Free Throw are determined to our celebratory instincts. ‘The Corner’s Dilemma’ grinds like a skateboard on a rail, Cory Castro ripping his throat raw as we slide into the grainy comfort of ‘Pallet Town’. Lulls make room for claps and air punches, then jolting into a wider scope on ‘My High’. Each song the band chucks our way feels wiser than the one before, and ‘Mike Nolan’s Long Weekend’ grows with a taut, hard-won charm. Their “old one,” ‘Tongue Tied’, tumbles into raw fan connection and a touch of guitar solo silliness, and the way they weave in between roars and tempo shifts makes for an impressive appearance. The rapturous sway to ‘Two Beers In’ cements their status as heirs apparent in this space, and if The Wonder Years are passing their torch to anyone, it has to be to Free Throw. 

Without a fanfare, The Wonder Years make an understated entrance, a soft cheer for each member as they wander silently onstage for the title track of ‘No Closer To Heaven’. Playing an album in full has become such a staple of aging punk bands as to now be a cliche, but that’s not to diminish the joy of hearing your favourite record outside of your headphones in the form that the band always intended. That’s exactly what The Wonder Years deliver, and as Soupy’s vocals blur into ours on ‘Cardinals’, each rough shred landing with a cratering impact, we have to fully appreciate what they accomplished with this glorious album.

We feel closer to the band than ever before, as the frontman shares the story of despair behind ‘A Song For Ernest Hemmingway’ as part of his followup to ‘The Greatest Generation’, we find each hard narrative smacks harder with each applause-soaked micro chapter they play. Vignettes of bass underwrite the unearthed road struggles, the sentiment still fresh on ‘Thanks For the Ride’. ‘Stained Glass Ceilings’ sees swears spat across the room while we pause to contemplate the beauty of the sincere message pouring from every chord as timelines and past and present collide. ‘I Wanted So Badly To Be Brave’ sparks vulnerable orders and evocative fast paced yells as a staked message of hope before ‘You In January’ and its rough and tender acknowledgement that life is complicated. The cycle is completed with ‘Palm Reader’, and we’re left satisfied having enjoyed the entirety of The Wonder Years’ vision.

“As you heard a few moments ago, I am forty goddamn years old,” Soupy exclaims. It’s his birthday today, and he’s blowing out his birthday candles onstage. “We need time to rest, we need time to rest, to stretch this thing out and come back stronger than ever.” Collectively our shoulders unclench with the knowledge that tonight is not a goodbye show, and now the retrospective is over, we’re ready to party. We jump to the unadulterated punk joy of ‘Passing Through A Screen Door’ and holler as ‘Don’t Let Me Cave In’ resonates through the crowd. The photographic memories in ‘Wyatt’s Song (Your Name)’ flit across our vision, joining with ‘New Lows’ to create the background gallery to the record with piercing guitars and thunderous buildups. The absolute pinnacle of the snap on the chorus of ‘GODDAMNITALL’ is perfection before the home run of ‘Came Out Swinging’, a churning party that flings us home with each twang and pebbled beat in an all consuming extended singalong.

So, our nerves were unfounded, and it was only a see you soon show. However, “only” feels diminutive of the raw parade that The Wonder Years put on to showcase ‘No Closer To Heaven’. It’s a deeper spectacle than we expected, and a closer performance from a band will prove they still have a lot to give when they return from hiatus.

KATE ALLVEY

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

As Everything Unfolds

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

The Dangerous Summer

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

Honey Revenge

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

As December Falls

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

The Red Jumpsuit Apparatus

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

Head Automatica

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

One Step Closer

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

RØRY

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

The Skints

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

The Blackout

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

Mallory Knox

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

Against the Current

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

The Ghost Inside

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

La Dispute

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

Asking Alexandria

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

Pennywise

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

Funeral for a Friend

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

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

Goldfinger

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

The Wonder Years

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

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

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

You Me At Six

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

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

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

The rolling hills of the Cotswolds are looking particularly enticing as pundits first start dragging camping gear (not to mention copious amounts of booze) through the fields of Upcote Farm. Dew-dappled grass graciously makes way for polyester ground sheets, the spongy soil hugging tent pegs, willing to play their part in providing a haven for thousands of heavy music fans to rest their no-doubt-pounding heads.

Buckle up then! The bands are about to start, and there’s plenty of fun to be had, kicking off with…

Words: Aaron Jackson.  Images: Paul Lyme and Penny Bennett

Gaffa Tape Sandy

Not even an errant wasp making their way past security and getting up in vocalist/bassist Catherine Neilson’s business was enough to stop this Brighton-based trio from missing a beat in their set. A punchy thirty minutes of easy punk marked a fantastic start to what was about to be a very busy, very loud day.

The beauty of Gaffa Tape Sandy is simply in the accessibility of their music. Each song coming with its own hook kept heads nodding and toes tapping throughout a crowd that just kept getting bigger after every song that the band rattled through. Standout performances came in the jaunty ‘Beehive’ and ‘Headlights’, the call and response between Neilson and vocalist/guitarist Kim Jarvis a perfect marker of the synergy throughout the band. A perfect gateway, not just for this year’s 2000trees festival, but for heavy music in general.

Ithaca

Taking full ownership of the festival’s biggest stage with a confidence that filled the space, one can’t help but feel like Ithaca are in their element. Fronted by the tour-de-force that is Djamila Boden Azzouz, the London five-piece cut a powerhouse image and on that Thursday afternoon especially, they meant business.

Showcasing a well-balanced setlist, with plenty of cuts from Punktastic’s number one album of 2022, ‘They Fear Us’, the likes of ‘The Future Says Thank You’ and ‘Camera Eats First’ were delivered in emphatic fashion, performed unflinchingly by each member. A mention must go to guitarist Sam Chetan-Welsh who flawlessly executed intricate riffs with an apparent ease that was just such a treat to watch. Most important, of course, is the message that Ithaca promote, with Chetan-Welsh taking a moment in between melting faces to speak on the importance of health, growth and positive change. Ithaca are a band with bigger things on their mind than their already colossal music – long may it continue.

Graphic Nature

One of the most exciting outfits of the UK hardcore scene, Kentish quintet Graphic Nature brought their brash brand of nu-metal to The Cave stage and threatened to bring the whole thing down on the first day. Texturally rich thanks to electronic backing elements bedded underneath obscenely down-tuned guitars, this lot sounded brutal in the best way possible. Cuts like ‘Killing Floor’ and ‘Sour’ from this year’s debut album ‘A Mind Waiting To Die’ whipped the crowd into a frenzy, with frontman Harvey Freeman orchestrating their every move from the start.

Freeman was another artist to seize the opportunity to share words of support with his audience: “I ain’t the only one here today going through shit”. It’s astounding how music so abrasive can reflect such a safe place for so many and yet the band and listeners alike felt entirely united in this experience, and what an experience it was.

Prince Daddy & The Hyena

After releasing their most accomplished work to date in 2022’s self-titled LP, Prince Daddy & The Hyena seem to have the world at their feet. That said, the licence to be able to open a set with a song called ‘***HIDDEN TRACK***’ from their first EP ‘Adult Summers’, and for it to be met with the rapture that it was in The Axiom that afternoon, demonstrates that this band are already cemented as cult heroes to many. Other older cuts like ‘Really?’ and ‘I Forgot to Take My Meds Today’ similarly hit the mark, with fans yelling every syllable back at the New York four-piece.

However, it was during the likes of ‘Shoelaces’, ‘Keep Up That Talk’ and ‘El Dorado’ that the quality really started to shine through. Despite recurrent technical issues causing a pause in the set (during which the band awkwardly fumbled through some Weezer and The Beatles riffs), the crowd were constantly onboard. If anyone in that tent wasn’t a fan of Prince Daddy & The Hyena before the show, they would surely have been won over by the band’s sincerity and endearing approach to their craft.

Kid Kapichi

Having debuted at the festival for the first time last year, Kid Kapichi’s elevation from an opening slot in the Cave to the Main Stage is unarguably justified. The band’s debut album ‘This Time Next Year’ and 2022’s ‘Here’s What You Could Have Won’ are littered with hits which delivered an action-packed setlist in the roaring sunshine. Their powerful, politically charged music and palpable stage presence meant that they had the 2000trees faithful in the palm of their hands – while chucking chocolate bars into the crowd before crashing into ‘Rob the Supermarket’ also helped build morale.

The swaggering ‘I.N.V.U’ was undoubtedly a highlight of the set, as the crowd danced along to the catchy chorus. While the band also displayed their more poised songwriting capabilities with ‘5 Days On (2 Days Off)’ and ‘Party at No. 10’ which captured the energy of the festival, confirming it to be a safe space to rebel against the bureaucracy of the everyday. The band oozes confidence in their performances and the aura they create is sure to see them continue to grow, maybe into a 2000trees headliner one day. Watch this space…

The Wonder Years

The impressive growth of 2000trees can be measured by the increasing number of bands on the line-up that have chosen to exclusively travel to the event just to play their set and then return home. One of these bands was The Wonder Years who, having last played the festival to a packed Cave tent in 2021, made their return in a prime slot on the Main Stage.

Traversing some uncharacteristic Main Stage sound issues through the opening ‘Cardinals’ and ‘Cardinals II’, the band quickly found their stride as the sizable crowd anthemically chanted “We’re no saviours if we can’t save our brothers” back at the sextuplet. The setlist blended old favourites with the highlights of their newest album – ‘The Hum Goes on Forever’ – which were all met with similar energy and passion from the respectable crowd.

Elation over the band’s return to the UK was only elevated with the exclusive announcement that they would be returning in November to play a handful of shows to celebrate the 10th anniversary of their genre-defining album, ‘The Greatest Generation’. The set was perfectly concluded with the anthemic ‘You’re the Reason I Don’t Want the World to End’ and, of course, their staple hit, ‘Came Out Swinging’ – which, as the opening drum pattern crashed in, pandemonium erupted amongst the band’s most dedicated fans.

Skindred

The closest experience in likeness to seeing Skindred live is that of riding a rollercoaster at a theme park. The brilliantly eccentric frontman Benji Webbe was born to do precisely this and he seizes his opportunity to perform every single time he takes to the stage. With what was comfortably the biggest crowd of the festival to that point in the palm of their hands, Skindred delivered a non-stop setlist of unique reggae/metal riots that kept everyone engaged and guessing until the final note.

Whether it was the bizarre ‘Wonderwall’ cover spliced into ‘Rat Race’ or the ‘Back In Black’ refrain during ‘Pressure’, there was always something to keep those smiles plastered across everyone’s faces. Naturally, ‘Nobody’ from the band’s debut 2004 LP ‘Babylon’ was a hotly anticipated number and did not fail to disappoint. Then, closing out with ‘Warning’, complete with a gorgeously observed “Newport Helicopter” (fans are welcome to take off their top and frantically swing it above their heads) was the perfect argument for why Skindred could comfortably be headlining this festival.

Soft Play

After a long four years out of the game, Kentish duo Soft Play (formerly known as Slaves) were back and on the festival’s biggest stage with a point to prove. Only giving themselves one warm-up show at their hometown’s Tunbridge Wells Forum a few nights prior, it was no doubt a tough ask for Isaac Holman and Laurie Vincent to headline the first day. Any doubts were briskly brushed away after the opening chords to ‘Sockets’ rang through the air, bringing with them an electric giddiness completed by just a hint of nostalgia.

There was a party vibe throughout the performance, namely during ‘Feed The Mantaray’ which saw a pundit dressed as a mantaray pulled from the crowd to dance on the stage before surfing across the sea of sweaty bodies. Furthermore, Soft Play’s cover of Skepta’s ‘Shutdown’ has become somewhat quintessential to the band and, even with Holman addressing the irony of the matter before launching into the song, it got everyone moving and shouting the song’s title back with venom.

There was a certain element of relief to hear long-term mainstays to the Soft Play arsenal like ‘Fuck The Hi-Hat’, ‘Where’s Your Car Debbie?’ and ‘Girl Fight’ amongst the songs played by the pair on the night. Even though this return marks the start of a new era for Soft Play, they are still firmly in touch with what propelled them to such status in the first place. Brazen and loutish, their formula is simple on the surface, but it works. Yes, they may have a new name and, yes, Holman himself referred to them as “soft cunts” during the show but rest assured, there’s nothing soft about these two.

It’s a cut from ‘The Hum Goes On Forever’ that they elect to kick off their set with. ‘Low Tides’ is met with a rapturous response from the audience. A borderline absurd amount of finger-pointing syncopated with shouts of “I’m growing out my hair, ‘cause who gives a shit” is just the sonic catharsis that British crowds need right now. This was the first of many massive choruses that fans reciprocated with huge volume and passion. Another standout was during ‘Pyramids of Salt’ in which the first cry of “I drew a line in the sand” was astonishing.

Speaking more broadly, the new material sounded colossal in this live environment. The ensemble, made up of drums, bass, three guitars, keys and vocals is, simply, very very loud. Their noise stretched to every corner of the venue and, for all the fine-tuned polish of the production on ‘The Hum Goes On Forever’, the body and beef of live instrumentation make for a better overall listening experience than any band could ever hope to achieve through a studio output.

That said, The Wonder Years are equally capable when lowering the tempo and volume to curate a more intimate vibe. The highlight from the mellower moments of the set was ‘Summer Clothes’, once again pulled from the brand new album. The performance was beautifully observed by the crowd, with an ocean of phone torches lighting up the room in lieu of the traditional lighters. Similarly, while ‘Flowers Where Your Face Should Be’ stunted momentum in the set perhaps a tad too early, it was nonetheless delivered with tremendous affection and with unmistakably authentic emotion.

Never ones to shun their older material, the setlist was dotted with plenty of hits to satisfy fans of every release in The Wonder Years’ discography. Notably, around the midpoint of their performance, the one-two punch of ‘There, There’ followed by ‘Passing Through A Screen Door’ knocked the crowd back nearly a decade to the era of 2013’s landmark ‘The Greatest Generation’. Fingers crossed that some ten-year anniversary festivities are on the horizon.

Bowing out, as expected, with their biggest song as an encore, Campbell joked about the predictability of leaving the stage only to return 30 seconds later to play another song or two. He argues that the band are getting on now, approaching their late thirties, so let’s cut them some slack. Regardless, ‘Came Out Swinging’ was delivered with the same vim and vigour of a band 20 years their junior. This is true for the entirety of their performance, and no doubt will continue to be the case for many years to come.

The passion that fuels this band’s craft shows no signs of fading. Long live The Wonder Years.

AARON JACKSON

From the off, frontman Dan ‘Soupy’ Campbell declares “I don’t want to die” and in doing so introduces the overarching message of this album. The sentiment, albeit gloomy, is one of hope. Following shifts in perspectives and approaches to life since the birth of his first child, Soupy uses this album as a vehicle to explore what it means to live with “the hum”. He explains, “there’s always a low hum of sadness, a low rumbling of ennui. So ‘The Hum Goes On Forever’ is the understanding that I’m always going to have it, it’s always going to be there, it’s always been there for literal generations of my family and it’s important that I accept that and live and work through it.”

On the topic of fatherhood, ‘Wyatt’s Song (Your Name)’ is named after Soupy’s son and boasts a bouncing chorus that lingers long after the first listen; that longevity of this song alone makes it a fitting tribute. It’s easy to see why this song was elected as one of the singles dropped in the run-up to the album’s full release. Another standout track with a similarly upbeat dynamic is ‘Low Tide’. Again, the chorus has the trademark singalong quality that fans have come to love and expect from this band. One to experience live and, off the back of their landmark bumper Slam Dunk set, one can already see those aggressive pop-punk-finger-points perforating the hot, sweaty air of a medium-sized venue. Nature is healing.

The notion of pushing on, perpetually moving forward can also be read in the multiple callbacks to previous work in the band’s discography. The clearest example is ‘Cardinals II’ which sits as a direct sequel to ‘Cardinals’ from 2015’s impressive ‘No Closer To Heaven’ and builds on the story that was told on that album seven years ago. The significance is that, The Wonder Years favour building on foundations that were documented in the past, as opposed to letting these thoughts lie and rest in their historical state. This is not recycling material, but rather the evolution of art.

The album bows out with its thematic and sonic conspectus:

“I don’t want to die. I want to light you through your darker months. And I want to swallow the sun, before it can swallow us.”

It’s lyrics like these, delivered by Soupy at his magnificent sincerest, which crown ‘You’re The Reason I Don’t Want The World To End’ as the perfect track to cap off an album of this calibre.

Raw emotion and unfaltering passion are The Wonder Years’ DNA. It’s why, even after decades of hard graft, they continue to impress and improve release upon release. Naturally then, ‘The Hum Goes On Forever’, is no different and can stand proud as one of the most important records of 2022.

AARON JACKSON

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

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

CASKETS

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

CASSYETTE

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

THE BRONX

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

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

YOURS TRULY

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

HOT MILK

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

SILVERSTEIN

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

CANCER BATS

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

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

WITH CONFIDENCE

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

HOT MULLIGAN

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

THE WONDER YEARS

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

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

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

MAGNOLIA PARK

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

BEARTOOTH

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

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

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

THE STORY SO FAR

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

ALEXISONFIRE

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

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

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

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

NOVA TWINS

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

DEAF HAVANA

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

At least at first.

Push past the point of the record wearing thin, and ‘Control My Sanity’ reveals itself as a record far more three dimensional than just cursory listens would have one believe. Opener ‘Ketamine Jesus’ is a blistering way to kick off proceedings; a toss between early Title Fight-esque punk rock and You Me at Six style emo, it establishes both the band and indeed the album’s aesthetic perfectly.

It’s an aesthetic that runs through the core of the album, veering between the emotional alt-rock of tracks such as the eponymous ‘Control My Sanity’ or ‘Hollow Tears’. It’s these tracks which feel the most generic, especially when compared to the likes of ‘Fail to Speak’, that bristle with an angsty energy that has more more in common with the likes of bands like Tigers Jaw or the aforementioned Title Fight.

Indeed, it’s these heavier, more angsty tracks that elevate ‘Control My Sanity’, and even then, it takes repeat listens before any sort of nuance begins to reveal itself. Largely, this is down to the band’s innate ability to veer between the confessional and the cathartic, and despite this one reviewer being overly long in the tooth and somewhat cynical, there’s an entire generation of fans that haven’t grown up on the likes of You Me At Six or The Wonder Years. As such, ‘Control My Sanity’ proves itself the perfect gateway record to an entire genre for the uninitiated.

Though there will be certainly naysayers that find far too much familiarity within its ten tracks, there’s a certain sense of catharsis around the record that makes it difficult to ignore. As such, there’s a lot to love within the record, but those who’ve been kicking around a while might want to look elsewhere if they want something to truly excite them.

DAVE BEECH