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

Beauty School

The timeless longing of ‘The Reaper’ turns a couple of onlookers into a vast, laid-back crowd within minutes, all of us ready to have our pains eased. ‘Old Rotten Teeth’ blooms with nostalgia for the Leeds of their youth, and we’re filled with emotional warmth for Beauty School’s mellow hardcore that’s as rich in sentiment as it is full of hope for the future. 

Reclus.E

They’re the fresh new project that feels like they’re created as timeless soothsayers against the pretentiousness of the world, and Reclus.E make brutal, beautiful post punk that twists into wails. “I’m sorry I’m not an angry man screaming,” laughs vocalist Soren Bryce, but in a lineup packed with just that, her outsider take on the problems of the world makes for an intelligent, appealing respite.

House of Protection

Immersive and charismatic, House of Protection have emerged from the ashes of Fever 333 as a force to be reckoned with. Barely recovered from the heaviness of ‘Pulling Teeth’, vocalist Stephen Harrison directs ‘Learn To Forget’ from the middle of the circle pit, his mic stand a tiny island in a whirlpool of people. Lunchtime surfers flip towards the front for ‘Fuse’, a highlight of an endlessly dynamic and massive set. 

Free Throw

Free Throw’s passion fills out the Axiom Stage as the sun’s rays lengthen. Before they even finish opener ‘Missingno’, there’s no room left. ‘Pallet Town’ conjures memories of streets past as we fan ourselves with the fumes of their regrets and cloud-like choruses send us swaying. We’re dancing our troubles away, fuelled by the knowledge that catching Free Throw was the best decision of the day. 

Banks Arcade

The fizzy anti-boyband chuck sharp riffs at The Cave and we are ready to slam. ‘Move’, from their upcoming release, builds into towering echoes before we’re thrown into screwed depths, and ‘Be Someone’ shows that the sweary Kiwis have a serious side which could lead to some impressive stadium potential. If they keep throwing out heavy electro with their metalcore, we’ll be seeing a whole lot more of these guys on much bigger stages. 

Mallory Knox

We’ll never stop being grateful that Mallory Knox have returned, and ‘Beggars’ instant connection reminds us of why we’re so thankful. ‘Getaway’ provides otherworldly comfort, and ‘Wake Up’ is always beautiful in the way that it can unite so many tribes within the alt world into one huge singalong. It’s the delicacy at the heart of ‘Shout At The Moon’ that proves that Mallory Knox are the masters of both the emotive echo and the festival anthem.

The Wildhearts

We’re very pleased to see these late additions to the lineup, as early shouts of glee attest. ‘Failure Is The Mother Of Success’ keeps it old school, with rip-roaring solos and an easy, accessible energy. As their “celebration of life” rolls on, we’re struck by how it’s the warmth of community and good humour which makes a Wildhearts show such a great experience. We toast to ‘Mazel Tov Cocktail’, jump, laugh, and bark back at Maggie the dog’s brief onstage cameo. 

Arcane Roots

The hotly anticipated return of Arcane Roots is worth eight years of waiting for the payoff. Sirens, strings and delicious slow burn announce ‘A Wave, Across The Sea’. It is ever-changing, living art and we just have to stand back and let it wash over us. We raise our hands to worship ‘Matter’, fully aware that we’re experiencing what could be the Band of The Weekend who’ve used their time away to take their emotional gut-punch to the next level. 

Cancer Bats

We’ve got no time to recover from the aftermath of Arcane Roots or “the brutal sun roasting our flesh,” as vocalist Liam Cormier puts it, because there’s no way we’re missing Cancer Bats. ‘R.A.T.S’ takes everything up to eleven before ‘Bricks & Mortar’ calls down the night and a spring-loaded Cormier commands our pit for ‘Lucifer’s Rocking Chair’. They’re a reliable source of the heaviest noise around, a musical steamroller, and we’re rewarded for our endurance with a Beastie Boys cover and a beachball party. 

Funeral For A Friend

There’s more than a pinch of Trees magic in the air as children with rainbow glow sticks giggle during a proper heavy rock show. “It’s a fucking amazing place to be!” Lucas Woodland grins, having the time of his life. His inclusion in Funeral For A Friend is Trees personified; he’s just as much a fan of the band as we are, and the community spirit between old fans and new, between the band and us, is what makes their set so glorious. Of course, the gorgeous guitar appeal of ‘Bullet Theory’ helps, as does the hypnotic rhythm of ‘Monster’, but this is a set radiating with love from every corner. 

If we have to pick the times where we felt the elusive festival spirit the most, ‘The End Of Nothing’ has to be on the list. After all, it is “a fucking banger” as Woodland puts it, essential and compelling with every riff. Every song bursts with an energy that makes you want to revel in each moment until ‘Escape Artists Never Die’ sends us off to the Silent Disco. “Every time we play on stage, we play like it’s the last time,” the frontman admits, and it’s this beautiful transience which they’ve captured at every turn. 

Words: Kate Allvey // Photos: Emma Stone and Download Festival

The Wildhearts

“Wakey wakey,” Ginger Wildheart yells across the stage, signalling an appropriately loud classic rock kick-off to the day. “We’re here to celebrate life!” The frontman’s zen optimism on ‘Failure Is The Mother Of Success’ and thundering Motorhead energy on ‘Suckerpunch’ beams through the cloud to brighten the morning for the Wildhearts fans who are out in force already. The surprise appearance of Maggie the Border collie is sweet, but ‘Diagnosis’ is the rousing and, in light of the vocalist’s recent cancer diagnosis, emotional highlight of the set.

South Arcade

The fizzy viral band are proving that they really do have some serious Y2K chops as ‘Supermodels’ draws the midday mosher crowd with its pep and pyro. South Arcade are rough, ready and eager to start a shoutalong on ‘Danger’, their freshness and passion a bright spot in the early part of the day. ‘Superman’s relentless shred and gleaming positivity sends surfers flipping over the barriers in force, much to South Arcade’s confusion and delight.

Landmvrks

We’re practically running to the Apex stage to catch the burst of energy that is Landmvrks and their snappy French metalcore, equal parts graceful and grating. It’s their Download debut, and they’re practically skipping with genuine glee at dropping ‘Blistering’. Their new song, ‘A Line In The Dust’, is evocative and destructive, with layers of melancholy beauty in the chorus, and ‘Sulfur’s delicacy amid all the distortion is what keeps us hypnotised. 

Die Spitz

Die Spitz are instantly intriguing, whether they’re thrashing or creating waterfalls of layered elongated sentiment. ‘My Hot Piss’ is so raw and so complex that we’re looking on in wonder as they’re constantly dipping between dark grunge tuning and a healthy dose of female rage. It’s when the punk-ish elements are pushed to the foreground that we’re treated to the full breadth of what these searing outsiders can offer. 

Black Veil Brides

The sun might be shining, but Black Veil Brides exist in a plane of perpetual midnight. From the confident and captivating ‘Knives and Pens’ to the masterfully vampiric corrupting howls of ‘Bleeders’, we’re enthralled, screaming along from the front to the far reaches of the field. They’re focusing on their latest record today, and ‘Hallelujah’s all sacrilegious drum-driven fury that hits hard. The rolling thunder of ‘Vindicate’ gives as renewed energy from a band always bettering themselves with every show.

Mouth Culture

Open and expansive, Mouth Culture are the kind of beautiful soundclash which keeps you on your toes every Download. ‘Everyday’ ushers us into an evening vibe with its ‘lighters up’ moment and provocative attitude. The crowd spills out from beyond the Avalanche tent by the time they drop ‘Don’t Pull Up’, drawn to the lighter end of the musical spectrum on display from Mouth Culture. While Download might not exactly be their home turf, Mouth Culture know how to win fans and influence people with a set that feels far too short.

Melrose Avenue

Melrose Avenue sound like the future, and we didn’t even realise it until halfway through their set. ‘Taste’ rushes and chimes, but it’s on ‘Inside Your Mind’ that the Aussies really start to hit their flow with one eye on the stadium rock . By the time they’ve reached ‘Cemetery Friend’, all blunt drum solos and raving metalcore, the Avalanche tent is packed and we’re convinced they’re going to be the next Parkway Drive. The newest song, ‘Bad Guy’, is a huge shredder of a track, but they’re more than capable of keeping it soulful on tracks like ‘Through Hell’ in case we need even more convincing. 

Babymetal

Last time they tried to play Download, Babymetal were rained offstage. This time, we’ve sacrificed an emo kid to the Fox God and the weather is just as glorious as their set. The energy on ‘PA PA YA!!’ is perfect; absolute festival gold and the culmination of a journey towards being taken seriously. The entire crowd have completely bought in to the Babymetal phenomenon and we’re whirling our shirts over our head for every second of ‘METALI!!’ Playful, unapologetically different and here to hype us up, the living anime goddesses don’t disappoint for a second.

Marmozets

The metal offspring of X-Ray Spex enter with a theatrical wail and the promise that if you don’t like their style, another genre of music will burst into their next song. ‘Mes Désirs’ is delightfully unpolished and after the gloss of a lot of the bands today, we’re relishing Becca Bottomley’s vocal whirlwind. She pirouettes above us as the determined pit grows to encompass the whole tent as ‘Move, Shake, Hide’ provokes a riotous party that kicks us into the evening.

Hot Milk

And the award for ‘Set Where You Have No Chance Of Getting Close To The Stage’ goes to the Mancunian duo embracing their dark side once again. “We’re gonna make this tent look like the best place to be in the whole festival,” Han Mee declares and she achieves it and more during the Nightmare Version of ‘Candy Coated Lies’. Our hands are raised and our sense of community is through the metaphorical roof as she lays her past bare on ‘Breathing Underwater’, a song which never loses its emotional impact no matter how many times we’ve heard it. Hot Milk’s set will be a massive highlight of the weekend for their growing fans, and we can expect to see them on a much bigger stage next time. 

Architects

The biggest clash of the weekend divides the crowd between those camping in the main field and the vast swathe of those jammed in for the sophisticated sound of Architects. It’s a set with unfortunate pauses and emotional confessions, but the memory of ‘Elegy’ blooming against the sunset to create an emotive and desolate scene is what will stick with us. ‘Whiplash’ is the sound of possibility, made to be played against open skies before ‘Doomsday’ feels like a sonic exorcism. It’s ‘Black Lungs’ with proves to be circle pit nitro and by the time they play ‘Blackhole’, we’re going absolute nuts, screaming our release to the stage. Raw yet considered, Architects present an all-consuming vision of their sound which magnetically attracts their half of the festival. 

Guns n Roses

Let’s be real for a second; Guns n Roses, a band in their sixties, were never going to put on the kind of show they did in the eighties, and planning a three hour career-spanning retrospective would be an ambitious move for any band of a certain ago. What we got instead of nostalgic cringe was professionalism, gorgeous vibes on the big hits, about a million shirt changes from Axel, a lot of filler that only the hardcore fans would delight in… and, most surprisingly, a moment of pure honesty. 

As an opening salvo, a blistering rendition of ‘Welcome To The Jungle’ can’t be bettered, and anyone who doesn’t get a few goosebumps during their cover of ‘Knocking On Heaven’s Door’ has to be slightly dead inside. Just hearing ‘Sweet Child O Mine’ live feels like a personal accomplishment and getting to see Slash do his thing is a bucket list item for all the guitar worshippers in the crowd. ‘November Rain’ will always pack one hell of a massive punch, and social media reveals at least three couples got engaged during that song. However, it was a quiet little cover of Jimmy Webb’s ‘Wichita Lineman’ that knocked us though. For five minutes, there was no posturing or image; they were just a really good band playing an old country song about loneliness, and it felt like they had revealed more about the men behind the icon label in those short seconds than we’d seen in years.  While their set might have disappointed some who were hoping to see their heroes turn it up to eleven, there was a lot to love and a lot more to respect about Guns n Roses’ set.

KATE ALLVEY

Words: John Layland; Images: Matt Higgs

Higher Power

Flow tests completed, wristbands acquired and tents hastily thrown together, Punktastic are off into the arena just as Higher Power take to the main stage. The hardcore punk outfit from Leeds have drawn quite a crowd in the early afternoon sun, too, and lead vocalist Jimmy Wizard has no trouble immediately getting them up on their feet, waving their arms in the air to the beat of of his brother Alex’s kick drum.

Despite being one of the few punk acts on a bill dominated by metal, their sound goes down extremely well with Bloodstock’s audience – no doubt at least partially due to the raw enthusiasm and fusion of styles of guitarists Louis Harper and Max Hardy, who throw out riff after riff, seamlessly fusing hardcore punk with elements of thrash metal and funk. It’s a combination that leaves all of us wanting more, even as their relatively short set draws to a close.

Venom Prison

There’s no time to be disappointed though, as after a short changeover it’s time for Venom Prison, who sound absolutely savage from the second they emerge, accompanied by blasts of flame from the front of the stage. The sheer ferocity of drummer Joe Bills blast beats alone would be enough to leave you reeling, but combined with Larissa Stupars incredible guttural death metal vocals, Venom Prison prove themselves to be more than a force to be reckoned with. It’s no wonder they’re earning a reputation as one of the genre’s hottest UK acts, as their performance here at Bloodstock is nothing short of devastating.

Ginger & The Wildhearts

After taking such a battering to the senses, Ginger & The Wildhearts’ brand of straight up punk rock goes down an absolute treat in the afternoon sun, with feel good hits like ‘I Wanna Go Where The People Go’ and ‘Vanilla Radio’ giving the audience something to sing along to, their fists pumping the air to the beat.

An old hand when it comes to working a festival crowd, Ginger even has the staff in the burger tents in front of the main stage dancing along by the time they’re finishing things off with ‘Love You ’til I Don’t’.

Skindred

A set from Newport destroyers Skindred is always a safe bet for a good time at a festival and that’s never been more true than it is today. From the instant their hip-hop infused Imperial March intro music hits, the groove in the audience starts to build, finally exploding in full force when Benji bursts onto the main stage and Mikey Demus slides his way into the opening riff of ‘Stand For Something’.

On form as always, Skindred deliver hit after hit – from old favourites like ‘Rat Race’ to newer tracks like ‘That’s My Jam’, and never once is the atmosphere anything short of electrifying. Before they’re even halfway through their set, Benji has the crowd well and truly eating out of his hands, and they positively erupt when the band veer away from their own material briefly and pay a fitting tribute to both Joey Jordison and Eddie Van Halen with a dubstep remix of ‘Duality’ and an infectious mash-up of ‘Jump’ and ‘Jump Around’ by House of Pain. A few songs later and it’s unfortunately time to say goodbye, however Skindred have one last memory left to leave us with – because there’s no sight quite like a field full of denim jackets raised to the sky, being spun maniacally in what must rank as one of the heaviest Newport helicopters of all time. It’s a set that leaves smiles on the faces of everyone involved, smiles that last long after they’ve queued at the bar and prepared themselves for tonight’s headliner.

Devin Townsend

Despite having been in quarantine for ten days and only having played one warm up gig with his entirely new, all-British band in preparation for tonight’s performance, progressive metal master (and everyone’s favourite Canadian) Devin Townsend is at his absolute best this evening. After greeting the Bloodstock crowd with his usual endearing and eccentric self deprecating sense of humour, the final set of the day is kicked off in style with a raucous rendition of ‘Aftermath’ by Strapping Young Lad.

Despite their lack of rehearsal time as a band, Stephen Platt, James Leach, and Darby Todd seem to have everything locked in very nicely as the band head into some Devin Townsend Project material with ‘Kingdom’ and ‘By Your Command’. They never falter even once, despite the challenging nature of some of the songs, all of which were chosen by the Bloodstock audience for this ‘By Request’ set.

The sound is easily the best of the day so far too, perfectly showcasing every nuance of each song; from the grinding industrial attack of ‘Love?’ to the ambient wash of tracks like ‘Deadhead’, not a moment is missed. As always with Townsend, no performance is complete without a little comedy either – be it a guitar duel against an intergalactic puppet, a headbanging elephant, or his own refusal to take himself seriously, his unique charm helps make this performance as endearing as it is musically impressive. 

After one final blast from Townsend’s Strapping Young Lad past (complete with aforementioned headbanging elephant), the band bring Bloodstock’s first day of music to a triumphant close with the suitably spooky ‘Vampira’, and in the process set an incredibly high bar for everyone who has to follow. It might be Friday the 13th, but there’s absolutely nothing unlucky about what happened at Bloodstock tonight.

Click here to view the full gallery for Bloodstock Day One

It’s a day that’s also hampered by some fairly temperamental weather that results in delays and stages closures, the expert handling of which truly demonstrates the quality of this festival and its team. It inevitably leads to a little frustration, but that’s swiftly tempered by some of the most outstanding sets Bloodstock has witnessed so far – controversial headliners and all…

Words: Gem Rogers / Photos: Matt Higgs

At first glance, Cancer Bats are a bit of an oddity this weekend – a hardcore band at a metal festival is definitely unexpected. They’re also a band not used to playing so early in the day, as vocalist Liam Cormier highlights (“did any of you even sleep last night? Because it is early…”), but they are one hell of a wake up call. Pulling out half an hour of raging, heavy hitting tracks, they are the definition of fury and fire, generating plenty of energy in the crowd despite the howling winds and rain. Finishing up with a gigantic singalong rendition of ‘War Pigs’ to keep the metalheads happy, any doubts about their place on this stage can be swiped away – if you love heavy music of any genre, a Cancer Bats show is the place to be.

Glaswegians Lotus Eater were a late addition to the Bloodstock bill after a few last minute dropouts, and what a welcome addition they are. The Sophie tent isn’t the busiest for this set, yet when they beckon everyone forward, it works immediately – whether the crowd are motivated by enthusiasm or mild fear of these ferocious Scots isn’t entirely clear, but they’re definitely worthy of the movement. Best at their weirdest and most technical and with some delectably meaty breakdowns, Lotus Eater aren’t here for hugs and rainbows. They want you to get fucked up, and they’re going to do everything they can to make it happen; it’s brutal in the best way, and Lotus Eater is sure to be a name we hear more of in future.

Over on the main stage, things are getting weird this afternoon. Really, really weird. Once witnessed, Evil Scarecrow are a band that can never be forgotten, with their near annual appearance at Bloodstock earning them the title of house band – and despite grumblings about the regularity of their bookings, it looks like the entire festival has turned out for this absolutely absurd set. The ever increasing wind has taken its toll on their planned stage show – pyro is very much out of the window – and there’s a few sound issues with absent vocals and, well, absent everything at times, but with crowdpleasers like ‘Hurricanado’, ‘Robototron’, and ‘Crabulon’ getting thousands of people participating in ridiculous spins and scuttles, alongside a guest appearance from the spectacular twelve year old Alfie, it barely matters that any kind of musical quality has vanished. It’s utterly fucking ridiculous both on paper and in person, and we wouldn’t have it any other way. Ready? Crabulon, crabulon, crabulon…

Australian metalcore mob Thy Art Is Murder bring the rage back to the main stage after the daftness of Evil Scarecrow – though vocalist CJ McMahon still brings plenty of humour into the set, along with criticisms of our “fucking shit weather”. He’s not wrong, to be fair. Despite their incandescent music, the set does lack a little energy and excitement after Evil Scarecrow, and interest tails off a little, but it’s a mercilessly loud set delivered with precision – and when McMahon demands “500 crowdsurfers”, the final tally can’t be too far off it. It’s not the most memorable set of the day, but Thy Art Is Murder have proved their worth nonetheless.

Another last minute addition to the bill, The Wildhearts seemed to have been well received by the masses upon their announcement, but the crowd assembled at the main stage is one of the smallest of the weekend. Granted, this is probably the least ‘metal’ act the main stage has seen across the three days, with their brand being more radio-friendly classic rock – but when it’s a band with such a legendary status as this lot, it’s surprising all the same. The seeming lack of interest in the set – aside from a very enthusiastic front few rows – doesn’t help what turns out to be a proficient and superb quality, yet ultimately underwhelming set for this time of the day. Given a bit of sunshine instead of these howling winds, perhaps things might have gone down a little better – as it is, we can’t blame most of the crowd for having wandered elsewhere.

For a time, it looks as though The Wildhearts may have, by default, gained the title of Saturday night headliners. The weather is no joke – the screens by the main stage have been lowered all day due to the gales, and soon after The Wildhearts’ set, Bloodstock are forced to shut down the main stage entirely. A few reshuffles and a lot of hard work from the festival team later, we’re ecstatic that the festival is able to continue, with Anthrax taking to the stage around an hour late. It is, of course, well worth the wait; the legendary thrash metallers are kings of the stage and the set feels absolutely jubilant (not just because we’re thrilled the main stage’s day isn’t over yet after all). It’s a positive riff-fest from a band who are still on form after nearly 40 years when so many others have faded away – and it seems somehow fitting that this set from old masters should lead into one of metal’s newest headliners.

There can be no doubt about the fact that the announcement of Parkway Drive back in February prompted some fairly heated discussion online. Too young, too trendy, too metalcore; it seemed there were many who not only deemed the Australians unworthy, but they were determined to make it known, too. When it comes to this headline set, then, what of those words of discontent? Well, if indeed any were still floating around by the end of this showstopping, jaw dropping hour and a half, they can only have been used to stoke more of the flames that drenched Bloodstock’s main stage.

Entering through the crowd surrounded by flames and hooded figures, opening track ‘Wishing Wells’ showed not only Parkway Drive’s flare for dramatics, but their stunning musicianship, too. Winston McCall’s ominous vocals cut cleanly through the night air before the track erupts with a furious roar, and the crowd are all too eager to join in – the chaos is immediate and sublime, and every last person with a view of the main stage is lapping up the fury and excitement.

Every moment of this set is as memorable as the one before it, with infectious madness sweeping through the field to the rage of tracks like ‘Vice Grip’, ‘The Void’, and ‘Dedicated’, not to mention the riff-singalongs for ‘Wild Eyes’. When time to breathe finally comes, it’s in the form of the stunning string quartet accompanied ‘Writings On The Wall’ and ‘Shadow Boxing’, no less captivating for their less riotous nature.

If any energy remained in the crowd by the time the flames are fully ignited for the encore, it is surely gone by the end of the double hit of ‘Crushed’ and ‘Bottom Feeder’ – bodies pour over the barrier, and the instruction to “snap your neck to this” taken probably rather too literally. Neck braces for Sunday, anyone?

The flames and the spectacle Parkway Drive bring are stupendous, but what’s clear is that they are only props for a band who could already dominate the largest of stages and crowds with their music alone. We have been witness to something special this evening, and this will by no means be the last time we see this band headlining a festival stage. Parkway Drive are coming for the world, and they will take it.

Now in its 18th year, Bloodstock is truly an intrinsic part of the metal community, with over 100 bands taking to its stages over the weekend – including winners of their expansive, nationwide Metal 2 The Masses roadshow, providing a platform for the very best in new metal.

Set in the grounds of Catton Hall in the Midlands, the festival’s size means that Bloodstock has a fantastic, laid back vibe – yes, bin jousting still counts as laid back – whilst still drawing big names to the main stage, with rising stars Sabaton and Parkway Drive taking headline slots alongside heavy metal/hard rock legends Scorpions. For those who grow frustrated with the endless hikes between campsite and stage at other festivals, there’s no such issue at Bloodstock – and to top it off, there’s plenty of delicious food on offer, and a significantly superior selection of beers and ciders (especially for those in VIP, with their own ‘beer festival’ style bar).

So with all this to look forward to and only a few more days to wait, here’s our selection of the bands you definitely shouldn’t be missing this weekend!

THURSDAY

Footprints In The Custard

Sophie Lancaster Stage, 19.30

Although proceedings technically kick off on Friday, Bloodstock have seriously upped their game for Thursday evening entertainment this year. The Manchester band are every bit as fun and ridiculous as their name implies, and you don’t need to know their songs to have an absolute blast watching these guys – make sure your tent is up in time to grab a beer and head down to the Sophie Lancaster Stage for this set.

Rotting Christ

Sophie Lancaster Stage, 21.45

A seriously prestigious band to be taking to the stage on Thursday night, Rotting Christ will be one hell of a way to kickstart the weekend. Their often melodic but still utterly haunting (and occasionally borderline horrifying) black metal will send shivers down your spine and blast your eardrums into outer space; their name is metal as fuck, and so are they. This is sure to be an unforgettable hour.

FRIDAY

XERO

Hobgoblin New Blood Stage, 10.30

The first band to take to the New Blood stage this weekend, Newcastle-originating four piece XERO deliver mystical, groove-infused metal topped off with silky vocals from front woman Steff. Super melodic and powerful with a dose of prog to make for an interesting and unique sound, there’s plenty here to appeal to almost all metal fans, and get Friday off to a great start.

Death Angel

Ronnie James Dio Stage, 12.45

Over on the main stage, things are certifiably thrashy, and Bay Area legends Death Angel are taking the crown with a loud-as-fuck early afternoon mosh session. Often mentioned in the same breath as the Big Four, this will be the perfect remedy for anyone still in mourning after Slayer’s final UK show a few months ago. Get your neck brace ready after this one – you’ll need it.

The Hope Burden

Hobgoblin New Blood Stage, 14.15

Heavy on the atmosphere, Oxford’s The Hope Burden describe themselves as “Coldplay for greebos”. An interesting concept. Their post-metal is all at once dreamy and brutal, with Josh Day’s growling vocals adding a layer of despair to their tracks, that build into almighty, overwhelming climaxes. This will be a set well worth the visit to the New Blood stage.

Children Of Bodom

Ronnie James Dio Stage, 16.10

When much of the country spends a good six months of the year in darkness, it’s not too surprising that Finland has produced some of the best and most intense metal bands in history. Faster than a speeding bullet, Children Of Bodom have one of the most instantly recognisable sounds of any band out there, and their live sets are furiously energetic. Do. Not. Miss. This.

Tesseract

Ronnie James Dio Stage, 17.30

When it comes to ultra-heavy, ultra-technical prog metal, Tesseract are among the kings. Atmospheric and deeply moving, they have truly earned this slot on the main stage, and we wouldn’t be surprised to see them topping the bill in the future; last year’s ‘Sonder’, though taking steps in a different direction to previous releases, was a moody, ambience-drenched triumph of an album from a band who are true masters of creating beautiful, soul-grabbing soundscapes. With riffs aplenty, make sure you’re at the main stage for this set from one of the UK’s best.

Sabaton

Ronnie James Dio Stage, 21.15

This Swedish lot are the perfect example of a band you don’t need to have so much as heard of, let alone listened to, before to enjoy live. Their 2015 set here was one of the highlights of the weekend – and if they brought a tank then, what on earth do they have in their bag of tricks as headliners this year? War-based anthems might not sound fun, but in Sabaton’s hands, they’re nothing short of a party – expect big singalongs to the likes of ‘Primo Victoria’, big riffs, and big fireworks, and come down to the main stage for a thoroughly enjoyable hour and a half in the company of one of heavy metal’s young greats.

SATURDAY

Cancer Bats

Ronnie James Dio Stage, 11.45

Cancer Bats don’t immediately strike as Bloodstock territory, but if there’s one thing this hardcore mob definitely have in common with the rest of the line-up, it’s their unrelenting loudness and fury. And we mean that in a very good way. They are a powerhouse of a band on stage, and an excellent reason to get yourself up early on Saturday – we can never quite manage to get enough of them.

Lotus Eater

Sophie Lancaster Stage, 12.40

There is no better way to describe Lotus Eater than with the words “Holy Shit”. These newcomers have the air of something incredibly special about them, and seeing them tear up Bloodstock’s second stage will be nothing short of a joy. Their thundering, explosive, and technical sound borders on overwhelming, filling every inch of the surrounding air; if you miss this one, you will regret it. Trust us on that.

Evil Scarecrow

Ronnie James Dio Stage, 13.45

Bloodstock is practically Evil Scarecrow’s second home these days, and they are always hugely popular. Bizarre, captivating, and heavy, these guys are ridiculous in the best possible way and put a lot of effort into making an enjoyable performance. After a day and a half of heaviness, this will be a great way to kick back and have a little fun.

The Wildhearts

Ronnie James Dio Stage, 16.10

One of the most melodic rock acts on the main stage this weekend, The Wildhearts have a special place in the hearts of many a metalhead. Front man Ginger has been a constant in the scene for almost thirty years, and they recently released ninth full length ‘Renaissance Man’ – their first new album in ten years. This will be a wildly popular set, hopefully to be accompanied by plenty of sunshine for a classic beer-in-hand festival singalong.

Parkway Drive

Ronnie James Dio Stage, 21.00

Parkway Drive proved to be a bit of a contentious choice for final headliner when they were announced earlier this year, but if anyone can prove haters wrong, it’s this Aussie lot. By far the heaviest headliner of the weekend, their raucous metalcore is usually accompanied by a stage show that is nothing short of spectacular; they are consummate performers, and it won’t be long at all before they’re headlining the likes of Download. If you’re unsure about this one, head down and prepare to have your mind changed – Parkway Drive are one of the best live bands on the planet, and they’ll be happy to prove it to you.

Taake

Sophie Lancaster Stage, 22.40

The final band on Saturday night to take to the Sophie Lancaster stage shortly after Parkway Drive finish up, and these Norwegian Black Metallers couldn’t sound much more different to the main stage offering. Founded in Bergen at the height of the church burnings – events utterly synonymous with this dark and fascinating scene – Taake are as black metal as it comes. Provocative and often controversial, this set will be a masterclass in the genre.

SUNDAY

Harbinger

Ronnie James Dio Stage, 11.00

This year’s edition sees Bloodstock packing plenty of appeal into the early slots to tempt everyone out of bed early – and though 11am on Hangover From Hell Day (aka Sunday) seems like an immeasurable task, London’s Harbinger will be well worth the crawl from tent to stage. This superb tech metal five piece will melt what’s left of your brain and blow away even the faintest hint of cobwebs – and then maybe early starts won’t seem so bad after all.

Fallen Temples

Hobgoblin New Blood Stage, 12.00

Bringing some sensationally massive riffs to the New Blood Stage, Cardiff three-piece Fallen Temples also come complete with some sublime harmonies and enough groove to get even the most reluctant of feet moving. If your head is still pounding, these guys will ease away any lingering pain and put a smile back on your face.

Soilwork

Ronnie James Dio Stage, 13.45

Melodic death metallers Soilwork have undergone a huge evolution since debut ‘Steelbath Suicide’ was released in 1998. Eleventh album ‘Verkligheten’ – their first release since the departure of drummer Dirk Verbeuren – has a much more classic heavy metal feel than their thrashing early melodeath, echoing front man Bjorn Strid’s ‘The Night Flight Orchestra’ project, but they are no less masterful. Titans of the metal scene, they are unforgettable live – 45 minutes is nowhere near enough time for a band with such a colossal back catalogue of gems, so we’ll just have to headbang all the harder to make up for it.

Dimmu Borgir

Ronnie James Dio Stage, 19.15

Dimmu Borgir are truly unique. Black metal and classical music? Together? Surely not. Nobody does symphonic black metal quite like these Norwegians (of course they’re Norwegian), and it’s as huge and dramatic as you expect it to be on stage. Leaning much more heavily on the ‘symphonic’ than the ‘black’ in recent(ish) years and having released only two albums in the last ten, they are nonetheless an imposing force, and this is guaranteed to be a spectacular hour.

Eluveitie

Sophie Lancaster Stage, 22.40

Winding down the weekend with one of the best folk metal bands around is sure to be a hit this year – there are annual cries for more folk from Bloodstock fans, so Swiss group Eluveitie will be a glorious finale to an exhausting three days. With a frankly mad number of members covering all manner of instruments, including whistles, harps, and violins, this is true and spiritual folk music, pulling heavily on Celtic mythology and infusing it with some heavier elements. If you can battle your exhaustion to make it to this late set, you will be well rewarded.

Both weekend and day tickets for Bloodstock are available here – we’ll see you there!

The tour will see each band play full sets and a rotating line up for each date. The latest material from each band is as follows; last year Reef released the single ‘How I Got Over’, whilst the most recent effort from The Wildhearts is their 2009 eighth album ‘¡Chutzpah!’ on Backstage Alliance.

As for Terrorvision, their last album was 2011’s ‘Super Delux’ on Townsend Records.

https://m.youtube.com/watch?v=N69zFXwo4SM

MAY 2018
04 MANCHESTER Academy
05 BIRMINGHAM
06 LONDON Eventim Apollo
19 GLASGOW O2 Academy
20 NEWCASTLE O2 Academy
24 LEEDS O2 Academy
25 BRISTOL Motion
26 PORTSMOUTH Guildhall

The tour will see each band play full sets and a rotating line up for each date. The latest material from each band is as follows; last year Reef released the single ‘How I Got Over’, whilst the most recent effort from The Wildhearts is their 2009 eighth album ‘¡Chutzpah!’ on Backstage Alliance.

As for Terrorvision, their last album was 2011’s ‘Super Delux’ on Townsend Records.

https://m.youtube.com/watch?v=N69zFXwo4SM

MAY 2018
04 MANCHESTER Academy
05 BIRMINGHAM
06 LONDON Eventim Apollo
19 GLASGOW O2 Academy
20 NEWCASTLE O2 Academy