Words: Kate Allvey  //  Photos: Penny Bennett  //  Sleep Token Photo: Adam Rossi

Loathe

A huge, charismatic boom announced their presence, a blazing wake up call. Loathe’s sound is so heavy but so needed at the same time, their first main stage Download set sending the early birds slamming and kicking up the first dust clouds that will irritate so many eyes before the day is done. Vocalist Kadeem France appreciates every second of the circle pit he creates, and we’re thankful for Loathe kickstarting our brains. 

Currents

Keeping it heavy at the top of the hill, Currents temper their avalanche of sound with melodic choruses, Brian Wille’s passionate vocals tunneling their way out of the landslide. ‘Remember Me’ smashes and breaks into powerful drums, and Wille sings like he’s split his soul in two, whipping his hair as a flag while his band project total mutual cool throughout ‘The Death We Seek’. Their honesty and sheer architectural constructions, projected through sonic bursts, make them a brilliant refreshment. 

Poppy

Poppy appears as an unlikely main stage sensation in her cute red dress but she’s got a scream that commands our attention.’Have You Had Enough?’ is her chance to show off that wail before she dares us all to “beg for forgiveness” over ‘Bloodmoney’ and its furious guitar stomps. She’s a cyborg, dragging us into the future with haunted beats and robotic shred. The ferocity of her growl on ‘The Cost of Giving You Up’ compensates for the overly lolita aesthetic, and when she tells us to go mad in a frenzy of screaming, we can’t wait for the opportunity.

Mothica

Mothica’s come a long way since we last saw her. She’s “eight months sober, playing her first show since rehab”, and is ready to take her place as Gen Z’s Amy Lee. Her version of Bring Me The Horizon’s ‘Can You Feel My Heart’ magnetically draws on us to her, and her tender emotional release on ‘Buzzkill’ signals the start of her new era.  We love all aspects of Mothica, and she indulges her fun side with her blossom sweet cover of Smash Mouth’s ‘All Star’ to counter the depths she’s drawn from in her emotionally raw set. 

Polaris

Polaris are earth-shaking, literally and figuratively; we feel the vibrations from ‘Landmine’ long before we catch sight of the Australians and the tornado their pit has raised. There’s never even a second of silence, and ‘Dissipate’ invokes vivid dreams and nightmares conjured through insomniac shred and apocalyptic beats. The classic rock echoes in the riffs of ‘The Remedy’ are enough to start heads banging in appreciation for the rising metalcore stars. 

Smash Into Pieces

As soon as the wild, twisting intro to ‘Flow’ begins, there’s a rush into the Avalanche stage. We’d desperate to hear a set crammed with fire and riffs that reach into the sky, somehow packed into the smallest tent on site. It’s easy to close your eyes and imagine these guys throwing out choruses on the Apex stage. “Are you ready to jump like it’s 1997?” shouts Chris Sörbye, amping up the festival mood with ‘Let Me Be Your Superhero’, a song that’s ready for anthem status with its retro-heavy dance quality. ‘Boomerang’ gets every hand waving, its pop-rock balanced perfectly with irresistible callouts from a band destined for for bigger things. 

Don Broco

There’s a massive crowd storming the Apex, ready to hear Don Broco achieving their potential. ‘Everybody’ sees them ditching the gimmicks for a straight set inflated with party energy, and ‘Pretty’ spreads a groove across the field as we relish the most joyful act of the day so far before ‘Technology’ hooks us in with pure earworm enthusiasm. Sure, this might be the last time we see these guys for a little while as they reveal they will be working on a new record in the near future, but that only makes the sugary stylings of ‘Come Out To LA’ even more special, and the raft of t-shirts whirled around heads for ‘T-Shirt Song’ move a tiny bit faster in our sun-drenched memories.

Eagles Of Death Metal

Frontman Jesse Hughes is leaning heavily into classic rock and having the time of his life as he does it. “I feel like a solid gold erection covered in diamonds right now,” he declares after the vintage presence of ‘Silverlake’ sweeps over us. Of course, he might be in full swing as a rock ringleader, but he still apologises to his sister somewhere in the crowd for his choice of words, and seconds later their take on Duran Duran’s ‘Save A Prayer’ fills the field with devotion and class.  It’s their Bowie cover, “written for us before we were even born” as Hughes puts it, that cements Eagles of Death Metal as the future festival band of choice because he is absolutely correct; ‘Moonage Daydream’ could have been written with this picture perfect update in mind. 

Twin Atlantic

Minimal and moody in purple, the Scots offer modern realism in the form of ‘Salvation’, fizzing with earnest desperation. ‘No Sleep’ throws in chunks of Placebo-influenced distortion as we crane our necks for a glimpse of one of our Punktastic favourites. Sam McTrusty’s everyman voice, speaking his own truths, resonates so fully with shared, relatable optimism as Twin Atlantic pour everything they’ve got into each song. The wind picks up, and it feels like ‘Get Out’ is carried, light as sand, through to every eager ear milling outside.

Mallory Knox

The renewed and refreshed Mallory Knox have the power to conjure the sun. Confident and sincere, ‘Ghost In the Mirror’ emerges fully mature and their core of diehard fans light up for ‘Beggars’. Every song grows in strength and temp compared to the last, their experiences lyrically floating like suspended hopes during ‘Getaway’. ‘Shout At The Moon’ is the comfort blanket song that touches us with enough emotional fervour to raise our hands and keep us optimistic that Mallory Knox are back for good.  “There’s nothing quite like this feeling, man,” exclaims Mikey Chapman, and he’s right; seeing his band back again on a huge scale must be one of the greatest emotions for so many.

Sex Pistols

The Sex Pistols aren’t just the token legacy act on this year’s bill; whole families have gathered to see the punk icons in their latest incarnation. They’re very much reinvigorated and still necessary with Frank Carter at the helm, and he’s returned to his melodic vocal style rather than trying to imitate a Johnny Rotten sneer. He enthusiastically opens a pit during ‘Pretty Vacant’ and dives in, full of bravado and delight… until the rain forces him to rearrange and stop the fun. “Apparently you can’t have a single circle pit on a sloped hill in the rain – lesson learned!” The frontman laughs, still loving every minute of performing with his heroes. “It’s a pleasure, honour and a privilege to be onstage with these legends,” he declares and he believes every word of it. Of course, the show is a bit of a classic punk shambles, but we wouldn’t expect anything less from a band who took on the world. They’re proud of their music and don’t lean on faded headlines for relevance, and Carter knows know to keep the anarchy flowing.

Sleep Token 

No one likes to call a set “career defining”, but Sleep Token’s appearance at Download can’t really be called anything less. Gorgeously immersive and cinematic from the second the curtain dropped revealing a vast set, they’re more majestic, more metal, the living art they always intended to be. Vessel glides serenely through this window into another world, cracking the set open with a roaring ‘Look To Windward’ that transforms into ‘The Offering’, each guitar drop is just enough to consume us. ‘Caramel’ emerges from the smoke with delicacy and bass you can feel through your whole body, until ‘The Summoning’ is extended out to be its own story in a wall of scarlet fuzz. 

Vessel might be the figure we know and revere, but this show proves how he earned his moniker. He’s now only one small part of a much larger vision that’s coming to fruition after years of foundation. The ninety minutes of their set passes in seconds, as much of a dream as seeing Vessel clad in flames on huge screens during ‘Granite’, and we’re left stunned by what Sleep Token have become. They’ve always denied being a metal band, but after tonight’s cliff-like guitar and the hold they have on the fans, it’s impossible to completely agree with them. However, they’ve become so much more than that, with a set that is unlikely to be topped any time soon. 

DAYTIME TV opens the night, and it’s clear they’ve found their stride supporting a band of Twin Atlantic’s stature. Their punchy riffs and infectious momentum create an immediate connection with the crowd. Tracks like ‘Block Out The Noise’ and ‘Lost In Tokyo’ grab attention with catchy choruses and a solid energy that keeps the room moving. DAYTIME TV don’t just play their set; they command the stage with confidence, seamlessly fitting into the atmosphere and setting the perfect tone for what’s to come.

When Twin Atlantic take the stage, they don’t waste any time asserting their dominance. The opening track, ‘Meltdown,’ surprises with its subtle energy, easing into the room with a quiet optimism that slowly begins to build. The song’s reflective, almost fragile quality stands in contrast to the intensity that will come later, but it draws the crowd in, creating an almost palpable sense of shared introspection. The first notes of ‘Yes, I Was Drunk’ follow, and the mood deepens. Frontman Sam McTrusty, a man of few words, speaks volumes with his presence alone—his connection to the crowd obvious, as he acknowledges the years of loyal support from fans who’ve stood by the band since the beginning.

From the first beat, the tightness of the group is clear. Ross McNae’s basslines anchor the sound, whilst Joe Lazarus’ drumming provides a steady, powerful backbone. Twin Atlantic may be a rock band at their core, but it’s their precision and clarity that set them apart from others in the genre. Each song is executed with an elegance and intensity that feels uniquely their own, a strength drawn not just from their technical prowess, but from their shared understanding as musicians.

The setlist takes the crowd on a journey, navigating through highs and lows, each song contributing to an emotional arc that pulls the audience closer. As ‘Free’ floods the room, warm golden lights bathe the crowd, heightening the song’s message of liberation and possibility. The atmosphere is light, but there’s also an undercurrent of power, the crowd singing in unison with the kind of tangible feeling that only a live show can evoke. When ‘Hold On’ hits next, the mood shifts. The lighting turns cooler—blues and purples swirl with smoke, matching the urgency of the lyrics. The intensity builds, and the crowd responds, bodies swaying together, carried by the song’s unrelenting force.

‘Brothers and Sisters’ pushes the crowd into a frenzy, McTrusty’s voice blending effortlessly with the chorus of voices in the audience. There’s no barrier between band and fans here—it’s a shared moment of connection. The room transforms into one pulsating unit, as the crowd sings in unison, caught up in the power of the music. The camaraderie is electric, a living, breathing thing that keeps the night moving forward with an undeniable sense of unity. The night reaches its peak with ‘Heart and Soul’ and ‘Crash Land,’ and by the time the final notes fade, the air is thick with a sense of satisfaction. The applause is deafening, a collective recognition of the emotional journey the band has taken them on.

Twin Atlantic’s performance at Electric Brixton isn’t just about skill—it’s about creating a moment of togetherness, a shared experience between artist and audience. Every note, every lyric, every beat builds a bridge between them, making the show more than just a concert. It’s a reminder that music, when done right, can break down barriers and connect us all. The night lingers long after the lights come up, not just because of the music, but because of the profound sense of kinship that Twin Atlantic fosters. It’s that authenticity, that ability to connect, which makes them one of the most compelling acts in modern rock.

JESSICA MCCARRICK

Words by Yasmin Brown [YB] and Catie Allwright [CA]. Photos by Penny Bennett.

Cherym

When Cherym (it’s pronounced Chair-um) told people they were playing the Neu Stage at 11:30, they always assumed it was 11:30pm. But what better band to uplift and energize us this morning? Hailing from Derry in Northern Ireland, the trio enter the stage to a remix of Mean Girls… although they’re anything but. For a start, they’re waving the Pride flag and are an openly queer band with two female and one non-binary member so they’re absolutely not a ~girl band~ (very helpful and inclusive to reference their pronouns – others take note, please), but more importantly their earnest faces seem anything but mean. Tracks like ‘Weird Ones’ are for outcasts and people who have been marginalized, a victim just for being different. And for the straight people who always assume they’re in a relationship, ‘We’re Just Friends’ sets the record straight. The set is lively and fun, full to the brim with earworm choruses from guitarist and vocalist Hannah Richardson, a funky bassline from Nyree Porter and rhythm from Alannagh Doherty, although time runs away with them – caught up in the moment of playing to their biggest ever crowds – so the last three minutes are a whizz. They’re shocked that so many people have showed up, but they’d better get used to it fairly quickly. [CA]

Dream Nails

Kicking off the final day are the self-proclaimed “queer, punk, feminist band”, Dream Nails. Colour fills the stage – the effervescent nature of the band’s attire working in stark contrast to the more serious message that they’re sharing today, most notably and timely being the commentary surrounding the overturning of Roe vs Wade in the US. The set is filled with punk bops that will easily make you “lose your shit” as promised at the start of the set. It’s a perfect combination of political statements, sprightly colours, glaring sunshine and – to top it all off – a cover of t.A.T.u’s ‘All the Things She Said’. Dream Nails know how to appeal to existing fans as well as drawing in those who may be otherwise unfamiliar with their music and their ferocious personas, addictive music and integrity will see them go far. [YB]

Lizzy Farrall

In contrast to what you might expect from the bubblegum pop rock nature of Lizzy Farrall, she leaps onto stage this afternoon with a suspiciously edgy undertone. While her shirt and corset remain innocently white, her hair and makeup hint at something else and it won’t be long before we’ll find out whether or not our inkling is correct. In the meantime, we’re given no further time to ponder as Farrall makes her way through a setlist made up of our favourite songs; we bounce around happily to ‘Games’ and ‘Addict’ with the latter finally seeing the crowd come right forward as Farrall throws herself into the sea of arms before her. Shortly afterwards, Farrall announces that there are just two songs left before the intro to ‘Barbados’ kicks in, a notorious set closer due to its fan fave nature. It’s after this, then, that our earlier suspicions are proven warranted as she leaves the stage only to return without the white shirt and corset, leaving only black clothing behind. In addition, though, Farrell has been doused in blood, the innocent and bubblegum nature of her previous persona left far behind as she throws herself sultrily into a much darker, previously unheard song to close off the set. We already love Lizzy Farrall so very much but with this small taste of what’s to come, we’re incredibly excited for the pending rebrand and all that’s set to come in tow. [YB]

Kid Kapichi

Coming on stage to a track recording of Will Smith’s recent Oscars interruption, Kid Kapichi make it immediately clear that they have opinions and they’re not afraid to voice them. While perhaps slightly out of date by now, the track sets their performance up nicely, leading them into an eight song setlist with no doubt as to what this band are about – that is dancey indie rock with political undertones that will, without fail, get you on your feet. The inside of the tent is packed with existing fans who sing along to every word, while on the outskirts you’ll see a number of curious nomads who are keen to see what all the fuss is about. This set is all about the music as vocalist and guitarist Ben Beetham rarely addresses the crowd, although this doesn’t seem to deter the fans at all, particularly those most enthusiastic who continue to shove forwards to get closer to the barrier. The set makes for ideal summer vibe – its catchy, happy sounding nature appeasing those in the tent and those seeking shade and an ice cream in the surrounding areas, leaving a smile on your face however you choose to enjoy it. [YB]

Nova Twins

If there’s anything we love to see, it’s incredible bands rising through the ranks and receiving the platform they truly deserve. Nova Twins are without a doubt one of those bands. Starting their 2000Trees journey back in 2018 when they were still fresh to festivals, the pair now see themselves playing the main stage to a huge crowd of people who all know every word to their incredible songs. Despite being late starting and despite the impossible heat, the enthusiasm from both the stage and the floor remains strong throughout, with only a moment or two taken to acknowledge just how far this band have come. Their live performance breathes new life to already incredible songs with glorious anarchy ensuing whichever way you look. From a throwback to 2016’s ‘Wave’ (dedicated to the OGs) to set closer ‘Undertaker’, every moment is memorable. This is still just the start for Nova Twins and we’ll sure as hell be along to see where they go next. [YB]

Laura Jane Grace

This is the place Laura Jane Grace imagined when she was booked for the festival two years ago, and the shady respite amongst the Forest Sessions trees is the only place to be this afternoon. Everyone might look like they’ve been sleeping in tents for two nights and have been sunbaked, but the lyrics to ‘Two Coffins’ are apt – with our little moon faces shining brightly up at Grace, mesmerized by the raw, soulful performance. “Don’t worry, I’ll do everything. Just sit down and relax”, she says, as we recharge our minds and bodies. We’re treated to songs from both Against Me! and Laura Jane Grace and the Devouring Mothers, opening with the heart-breaking ‘True Trans Soul Rebel’ about the anguish of coming out. And just because Grace wants to shout “Hail Satan” in the woods, there’s a cover of ‘The Best Ever Death Metal Band In Denton’ by The Mountain Goats (the devil balanced with God in ‘Bamboo Bones’ – “What God doesn’t give to you / You’ve got to go and get for yourself”). We’re not saying the set was a religious experience, but we all left feeling reconnected to Grace, and to ourselves. [CA]

Knocked Loose

From Oldham County, Kentucky, Knocked Loose are a long way from home and excited to be here, with lots of new faces that have come to check them out. The energy at the Main Stage is contagious, which lead singer Bryan Garris feeds off of (and feeds the sprawling crowd too). “Let’s take advantage of this and enjoy the moment”, he says. Describing themselves as a “heavy band” is an understatement. This is a sound you’d expect to hear in a city late at night, the darkness obscuring your vision and blurring the faces of the violent crowd around you. But Knocked Loose are just as brutal, despite the green grass underfoot and the summer afternoon sky above them. It’s beautiful to see so many people smiling, laughing and moshing in broad daylight, the more aggressive pits breaking out closer to the stage as Knocked Loose knock us all for six. As the saying goes, “if you can’t be good, be loud” – but these guys are both. How Garris and backing vocalist Isaac Hale’s voices can carry so well across a field, or how Kevin “Pacsun” Kaine has the stamina to pound drums for that long, we’ll never know. But we enjoyed every last chord. [CA]

Blood Command

We might have Queen Elizabeth here in the UK, but Blood Command’s new vocalist Nikki Brumen is the fucking queen (and if we don’t bring it tonight, we’ll “die one by one by her hand”). Fuelled by swigs of neat vodka, Brumen is an absolute powerhouse and has The Cave well and truly under her command – blowing kisses, shaking her ass and getting in front of the barrier to flex her impressive vocal chords right in the face of anyone who isn’t spinning around the circle pit. The power drops out (because they’re just too good, of course), but it doesn’t take the Norwegian death-pop band long to get back into their groove. ‘Praise Armageddonism’, the first album with Brumen and Blood Command’s current line-up, came out just a week ago and dominates the set-list (with the likes of ‘A Villain’s Monologue’, ‘Nuns, Guns & Cowboys’, ‘The End Is Her’). You can’t say they’re not a fun band, finding a sweet spot between death metal and pop punk, making you want to get down and dance – but also pumping you full of rage at the same time. 45 minutes of this is like getting the wind knocked out of you. [CA] 

Twin Atlantic

A full hour before Twin Atlantic are set to take to the Forest for a special acoustic performance (their self-proclaimed “first and last acoustic festival set”), there’s barely room to shuffle on the dusty ground in front of the stage. It’s 6pm and the sun is beating down as brutally as ever, with many taking shelter under the trees simply to escape their ever worsening sunburn. While the shade may have brought some in, however, it’s Twin Atlantic’s humorous nature and charming musicianship that keeps them here for the whole set; when Sam McTrusty and Ross McNae take to the stage, there’s immediate back and forth banter with the crowd, creating an even more intimate feel than the forest environment already helpfully allows for. “We don’t know what the fuck we’re doing”, announces Sam, and from then on it really is the most beautiful kind of chaos. Having previously headlined 2000Trees back in 2018 (their first ever festival headliner), it feels particularly special to experience Twin in this setting, but we feel even more fortunate when McTrusty notes his wife has recently given birth and that it’s only because it’s Trees that they even made the trip down from Scotland. With this in mind, the pair launch into “a song about my wife”, ‘Oceans’, which sees more than a few eyes misting up at the sentiment. After some on-stage conferring as to what to play next (why write a setlist, after all?), the wet cheeks are set to continue as a singalong version of everyone’s favourite ‘Crash Land’ ensues. The response throughout is inspiring and it’s evident that the shade remains a secondary motivation for the size of this early evening crowd. McTrusty is shaking slightly with nerves but a grin remains on both his and McNae’s faces from start to finish as they marvel at the turnout. Dedicating ‘Brothers and Sisters’ to a four-week-old baby, we’re in for another special and emotional moment in among the effortless banter and it’s safe to say that Twin Atlantic are masters of their art. This may be their first acoustic festival set but they handle it like pros, even in the most muddled of moments. 2000Trees is special to Twin Atlantic and their fans for so many reasons, not least being the first festival that allowed them to play out of Scotland in 2008, but today may be their most special Trees moment yet – and we’re delighted to have been along for the ride.  [YB]

You Me At Six

Love them or hate them you can’t deny that You Me At Six are one of the best and tightest live bands in the UK music scene. After 15+ years as a band, they’ve had plenty of time to refine their set and always return to the stage more powerful and polished than ever. It’s no surprise then that their set today is one of the most fun of the weekend – everyone is gently buzzed and still not quite ready to go home and a YMAS festival set always brings the best of the band’s back catalogue. Another band who simply love this festival, front man Josh Franceschi announces that guitarist Chris Miller has been here enjoying himself since Wednesday along with the early entry. Amazingly they all seem fresh and energised, powering through the boisterous set without waning. The crowd are having just as much fun as Jesus himself appears during the anthemic ‘Lived a Lie’ and a plethora of crowd surfers soon follow suit during ‘Room to Breathe’. A shout out is given to “the people in the front row who just got their faces kicked” and it seems it may be time to take a moment of respite. It seems the band agree as Franceschi launches into one of his ever emotional speeches encouraging love and acceptance, the sincerity and earnestness of which always provoke tears among the softer souls in the crowd before launching into ‘Take On the World’ – a song that has, over time, become one that unites Sixers worldwide. We can’t stay sad for too long, however, and the pace picks up with the electric performance of 2021’s ‘SUCKAPUNCH’ which sees rave-like dance scenes unfold in the chorus. Water balloons are thrown from the back of the stage, the drenching that follows welcomed by their targets in the near unbearable heat, and You Me At Six close the set with the classic ‘Underdog’ finale, leaving us all on a high and ready to do it all over again. “It’s 2022 and You Me At Six are still fucking breathing”, shouts Franceschi, and thank God for that. May we never know a world where that’s not the case. [YB]

Press to Meco

It’s nearly 9pm on Sunday. We’re tired, filthy and ready to sleep in our own beds but Press to Meco have other plans keeping us from that glorious hot shower and soft sheets. Not that the Neu stage crowd seems to mind, however. While they may not be everyone’s cup of tea, Press to Meco are popular, that much is easy to see, and what’s more, they clearly deserve it, too. The sound is strong with the vocals of Luke Caley holding up firm against the backdrop that is his bandmates, all playing perfectly in sync with one another. The band easily commands the crowd who clap on cue before jumping wildly of their own accord, needing very little prompting to throw themselves into this 10 song set as if their lives depend on it. The heavier aspects of the band’s music is captured perfectly in this live environment, easily engaging everyone in attendance from front to back, and it’s clear as to why this three-piece are tonight’s Neu headliners. We may be slightly further from our home comforts but Press to Meco have made it more than worth the wait. [YB]

IDLES

Vocalist Joe Talbot isn’t going to ask us how we’re feeling as there are lots of us and it would be weird, but he’ll tell us how he’s feeling: it’s the best fucking feeling in the world. He has a theory that when bands perform, they give us everything and let go every single time, and what they get in return is love and energy. Talbot speculates that this offering and exchange can’t be found anywhere else in the world; it’s the most beautiful gift we could give and they’re so grateful. And he’s right. The co-dependency between artists and fans is what makes live music so special, because you can see it unfold in front of your eyes: musicians stepping into a spotlight to share pieces of themselves, and thousands of people who take those pieces to channel their feelings, soundtrack their memories and shape their lives.

This is an oddly poignant moment in a set that also includes a mash-up of ‘Nothing Compares To U’, ‘You Spin Me Round (Like A Record)’ and ‘All I Want For Christmas’, but the almighty IDLES aren’t a band that takes themselves too seriously. The final headliner is a special moment at any festival – we’ve mostly had too much to drink, not enough sleep and not nearly enough sun cream, but are clinging onto the euphoria you can only find when like-minded people come together in a field for a weekend. As Talbot himself says, it seems like we’re still standing and us scumbags know what to do. [CA]

It’s an important night – one we’ve been anticipating for longer than we care to recall, not just for Twin Atlantic’s London fans but for the band members, too, as we come together in celebration of the band’s much revered album, ‘Free’. Released over a decade ago in 2011, it’s an album that changed the band’s trajectory forever and one which even now, 11 years later, is still admired and adored by anyone who has ever loved this Glaswegian outfit.

The stage is dressed with the album’s instantly recognisable album art wherein each track is depicted by a symbol, all of which are now displayed on a sheet at the back of the stage, only adding to the enthusiasm that’s already building up as it acts as a stark reminder of exactly why we’re here. The lights dim and the band takes to the stage with front man Sam McTrusty leading the force (notably missing is ex-drummer Craig Kneale following his departure from the band back in January) for what is pretty much guaranteed to be a night to remember.

Playing the now iconic album front to back without a single word uttered between songs – uncharacteristic of the usually very chatty McTrusty –  Twin Atlantic have the audience captivated as we relive the last 10 years of our life, reminiscing on all the experiences for which this record has been a soundtrack. From front to back, fans scream along to every word emphatically and desperately with the knowledge that we may never hear some of these in a live environment again. As you look around the room, it’s hard to pinpoint any particular favourite, as the excitement infiltrates every moment and this very London crowd scream along in their makeshift Scottish accents without an ounce of shame, each with their own personal reasons for loving this album. The enjoyment is only elevated by the fact that the band plays each song with as much ease as they do energy, greeting the riffs, beats and lyrics like old friends, the heavy nostalgia paradoxically paired with a feeling that these songs are shiny and new and just as exciting to play as they were following the album’s release. 

While some moments allow tonight’s audience to entirely lose our minds – the likes of the raucous ‘Ghost of Eddie’, and perfect singalong moments such as ‘Eight Days’ and ‘Dreamember’ as just a couple of examples – it’s when things slowed down that the reality of this evening really sinks in. We’re all over a decade older than we were when we first fell in love with ‘Free’ and as you look around, you can see each person’s mind floating with their own stories – their own memories in relation to these songs. Venue-wide, tears stream down faces and arms wrap around loved ones as (now) touring member Barry McKenna switches out his bass for the cello for a glorious performance of fan favourite, ‘Crash Land’ and the wildly underrated ‘Wonder Sleeps Here’ sees a similarly emotional response as every delicate word is mirrored back at the stage without a second thought. 

The first part of the set closes out perfectly with the politically charged ‘We Want Better, Man’, leaving us breathless, as well as both satisfied and sad as the band leave the stage ahead of amping things up again with a more eclectic part of the show. The ‘Free’ backdrop is pulled away, leaving a screen at the back of the stage that lights up as the band return. The atmosphere immediately changes and the party we’ve been promised kicks in as the first notes of 2015’s ‘No Sleep’ are played. 

This second half sees McTrusty back in his element as he comments on how hard it’s been to not chat as they played through ‘Free’ without a break – something that anyone who’s seen this band before will know he’s not used to. Here, the show gets more interactive as McTrusty launches himself around, throwing himself into the crowd during 2020’s ‘Novocaine’ and ensuring we all leave tonight with a glow on our faces and a sheen on our skin. With performances from all subsequent albums, McTrusty admits that aside from their hometown shows in Glasgow, this will be the longest set of the tour, sharing with us that London is like a second home and making us feel very special indeed. 

From perfect dance numbers such as ‘Barcelona’, ‘One Man Party’ and ‘Bang On the Gong’, to old favourites like ‘The Chaser’ and – of course – the perpetual set closer ‘Heart and Soul’, there’s something for everyone and you can’t help but let the cheesiest of grins spread across your face even as the show draws to its close and you head back out into the real world once more. For all Twin Atlantic fans, old and new, this Sunday evening has just become one we’ll remember for years to come.

YASMIN BROWN

Tonight’s setting is the beautiful St John’s Church in Kingston. Chairs are laid out formulaically in front of the altar and attendees file in, delighted at having just purchased their £3 beers and £4 glasses of prosecco. 

The lights dim and the now two-piece made up of Sam McTrusty and Ross McNae appear from behind a red curtain, taking their seats in front of the crowd rather sheepishly. As it transpires, McTrusty required a pep talk due to nerves but the atmosphere remains light, regardless. Part acoustic set, part stand up comedy gig, McTrusty and McNae bounce off each other like a ping pong ball, the audience lapping up every sassy and sarcastic exchange that occurs between song requests for tonight’s predominantly setlist-less show. 

The gentle chaos ensues after the first three songs – these are well planned and executed seamlessly – when the audience is given the opportunity to choose what comes next, allowing the pair to, by their own admission, embarrass themselves given they barely know how to play any of their own songs acoustically. It’s this, however, that makes tonight so special and so endearing. McNae and McTrusty regularly glance at each other in support, looking for cues from the other in this “intimidating” setting, before launching into whatever suggestion they agree they could feasibly attempt. 

Ever fighting against sound setups that leave much to be desired, tonight’s venue allows McTrusty’s vocals to shine easily, as the church acoustics elevate his Scottish tones, adding a new light to our favourite songs. While there are many rebuttals to the slightly shy song suggestions, this unorthodox approach does lead to some long forgotten gems appearing on the setlist. From ‘GLA’s’ ‘Mothertongue’ and ‘A Scar to Hide’, to 2014’s ‘Why Won’t We Change’ (or one verse and a chorus of it, at least), this is an evening for the die hard Twin fans and from the grins that sit on the faces of those in attendance, it’s clear there are many here tonight. 

While there are plenty of rare songs to be found here this evening, it wouldn’t be a Twin gig without the fan favourites such as ‘Oceans’, ‘Crash Land’ and, the band’s perpetual set closer, ‘Heart and Soul’, all of which somehow maintain the same level of energy as they do during a full band set, albeit a different kind of energy. With ‘Time For You To Stand Up’ thrown in for good measure, acting as a warm up to the band’s ‘Free’ 10-year anniversary tour in May (“Ross specifically asked me not to play this song which is why we’re playing it”), this event feels all but perfect. This intimate approach acts as a way of bringing fans even closer to two already wildly personable musicians, and gives us an opportunity to see them in a less polished, more human way.

It may have been a delightful shambles from start to finish but tonight’s event has been one for the books – a unique way for us to see our favourite band and one we’ll likely never forget. 

YASMIN BROWN

Making the most of their hometown show, Bloxx throw everything they have into their 30-minute set, pulling from the biggest and best of their back catalogue and throwing in a new tune for good measure. The friendship that exists between band members is tangible here, as they scream in each other’s faces and lean back on each other for what must be both physical and mental support. They may not be the most obvious choice to support Twin Atlantic, but somehow it works, and from the number of bopping heads, it’s clear they’ve picked up some new fans this evening.

Originally scheduled for March 2020, for both bands on the bill, this show has been a long time coming, and already it feels just that little bit more special than normal. Of course, when Twin Atlantic take to the stage to their latest instrumental twinkling over the speakers, this magic only intensifies and we finally realise exactly just how memorable this evening is set to be.

Of course a delayed tour means we’re treated to new music, and the set opens with the very left-field but absolutely brilliant ‘Bang on the Gong’, a tongue-in-cheek dance number that sets the tone perfectly and makes us wish we hadn’t just picked up a fresh pint so we could really lose our minds. Naturally, though, there are always those that decide the beer simply isn’t worth it, and liquid is propelled into the air as those further forward simply can’t hold it in anymore. It’s been 17 months, after all. They’ll be damned if they don’t make the most of every second.

From here on out, it’s nothing but a dance party, with fans either screaming the lyrics to old favourites or simply grinning ear to ear as they frantically and desperately launch themselves into the air. Despite the fact that this show is technically in support of the band’s 2020 album, ‘POWER’ (January 2020, that is), there are actually very few songs from that particular release on the setlist, as Twin Atlantic make what is a seemingly conscious effort to please fans of all eras, pulling from even their earlist release ‘Vivarium’ with ‘What Is Light? Where Is Laughter?’ It’s clear with the first notes of every song just how much this band is loved, highlighting the sheer strength and longevity of the relationship they have with their fans. This simply isn’t a band that draws in the casual follower. If you’re with Twin Atlantic, you’re with them fiercely and for life. 

The only exception to the raucous party comes when front man Sam McTrusty basks in a moment of self-indulgence, clearing the stage and leaving just himself and his acoustic guitar behind as he starts to play what is arguably Twin Atlantic’s most loved song to date – ‘Crash Land’. The crowd loves this song so much, in fact, that McTrustry lets us do most of the singing, chipping in every now and then with the first few words and a strum of the chords to keep us moving. It’s a stunning moment, truly one worth journaling and looking back on in years to come even if just for the distant memory of the magical atmosphere it sparked. This song is 10 years old in 2021, and yet it still packs as much of a punch as it ever has. It’s not even really Twin’s anymore – it’s ours.

After another beautiful solo acoustic performance of 2013’s ‘Oceans’, there are just two more songs to go, and it suddenly feels like despite the sweat, exhaustion and hoarse throats, that it’s over as soon as it’s begun. With this knowledge, however, comes a newfound energy and with the opening notes of ‘Barcelona’, we’re ready to put our dancing shoes back on, refusing to take them off until the last notes the extended fan fav ‘Heart and Soul’ play out and the show draws to a triumphant close. 

This has been a night to remember – a night of Cheshire Cat grins, of lost inhibitions, of nostalgia, of community. Whether you’ve watched it play out from the stage or the crowd, there’s only absolute joy to be felt here. From McTrusty’s Glaswegian quips, to the fierceness behind Craig Kneale’s drumming and everything in between, tonight has been all but perfect and with a new album just announced, we’ll be riding on this high all the way into January when we get to do it all over again.

YASMIN BROWN

The crowd was smaller, as was the lineup, but after 15 months away from the pit and even longer away from the fields, this reduced capacity Download was all we could ever have hoped for and more.

Pulling together some of the greatest British talent, not even the rain could bring us down as we threw ourselves happily into muddy mosh pits, screaming until we had no voice left at all. Leaving all the weirdness outside the gates, it wasn’t long at all until it felt as though we’d never been away. And we, among our 10,000 peers, were so happy to be home

Thank you, Download – what a triumphant return this was.

Words: Yasmin Brown [YB] and Romy Gregory [RG]; Images: Matt Eachus

Lotus Eater

Joining many of their fellow compatriots leading the way in British metal on the bill, Lotus Eater deliver an impressively bruising set from the second the unrelenting ‘Jawless’ kicks in. Those who are unaware that this is their first performance with an almost entirely new lineup would be none the wiser by the end of the set; every song is delivered with the expertise and technicality of a well-seasoned band. In amongst the well-earned bravado of a band at the top of their game are moments of heartfelt emotion, like the touching mid-set dedication to vocalist Peter Collins’ late father, which feels even more poignant in these circumstances. By the time the punishingly brutal ‘Vermin’ comes round, Lotus Eater have won over everyone who was wise enough to drag themselves out of their tents before midday. [RG]

Conjurer

It’s hard to talk about Conjurer in anything other than hyperbole given that they are arguably the best metal band to come out of Britain in the past few years, but as bassist Conor Marshall sits in disbelief at the barrier after having finished their set in the pit, it’s almost remarkable the rest of the crowd aren’t doing the same. Opening their debut main stage performance with a brand new, unheard song is certainly a daring move but Conjurer has never been anything other than bold, and they continue on in the same fashion throughout their all too short 30-minute set. With the blisteringly brutal likes of ‘Hadal’ and ‘Retch’ getting their time to shine, there’s little doubt to those braving both the rain and the early start that this is equally the heaviest and the best set of the weekend. A perfect way to wake up on a Saturday morning. [RG]

Wargasm

It might be their first UK festival appearance, but the way Wargasm make the main stage their own during this early Saturday slot would suggest otherwise. Donning a miss match of outfits, this young duo have perfected their performance, refusing to allow for apathy despite the inevitable hungover state in which many of the attendees surely find themselves. This seven song setlist is explosive from start to finish, the band’s new hits tied together with a final performance of N*E*R*D’s ‘Lapdance’. It couldn’t have been more fun if Wargasm had tried. 

Whether you like this band or not, there’s no doubt that what they’re offering is as close to unique as things get these days. Their almost nu-metal sound is exciting and fresh, and their performance is fierce and fearless. We expect to be seeing Wargasm on festival lineups for many years to come. [YB]

Tigercub

Dressed head to toe in matching suits, Tigercub are, seemingly slightly out of place at a heavy rock and metal festival as they nervously take to the second stage. It’s not long after they launch into the first song on their setlist, ‘As Blue as Indigo’, however, for their hauntingly beautiful music to capture the crowd’s full attention with ease, their technical perfection leaving no room for complaints. While many attendees may have entered the tent not necessarily knowing who Tigercub are, there’s no way the powerful and flawless vocals of front man Jamie Hall and stunning musicianship of his fellow bandmates haven’t resulted in new fans forming on the spot. There’s little crowd interaction bar a few quips here and there, but Tigercub’s music speaks for itself – a truly gorgeous performance to be remembered. [YB]

Vukovi

Answer me this: is there anyone in the world cooler than Janine Shilstone? Don’t answer that. It’s rhetorical and the answer is no fucking way. Hailing from Scotland (Shilstone only has to address the crowd once for you to hear her thick accent), Vukovi have made a huge name for themselves across British festivals in recent years (2020 permitting, of course), and it’s Shilstone’s incredible personality and stage presence that has surely propelled this band to success. What’s even better, of course, is that their music is actually really bloody good, too. A fascinating combination of electronic and rock, Vukovi have tapped into something great, all fuelled by the unexpectedly pure and limitless vocals of Shilstone, and the epic guitar skills of her bandmate Hamish Reilly. You simply cannot help but love this band and despite the nerves (“I am shitting myself”), it’s an epic return to the live environment for them, and a pretty perfect way for Shilstone to spend her birthday. Launching herself into the crowd, inciting a wall of death and demanding that someone get her a drink, this is clearly where Shilstone is most at home, but even better than that, she makes it feel like home for us, too. [YB]

Yonaka

Another band who have made a name for themselves at festivals across the UK in recent years are Yonaka, slowly gaining traction until they’ve found themselves in the position they’re in today – playing the mainstage at massive festivals as if they were born to be there. Which, in fairness, they may well be. Their set today is not without its issues, as the sound cuts out just as they launch into the second song, but it’s not even close to being enough to shake front woman Theresa Jarvis, who continues to command the stage with the utmost professionalism until the sound is back, continuing to belt out hit after hit with the same attitude and talent as always, not letting the hiccup shake her in the least. Vukovi are a hard act to follow, but Yonaka are more than up for the task and we can’t wait until our summers are wonderfully saturated with this four-piece once again. [YB]

Twin Atlantic

One of those bands that can make any stage and any setting work for them, Twin Atlantic have perfected their inner chameleon, and today, their set is perfectly tailored to the Download crowd in front of them over at the main stage. Made up exclusively of their heavier material, their setlist is made to please this early evening crowd, as, decked out in their incendiary Scotland shirts (chants of ‘It’s coming home’ quickly ensue) they kick off with 2016’s ‘Gold Elephant: Cherry Alligator’, a song which makes no lyrical sense but is raucous as hell and a lot of fun to scream along to. It’s the perfect opener for this specific set, and one that would quickly prove itself to lead seamlessly into the rest of the well thought out performance. Despite admitting to being “severely underprepared”, you would never guess that this Glaswegian four-piece hadn’t been in a room together since March 2020, executing every song to perfection with the boundless energy we’ve come to expect from them. As they bring the set to a close with the classic ‘Heart and Soul’, front man Sam McTrusty signals to the goosebumps on his arms – goosebumps we surely all feel rise on our own bodies as we yell goodbye to this incredible band. [YB]

While She Sleeps

Before While She Sleeps even take to the stage, you can already tell this set is going to be huge. The stage is dressed accordingly, with giant letters that spell out ‘SLEEPS’ sitting across the back, and the ‘Sleeps Society’ flag hanging proudly just behind that. It’s clear that the band aren’t here to mess around, and they have yet to play a single note. 

When the music does kick in, however, it’s evident that even with our highest expectations, we have underestimated just how chaotic this set is going to be, as a giant pit forms immediately following a triumphant yell of “Welcome to the Sleeps Society!”. The voice behind this warm welcome is front man Lawrence ‘Loz’ Taylor, a man born for the stage and whose energy never lets up across the 11 song setlist, leaping emphatically across every inch the stage and screaming with all of his might. His energy is mirrored in the crowd and it’s possible that Download hasn’t yet seen this many beers thrown into the air as inhibitions are lost and fans lose themselves completely in the music. In fact, we’re having so much fun that on a handful of occasions, the band decide it’d be more fun to play or sing in the crowd, too, and it’s the kind of interaction that only fuels the fans further as they grapple for a glimpse or a touch of their heroes.

It’s been eight years since Sleeps were last at Download but we’d be surprised if it took that long for them to return again after this glorious return. [YB]

Creeper

As Will Gould breaks down halfway through ‘Misery’, clearly overwhelmed and overjoyed with emotion to be performing again, it’s genuinely surprising he doesn’t take the rest of the audience down with him at the sight of a live performance that’s nothing short of pure perfection. Creeper’s return to the stage is truly triumphant; at this point, it seems like a victory lap for what has no doubt been a very strange yet hugely successful album campaign for 2020’s ‘Sex, Death & The Infinite Void’. Like most bands playing over the weekend, there is a slew of brand new material for Creeper to debut in style tonight, including recent Springsteen-esque single ‘Midnight’, which already generates huge singalongs a mere three weeks after its release.

As ever, flamboyance and unrivalled showmanship run through the heart of the set; from the get-go, Will is charismatically in character, gracing the stage adorned in an American flag whilst delicately tossing a rose out to a rapturous audience. There are so many highlights that it’s hard to pinpoint any in particular, but as Hannah Greenwood walks on stage to the Bridal Chorus (the jilted bride effect fully complete with a wedding dress) and transitions perfectly into a stunning rendition of ‘Crickets’, Creeper’s commitment to theatrics is transcendent. That’s not to say it’s all style over substance — they rip through old favourites such as ‘Black Rain’ and ‘Down Below’ with perfect execution, seamlessly blending their vigorous punk roots with the seductive Americana of ‘Poisoned Heart’. As ‘Annabelle’ jubilantly closes the set to a nigh-on delirious audience, you can’t help but hope Creeper may soon be headlining stages much larger than this. God can’t save us, but Creeper certainly can. [RG]

Enter Shikari

Where to even begin when it comes to Enter Shikari? This band is arguably one of our scene’s greatest success stories, growing exponentially as both people and musicians – and seeing their fans grow with them – over the 13 years since releasing their debut ‘Take to the Skies’. Back then, as we learnt the words to ‘OK, Time For Plan B’ and ‘Labyrinth’, who could have imagined they’d one day be a band that easily headlined a festival with confetti and strobe lighting. Certainly not the band themselves. Despite their size, Enter Shikari have always remained humble and true to their roots, and tonight is fierce confirmation of that. 

Opening with a brass band version of ‘Live Outside’, composed especially for this return to live music, it’s hard to ignore the goosebumps that spread across your entire body and the tears that threaten to flood your eyes. Immediately, it feels like a celebration, and the festivities continue across the set, a sensation of pure happiness lingering long after it ends. With a number of live debuts (at least live and with an audience), everything about it feels special, not least the dedication of ‘Anaesthetist’ to our care workers, and the use of rainbow lighting and confetti throughout ‘satellites* *’ – a colourful nod to, and celebration of, pride month. 

Front man Rou Reynolds makes sure to use up every available inch of the stage, drinking in the magnificent sight in front of him and regularly commenting on the poignancy of the evening, at one point simply stating that “this feels right. This feels correct”. And it does. To be shouting out the lyrics to ‘{ Dreamer’s Hotel }’ for the first time, to be doing the clap along with ‘Sorry You’re Not a Winner’, to be clambering over Rory Clewlow as his launches himself into the crowd, to be chanting that we “want to live outside of all of this”, to be hugging Reynolds… It all feels right and normal, and acts as a reminder that this is our home and when the pandemic finally calls it a day, this will be our lives again. All. The. Time. 

At some point or another during this set, everyone in attendance is left awestruck with this realisation, absorbing the beautiful moment and allowing themselves to be so unbelievably happy to be alive. Enter Shikari were always meant to be festival headliners, and 15 years after their first Download appearance, it’s finally happening right here in Donington Park. This couldn’t possibly be a more magical experience, and we only hope we get to lose ourselves in it again sooner rather than later. [YB]