High Vis slap on the modern hardcore to get us ready, their echoing (it’s when you wanna do more)  the magnet for the wilting crowd. Vocalist Graham Sale claims they’re “just a dickhead punk band”, adding “anyone can do this, it’s just shouting and moaning, innit,” but perhaps that’s what makes them shine so brightly. They could be us, spitting out ‘Mind’s A Lie’ like a premonition of a night out and letting the guitar waft like a much needed breeze over us. His near death experience makes ‘Trauma Bonds’ into a song launched with fervour that flies with its own wings, his new found optimism lending us strength.

A booming rush occurs and then Weezer appear, heralded by a chanted, garage take on ‘Hash Pipe’. They’re keeping their raw style that they threw out at Download Festival and it works for them, allowing the introverted sincerity they hold dear to shine through like they’re musically panning for gold. ‘Dope Nose’ is the finest skater nostalgia, but with a sense of efficient stagecraft, a teenage favourite remastered in front of us. The aching, cartoony quality which Weezer have spread over all of their sound feels too small for the huge stage, and too big to be contained at the same time. ‘Undone’ germinates into a fan anthem, uniting teenagers who got their parents permission to go to the second day of Download and folk who remember this song when it came out in one joyful bounce, and there will never be a time that ‘Island In The Sun’ can’t cast a golden blanket across a huge crowd like this one. For a few moments, everything in the world feels alright as Weezer play ‘Holiday’, pausing for a vocal harmony moment that’s blown away by distortion before they lurch into the joyful simplicity of ‘Beverly Hills’. It’s unintentionally hilarious to hear Rivers Cuomo compare South London to the splendour of LA, but that’s all just part of their awkward charm. As ‘Say It Ain’t So’ draws our song from inside us, it becomes clear that it’s impossible to ignore Weezer’s resurgence. 

Before we’ve realised it, shadows have grown across the gravel and the graphic displaying the headlining band is about to be replaced with reality. Black and white smoke, a casual “hey,” and we’re into ‘Be Quiet and Drive (Far Away)’: bombastic and mysterious, it’s a hell of an opening salvo. Straight into a poisonous groove, ‘My Own Summer (Shove It)’ feels raw and spontaneous, the offbeat guitar plucking unnerving. The only respite is for a call for both hands up before frontman Chino Moreno’s barely caged meltdown. Each musical layer is exposed in turn on ‘Diamond Eyes’, sometimes only a lonely electronic pulsing propping up his vocals until a tempo like floating underwater bubbles into a rhythm you can feel in your internal organs. 

The beauty of Deftones’ set is how they play with time, sending one bar meandering as if it’s drifting out to sea before another song that passes in a flash. This is not a show about the band either; it’s entirely a place set aside in space to let their music grow organically. Moreno barely speaks, his occasional chatter limited to observations like “beautiful, fucking beautiful, Sunday afternoon”, but that’s not because he doesn’t want to engage with us. He’s just a bit part in his music’s massive presence and for a show with a five figure attendance, so much of their set feels private which summons whispered, individual song from each of us. From a hypnotic ‘Swerve City’ we’re thrown into the grit and grace of ‘Feiticiera’, all chainsaw riffs with a tempo that flows like a rocky river, the ending word of each line of the chorus dropped like a bomb. As ‘Digital Battle’ expands out to focus on the isolated bridge that echoes like a dropped pebble, the crowd inexplicably begins to wander away. There will be a slow waterfall of people emptying from this point onwards, but their anxiety over train times results in a more intimate set for the rest of us as ‘Rocket Skates’ sets the tone boiling again, the backing vocals a haunted siren. Both the songs where they let loose and when they allow the music to coil slowly hold so much splendour, ‘Sextape’ beaming waves of emotion into the setting sun.

‘Change (In The House Of Flies)’ was always going to be a part of this set, and with the band highlighted in stark red against the  darkening trees, it smoulders. As one, our phones are up and our chests are back, screaming out the lyrics as a release until a squeal of delight almost drowns out the cloaking fuzz of ‘Genesis’. Delicate and devastating in its scope, ‘Minerva’ connects with so many who gaze and mouth the words in time. After an hour of being immersed into Deftones’ world, ‘7 Words’ feels like a release, a lava punch to jolt us back to the reality of nervously being shuffled towards the exits. Our concerns were valid, but Deftones came through for us with a show that felt like a portal into a world where the laws of narrative, physics and the upper limit for distortion were made to be broken. We’re left shaken and invigorated by a band whose life of experimentation and passion have culminated in a show that has plunged us into an otherworldly version of rock music, and we’re already hungry for more.  

KATE ALLVEY

Words: Kate Allvey  //  Photos: Penny Bennett and Download Festival – Todd Owyoung

Dead Pony

As we already wilt in the shade of the Avalanche tent, Dead Pony deliver glitching, late night club energy in the middle of the afternoon. The spiritual descendants of the Prodigy pour a vodka lemonade fizz of a sound across the tent, which slowly fills as each siren song from vocalist Anna Shields entices us closer. ‘Freak Like Me’ is the grimy, pop-punk highlight of the Scots’ Download debut, and as they shift into ‘RAINBOWS’ gritty message of self-love, we feel, to quote Shields, absolutely ‘ready to fuckin go’ for our Download weekend. 

Boston Manor

The boys from Blackpool add a dash of casual darkness early into our day. They drop “the heaviest song we’ve got”, ‘Container’, confidently and efficiently, exposing it’s melodic heart to an impressively-filled field of fans. Vocalist Henry Cox uses his spotlight to spread his message of support for Gaza before ‘Heat Me Up’s deep bass focus sends a seismic groove through the earth and ‘Halo’s chimes crunch inwards for the guitar breakdown. Far above us, planes soar, unaware of the joy we feel below at being part of the pit jumping our way through ‘Passenger’. 

Northlane

Khaki co-ords and bass booms cut with piercing melodica draw us to the top of the hill. Assertive and raw, the profound echoes from ‘4D’ betray a heavy, optimistic Pendulum influence before Marcus Bridge’s screamo vocals drag us back to this reality, They display a whole festival’s worth of multi-faceted influences and moods on their own, with the moodily blooming ‘Bloodline’ as the centrepiece of a set from a band determined to give their all at every turn. 

Graphic Nature

The hardcore heroes create a sound clash wherever they go, separating the loves of the seriously heavy from the lightweights. The smaller but dedicated crowd are loving the honest, refreshing brutality from Harvey Freeman and co. “You are now locked into the sounds of the 404,” he intones, his confessional rage poised to started a distorted hurricane. He’ll have won a lot of new fans by the time he’ll have finished his set, judging by the approving nods and raucous, riotous smacking beats that drive us to greater love for the British heirs to Slipknot’s crown.

Rise Against

“I think six times’ the charm,” laughs Tim McIlrath, and there’s a reason why Rise Against keep getting invited back to Download. They’re sticking to the roots of their sound, all jagged guitars and soaring choruses, and ‘Satellites’ is rich in stunning minimalism before the bouncing chorus  fades into a whispered bridge. McIlrath poses with a megaphone, preaching unity, as we’re led into ‘Ready to Fall’, it’s explosive guitar and melancholy tinges to the melody twisting into the clouds as our shadows lengthen. 

Jimmy Eat World

‘Sweetness’ rings across the arena, transporting us back to simpler times. Jim Adkins’ iconic everyman voice has a tougher edge acquired with age, adding depth and a contemplative touch to their punchy live takes on their classics. ‘My Best Theory’ and ‘Let It Happen’ are more than enough to bring a tear to the eye of more than one bearded metaller, and ‘A Praise Chorus’ feels like a pleasant dream renewed with uptempo vigour. Our hidden smiles are revealed as ‘The Middle’ drips sunshine with sunshine. 

Opeth

You won’t expect a heavyweight band like Opeth, whose sets spark with drama and innovation at every turn, to have such a wry sense of humour. “We write songs about beer and the Royal Family,” Mikael Åkerfeldt grins, raising an eyebrow and apologising for his shortened set. ‘§1′ is hypnotic, the vocalist’s instantly recognisable growl reaching into the deep prog side of the heavy scene, and ‘Master’s Apprentices’ maximises heaviness and varies their narratives second by second. The guitar worshippers are more than satisfied with their four song set when each tune is this packed with absolutely everything that they can throw at it.

Weezer

Opening with a rough and ready take on ‘Hash Pipe’ spreads an aura of calm over the day that floats gently throughout Weezer’s set, blanketing us in nostalgic prom energy. Rivers Cuomo’s passionate, tender wailing blends with frantic solos to remind us that Weezer always were a rock band. When they speed up, we feel the distortion deep in our souls. Just like Jimmy Eat World, they stick close to their greatest hits, and ‘Undone (The Sweater Song)’ flips out a Mexican wave before the tropic slide guitar sends us off into the golden glow of ‘Island In The Sun’. It’s a warm respite, and reminder that Weezer are so much more than we recall them being. 

Within Temptation

A whole Roman temple onstage and a frontwoman who strides in like a shakespearean queen? That’s how if you know Within Temptation are here, setting the standard for stagecraft this evening. Sharon den Adel rips off her gold mask midway through ‘We Go To War’, letting loose a tougher version of ‘Bleed Out’ that commands this corner of the field. The eighties tinges to their live take on ‘Faster’  are infectious; singing back to her at the top of our lungs feels completely natural, as does their pro-Ukraine stance to ‘Stand My Ground’, presented with passion and poise. 

Apocalyptica

If pop punk on a huge scale isn’t to your liking, on top of the hill the world’s most gothic string section are brewing the antidote. With a sound like a classical murder storm, they unearth the serious side of Download like an ancient prophecy to expose the wild complexity at the heart of Metallica’s back catalogue. Their power and drama speak to the determined minority crammed into the Dog tooth stage in the mood for a musical nightcap, and in terms of technical wizardry they must be up there as one of the most intricate acts of the weekend. 

Green Day

Billie Joe Armstrong is not happy with the state of the world, and he’s returning to his American Idiot era to channel that into maximum frontman gold. Of course there’s lashings of fun, with inflatable hands holding grenades and gently floating blimps above our heads, but the message is clear. “This song is anti-war!” Armstrong screams before ‘Holiday’ drops, punctuated with fire, the riff as clear and immediate as if the intervening years since our first listen mean nothing. “Ladies and gentleman, we are slipping into fascism,” he declares bluntly through a megaphone before the rolling boil of resistance we’ve felt in the air all the day erupts into ‘Know Your Enemy’. The cold goosebumps raised by ‘Boulevard of Broken Dreams’ are so real and every single voice, with no exception is raised. ‘Bobby Sox’ comes into its own as a gender-exploring pop hit, the newest songs shining just as vibrantly.

Green Day’s evolution has reached its peak tonight. Older hits like ‘Welcome to Paradise’ screech into view with a “yeehaw!”, and ‘Hitchin A Ride’ electrocutes Armstrong, his eyes wide as he shakes through our cheers. These earlier songs feel like a gift, an acknowledgement of the first stage of their development and a reward for our faith, while ’21 Guns’ emerges as an anthem for hope. On cue, we feel the first cold drops of drizzle kiss our faces as Armstrong sings of rain in ‘Wake Me Up When September Ends’, a perfect second of coincidence, and a sea of phone lights floats like art across the arena as they close with ‘Good Riddance (Time Of Your Life)’. It’s a gorgeous sight, the perfect background to a band who move with the times, remoulding every song into a shape relevant for today to show off how magnificent they still are. 

With recommendations from our Patrons, as well as a few staff ones thrown in, we’ve built our playlist with love and care, to bring a selection of tracks that we recommend, with highlights below. So why don’t you take a listen to the compilation whilst browsing over the Self Care Club? You’re only a few short clicks from joining, so get involved and join the fun.

Hazing Over – ‘Pestilence’

One for the metal heads out there, this is unrelenting. Full of thunderous riffs, and maniacal and unclean vocals that make my throat ache by proxy, it’s not for the light hearted. Dropping their debut EP of the same name in Feb ’21, Hazing Over are definitely a band to keep an eye out for, particularly who like their metal tinged with weird little details.

ANDY JOICE

Zeal & Ardor – ‘Run’

Manuel Gagneux is a genius. He’s taken what was initially a genre mashup suggestion on 4chan and turned it into one of the most interesting and encapsulating bands of the last five years with his blend of Black Metal and African-American spirituals. Previous record ‘Stranger Fruit’ is one of my all-time favourite albums, and this first taster from its follow-up – believed to be due out in early 2022 – is another phenomenal track to add to a stellar back catalogue.

BRAD STRATTON

Weezer – ‘California Kids’

The second time I’ve suggested Rivers and co. for the playlist in as many months, but hear me out. Since the sun started showing its face again in the last month or so, the ‘White Album’ has been my go-to summer vibes record while on a walk and its opening track has been and infectious joy to hear every time. It’s also quickly making a case for being my favourite Weezer record, but that’s a debate that could rage on forever… Here’s to a summer of fun, sun and good times with friends!

BRAD STRATTON

Tom Morello/Pussy Riot – ‘Weather Strike’

You know when you queue up a load of songs, and one of them jumps out for one reason or another? This hit me twice in the space of three minutes. Firstly, that trademark Morello guitar sound is just captivating. Secondly, the vocals are outstanding. Not necessarily strong, but they demand attention, and attention they definitely get. Two of the most politically charged artists working together? Yeah, things are going to change.

ANDY JOICE

The Hell feat. Jamie Lenman – ‘The Open Road’

No band has captured my heart since the start of the pandemic quite like The Hell. The masked Watford hardcore crew have a knack of writing catchy, hilarious tunes that could only come from these shores. They recently released the second part of their magnum opus hardcore opera, “Joris”, and this ode to the life of touring in the back of a van featuring the legendary Jamie Lenman Jeremy Lonsdale has an infectious gallop that will hook you in early doors. They will be the first live band I’ve seen since February last year and I cannot wait to sing along to every word of this tune.

BRAD STRATTON

Creeper – ‘Midnight’

Cards on the table, there’s a lot of Creeper’s output that does nothing for me as someone with no reverence for MCR. However, when they have moments of brilliance that get through to someone like me, it’s nothing short of spectacular. This is the best song they have released yet, with beautiful instrumentation throughout and show stealing vocal performances from Will Gould and Hannah Greenwood. Undeniably one of the best songs you will listen to released by a British band in 2021.

BRAD STRATTON

Melt-Banana – ‘Shield For Your Eyes, A Beast In The Well On Your Hand’

There is no other way to describe this other than absolutely batshit mental. Firmly in the Noise Rock genre, it’s insanity at its finest – big squeals of distortion, rapidfire drumming and a riff that sounds like it’s being scratched down a chalkboard, and that without touching on Yasuko Onuki’s vocal that’re as quick and eclectic as the instrumentation. This is a track that can only be listened to at a loud volume to make sure all the layers are heard.

ANDY JOICE

Children Collide – ‘Jellylegs’

Australian band Children Collide have recently announced they’re back and releasing a fourth album and honestly, I’m stoked. Having got into them in the last couple of weeks, largely due to the Reuben-esque ‘Jelly Legs’, I can’t wait to dive in and give them a blast. Catchy chorus, silly lyrics that somehow make perfect sense, punchy instrumentation – I’m all over this.

ANDY JOICE

Keen to get involved with community features? What songs do you want to shout about? Join the Punktastic Self Care Club Patreon and you help share the love.

With recommendations from our Patrons, as well as a few staff ones thrown in, we’ve built our playlist with love and care, to bring a selection of tracks that we recommend, with highlights below. So why don’t you take a listen to the compilation whilst browsing over the Self Care Club. You’re only a few short clicks from joining, so get involved and join the fun.

Jools – ‘How can some experience pride without liberation for all?’

Deeply political, this feels like an incredibly relevant song in these troubling times. Although Mitch might not have the strongest of pipes, his delivery is akin to Joe Talbot or Grain Chatten of IDLES / Fontaines D.C. respectively. In a similar way, the messages are the most important aspect of the track, although don’t sleep on the instrumentation. Jagged and visceral, it’s deceptively technical, with every squeal, every ounce of grit seemingly deliberately placed. With only four tracks currently released, this is a band who, despite being new to the scene, have created a recognisable sound, and use it with intent.

ANDY JOICE

Frank Carter & The Rattlesnakes – ‘My Town (feat. Joe Talbot)’

For the longest time, I’ve been someone who felt that “Ghost Town” by The Specials accurately summed up areas in and around where I’ve lived in (all the clubs really did get closed down in ‘my town’!). This packs a similar narrative punch and is delivered with a snarl and venom from Frank that reminds of why I fell in love with the Rattlesnakes’ debut record. The verse by Joe from IDLES hammers home the narrative in a way only he can, and quite frankly I haven’t stopped playing this since it dropped.

BRAD STRATTON

Weezer – ‘I Need Some Of That’

I was never not going to love Van Weezer. Of the tracks that were released from the record in 2021, this is the one that I just can’t get out of my head. Someone on the Mosh Talks (shoutout Beez!) Discord pointing out that the chorus melody sounds a lot like Cascada’s “Everytime We Touch” has only made me love it more. That’s a YouTube mash-up waiting to be made in future!

BRAD STRATTON

Haggard Cat – ‘Quit Your Job’

A single from their upcoming EP, ‘Cheer Up’, this really is an outstandingly memorable track. Matt’s voice soars like an eagle, gliding majestically over some of the punchiest melodies I’ve heard this year, this is a track that pretty much forces you to move your body. It’s impressive the sheer amount of noise they can make as a two piece, the thundering drums and big swashes of distortion are outrageous. Turn this one up, and you’ll never turn it down.

ANDY JOICE

Clowns – ‘Bland Is The New Black’

Australia really are churning out some incredible bands at the moment. From Parkway Drive and Tonight Alive to The Chats and Skegss, there’s something for everyone. For those looking for a classic punk sound, look no further than Clowns. These Melbourne heroes have unleashed a track that has such a pure NOFX feel to it, I actively had to check Fat Mike wasn’t involved. Low and behold, they’re on Fat Wreck Chords. A more appropriate home is almost impossible to find. With grit, wit and spit, this song is as good as you’ll hear this month.

ANDY JOICE

Amigo The Devil – ‘Better Ways To Fry A Fish’

I never got round to the much lauded sophomore record from Amigo, but his third record of “murder folk” has hooked me in. Everything about this track paints a picture of the dark and macabre narrative of the torture being inflicted, from the lyrics to the bluesy score and diegetic cries of the “Fish”. I’d strongly recommend a listen of the whole album to get an insight into the breadth of Amigo’s songwriting, but consider this an amuse-bouche to get your started.

BRAD STRATTON

The Night Flight Orchestra – ‘Sometimes The World Ain’t Enough’

A band like this could only come from Sweden! While they have just released a new single, I can’t not show love to the title track from one of the albums that made me fall for them. Classic rock from the 70s and 80s with large helpings of synth, disco, pop, cheese and singalong choruses – which is perfect for this playlist given May is the month of Eurovision. It’s fair to say I will hopefully be living my best life three or four ciders deep watching them at Bloodstock this summer!

BRAD STRATTON

Keen to get involved with community features? What songs do you want to shout about? Join the Punktastic Self Care Club Patreon and you help share the love.

Even by the band’s unusual standards ‘Ok Human’ is personal and strange. After the nose-dive in quality around the time of their self-titled red album, they have been churning out albums, each with a different approach. Here, they have returned to writing three-minute pop songs only this time without guitars. Each track is gentle and piano based, but padded out with lashings of strings and horns. It’s a bold choice, quite unlike anything in their catalogue, while still sounding very Weezer. However, while the arrangements are big and grand, and despite being provided by a socially-distanced orchestra at Abbey Road studios, they feel surprisingly intimate. Compare it to the band’s previous record, the self-titled black album, and this is far more satisfying. The elevator-style music is gone and the awkward-as-hell lyrics have also been scaled back. This is brighter and more confident, propelled by Weezer’s undeniable charms.

Written sometime in 2019, the album was originally shelved in favour of an arena-rock sound, but with all stadium touring plans postponed due to the pandemic, release dates have been shuffled and ‘Ok Human’ has found its moment to shine. It is no secret that band leader Rivers Cuomo often culls his lyrics from stream of conscious diaries and his deeply introspective personality flows through the band’s work. On other albums, this sometimes led to goofy or even cringeworthy lyricism to the point of being nigh-on unlistenable (see ‘Raditude’), yet here it’s what makes the album work. It is literally about being isolated and life feeling weird, presented as a series of catchy tunes. After all this time, he has somehow managed to stumble back into the zeitgeist.

A piano might sit at the heart of every song, but each has its own distinct construction, be that the epic flow of ‘Numbers’, the bouncing ‘Aloo Gobi’ or the shuffling sound of ‘Grapes of Wrath’. For the most part, Cuomo relies heavily on his gift for writing earworms and that’s no bad thing. Lead single ‘All My Favourite Songs’ is big and catchy but you’ll find yourself humming most of the album’s melodies. It is also notable how well Pat Wilson’s simple drum patterns shape the overall feel. It is a bright, snappy sound that bites through the orchestral flow so even the sadder cuts like ‘Bird With a Broken Wing’ and ‘Dead Roses’ have a lofty bounce.

As for the Radiohead comparison, you can’t really hear it in the music, but it is present in the theme of alienation and underlying tone. The album’s concept mirrors ‘Ok Computer’ in that it is broadly about technophobia and the state of the modern world. It’s most explicit on ‘Grapes of Wrath’ which sounds like Cuomo name-checking his favourite online services but is actually saying something about their place in his life rather than just being a twee reference (something he has been very guilty of in the past). It’s also present on ‘Screens’, an ode to spending too much time staring at the computer, and ‘Play My Piano’ on which we learn what he does between Zoom meetings. It is all delightfully odd and a result of his modern lifestyle. However filtering these ideas through the overarching concept really works in the album’s favour, for example ‘Aloo Gobi’ with its refrain of ‘You are not alone’ manages to convey a sense of hope alongside its day-in-the-life drudgery.

You have to praise Weezer’s inventiveness. Fourteen albums down the line, it’s nice to see them approaching their music from a new angle, especially as the results feel so consistent. While ‘Ok Human’ won’t satisfy your guitar-rock cravings, it’s a surprisingly enjoyable ride. Though not one of their best albums, by allowing melody to take precedence over quirkiness, they have avoided their worst impulses, so neither is it one of their weakest. ‘Ok Human’ is a fun diversion that captures the essence of pandemic living with a spring in its step.

IAN KENWORTHY

You can watch the video for ‘Zombie Bastards’ taken from the album below.

The band have also announced that they will be headlining London’s Brixton Academy on 29th June 2019.

The doors for the O2 Academy Birmingham open at six, giving the most dedicated fans a chance to strategically place themselves on the barrier, and by the time The Orwells arrive at half past seven the intimate venue is almost entirely packed out. Their vocalist Mario Cuomo might share the same surname as the legendary Weezer frontman, but stylistically they dish out a nice blend of garage punk and punk energy. They make the most of the space on stage, but sadly it seems that they’ve fallen victim to the curse of being an opening band that most people here will likely forget about. Those audience members who didn’t get there for doors use their slot to strategically order sizeable rounds of drinks and secure their standing places.

By the time Weezer arrive however, we’re treated to them opening on ‘The World Has Turned And Left Me’, still sounding as angsty and catchy as it did 20 years ago. Rivers Cuomo seems a bit more reserved this time around, focusing far more time on his memorable guitar licks and less time frolicking on his own with just his trusty microphone.  The singalongs to ‘Surf Wax America’ and newer cuts like ‘Calfornia Kids’ are wonderfully satisfying, maintaining a constant wave of positive energy throughout the show. On ‘Pork and Beans’ the band pause the song midway through to replace the line ‘Timbaland knows the way to reach the top of the charts’ with ‘Black Sabbath’, a charming touch that shows that Weezer are not merely playing another UK show on an arduous tour.

Following up ‘The White Album’s’ traditional rock formula with ‘Pacific Daydream’s electropop sensibilities may have once again polarised opinions when the singles ‘Feels Like Summer’ and ‘Happy Hour’ were released online, but they clearly can’t be that bad, as fans lap them up with glee and join in with their feel-good choruses. For some reason, Weezer always sneak a modern pop cover into their sets, and tonight we hear a slightly awkward rendition of ‘I Took A Pill In Ibiza’ by Mike Posner. Of course, Rivers Cuomo can be forgiven for this because of his lovable charm, and fittingly they launch into their set of radio-friendly singles ‘Island In The Sun’, ‘Beverly Hills’ and ‘Hash Pipe’.

There’s always an added element of introspective sadness whenever ‘Say It Ain’t So’ is played live, usually because it’s the last song in their set, but also because it’s one of Weezer’s most hard hitting songs that shys away from their tongue in cheek nature. Rivers Cuomo lifts his microphone stand up towards the audience during the chorus for maximum stadium rock effect, but it’s done with finesse.

As a confetti gun blasts the audience at the end of ‘Buddy Holly’, the neon ‘W’ behind the stage shines even brighter as the house lights come up and the band takes their final bow for tonight. Weezer delivers us a ‘Blue Album’ heavy set, cherry-picking songs from their discography that prove once again why you should never pass up on an opportunity to see the charming geek rock outfit live. Even if their first album is considered to be their best 22 years on, as long as they never grow tired of playing it, that’s all that matters.

It is taken from the band’s upcoming eleventh album, ‘Pacific Daydream’, which will be released this Friday 27th October via Crush Music and Atlantic Records. Pre-orders are available here.

The band are also currently on a UK tour with The Orwells, the remaining dates of which are listed below.

OCTOBER
24 O2 ACADEMY Glasgow
25 O2 APOLLO Manchester
27 O2 ACADEMY Birmingham
28 SSE WEMBLEY ARENA London w/ Ash