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

The Meffs

“All we had to do is say we were a skate punk band and they let us in,” laughs drummer Lewis Copsey, but the Meffs are fooling no one. Their brand of old school punk renewed and boiled down to its essentials is a political wake up call, all shouted slogans and wobbly, ominous guitar solos from Lily Hopkins. “We’ve never seen a mosh pit in the morning time before,” she grins as we get in our first slam of the day to their cover of the Prodigy’s ‘Breathe’.‘Deathwish’ gets fists raised before we boo in ‘Broken Britain, Broken Brains’, rife with strong political statements and no compromise. The Meffs are effortlessly rowdy and purposeful, which is what makes them so powerfully dangerous to the establishment.

Dream State

Opening with a scream, Dream State deliver a rousing lunchtime boost, causing a waving sea of hands disproportionate to their time slot. Circle pits ripple as as Jessie Powell sweeps into the melody of ‘Still Dreaming’. “We have no management, we have no record label, we’re an independent fuckin’ band!” she screams as the synths rise on ‘Bloom’. It’s an admirable showing both for the pull on the crowd and a band who pour a drop of early originality into the day. ‘White Lies’, ferocious and introspective, sparks the first rave moment of the day, setting us up for more excitement.

Point North

Past and future combine with spacey effects and classic pop punk energy for Point North’s ‘World Vs Peace’. Spring loaded and caffeinated, they offer scant pauses but throw in big numbers one after another for their second trip to Slam Dunk, gathering enough fans along the way to cram their corner of the field. ‘Into the Dark’ belts out appealing melodic echoes and shred like a plane taking off and ‘Bring Me Down’’ cuts a bit deeper with a bass focus and a heavier darker breakdown, while a man dressed as a giant lobster crowd surfs merrily in front of this very promising early band. 

Movements

‘Afraid to Die’ slices into resonating sincerity as Movements appear on the main stage. They’re dwarfed by the setting but their sound is huge, ‘Lead Pipe’ booming out, carried by the rising wind.Slightly lofi and desperate with touches of desert rock,’Fail You’ bursts into realism, swerving in and out of focus. Movements boast a subtlety in their alt sound, ‘Full Circle’ an emotional stream of consciousness with cantering drums before ‘Colourblind’ jolts into life, illuminating the afternoon.

Heart Attack Man

They might be half an hour late onstage, but the Hammy Nation don’t care in the slightest. Heart Attack Man kick off with ‘Pitch Black’, more soulful than we remember and packed with good honest yelping plus enough guitar to shake the roof. ‘Leap Year’ with its maximised nineties guitar is a party song live, stacked with purity and joy in each note. We dance in the face of our own mortality to ‘Joyride the Pale Horse’ as Eric Egan bounces above us, one hand tucked behind his back. “This next song’s about dying!” The vocalist jokes, going double time through ‘Lay Down and Die’, giving us a brief space to air our resistance to the inevitable through the happiest nihilism of the day.

Rain City Drive

The crowd is massive and we’re bathing in the super atmospheric watery chimes of Rain City Drive’s ‘Lose My Composure’, complete with with pop droplets rising through depths of emotion. ‘Over Me’ booms heavy and light with stadium potential, channeling dreamlike nightclub energy with a sense of motion and a lovely acoustic finish before whirling straight into  ‘Wish You The Best’. All in black, they’re almost lost against the backdrop, their music speaking for itself.

Stray From the Path

If you’ve ever wanted to see an ocean of people losing their damn minds while Drew York spits bars, you need to catch Stray From The Path drop ‘Needful Things’ at Slam Dunk. It’s so dark, with threatening Freak On A Leash tuning that almost causes the clouds to break. ’May You Live Forever’ burns with combative cohesion, as York whirls onstage, a swaggering tornado, before ‘III’s air raid siren guitar kicks off the pit. Stay From the Path wear their hearts proudly on their  tattooed sleeves and we’re on the same wavelength for one of the tougher sets of the day. 

Mouth Culture

Grinding, vitriolic and glorious, Mouth Culture spill out of punkish britpop with glitching movie soundtrack rage. They’re eloquent and furious with the occasional fuzzy pause, and as a band they’re only getting stronger with each show. The smallest tent is packed out for their Slam Dunk debut, heads bouncing to ‘No Shame’ as vocalist Jack Voss shouts out his frustrations. ‘Dead in Love’ is full of noughties cuts with a harsher indie acidity and feathery guitar, the strange delicacy to guitar that reveals dramatic bass, and while it’s their first time here, we know for a certainty that Mouth Culture will be back.

Hot Mulligan

The appearance of Nathan ‘Tades’ Sanville on the main stage sparks a mass migration across the field, his first scream on ‘How Do You Know It’s Not Armadillo Shells?’ speeding up our feet. ‘Drink Milk and Run’ eases us into Hot Mulligan’s set with just a touch of whimsy, open and resonant with a seismic bass boom that skips into guitar waves. “Banter is hard and so am I,” jokes Sanville, his words appearing in full caps in our imagination. ‘Fly Move (The Whole Time)’ fits perfectly into a set that stretches across their back catalogue and is far too good for their time slot, wrapping us in the complex, honest embrace of Hot Mulligan’s vibrant world. 

Streetlight Manifesto

Bouncing back from their time away stronger than ever, the band with the biggest brass section in modern ska know how to bring it. ‘The Three Of Us’ sends them crashing into view: it’s incredibly tight, Tomas Kalnoky’s slightly rough around the edges vocals, their take still innovative and narrative-focused. Their small but determined cult following are absolutely overjoyed to hear ‘We Will Fall Together’ as spontaneously dancing stretches out to the back of the tent, the song faster than we remember but just as fast as it needs to be. Streetlight Manifesto have been away for far too long and we’re as desperate for their idiosyncratic ska professionalism as ever. 

The Used

“Tonight, we are celebrating 25 years of the Used,” declares Bert McCracken, and “celebrate” is the right word. Even if you’ve said goodbye to your teenage emo self, you’re drawn to the Used in full force today. ‘Let It Bleed’ sparks a rapturous dance before ‘All That I’ve Got’ builds to a solemn and sincere singalong, a beautiful moment in remembrance of how we survived the bad times. The frontman knows how to play us with his trademark good-humoured antagonism, slowing, breaking and rebuilding each song before encouraging the old tradition of booing. The Used have found a niche as elder emo icons and reliably put on a show that brightens our blackened hearts.

Less Than Jake

There’s a small corner of the world for whom Less Than Jake are incredibly important, and that segment of the punk population are out in force today. The tent is rammed long before opening classic ‘Gainesville Rock City’, and it’s not pure nostalgia that’s driving us. As Chris DeMakes puts it, they’re “still Less Than Jake”, capable of turning any show into a mini stadium. ‘Lie To Me’ sparks into ‘Johnny Quest Thinks We’re Sellouts’ as beachballs bounce across the pit, and new song ‘Walking Pipebomb’ proves Less Than Jake are still a powerhouse capable of bringing the good times. 

Electric Callboy

We expect maximalism from the Germans, but somehow we were still unprepared for how much they threw at us. For many, Electric Callboy were the band of the festival, and the sight of the vast Main Stage West crammed with neon fans jamming to self-described porno-metal was the stuff that festival dreams are made of. ‘Elevator Operator’ sends the fireworks flying and the highlighted fringes from the dual vocalists flicking as we’re ‘Dancing Like A Ninja’ to their irreverent pop gold. Their brief moments of seriousness are iconic: as they’ve roped in Frank Zummo, ex-Sum 41, on drums, why not drop in a cover of ‘Still Waiting’? It’s the perfect song to resonate with the nostalgic crowd. Equally perfect is their setup for a romantic, campfire cover of Linkin Park’s ‘Crawling’, and the waves of recognition as we get the joke feel like a communal hug. New single ‘Revery’ gets it’s live debut, fitting in seamlessly to a rare set where every single song is a banger. 

Alkaline Trio

Confetti dropped during ‘Hypa Hypa’ drifts into the Monster Stage tent like ashes as the darker corner of Slam Dunk is illuminated by Alkaline Trio. ‘Time To Waste’ sets the tone with greater emphasis on harmony and realism for a very straightforward set with a focus on the music, the same energy they set out on their last album. Far more punk than they’ve been in a long time, ‘Armageddon’ is played with pauses to make the song about our response as vocalist Matt Skiba lets out rough screams on each chorus before ‘Bad Time’ screeches into life, a welcome, chunky addition to their classics. Take away the shiny production, as Alkaline Trio have today, and they’ve still got a punk ethic that hits hard. ‘Stupid Kid’ blends into a ringing, optimistic take on ‘Calling All Skeletons’ before the elder statesmen of the day slow ‘Sadie’ for maximum goth drama. As ever, Alkaline Trio are a black coffee, refreshing and bitter to finish a rich day of music on the second stage. 

Hot Milk

“This song is a social commentary about the state of England: it’s called ‘Gone to Shit’,“ screams Hannah Mee, tougher than she seemed on Hot Milk’s last trip to the South. Sure, the majority of the crowd today are headed to the biggest stages but those who are crammed in for ‘Horror Show’ are loving the intimate set addressed to them, Hot Milk’s intensity razor sharp. As the lights glow purple, she’s clearly entered her goth era, all steely focus for ‘I Just Wanna Know What Happens When I’m Dead’. ‘Zone Out’ gives an opportunity to shows off her pipes for a closeout dark rave that starts a jump for those who feel the emotion that is Hot Milk.

A Day To Remember

The boys from Florida have one mission; to keep the party going for as long as possible. Of course, some festival=goers have called it a day by now, but it’s worth braving the inevitable transport chaos to see A Day To Remember doing what they do best. ‘Bad Blood’ streams into a slapping, assertive ‘Paranoia’, and their take on ‘Rescue Me’ shows they are capable of brining a prettiness to their metalcore / pop punk mashup, their synths lost in smokes and hoards of bouncing inflatables. In some ways, this feels a little understated compared to Electric Callboy, but A Day To Remember are providing what we need right now: an afterparty before the afterparty, a boost of closeout energy. ‘Have Faith In Me’, dedicated to the ladies in the crowd, is uplifting and joyous.

The sense of simple fun that A Day To Remember bring to their show is what makes them such a good final act. We completely embrace their cover of Kelly Clarkson’s ‘Since U Been Gone’ as Cookie Monster crowdsurfs to the front, before ‘All My Friends’ pushes out waves of euphoria across the darkened field. ‘You Be Tails, I’ll Be Sonic’ feels like a metaphor for the whole day: casually presented but the finest quality, occasionally whimsical and always tempting you to slam.  Frontman Jeremy McKinnon dares us to ‘crowd surf on top of a crowd surfer’ during the pop punk life goal that is ‘LeBron’, and that blend of appealing immaturity mashed into the pyro emotional freedom of ‘Resentment’ is what drives A Day To Remember are still a top-tier headliner. 

But first, punk rock barbies Honey Revenge appear with sheepish waves. Stepping away from the safety net of studio production in their coordinated glossy pink outfits, their punk side is far more prominent live. Opener ‘Airhead’ is the sort of bitter pop that Paramore made in their early days, but there’s a serious gut-punch to the bass and funk twinges to the guitar which high-kicks their sound into the present. Agile frontwoman Devin Papadol bounces physically and vocally through candy-coated brutal honesty with ease, and it would take a heart of stone to avoid falling for their vibrant pop punk.

They’re the perfect starter for the endlessly peppy stylings of The Home Team. Vocalist Brian Butcher flicks his glossy mane, snapping between posing and freeing his soul through wails and smiles on ‘Snow Globe’. New song ‘Loud’ is familiar to most of the crowd, and while ‘sweary Maroon 5 sound alike’ was on no one’s bingo card for tonight, there’s something so very likeable in their easygoing energy. 

To quote vocalist Bert McCracken, “at a Used Concert, ‘fuck you’ means ‘I love you very much’”. From the second the radio static intro fades and the first chords of ‘Pretty Handsome Awkward’ slap and sting like a tight elastic band, a companionable antagonism is shared between band and crowd. “Everybody put their middle finger in the air,” screams McCracken as thousands of birds are flipped and take flight as we chant obscenities at him, the words robbed of any power to offend.

The frontman takes pleasure in baiting us, playing the heel with relish and encouraging rejection of concert norms. “I wanna get everyone to let all their anger, frustration and hostility out in one big boo… doesn’t that feel good? When’s the last time you got to boo a band? After the next song I want you to boo your ass off. You all make me wanna throw up in my mouth,” he grins fiendishly before launching into sinister pop punk stylings of ‘People Are Vomit’. Even the newer songs in their setlist are given the villain treatment: every note of ‘The Worst I’ve Ever Been’ is sung through gritted teeth. He spits and drops his mic in disgust, clutches his head as if in agony.

If the cartoonish antics were all there were to The Used’s set, it would be mildly entertaining at best. But, two thirds of the way through, McCracken abruptly drops the act and The Used present themselves authentically. The vocalist acknowledges his struggles with addiction and his mental health (“If there’s hope for someone like me, there’s hope for someone like you”) before an angelic chorus raises the self love disco within ‘Giving Up’. Without the taunts or dark humour, their music blooms as beautifully as the blossom pouring from the skull’s mouth behind them. He tenderly waves a rainbow flag during ‘I Caught Fire’ and something honest emerges in the spaces between each sweet note.

There’s so much unpolished loveliness in every turn of phrase, every twist in the uncut melody. ‘All That I’ve Got’ gains a huge cheer as it lightly steps into our minds, casting ripples in each note. McCracken clutches his heart feeling the same piercing wound from the lyrics that we do in a painful porcelain updraft. They pause for playful antics to salve our aching hearts in the longer, low gravity instrumental break, setting us up for ‘The Taste Of Ink’. Lungs open in time with the blunt chops of guitar and bass before it splinters and avalanches, entangled in our emotions and soft, blue waves of our own singing chill the air. The band discretely exit while McCracken stands alone, finishing with an elaborate bow.

The Used are the embodiment of “it’s not just a phase, Mum.” They begin a circle pit with a word-perfect recitation of a soliloquy from ‘Macbeth’, switching between antagonistic flame-fanning and thoughtful solidarity in the face of internal struggles. Their set encapsulated everything we love about the band, and everything that we’ve faced in the years since we first encountered their music. They have a rare gift of being able to stir numerous emotions at once, and please a far wider crowd than perhaps they first intended to with their still potent and old school emo charisma. 

KATE ALLVEY

“Waking up in a dark place has been such a huge part of my life in the past couple of years,” revealed McCracken, so opening a track called ‘The Worst (Worst I’ve Ever Been)’ with a full-throated crashing metal roar seems a very apt metaphor. ‘Don’t ask me for a fucking favour / I’m not anybody’s goddamn saviour…’ wails McCracken over rock solid bass and guitar chords, rising like volcanoes from the ocean, channelling his frustration over the state of the inside of his brain and how it’s seen from the outside. The fingerprints of John Feldmann, longtime collaborator and producer, are all over this album and if you like the indescribable Feldy touch then you’ll relish what he’s done with The Used’s vision for their post-pandemic record. ‘Numb’, no relation to the Linkin Park anthem, is the quintessential example of this vision; all echoes and layers of electronic desolation with quiet piano interludes to process McCracken’s rhetorical anguish: ‘Does anybody else feel numb?’

In the midst of the unquiet consciousness of this record are moments of hope, and this by no means is a misery album. The open landscape of the pleas on the chorus in ‘Pinky Swear’ are like the patch of blue sky when the clouds part, but it’s ‘Headspace’ that’s destined to be the big ticket track from ‘Toxic Positivity’. With power chords and muscles tensed before the joyful sprint of the chorus, this is a song that trips and stumbles from greatness to greatness. Ironically, it will be a pure dopamine hit for the stadium crowds between the military tapping drums and galactic pauses to send the band’s message of hope into the stratosphere. 

The last thing you’d expect to finish an album which begins with the line “I’m the worst I’ve ever been” is the candy floss tenderness of ‘House Of Sand’. There’s an acceptance of the losses which the band have endured, as we all have over the pandemic, but rather than being bittersweet, there’s this tone of floating above the strife of a riotous life. The swan song, ‘Giving Up’ is a deceptive song that finishes by summarising the whole project; beginning with “Yesterday I woke up wanting to die” progresses to “I’m done with the misery” to “I’m not giving up on me”. We have to remember that this clattering, heartbeat pop punk comes after the most brutal part of McCracken’s mental health struggles and its angelic electronic organ over unrelenting guitar is the sound of his reflection rather than his crisis. 

This is a very courageous record to make. Many songwriters have channelled their depression into music through linguistic tricks and minor chords, but The Used have approached it head on like a matador and wrestled that bull into punk submission. Yes, the only theme explored is mental health, but its an album which they needed to make to exorcise the last few years and exercise their musical muscles, which have not atrophied in the slightest. If you want reflective, strong pop punk with a side of hooks that’ll make you think while you’re slamming, then you’ve come to the right place. 

KATE ALLVEY

Much like the friendly German caterpillar in A Bug’s Life, they’ve undergone quite the transformation over the years whilst still staying true to themselves, slowly evolving from emo heroes into rock giants. Their stunning analogue recorded 2017 album ‘The Canyon’ made its way onto numerous of album of the year lists, with their commitment to growth continually encouraging fans to swarm around them. Brand new record ‘Heartwork’ sees their early sound burst back through the door, spreading themselves throughout the songs to create an album that sounds both fresh and ever so familiar.

That familiar sound shows its face right from the off as soon as ‘Paradise Lost, a poem by John Milton’ begins. Gigantic walls of guitars kick you directly in the teeth, while lead vocalist Bert McCracken slows things down, makes sure you’re OK, and then joins the rest of the band in kicking you again. The chorus melody instantly sinks into your brain, the energy is contagious, and they’ve perfectly summed up what to expect going forwards.

‘Blow Me’ is another slice of nostalgic gold, rife with the classic grit you’d have experienced early in their career. The addition of guest vocals from Fever 333’s Jason Aalon Butler spices things up nicely, placing a thick layer of aggression on top of the already chaotic foundation. ‘Gravity’s Rainbow’ sounds like a cut from ‘Lies For The Liars’, sewing indulgent strings into the fabric to create a warm and weighty delight. ‘Obvious Blasé’ is like a modern day ‘The Taste Of Ink’, and with a little added help from the legendary Travis Barker it utilises a very familiar sounding verse and dangerous eruption of a chorus that’s sure to get live crowds leaping for the sky.

There are a few places where they blend the old with the new with amazing results, showing just how firm their grasp on songwriting has become. ‘1984 (Infinite Jest)’ is dark and brooding for the most part, skulking in and out of haunting passages before McCracken briefly lightens the mood with some hymn-like melodies. ‘Wow, I Hate This Song’ melds some of the most serene instrumentation with some of the hardest hitting in a Jekyll and Hyde sort of setting, jumping from heartfelt honesty to unsettling madness without warning. There’s even an electronically-driven monster in ‘Cathedral Bell’, smothering delectable vocal hooks over pulsing bass and understated drums in a stunning way.

With other surprises like huge pop track ‘The Lighthouse’ featuring Barker’s partner in crime Mark Hoppus, their heaviest track to date ‘The Lottery’ with a furious guest vocal from Beartooth’s Caleb Shomo, irresistibly funky electro vibes and bassist Jeph Howard’s groovy licks in ‘Clean Cut Heals’, and even a bit of hard-hitting spoken word on the title track, it all blends together to create a no holds barred eclectic record. There’s so much variety here and some of it sounds genuinely mental at times, but that’s what they do best. They make madness sound normal.

If this really is your first experience of The Used, it’s a total mystery how you’ve managed to go this long without a taste, but you will undoubtably be left with a deep rumble in your stomach and a craving for more. If you’re not a stranger to them, however, all of the flavours will come flooding back more powerful than ever. The creativity enclosed within this record is a living and breathing entity, emptying endless breaths of fresh air into your lungs as you deeply inhale every last drop.

‘Heartwork’ is a nostalgia-fest intricately woven with modern sensibilities, blending both eras of the band’s sound into one big and bold package. It’s raw and fast in some places, elegant and meditative in others, and occasionally downright bonkers. To put it simply, it’s a truly wonderful piece of art that expertly showcases everything this band is and ever was. The world might be on lockdown right now, but this album will take your head to a place where lockdowns don’t exist – a place full of sunshine, friends, and all the best memories from the good old days. Who doesn’t want that?

DAVE STEWART

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

Despite their midday slot, Petrol Girls kicked off the day with as much energy as if they’d had a prime time slot on the main stage. The entire 30 minute set was a political statement and, regardless of whether there were 5 or 5,000 people listening, lead singer Ren Aldridge was going to say it, and she was going to say it with conviction. Topics addressed included sexual assault, consent, the ridiculousness of gender binary and, as a result of this binary, gender stereotypes. Aldridge spread these messages through her unexpectedly powerful growl – something that initially comes as a surprise, considering her petite frame – and she commanded the stage with dance moves and determined head banging. Petrol Girls brought powerful, feminist punk to the festival and kicked off the day with songs that gave you a lot to think about, simultaneously creating a surge of vivacity in the crowd that was sure to last the weekend. [YB]

The main stage then offered a completely different atmosphere, as from the moment Waterparks took to the stage it was clear to see that they had a solid fan base of people who were more than just a little excited to see them. The band played a set filled with typically American pop punk songs, interacting with the crowd and ensuring everyone was engaged from the first notes to the last – with circle pits intermittently opening up throughout the set, following the band’s encouragement. In reality though, not much encouragement was needed, leading front man Awsten Knight to comment that, “y’all can jump so fucking high”. The band took a break from the overt pop-punk to play something softer and more acoustically driven, and though Knight’s vocals wavered at this point – struggling without the support of his band – the crowd didn’t seem to mind, and it was ultimately still enjoyable. The set was outrageous amounts of fun, even for those towards the back of the crowd who weren’t too familiar with the band, highlighting their natural ability to command the stage and put on a live show. Despite their early time slot, Waterparks brought all the energy that the main stage deserves and set the bar high for the bands that were set to follow. [YB]

Throughout the early afternoon, picket signs had been spotted advertising that ‘Mantra is here’, with the time 2:30. Those that hadn’t already worked it out now picked up on the fact that this was the title of Bring Me The Horizon’s new single – and this picket sign meant a secret set, seeing BMTH’s return to the Reading and Leeds stages.

It’s been a while since Bring Me The Horizon have played any live shows, so their return has, naturally, been highly anticipated by all fans. And what a comeback it was. Despite the late notice, word had spread rapidly and the tent was completely packed out. From the moment they took to the stage for their first live performance of ‘Mantra’, to the last notes of ‘Drown’, circle pits that took up half of the arena intermittently emerged, engulfing anyone that happened to be nearby in a sea of sweat-drenched bodies. It was an insane atmosphere, and one that proved we were all ecstatic to have the Sheffield boys back. The crowd obeyed every command to sit down and jump up, to form a wall of death, and generally just go mental. If this short set was anything to go by, the next album cycle is going to be one hell of a ride, one that all BMTH’s fans should be fast to jump on. [YB]

Following Waterparks on the main stage are Brit horror punk outfit Creeper who, despite still only having one album to their name, have become firm festival favourites – due in no small part to their ability to deliver an outstanding, high energy live performance. Today is no different, as front man Will Gould bounds around the stage with pitch perfect vocals, coaxing the audience into forming pits that cause dust to fly from the dry ground in clouds. Even back towards the sound desk, feet tap and heads nod along to the upbeat riffs and singalong choruses – though with such a limited amount of material available to the band it is a set that’s becoming all too familiar to regular festival goers. The performance, though, is near flawless, and Creeper prove that they have well and truly earned their main stage slot. [GR]

The Lock Up is running around 20 minutes late by the time The Fever 333 take to the stage – a blessing for anyone rushing over from sets elsewhere (us, legging it from the main stage, for example) – with a white sheet covering the stage for the first few moments whilst a hooded figure stands, fist raised, in front. It’s an attention grabbing start from a band who are difficult to ignore and, frankly, you’d never want to – vocalist Jason Aalon Butler and guitarist Stevis Harrison treat The Lock Up tent like a playground, clambering and swinging from anything they fancy. In a lineup dominated by pop and rap, this hard-hitting, heavy set is a breath of fresh air for rock and metal fans – especially with such powerful execution. The Fever 333 may be a relatively new venture for its experienced members, but they’re already making a huge name for themselves in the scene; with emphatic performances like this, it’s easy to see why. [GR]

This year’s set was Yonaka’s second at Reading Festival, and their Festival Republic stage performance highlighted a level of confidence that only comes with having played to such a crowd before. The turn out wasn’t huge, given the early set time, but this didn’t affect the performance in the slightest. The band was engaging from the offset, encouraging the crowd to dance and sing along throughout. Front woman Theresa Jarvis took the instrumental breaks as an opportunity to show off her dance moves, before blowing us all away with her mighty and controlled vocals. Dedicating the final song, ‘Rockstar’, to “the dreamers”, Jarvis requested that we crouch down and jump up in classic festival style, as the band jumped along with us enthusiastically and without inhibition. Whether you’d previously heard of Yonaka or whether you were there out of luck, or even because you were waiting for another band, there’s no way you could have found yourself feeling anything but pure joy as you took in the scene in front of you and admired everything this band has to offer. [YB]

Australia’s Trophy Eyes take up a slot on The Lock Up only weeks after the release of third album ‘The American Dream’, and the band understandably choose to focus their half hour set on these newer tracks. From the song with 2018’s greatest key change, ‘Lavender Bay’, to the more unexpected and delicate ‘Broken’, it’s a beautifully balanced set designed to appeal to a festival crowd – though the couple of older tracks and closing number ‘You Can Count On Me’ are received by fans with rapturous joy. John Floreani’s vocals aren’t always perfect as he dances around the stage, and he’s hampered by a few technical issues, but his voice is so filled with feeling that it’s easy to overlook any minor flaws. It’s fantastic to see this hugely talented band begin to get the recognition they deserve; bigger stages are surely in their future. [GR]

The evening’s entertainment began at the Radio 1 stage with The Front Bottoms, a truly delightful folk driven band who are no strangers to the Reading and Leeds stages – although front man Brian Sella admits he can’t remember a single thing from three years ago, when they last played the festival. This set was an opportunity to make new memories, and from where the crowd was standing at least, it’s almost certain that this was going to be a set to remember. With crowd members that were there solely to see The Front Bottoms, and who sung along to every word without hesitation, this New Jersey band have clearly made a name for themselves on our side of the pond. Bringing with them a multi-talented touring band, one woman in particular frequently switched between playing the violin and the trumpet, completing the live sound and adding that little something extra to take The Front Bottoms from being good, to being really bloody excellent. The set was fun and carefree, causing the widest of grins to appear on everyone’s face, and with the setlist being made up of old favourite such as ‘Twin Sized Mattress’, newer releases such as ‘Vacation Town’, and everything in between, there was something for all fans to enjoy. Having witnessed a full-length TFB headline show before, the only criticism would be that it simply ended too soon. [YB]

Back at The Pit/Lockup stage, fans of La Dispute remained patient despite the late start and welcomed the Michigan post-hardcore band with roaring cheers. Before the first song had even drawn to a close, lead singer Jordan Drayer had made his way into the crowd, urging fans to desperately yell their favourite lyrics into the microphone on his behalf. By song two a circle pit had opened that never really closed, as audience members let the music take over. Hearing La Dispute on record, you might not immediately see how Drayer’s vocals would translate well to the live show – but when supported by his talented band, it somehow works extremely well. The tones in his voice have a way of making you feel the despair along with him, evoking an empathic response that’s difficult to control and has you fully immersed in the music. Prior to leaving the stage, Drayer showed his gratitude, blowing kisses to the audience and holding his hands together, reflecting the sentiment that was clearly floating through the crowd. [YB]

Following La Dispute’s late arrival, The Used took to the same stage 30 minutes late to a much less patient crowd than greeted their predecessors. All was forgiven, however, as soon as Bert McCracken and co. launched into ‘Take It Away’, and what followed was an intense and entertaining throwback to the early 2000s, just for the “hardcore fans”. It’s clear from their performance that The Used have been doing this for 18 years, showing no signs of nerves as McCracken launched into a Shakespeare soliloquy – requesting a circle pit to go with it, a “first at Reading”, to which they obliged without hesitation. These are guys who know exactly how to put on a show and the audience was lapping it up unquestioningly, screaming along to every song and cheering at any simple statement that came out of McCracken’s mouth (including personal favourite, “Fuck Donald Trump”). Following a weird yet wonderful cover of Sixpence None The Richer’s ‘Kiss Me’ the commands returned, as we were told that “there’s no one more excited than a little kid, so let’s all be little fucking kids again”, after which came a wall of death. Naturally. For ‘A Box Full of Sharp Objects’, the final song of the set, McCracken introduced Fever 333, who had played a set earlier in the day. It was an even more hectic end to what had already a hectic set, and ended the band’s return to the Reading stage as you would only ever expect from such a seasoned rock band. [YB]

If there’s one thing that you take away from seeing Nothing But Thieves, it’s how unbelievably beautiful front man, Conor Mason’s, vocals are. From start to finish, he never once falters, captivating everyone in the packed out Radio 1 tent with his mind blowing range. It seemed that the band were just as excited to be there as we were to have them, with Mason stating, “I’ve come down from the adrenaline rush and it makes me look like I’d snorted a fat line”. What that means, exactly, is still to be determined – but it sounded like he was really fucking happy with his current situation, and based on the crowd’s response, he had every right to be. The band opened the Radio 1 stage three years ago, making their way up the ranks rapidly, and they graciously thanked the crowd for their continued support – particularly this evening. The performance was epic in the true sense of the word, with NBT’s huge sound filling the tent and reaching far beyond its confines. This is a band made for the stage; whether it’s the louder, more energetic songs such as ‘Broken Machine’ or slower, sadder ones such as ‘Particles’, every performance is one to remember. Nothing But Thieves will surely only continue to grow, and it would be unsurprising if they’re headlining that same stage in only a few years. [YB]

Main stage headliners Fall Out Boy overlapped with NBT’s performance, but not to their detriment. Their place as festival headliner was questioned by many, but the Chicago four-piece more than proved themselves on Friday night. Their sound, once made for club gigs in back alleys, has now been adapted to perfectly suit the massive production that we were treated to, with even old favourites such as ‘Sugar, We’re Goin’ Down’, ‘Dance, Dance’, and ‘Saturday’ translating well to the giant stage – a clear sign of a band who’ve spent the past few years playing arenas worldwide. From fire shooting out of Pete Wentz’s bass guitar, to fireworks and confetti, to elaborate background visuals; Fall Out Boy’s presence as the final main stage act of the night was easily proven to be well deserved. The band interacted more than is usual for them during a live show too – prompting friends to clamber on each other’s shoulders during ‘Stay Frosty’, pushing us to “be you, do you as loud as you can,” and to not forget that “in 2018 things like this happen”, whilst looking happier than they ever have before.

A definite highlight was Patrick taking his place behind the grand piano to perform ‘Last of the Real Ones’ and ‘Save Rock and Roll’, both which – not for the first time – showed just how incredible his vocal capabilities have become. Patrick isn’t the only one who got to show off though, with guitarist Joe Trohman showcasing his skills during their cover of Michael Jackson’s ‘Beat It’. Following entertaining middle finger visuals throughout the entirety of 2008’s ‘I Don’t Care’, and three more performances of old favourites, ‘This Ain’t a Scene’, ‘Grand Theft Autumn/Where is Your Boy’, and ‘Centuries’, Wentz closed the set with words of gratitude: “You’re our favourite people and this is our favourite place to be so thanks for having us”. The band returned to the stage for a two song encore, accompanied by more elaborate fireworks – and once again proving themselves to be more than worthy of being Reading headliners in 2018. [YB]

It was always going to be tough playing at the same time as the main stage headliner, but though the Radio 1 tent was only partially full, London based Wolf Alice persisted to put on a show full of energy for the fans that showed up. Front woman Ellie Rowsell has a voice that could knock you over with the sheer force of it, her powerful screams and comparatively sweet tones impressing the crowd from start to finish. The talent that oozed from the whole band made the half filled tent even more disappointing, as they most definitely deserved more recognition for the show they put on. For the final part of the set, Rowsell encouraged the crowd to sing along with her: “it’s easy, there’s no words in the chorus. It goes something like *insert unintelligible noises here*”. Of course, it didn’t sound at all like that when the chorus finally kicked in, and what came out of her mouth was far cooler and more beautiful. In fact, Wolf Alice are just a very cool band, acting as living proof that women belong in the rock scene just as much as any guy. The entire set was fierce, and as the band bid us farewell with a cry of, “thank you so much, fucking hell”, day one had finally drawn to a close for Punktastic. And what a finale it was. [YB]

]]> https://www.punktastic.com/galleries/reading-festival-2018-friday/ Thu, 06 Sep 2018 12:44:36 +0000 http://www.punktastic.com/?post_type=galleries&p=218851 https://www.punktastic.com/news/the-used-announce-uk-shows/ Wed, 22 Nov 2017 22:25:04 +0000 http://www.punktastic.com/?post_type=news&p=210360 The Used have announced that they will be playing some UK shows early next year as part of a wider European tour.

The dates will be in support of their seventh album ‘The Canyon’, which was released last month via Hopeless Records.

FEBRUARY 2018
11 NOTTINGHAM Rock City
12 MANCHESTER O2 Ritz
15 BRISTOL O2 Academy 2
16 LONDON O2 Shepherds Bush Empire