“We may stand have a chance, but we still gotta try,” rings the chorus of the magnificent first single ‘Chance Encounters’,  song for when you realise that one tiny mis-step or missed connection, and your entire existence could have turned out differently. Those who’ve walked into your life and changed it for the better are the subject of the sun-drenched ‘Better Angels’, with its classy simplicity and hope for the future. Then we’ve got ‘Nobody’s Heroes’, a song that feels like you’re attending church except the preacher is leading a sermon on surviving life’s knock backs. It almost feels like an apology from the band for giving up their thrash  – “We ain’t nobody’s heroes, because we can only be ourselves” – but they needn’t offer any restitution for changing direction. We all grow and change, and the Menzingers have entered a beautifully evocative new chapter in their careers. 

Part of the pleasure of ‘Everything I Ever Saw’ are the unexpected gems that no one saw coming. ‘Other People’s Money’ is a gorgeous Robin Hood ear worm that blooms from a piano that drifts and stomps into your mind at unforeseen moments, and ‘She Enters My Dreams’ is a plain and simple song of devotion, the kind of song you wish had been written about you to spark a rom-com chain of events to find a lost love. In fact, if we told you this song was a collab with Brian Fallon, you’d probably believe us (though, to the best of our knowledge, Jersey’s finest was not involved). The whole of ‘Everything I Ever Saw’ is very Gaslight Anthem, but that’s likely by coincidence rather than design. The really “Menzingers Anthem” moments, like ‘Parade Day’ with it’s waving-your-mate-goodbye-at-the-airport energy and almost Billy Bragg lilts on the chorus, remind us how distinct their sound is, but also let us appreciate the Gaslight new direction by providing an elegant backdrop.

We’ve got no complaints at all about ‘Everything I Ever Saw’. This is a record for people who have grown with the Menzingers, and had our lives change along with theirs. We can look back on the older records with fondness, remembering a specific time when that sound grabbed us, but this is an album for where we and they are now. It’s softer, more tempered by the forces of the world, but no less vigorous than we hoped, and a record that reveals more and more to love with every playthrough.

KATE ALLVEY

Words: Kate Allvey // Photos: Paul Lyme, Penny Bennett

Call Me Amour

Glittery shirts and a whole lot of love for Call Me Amour kicks off the day, along with what must be the inaugural circle pit. It’s their first time playing any festival at all, and judging by the way ‘Bloom’ gently flowers into a chorus as pretty as its namesake, it won’t be their last. ‘Where’s The Chemistry?’ pulses with dark summer refreshment, and by emphasising the rock end of their sound, we’re fizzing from their Slam Dunk wake up call of a set.

Unpeople

Twiggy Ramirez grooves and summertime anthem energy? Yes please! Unpeople are joyful and heartfelt in their cross-genre rock appeal. ‘Going Numb’s grunge edges fade into indie screams as they take us on a voyage through their own sonic landscape through the dark recesses and sweeter rises of ‘Kangareuben’. They’re a dream of what the nineties scene could have led to had we taken different roads and a hopeful delight from start to finish. 

Cancer Bats

A shot of high-jumping adrenaline, Cancer Bats bring a invigorating and furious thunderstorm of raging punk and outside energy to the East field. It’s been two decades since they released ‘Birthing The Giant’ and they’re determined to celebrate with a set dominated by their debut; ‘Shillelagh’s prowling desert rage blasts with drum-driven intensity, led by an infinitely bouncing Liam Cormier. Their highly refined lack of polish makes for an absolute mid-afternoon kick.

Hawthorne Heights

“I’m not sure if Emo music is the right vibe, there’s blue skies everywhere,” frontman JT Woodruff apologises, but he’s wrong. Hawthorne Heights lure a packed crowd to the far corner of the field, and we sing out the melody to ‘Pens And Needles’ like our lives depended on it, barely recovered after the piercing honesty and stirring honesty of ‘We Are So Last Year’. A full wave transforms this corner into the most sincere pit of the weekend as Hawthorne Heights’ self-proclaimed “Emo throwback bangers” send us back to the happy places of our youth.

Zebrahead

Inflatable grim reapers, an onstage bar and the Team America soundtrack herald the arrival of Zebrahead, a band who have been stuck on the B-List for far too long. However, with punchy solos from the start and ska rhythms illuminating ‘We’re Not Alright’, that’s got to change. Ali Tabatabaee spits bars as crowd surfers flip forward on ‘Hello Tomorrow’ and ‘Rescue Me’ has reached full scream-it-out anthem status, the spectacle of the band obscured by the dust flung upwards by a roaring circle pit. Goldfinger join in for ‘The Perfect Crime’, a highlight of a set that’ll put Zebrahead back on the map. 

Trash Boat

“How the fuck did ten years go past so fast?” Tobi Duncan asks, and he’s determined to celebrate a decade of ‘Nothing I Write Can Change What You’ve Been Through’ ahead of their anniversary show this October. The smallest tent is packed with a fanbase fuelled by devotion, revelling in hearing a setlist that hasn’t seen the light of day in years. ‘Second Wind’s uplifting distortion gives way to the overflow of emotion that is ‘Catharsis’, and ‘Strangers’ feels like an emotional call to arms to send us back into the shocking brightness of the outside world.

Goldfinger

Can anything top ska punk in the sunshine? Goldfinger are just always reliably a good band to catch, and the way ‘Counting The Days’ echoes back across the field would melt the most icy and cynical heart. ‘Freaking Out A Bit’ wraps the jaded lyrics in brassy professionalism, and dropping in covers of NOFX and Metallica adds a jaunty humour to the afternoon. Previous years would have seen them on the corner stage in the ska-punk ghetto, but the decision to give Goldfinger room on the main stage lineup is undoubtedly an amazing move.

Boston Manor

There are two types of festival-goer: those that want the fun, and those that want the heaviness. For today’s crowd, the latter half have eschewed Goldfinger for the emotional earnestness of Boston Manor. With guitar lines like blades and an emotional urgency that demands you take notice, Boston Manor are proving to be the right choice for fans of the assertive, blunt and heavy. For those who opted to attend, ‘Laika’ acts as a reassurance that we were right to be here, as we stand strong in the packed out stage-front.

The Home Team

It’s The Home Team’s Slam Dunk debut and they’re bringing the party. ‘Brag’ grooves are a welcome respite from the heavier music with a focus on pure fun, their boyband energy extended to the most explosive and powerful rock conclusion. From the infinitely danceable ‘Overtime’ to the celebratory, grind-worthy ‘Loud’, each tune is more of a slap than the last, providing the festival feeling we’ve been craving.

Dashboard Confessional

The bustle of the day feels still as Dashboard Confessional present an oasis of semi-acoustic calm with ‘The Best Deceptions’, followed by the resonant universal truths of ‘The Sharp Hint of New Tears’. Of course, as Chris Carrabba explains, they “specialise in singing very sad songs,” but their set becomes a clearing full of joy in today’s forest of bands. 

The Menzingers

We’re hypnotically dragged across the field by the choppy strains of ‘I Don’t Wanna Be An Asshole Anymore’, the sound of The Menzingers unfiltered by sub-genre suffixes. They slide between the nihilistic optimism of ‘The Obituaries’ and the sly connection with the British crowd posed by ‘America (You’re Freaking Me Out)’, plus, of course, the Springsteen-esque realism of new song ‘Chance Encounters’ which gets its UK debut. As Greg Barnett’s roar grips our chests and sends hands aloft, we’re one again fortunate to have caught the Menzingers in their natural habitat.

President

The masked and tuxedoed politicians continue their meteoric rise with a set marked by a lengthy power cut and an absolute wave of devotion from their fanbase. ‘Fearless’ is gritty and explosive, their crashing sound growing in strength with every show, and ‘Dionysus’ smashes beyond the inevitable comparisons to Sleep Token. With unfortunately limited time onstage, they make every second count with some of the most blistering tunes of the day.

Taking Back Sunday

Even vocalist Adam Lazzara is astounded by the love he received from the crowd as Taking Back Sunday weave sophistication into the setting sun over the West field. He shakes his head in disbelief as we take over vocals on their iconic ‘Cute Without The ‘E’’, but how can he be surprised when we’ve already been slamming to the slinky bass permeating ‘Miami’ and rejoicing to the crisp solos in ‘Error: Operator’? The instantly danceable emo hits Taking Back Sunday lay on us are always a winner.

Motion City Soundtrack

‘L.G. FUAD’ is like a firework going off on the Monster stage, a beacon for those of us still up for a party. Motion City Soundtrack know very well how to create fuzzy anthems, ‘My Favourite Accident’ cresting as a wave of positivity, the vibrant guitar keeping our spirits high. There’s no Patrick Stump guesting on ‘Particle Physics’, but who needs him when we’re buoyed aloft by MCS’ sweet and sour tunes to brighten the early evening?

Sublime

It’s Sublime’s first UK show, and with Jakob Nowell taking over his dad’s role on lead vocals we knew all along we were in for a historic treat. They pay homage to the past with the inflatable Lou Dogs onstage, but with an undoubtably modern reinvention; covering Fallen Idols’ ‘Prince Of Sin’ gives Nowell a chance to shine on rapid-fire vocals in a set that dips and weaves between classic South Beach skate punk, dub and stoner rock. ‘Until The Sun Explodes’ might be played extra fast but it’s just as tender, and ‘Santeria’ feels like the homecoming every MTV kid was waiting for.

Malevolence

Rowdy and with a rhythm to shake the earth, Malevolence’s Alex Taylor is ready for anything in his pseudo-bulletproof vest. ‘So Help Me God’ poses and burns, ferocious and compelling, calling forth a colossal circle pit from those who want their evening exceptionally heavy. Their set passes in an instant, the kind of half hour you can lose yourself in, each song a tribute to the power of maximum noise.

Knocked Loose

It feels inevitable that one day Knocked Loose would have festival closer status, and today they’re as glitching and complex as ever, and their sound works tremendously on a huge stage. ‘Don’t Reach For Me’ shocks and jars, a song for a band revelling in their own chaos, and silhouetted by bare lights, we’re confronted by a band who have reached the place that they wanted to be all along. The ‘real’ closers for those flitting between the heaviest bands, Knocked Loose propels themselves through endless raging bass to create a massive hardcore finale. 

Good Charlotte

The Brothers Madden and co are the star attraction at this year’s Slam Dunk with their first UK show in seven years and a setlist that’s crammed full of hits to spark waves of throwback fever. Even when they play their “emotional song”, ‘Hold On’, we’re swept up by their sound blasting into the night to the point that no one dare move to catch an early train home: we’re gripped by their retrospective, from the tightly-plotted ‘Riot Girl’ through to the galactic club energy of ‘The Chronicles of Life and Death’.

While they might be larger than life now, Good Charlotte have kept themselves firmly rooted in their teenage outsider perspective. ‘Rejects’’ dreamy harmonies keep the loner message light, and ‘Little Things’, dedicated to “every kid who ever got picked last in gym class”, slaps hard, the field a sea of glowing hands. “We’re going to turn this into a very 2001 Good Charlotte show right here,” declares Joel Madden, and reliving our teenage years is what we’re here for. We’re word perfect on ‘Lifestyles of the Rich and Famous’ – and we’ll ignore the irony considering the Maddens are married to Nicole Richie and Cameron Diaz when the live version of their hit is this good – and closing out with ‘The Anthem’ is an incredibly satisfying conclusion to our months of anticipation at seeing Good Charlotte live again. Okay, we won’t have too long to wait as they’re back in the UK in November, but as the fireworks send us on our way, we’ve got absolutely no complaints about our pop-punk favourites giving it their all. 

KATE ALLVEY

This is a show divided equally between two focuses, and could almost be a metaphor for the Menzingers’ seamless sharing of vocal duties between Greg Barnett and Tom May. There’s always a slight danger when playing an album in full that it could just be a rehash of a set point in the time and space of a band’s existence, rather than bringing something new to the live experience. Not so tonight. The beautiful dedication in the crowd’s heart clenching enthusiasm for each line of songs like ‘I Don’t Wanna Be An Asshole Anymore’, every lyric of Barnett’s sung back like a promise in a burst of  humanity that can be forgotten over a decade of re-listens to ‘Rented World’, is what elevates tonight above a standard retrospective. The hopes realised and rejected contained in each slightly sped up refrain of ‘My Friend Kyle’ feel like a blunt, genuine celebration. The way that the guitar on ‘Transient Love’ wrings out each tone seems like a confession from the past, cushioned in distortion used as cotton wool, dusted with dandelion-light backing vocals. 

However, it’s also the band’s humility and desire to share the journey that both they and their album have been on over the last ten years that make this such a standout night. May seems surprised that we’re even having fun (“Hopefully you know these songs, it seems like you do!”), and want to share morsels of backstage gossip to frame each song in our memories. “This song is maybe my favourite video, it was just the most fun fuckin time. Turns out all you need to have fun is a case of beer and some fireworks, that’s what makes for a good video,” he explains ahead of ‘Where Your Heartache Exists’s stark poetry, the depth of longing in it’s contrasts punctuated with a rough smattering of broken vocals to mark this reality of this moment. Reminiscing about the circumstances behind each song adds a rewarding depth of context, such as the disputes over who takes priority in an inadequately soundproofed practice room which fuelled a lot of ‘Rented World’ (“I think we were really angry being there, trying to fight with our metal neighbours”). The introspection accompanying ‘In Remission’ adds colour to each section before our eyes, turning it into a song that makes you want to stand up even more than you already are. 

We also feel closer and closer to the Menzingers as the night goes on through their anecdotes“You feel like your work is never done, for me,” says Barnett. “For ten years, I felt like I was never satisfied with it. With these shows it feels done, it feels like I have closure.” This really is the best summary of the live presentation of ‘Rented World’ as it stands in 2024; the songs now sound like they should have sounded all along, the new versions overwriting the studio takes in our psyche in real time and our bond with the Menzingers deepening minute by minute. 

As the final dark subtleties of their acoustic take on ‘When You Died’ fade, the energy spikes in an instant. This, of course, is not the end of the show, merely the beginning of the prize that is the greatest hits section. ‘Good Things’ pays tribute to jumping it out and keeping yourself afloat when everything falls down around you and screaming along to ‘Burn After Writing’ feels like self care at its most primal. Via a slower intro, ‘Try’ is a blunt instrument to bludgeon our emotions, shining light on a situation to exorcise it, telling our stories through borrowed words and applause. That’s one of the great things about the Menzingers. Both vocalists have an everyman tone when they sing that emerges a representation of our own histories, and songs that speak to our triumphs and tragedies hit the hardest. 

You don’t always need flashy backdrops and showman moves to create a really great show. Sometimes, what you need is a body of work which stands the test of a relatively long amount of time, and a desire to connect with the people in front of you, using your own normality to build a bridge through to us. The Menzingers have channeled this gift into making this celebration a night that was worth waiting a decade for, and maybe that’s what defines a real punk rock show.  

KATE ALLVEY

‘After the Party’ in 2017 was a career defining moment for the Pennsylvanians. While they had a solid back catalogue behind them at the time, it was one of the best releases of that decade and their most mature to date, featuring the best choruses they’d ever put out, superb lyrics, and relatable themes about love and ageing. They went one better in 2019 on the incredible ‘Hello Exile’, delving into serious topics of addiction and the political chaos in the United States while turning out some of the best songs they’d ever written.

‘Some Of It Was True’ continues their stellar patch of form, a triumphant record that will surely cement their already strong claim to be one of the finest punk bands of the last 10 years.

Bruce Springsteen has clearly been an influence on the band in recent years, which can most clearly be seen in vocalist Greg Barnett’s lyrical style. As a songwriter, he takes a leaf from The Boss’ playbook, taking on the role of a poetic storyteller and spinning tales that are as earnestly human as they are quintessentially American. As if to underscore the obvious influence, the cover art for this album doesn’t look dissimilar to Springsteen’s 1982 record, ‘Nebraska’.

The similarities are more than superficial, however. ‘Nebraska’ was a bold creative choice, a melancholy collection of acoustic songs released when Springsteen was at the height of his popularity. There are parallels to be found here; The Menzingers are more popular than they’ve ever been, and fans who are only on board because of their older material will be challenged by what’s on offer here. It features many tracks that are less explicitly rock-focused than anything they’ve ever done.

Large parts of the record will have fans of the Menzingers on familiar ground, however, not least album opener ‘Hope Is a Dangerous Little Thing’. This is one hell of a way to get proceedings underway, and is comfortably one of the finest songs the Philadelphians have ever put their name to. It’s a bluesy rock number, with a chorus hook that is in equal parts joyous and cathartic as vocalist Greg Barnett wails about unrequited love backed up by gang vocals from his bandmates.

Follow up ‘There’s No Place In This World For Me’ is another slam dunk, leaning on an Americana sound while the guitars have an infectiously groovy stomp to them. Title track ‘Some Of It Was True’ is one of the album’s standout moments, featuring an emotionally and sonically punchy chorus as Barnett croons “the older I get the less I know, and I knew nothing then”.

‘Alone in Dublin’ feels like a spiritual successor to ‘London Drugs’ from ‘Hello Exile’. Both songs deal with the experience of feeling out of sorts in a city thousands of miles from home. In classic Menzingers style, it’s triumphant sounding song with a gloomier meaning than it at first lets on as Barnett howls “I wish you were here with me, I’m all alone in Dublin searching for something”.

As with all previous Menzingers records, Barnett shares vocal duties with fellow guitarist Tom May. ‘Try’ is the best of May’s songs on this  record, a fun, bouncy track that is sure to sound absolutely huge live.

In many moments on ‘Some Of It Was True’, The Menzingers find their more tender side with songs that eschew the trappings of punk rock. This is a departure from their signature sound, but one that pays off massively. ‘Come On, Heartache’ is the album’s first foray along these lines, a song that is sonically upbeat but steers clear of the heavy guitars and gruff, half-screamed vocals you might expect from this band. Lyrically, it sees Barnett at his bittersweet best, lamenting about heartbreaks past while clearly having hope for the future. In a similar vein ‘High Low’ and ‘Ultraviolet’ are both slow, minor pieces that will be lighter-in-the-air moments at future Menzingers shows.

With ‘Some Of It Was True’ The Menzingers have proved how relentlessly and reliably brilliant they are, completing a trilogy of records that are all straight 10s. There are countless bands that make punk music, and many of those infuse their sound with an Americana edge, but there are precious few who can do it with as much energy or soul as The Menzingers.

ASH BEBBINGTON

Words: Aaron Jackson [AJ] and Yasmin Brown [YB]  Images: Penny Bennett

ZAND

Let’s get the cliche out of the way – it’s no mean feat to open a festival. However, this feels particularly pertinent after experiencing alt-pop wildcard ZAND’s performance on the Rock Scene Stage. Before the clock had even struck midday, demonic laughter echoed through the flush of summer sunshine as the Blackpool-born, self-proclaimed “ugly popstar” brashly rattled through their bass-drenched hits. Unflinchingly confrontational in everything they do, ZAND’s set was delivered with unbridled conviction. Regrettably, fans had to do without ‘Slut Money’ as Slam Dunk cut the slot short. Regardless of the abrupt ending, ZAND had kicked the day off with a boldness which stood unrivalled for the remainder of the festival. [AJ]

VUKOVI

Next up on the Rock Scene Stage were Scottish duo VUKOVI. Fresh off the back of receiving their first Heavy Music Award the night before for Best Production on their latest effort ‘NULA’, the spring in their step was plain to see. Vocalist Janine Shillstone swept across the stage, working the audience with vocals that fluctuated from delicate to intensely powerful at the flick of a switch. Meanwhile, Hamish Reilly relished the points in their set in which he had a licence to take the crowd to riff city with his guitar. New cut ‘I EXIST’ boasted a particularly impressive breakdown that was executed with aplomb. Provoking motion in and amongst the spectators, VUKOVI more than played their part in wiping away any cobwebs that might have gathered in those pesky queues. [AJ]

Movements

Relative to some of the veterans on this year’s bill, Movements have earned a calibre of adulation from their audience that much older artists still pursue. Of course, the highlights came in the singalong moments, with ‘Full Circle’ marking the point in the set that the Californian quartet really seemed to find their feet. The Kerrang! Tent was teeming with eager fans bellowing every word back to frontman Patrick Miranda, and this didn’t let up as they launched straight into ‘Colourblind’. Sure to give attention to the ‘Outgrown Things’ EP which put them on the map back in 2016, Movement’s rendition of ‘Kept’ was as sincere as ever, demonstrating the strength across their whole discography. Newer tracks like ‘Lead Pipe’ and ‘Barbed Wire Body’ may not have hit as hard on the heartstrings, but they were still expertly performed, with a special mention to Austin Cressey on bass who held it down exceptionally. Bowing out with the powerful ‘Daylily’ marked a poignant end to a set to remember. [AJ]

Spanish Love Songs

Sad summer season is here, baby. Taking to the stage with a complete air of modesty, there was little fanfare as frontman Dylan Slocum slipped straight into ‘Routine Pain’ after a brief soundcheck. Their flowers came in the form of the loudest singalong that had been seen up to that point. The ultimate form of sonic catharsis, there appeared to be a genuine relief on the faces of the band who unfortunately had to withdraw from the previous lineup. As Slocum recalled how that this time last year he was stuck at home with COVID, it must have felt incredibly gratifying to perform at what they called the “best festival” that Spanish Love Songs have ever booked. What’s more, the future looks incredibly promising for the band, with their newest single ‘Haunted’ not letting the team down as a huge portion of the audience managed to recite every lyric, despite the song only being out for a couple of weeks. [AJ]

Holding Absence

Holding Absence are a band who have found themselves steadily but surely rising up the festival ranks, today appearing proudly on the Slam Dunk main stage. The band bring all the energy we’ve come to expect from a Holding Absence set, but unfortunately for them, their first opportunity to show off music from their upcoming album falls flat – through no fault of their own. The sound on the main stage is lacklustre at best, meaning front man Lucas Woodland’s usually ferocious voice is lost, as are screams from guitarist and back up vocalist Scott Carey, and the drums hit fiercely by Ash Green fail to reach your chest in the way they usually do. As a result, chatter among the crowd can easily be heard, with fans barely having to raise their voices to ensure words reach their friends – words that we usually wouldn’t want to utter as a result of being so lost in the amazing music of this unique, “one to watch” band. It’s hard not to feel as bad for the band as you do for the fans, neither one quite getting the experience we deserved. [YB]

Trophy Eyes

“We just got here” mutters drummer Blake Caruso sheepishly into his mic. Indeed, Aussie four-piece Trophy Eyes were one of multiple artists to experience significant delays upon entering the festival’s site. Not ideal after already travelling over from the other side of the world. Nonetheless, this really feels like a period of rebirth for the band. All three of the singles released to this point from the forthcoming LP ‘Suicide and Sunshine’ featured proudly on the setlist and were met with a rapturous response. Naturally, the cuts from 2016’s flawless ‘Chemical Miracle’ stepped it up a level, with ‘Chlorine’ especially sending the crowd into a frenzy. Unfortunately, Trophy Eyes were also victims of a prematurely cut set, causing fans to miss out on the anthemic ‘You Can Count On Me’, much to the visible disappointment of the band. Music aside, it was impossible to ignore Floreani’s fighting form as he shadowboxed his way through the set. He’s no Vulkanovski, but it still wouldn’t be wise to get in the way. [AJ]

Real Friends

Fundamentally built for this festival, pop-punk mainstays Real Friends wasted absolutely no time in whipping their crowd up into a frenzy. The already-packed Kerrang! Stage descended into a blur of flailing limbs and aggressive finger pointing syncopated with frontman Cody Muraro’s singing. To the delight of all involved, the most feverish of fans flew above the crowd and were sent sprawling over the barrier (hopefully safely). It should go without saying that, as one of the true anthems of the scene, ‘I’ve Given Up On You’ was the standout hit from the set and left the most lasting impression. In their element and loving every minute, Real Friends dropped a set packed out with their brand of all-out pop-punk hits. If it ain’t broke… [AJ]

Boston Manor

Cool as ice, Boston Manor take to the stage with a confidence that commands respect and attention. Going by the amount of festival goers adorned in BM clothing, and the sheer volume of people in the tent during their set, it’s fair to assume that, for plenty, this was the most anticipated performance of the day. Certainly one to catch in person, the Blackpool quintet’s brand of moody, industrious alt-rock sounds infinitely beefier in a live setting. Naturally, this is at the sacrifice of some of the atmosphere that is curated in the band’s conceptual approach to their releases, it’s an entirely different experience, but one that shouldn’t be missed. Featuring a stellar live debut of ‘I Don’t Like People (& They Don’t Like Me)’ and the colossal ‘Halo’, during which frontman Henry Cox demanded “one hundred crowd surfers”, there were plenty of high points in this performance. It is a shame, however, that Boston Manor seem to have left behind anything released before 2018’s ‘Welcome To The Neighbourhood’. Nonetheless, progress waits for no one, and Boston Manor show no signs of slowing down. [AJ]

Four Year Strong

Four Year Strong instantly reminded everyone why they are one of the most steadfast pillars in the alt/pop-punk scene. Bouncing through their chug-tastic selection of aggressive, yet catchy hits, this performance highlighted just how strong the band’s discography has become over the years. Hits spanning from their debut album ‘Rise of Die Trying’ through to 2020’s ‘Brain Pain’ offered fans a blend of reminiscence and excitement. ‘It Must Really Suck to be Four Year Strong Right Now’, ‘Out of My Head’ and ‘Wasting Time’ created an excitable vigour among the crowd, while exhilarating covers of Green Day’s ‘Jaded’ and ‘Brain Stew’ went a long way to win over first-time listeners of the band. The triumphant opening riff to Heroes Get Remember, Legends Never Die summed up the set and was met with one of the biggest roars of the performance – washing the hundreds of fans in the tent with nostalgia before they resumed hurling themselves towards one another. Beards. Chugs. Sing-a-Longs… in that order. [AJ]

The Menzingers

Perhaps one of the last loud and proud rock and roll bands, The Menzingers have been flying the flag for some time now. With six full-length albums under their belt, there was a healthy spread across their discography on offer, with considerable love especially going to 2012’s ‘On the Impossible Past’. Fans were also treated to the live debut of a brand new song titled ‘There’s No Place In This World For Me’ which was respectfully observed by a crowd of fans who will no doubt relish the reveal of new music from the Scranton four-piece. Their formula is tried and tested, but The Menzingers deliver every time and this performance was no different, executed with seasoned expertise. Is there a better band to sip a beer in the sun with? Doubtful. [AJ]

PVRIS

Fronted by superstar talent Lynn Gunn, it’s clear that PVRIS held a core of devoted fans at the festival, who met the band’s walkout with awed cheers and applause. With a setlist featuring a healthy spread across the artist’s esteemed discography, this was a true showcase of the many facets of PVRIS’ dynamic. Gunn’s vocals were hauntingly fragile at points, demonstrating her remarkable range. The louder, more electrifying songs such as ‘Monster’ and ‘Fire’ were unfortunately dampened by what felt to be poor mixing. The heavy peaks were sucked from the stage and disappeared into the open air and, even more disappointing, Gunn’s efforts often fell into the background. Despite a sound quality that left some wanting more, PVRIS performed with spirit and were clearly relishing every minute on their platform. Maybe some of the crowd were feeling the heat by this point, but there was a palpable outpouring of passion coming from that heartbeat of fans who were with PVRIS every step of the way. [AJ]

Creeper

Back with a theatrical bang as multi-instrumentalist Hannah Greenwood strides onto the stage wielding frontman Will Gould’s severed head (not really), it was fitting that Creeper’s time came as an early hue of dusk began to bleed across the sky. The goth/glam/punk outfit boast an aesthetic that is infectiously cool, oozing with horror iconography that gorgeously decorates a sound equally as evocative. Creeper are a band that know how to make the most of their instruments, with the synths adding a particularly effective texture. It initially felt as though Gould’s voice suffered through the skulking verses of ‘Ghost Brigade’ and ‘Born Cold’, but once the band flew into the choruses, Gould absolutely soared. Complete with a (successful!) on-stage proposal before ‘Hiding With Boys’, this set had everything to make a lasting impression on fans both existing and prospective. Wrapping up with ‘Misery’ demonstrated just how powerful this band are, completely abandoning all instruments and microphones for the final chorus, leaving the crowd to shine. They went above and beyond, marking an emotional end to a landmark moment of the festival. [AJ]

Enter Shikari

The festival’s headliners never fail to deliver fireworks, on this occasion, quite literally. Visually stunning, the stage is drowning in digital flames, and LED lava, before Enter Shikari even walk out. Complete with the sun setting behind the stage, the atmosphere was already bliss. Launching into ‘(pls) set me on fire’ commanded attention from a crowd that had been eager for this moment all day. Such is the pull of this band, it’s no wonder they were billed as the main attraction. For years now, Shikari have been at the cutting edge of the scene, pushing boundaries and redefining perceptions of noise along the way.

A glaring downside to the performance, through no fault of the artist, was again the poor sound quality coming from the Rock Scene Stage. The mix was all over the place and resulted in the band’s music, which is consistently so impactful, falling disappointingly flat. One of the finest live acts this country and scene has ever produced were regrettably disserviced by the stage setup on the day.

Nonetheless, a setlist packed with the highlights across their seven-album strong discography served as a reminder, as if one was needed, just how much value can be found in a Shikari performance. London duo WARGASM joined the band onstage for a special run-through of the recent award-winning single ‘The Void Stares Back’, an apt celebration for both artists involved. All things considered, there’s no better band for the occasion, Enter Shikari closed out a challenging festival to the best of their ability, and those standards could not be higher. [AJ]

A spectacular firework display capped off a day of mixed emotions. On one hand, the music on offer was, to an artist, fantastic. Slam Dunk has comfortably graduated from being just a pop-punk festival and hosts a sprawling lineup of some of the scene’s most elite artists, all of which delivered. However, it’s impossible to look past the shambolic organisation of the event. Hours wasted in standstill traffic and queues, leading to numerous acts missed for many, not to mention the countless health and safety red flags. That’s just scratching the surface of what went wrong with this year’s Slam Dunk Festival. Plenty of discourse can be seen across social media as patrons are justly frustrated and disappointed with the festival’s execution.

Let’s just say that Slam Dunk have a lot of work to do if they are to make reparations and restore the faith of a fanbase so loyal and passionate.

It’s in this latter category that Pass Away fall. What started life as a side project for members of I Am the Avalanche and Crime in Stereo now feels like a fully realised band, creating the kind of cathartic and emotional punk rock will appeal to fans of The Menzingers, The Flatliners or Iron Chic.

‘Thirty Nine’ is the band’s second album and, while their debut was a short and scrappy affair, this time things feel fuller and more considered; the production far cleaner than that of its predecessor.

For the most part, the songs feel more memorable too. Opening acoustic number ‘Chic’s Beach’ is an odd way to kick things off, though it does do a good job of establishing the heartfelt honesty of the lyricism. Second track and lead single ‘Halloween’ does a far better job at establishing the record’s tone; harbouring a similar energy to bands like Gnarwolves, there’s a welcome sense of familiarity, as well self-deprecation, which would have been a far more fitting way to open proceedings.

Elsewhere, ‘Bartender’s Lament’ provides a slice of Menzinger’s style nostalgia and the most memorable chorus on the record. ‘Bushwick’ is another acoustic offering, though this time feeling far more fitting than the aforementioned opener. Coming at the half-way point it provides some brief respite from the record’s driving punk rock, if not from its angst.

‘Coffin Hands’ and ‘Brooklyn Psychotherapy’ round things off in perfect fashion and are definite highlights. The former a cathartic and rousing number that proves to be the strongest track on the album, the latter a slackery conclusion to the record; the piss and vinegar so often previously masked by inherent self-deprecation now finally erupting in the form of erratic guitars and a snotty vocal delivery.

Packing buckets of promise, ‘Thirty Nine’ is the sound of a band coming into their own, yet it doesn’t quite reach its full potential. While the album highlights are excellent, there are too many moments that feel like filler in comparison. That said, it’s by no means a bad record either. What it is, is an album of plaid shirt punk rock for the craft beer generation. And if, like me, that ticks your boxes, you could do far worse than spending some time with it.

DAVE BEECH

The Menzingers are not the only band to have released a reworking of old material while in lockdown. Fellow Pennsylvania band Code Orange, for example, recently released ‘Under the Skin’, a live album featuring acoustic versions of songs from throughout their career. There may be a financial motivation, as well as a creative one, behind this trend. When the COVID-19 pandemic hit earlier this year, bands were forced to return home from tour and cancel any future live dates, cutting out many artists’ main source of revenue overnight. New releases like this are a way that bands can bring in some much needed income at a time when opportunities to tour seem like a remote possibility. So, if you are a Menzingers fan, stream this record. If you can afford to, buy a physical copy when the vinyl is released in November, or pay for the audio files through Bandcamp. As well as being well worth your time, this record is an opportunity for fans to support a band they love through a difficult time.

‘From Exile’ is not your typical ‘punks go acoustic’ album, where a gruff punk band picks up an acoustic guitar and re-records everything note for note. The band have clearly put some serious thought into each song, reworking them to suit a more acoustic sound to the point where many are unrecognisable. It almost seems like they’ve approached their own songs as though they were covering someone else’s, looking for ways to put a different stamp on each one.

The whole album has a jam room essence, and at points it appears both vocalists are feeling their way through the new rearrangements of the songs, trying to figure out where their lines fit. This is probably a result of the album being recorded remotely, and may well have been a conscious choice, but it adds a great relaxed, rough around the edges feel to the album.

As soon as you press play, ‘From Exile’ is a very different proposition to its predecessor. Opening track ‘America’ – a gruff punk protest song against Trump’s America on ‘Hello Exile’ – is reworked to be an upbeat, cheerful folk song. Barnett’s vocals are much softer here, ditching the furiously spat anger from the original version to fit in with the changed musical style.

‘Anna’ is the track that benefits most from receiving the acoustic treatment. The full band version is a fun, upbeat punk song that’s only slightly tinged with melancholy; in the chorus, Barnett begs his girlfriend to come back home, but in the bridge tells her to “take as long as you need to take / I’ll be fine on my own”. On that version, it sounds like he misses her but is coping with it just fine. On the acoustic version, Barnett sounds completely wracked with anguish. It’s testament to Barnett’s proficiency as a lyricist that the same set of lyrics can have such a profoundly different impact when the song is played a different way.

‘High School Friend’ is reworked in a comparable manner, taking a relatively upbeat song with sad lyrics and turning it into a slow, melancholic acoustic song. The overall effect is similar to ‘Anna’, where the song’s already despondent lyrics take more of a front row seat and have a greater impact.  In terms of instrumentation, ‘Last to Know’ is probably the biggest departure from the band’s other work, featuring a drum machine and a violin. The structure of the song is largely unchanged, but the violins add an extra layer to the choruses under Tom May’s vocals.

On ‘Strangers Forever’, Barnett’s vocals take on a more ghostly quality, compared to his ordinarily gruff delivery. While the original sounds like an angry ‘fuck you’ to an ex-girlfriend, on the acoustic version Barnett sounds laid back and indifferent, in a similar vein to ‘Don’t Think Twice, It’s Alright’ by Bob Dylan. This is an interesting spin on the track, taking the old lyrics and giving them new meaning. Not every track transitions smoothly into acoustic territory, however – in particular, title track ‘Hello Exile’ has barely changed and is slowed down to a crawl. It’s noticeable that the original really benefits from that couple of extra beats of pace. It’s still a great song, but this version is just a little bit too slow and lacks urgency.

‘Portland’, ‘Strain Your Memory’ and ‘Strawberry Mansion’ are all brilliantly reworked as charming folk numbers, with the lead guitar parts from the originals redone as upbeat fingerpicked parts. All three songs sound as if they could’ve been recorded as acoustic tracks first, rather than as reworkings of full band material. The reworking of closing track ‘Farewell Youth’ sounds like something from Bruce Springsteen’s seminal acoustic album ‘Nebrasksa’, with slow, major guitar lines and an understated vocal.

With ‘From Exile’, The Menzingers show that they’ve got many more tricks up their sleeve than just the Americana punk sound that has brought them such acclaim. The Philadelphia punks have demonstrated that they are accomplished acoustic players, and they understand how to construct a song in this medium. If they decide to slot an acoustic number or two into their next studio album, this record shows they have the skill to pull it off.

ASH BEBBINGTON