISONFIRE

Today’s strongest performance without a doubt comes from the mighty Alexisonfire. After a hiatus that lasted far too long for anyone’s liking, AOF returned back in 2015 and yet despite a handful of singles, have yet to bless our ears with a new studio album since 2009. This come and go nature generally makes their shows more exciting but today, with their brand new album just weeks away, their Jagermeister stage headline set ignites something brand new in us – a fire that blazes more wildly than ever. 

The three vocalists, George Pettit, Wade MacNeil and Dallas Green complement each other as perfectly as ever, their differing tones each adding more texture to the performance and working together with the excellent musicianship to create something truly magical. Whether you’re singing along to your favourites (hello, ‘Boiled Frogs’) or moving in time to the instrumental opening of ‘.44 Calibre Love Letter’, there’s not a moment during this set where you won’t find yourself truly entranced by the scenes on stage and the sounds hitting our ears. 

As Pride Month is upon us, it’s only right that we feel safe here today, and Alexisonfire’s shows are pinned as such simply by the inclusion of ‘Accept Crime’ on the setlist – an inclusion that has never been limited to the month of June – and with today’s interchangeable weather, it wouldn’t have been too surprising if in this very moment a rainbow had appeared over the stage. The inclusion doesn’t stop there, either, as a call and response ensues during 2006’s ‘We Are the Sound’ before ‘Pulmonary Archery’ takes a beautifully chaotic turn and ‘Young Cardinals’ presents itself as the most impressive performance of the set. 

This band is on top form, better than they’ve ever been even after 21 years – our only complaint is that this couldn’t go on forever and ever. [YB]

NOVA TWINS

Nova Twins have seemingly burst onto the alt music scene since their first release in 2016, and have already secured a well-deserved headline slot today at Slam Dunk. It’s an intimate crowd, in unfortunate competition with the nostalgia trip Sum 41 offer and powerhouses Deaf Havana, but the pair are more than up for partying with the loyal fans who made it to the Key Club stage. As we’ve come to expect from Nova Twins, their set is politically driven and celebrates bodily autonomy, overthrowing oppressive systems and being fearlessly feminine. The crowd, though small, are mighty in their own way, even singing and dancing along emphatically to music that’s never officially been released. It’s clear that the integrity of this Kerrang! cover band has allowed them to grow monumentally since their inception, however their catchy sound and ferocious energy undoubtedly got them on the map in the first place, allowing them to spread their message far and wide. With a new album out now, this band is sure to continue to grow and next time there will be far more there to witness the beautiful carnage.  [CA/YB]

DEAF HAVANA

Like many bands, lockdown wasn’t easy on Deaf Havana, who almost called it quits last year, but today sees them back with a brand new lineup joining brothers James and Matt Veck-Gilodi as they introduce us to a shiny new era. While the sound isn’t quite up to scratch (although James V-G’s vocals are stronger than ever) and, as with Nova Twins, they’re battling the Sum 41 headline set over at the Dickies stage, they’re met with a delighted reception from those fans that are in attendance tonight. That’s not to say the crowd is small, necessarily, but certainly smaller than what you’d expect from a band of this calibre and general popularity, and you can’t help but feel they deserve so much more. With a setlist that spans their discography, there’s something for fans old and new, with 2018’s ‘Rituals’ songs ‘Worship’ and ‘Sinner’ in particular receiving some of the fiercest responses across the set. The newer material shines brightly through the falling sun, with many fans already knowing all the words to the fresh songs that have made it onto the setlist, some of which have barely been a month or so at the point of playing. With a headline tour coming our way in November, this is a perfect warm up and introduction to this new era of Deaf Havana – we’re very excited to be aboard this ship with them. What a way to end a truly glorious day. [YB]

That’s because it’s hard to review an album like this – it’s another Bronx record, and it’s glorious. It doesn’t do anything radically different from the previous five, but it does give fans more of what they want, adding another eleven killer tracks to the Californian punks’ repertoire in the process. For the uninitiated, The Bronx make brash, energetic punk rock with few frills; if you’re looking for a punk record that delivers a handful of punk anthems in under half an hour, ‘Bronx VI’ is certainly worth your time. If you like it, you’ve got a stellar back catalogue to get stuck into as well – this album is the sound of a band who long ago found their trademark style and are happy to keep delivering that to their adoring fans.

With all that said, The Bronx’s style has still shifted slightly over time. If you were to put ‘Bronx VI’ alongside their self-titled 2003 debut, you’d certainly notice the difference. As their career has gone on, the pendulum on their brand of ‘punk rock infused with a classic rock swagger’ has swung more and more in favour of classic rock, and so it proves here, and this is their most classic rock inspired album to date. This is best evidenced on ‘Watering the Well,’ a laid-back, carefree track with summery riffs and even a couple of guitar solos.

The Bronx are, however, still a punk band, and this is still completely and unashamedly a punk record. Tracks such as ‘Curb Feelers’, ‘White Shadow’ and ‘Breaking News’ still scratch that classic punk itch, and even the least traditionally ‘punk’ tracks on the record have that snarl and grit associated with the genre.

The Bronx have an uncanny knack for writing songs that you feel like you’ve heard a million times before, in a good way. If you’re already a fan, pushing play on this will be like reconnecting with an old friend. You’ve both changed a bit and got some new stories to tell, but that same sense of warmth and familiarity still exists and within seconds you feel like you’d never been apart. The songs are so instantaneous that after one listen you’ll be ready to get in the pit and bellow out the choruses at the top of your lungs.

There’s also just something undeniably cool about any Bronx record, and that’s certainly the case with ‘Bronx VI’. Go for a walk with this album playing on your headphones, and you’ll be ready to puff your chest out and stomp around like you’re ready to take on the world, even if you’re only going to the supermarket.

The Bronx are a band that are aging with grace and integrity. While their music doesn’t have the biting ferocity it once had, their ability and determination to keep creating punk rock of the very highest quality is something to be admired. With ‘Bronx VI’, the Los Angeles punks have achieved six great records out of six. Long live The Bronx.

ASH BEBBINGTON

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.

The previously announced Glassjaw will top the bill while the latest additions of The Bronx, Cancer Bats and Angel Du$t will perform alongside Gallows, Turnstile and Knocked Loose.

The organisers confirmed that it is the first of two heavy stages at Slam Dunk Festival 2019, with no clashes between the two.

This year’s festival will take place at Temple Newsam Park, Leeds on Saturday 25 May and Hatfield Park, Hatfield on Sunday 26 May. Tickets are available here.

It does mean, however, that when a band on the festival circuit takes a moment to hang out in an unbearably humid venue, it is a treat to those that didn’t fancy four-days in Donington. Therefore, it is no surprise that the “sold out” signs are hung up on the doors as The Bronx take to the stage at Manchester’s Gorilla.

“Oh we’re going to have some fun tonight,” front man Matt Caughthran informs an audience that is already shimmering in a layer of sweat. The LA punks slam straight into the chaotic opener ‘The Unholy Hand’ and the Gorilla floor begins to resemble an ice rink as fans slip and slide on a surface coated in beer and bodily fluids.

Following a winter album tour of ‘Bronx V’, the newer material such as ‘Night Drop at the Glue Factory’ and ‘Side Effects’ feel like seasoned classics. Every note is flung back with a vigour normally reserved for tracks that have stood the test of time. Caughthran plays the conductor expertly as always, directing traffic and wise-cracking when The Bronx allow very brief moments of respite.

The front man is the enigmatic focal point of the five-piece and has the audience under his spell throughout. Amid the carnage let loose during the anthemic ‘Shitty Future’, Caughthran manages to hush his adoring public for a five-count before letting them loose on the breakdown with the mere instructions of “drop this shit”.

Hopping down on to the floor, mobbed by the masses, he opens a space. He takes a moment for everyone to calm before embarking on a rambling anecdote about life and love, how we should all take care of each other during these testing times and, more importantly, prepare to dance. There are not many better ways to introduce The Bronx’s emblematic anthem ‘White Guilt’.

The slightly slower number does come as a welcome relief but there is not much time to bask in this as a double header of ‘Knifeman’ and ‘Around The Horn’ turns the temperature back up. They squeeze the last drop out of the audience with the huge closing track of ‘History’s Stranglers’ before Caughthran slaps the hand of each and every outstretched soul.

The decision of not visiting the open air cauldron of Download Festival seems to have been a wise one for everyone in attendance at Gorilla. These are the settings that The Bronx seem the most comfortable, getting dirty in the dive bars where the air is thick and energy is intense.

A summer treat of this ilk can always make up for missing being in a tent that manages to leak on the second night.

TOM WALSH