Free Throw – Dingwalls

Good honest screaming draws a serious crowd to the corner of the canal to check out Free Throw and their charming skate nostalgia blended with a bottle throwing attitude. ‘Pallet Town’ claws for a connection through hazy riffs and evaporated memories of past pits and we paste the quieter contemplative moments with joyful claps and heartfelt callbacks. New song ‘Mike Nolan’s Long Weekend’ clicks heartfelt and vulnerable in its warmth, and their rumbling bright survivorship burns away our mid-afternoon haze.

Modern Life is War – Underworld

From one basement to another, Modern Life Is War prove there’s a darkness in the centre of town, their pounding energy like a runaway tank through the crowded Underworld. With juggernaut drumming and a powerhouse vocal performance from Jeffrey Eaton, they’re mixing the hardcore past and present into a foreboding sound. When he screams we’re going down it feels like a promise not a threat and their occasional moments of smoothness feel like a gathering storm. All in, they’re hypnotic: a cathartic harbinger of the evening to come.

The Dirty Nil – Roundhouse

All the way from Ontario to the industrial Roundhouse, The Dirty Nil’s stripped back style drags those who didn’t get into A Wilhelm Scream’s pub set through the garage squat past and into our renegade future. They’re Weezer’s more authentic cousins, with freedom-loving gang vocals and when they crank out ‘Rock n Roll Band’ we’re treated to a tale of twang and desperation. ‘That Don’t Mean It Won’t Sting’ shows off their back to basics attitude, but we really don’t need much more from these guys: we’ve already got an unrefined sweetness and a whole lot of rough-around-the-edges heart. ‘Ride or Die’ springs through evocative romance, leaving us with a beautifully abstract sense of hope.

The Hotelier – Roundhouse

As Christian Holden shouts out the first line of ‘An Introduction to the Album’ he’s greeted with a  chorus of raised fists. It’s an unexpected lovely track live, full of the pain of daybreak: each line murmured in return, the headbangs flowing on the drop. Three guitars are the catalyst for an avalanche of emotion as they slam their way through a set at today’s “incredibly sad festival”, with ‘The Scope Of All This Rebuilding’ carrying the energy of the moment when when you just have to smile through the aftermath of a tragedy. Scaling peaks of distortion laden shape beauty, The Hotelier have the chest-opening quality that we’re seeking today, rich with grit and tenderness.

Comeback Kid – Roundhouse

The first pit of the evening cracks open as Comeback Kid raise the temperature with ‘False Idols Fall’. Ferocious, intense and an absolute jolt of power, they spit unity and irresistible punk aggravation. Their “punk rock festival singalong shit” lights the fire under the pit while frontman Andrew Neufeld stalks back and forth like a caffeinated tiger, stirring the pit fervour even further. He bounces foot to foot like a boxer, bringing the fighting spirit to us through turbo boosted old school hardcore and we’re giving it our all through their pneumatic bass of and the carnage it brings. They fill the arena with their blender of a hardcore sound as we scream back the chorus to ‘Wake The Dead’, smashing a crater of an impression into our memories.

Joyce Manor – Roundhouse

At the other end of the spectrum from Comeback Kid, Joyce Manor serve as a poppier respite to the evening. ‘NBTSA’ smashes through with scratched solos and a lighter vibrancy, and the way their outsider chords strike into the crowd speaks of a wonderful transcontinental connection on ‘Beach Community’. There’s a crush at the front but the waves of their complicated honesty stretch through to each of us. Each song feels devastatingly brief, each teenage tripped line a testament to flash of an idea. Whether it’s wanting some backyard biro artwork on ‘Tattoo’ or the moment you’re ready to leave your crush behind on ‘Victoria’. Joyce Manor’s upbeat realistic snapshots are a thing of absolute joy.

Spanish Love Songs – Roundhouse

‘Losers’ cements Spanish Love Songs as not only fan favourites of today but also as more than we ever realised. Today’s set exposes their raw edges as they’ve eschewed polish and synth in favour of playing with the hardcore end of their sound. A yelp and a growl lurk at the edges of ‘Clean Up Crew,’ with a solemn churchlike pause to appreciate each lyric before the crowd surfers remind us of the power of the human spirit. ‘Generation Lost’ switches between double speed and slow motion, playing with our emotions before we’re smashed by ‘Lifers’, a song whose petals open like gruff enlightenment. Between tough singalongs that twist into a worshipful bridge, and more optimistic notes that make us jump away our fears, Spanish Love Songs serve as a beacon of resilience when the night gets too dark.

Hot Water Music – Roundhouse

Hot Water Music have evolved to become the finest version of themselves, to the point that we’re too shellshocked to dance until halfway through their set. Somehow ‘Drag My Body’ has become more desperate and bare, any free sonic space filled with Chuck Ragan’s monumental roar, but that’s not to discount Chris Wollard’s vicious vocal achievement on ‘Menace’ in the least. ‘Killing Time’ smashes onstage, its autumnal harmonics as road worn and lurid as a tour flyer. They’re still flying their flag resolutely, and slowly a pit coalesces by ‘A Flight And A Crash’ as they stomp through regret and blues and out the other side.

“It feels like we all made it to the end of a punk rock scavenger hunt today,” jokes Wollard, and maybe it’s that sense of victory that we’re absorbing with each bass burst. Their new songs like ‘Fences’ and ‘After The Impossible’ are just as brittle and deep as all the rest of their back catalogue, haunting and gripping as they lead us through chanted landscapes. ‘Remedy’ explodes, our tired bodies shaken awake by the drama and riffs and layers of hard won shout. Dave Hause jumps in on guest vocals for ‘Trusty Chords’ as we choir it back to him, the world suddenly glowing golden at the combination of two resolutely independent vocalists joining forces on one of our favourite songs. 

As we stumble out, somewhat broken from a full day of slamming, we’re forced to contemplate the ‘Common Thread’ uniting the day. The sunlight of surviving through hardship permeates the day, as does a resounding sense of forging your own path through the frequently harsh nature of modern existence. Perhaps we, who spend the day running up and down Camden High Street, braving the queues and fuelling ourselves with plastic glasses of post-mix Coke, were the fabric that drew the day together before the tour rumbles on to the next town lucky enough to be treated to a day of magnificent punk. 

Kate Allvey

Right from the opener ‘Gallop Of The Hounds’, it’s very clear that the music is as epic and powerful as it always has been. With huge guitars that somewhere between rock and thrash, the pounding groove elevates the towering chorus and gets the record off to a strong start. Following track ‘Fail In Time’ is another slice of the same, delivering fist-pumping riffs while vocalist Luke Bentham steals the show with his captivating voice. Examine the lyrics, though, and you’ll begin to see where the difference is. Their vulnerability is still there, but it’s laced with pessimism, negativity and despair. The music still appears colourful, but there’s a lot of shadows being cast onto them.

‘Rock And Roll Band’ explores the realities of being in a modern touring band, shining a light on the industry bigwigs making more money than the artists they exploit. ‘Hero Narrative’ is a towering rock banger, being candid about relationships falling apart. ‘Spider Dream’ is haunting; ebbing and flowing through some beautiful passages as Bentham shares his inner burdens. It feels almost like the album is like a therapy session. Perhaps this is why the colours seem less bright; the depths of one’s soul can be a pretty shadowy place.

For all the doom and gloom, though, there are some incredible highlights. Album closer ‘I Was A Henchman’ is a very punchy way to end a record, a scathing dissection of abandoning religion. ‘That Don’t Mean It Won’t Sting’ is delicious too, armed to the teeth with Weezer-like groove while Bentham muses over emotional wounds. ‘This Is Me Warning Ya’ is the show-stealer, though. Serving as a mid-record breather, it’s a stripped back heart-wrencher with some of the most beautiful lyrics of their career. Written about making mistakes and hindsight, the line “I chased a ray of sun into armageddon” might be a career highlight.

This is almost like a version of the band from a parallel universe. The vibe is darker and the lyrical outlook is bleaker, but they still deliver that adrenaline surge that got us all hooked in the first place. They’ve leaned even further into the sound they established on ‘Free Rein To Passions’ and created something more mature, more anthemic and designed for big rooms. The album is over in thirty minutes which feels like too soon, but it’s all the more reason to press that repeat button. Their best record so far? It could well be.

DAVE STEWART

Kicking off with the first track off the brand-new record ‘Free Rein To Passions’, the crunchy jaggedness of that ‘Celebration’ opening riff gets the band off on the front foot. Heads nodding in sync with plenty of attendees already familiar enough with the song to recite the lyrics back to frontman Luke Bentham and, as expected, a large portion of the setlist is devoted to showcasing this new material. A UK debut for ‘Atomize Me’ is a nice touch, while the likes of the cathartic ‘Stupid Jobs’ and ‘Blowing Up Things In The Woods’ keep the energy high throughout the evening.

A highlight from ‘Free Rein To Passions’ is the titular track, before which bassist Sam Tomlinson takes a beat to encourage a bit more movement amongst the crowd. “I wrote this song for Vladimir Putin, I hope he fucking dies soon” explains Bentham before launching into the song. Huge cheers follow as a few audience members oblige Tomlinson’s request – bouncing off of each other along to the paciest song of the night.

It isn’t all shiny new toys and there is ample space on the setlist for older favourites, stretching as far back as mainstays ‘Wrestle Yü to Hüsker Dü’ and ‘Friends In The Sky’ from 2016’s debut full-length ‘Higher Power’. Of course, ‘Doom Boy’ goes down a treat thanks to its simply irresistible riff and crushing breakdown. The moody poise of ‘Evil Side’ builds into its emphatic crescendo and marks a suitably deafening closure to the bulk of the setlist. 

Opting to forego the usual pantomime of an encore and instead staying rooted to their stage, The Dirty Nil bow out with their exemplary cover of Metallica’s ‘Hit The Lights’. An apt ode to a clear source of inspiration for the band, it’s a great conclusion to a stacked set. In little over an hour, fans were treated to 18 songs, a tremendous feat, considering that the whole evening flew by. Such is a testament to the quality scattered throughout The Dirty Nil’s discography.

Striking, just as was the music, it’s worth mentioning how Bentham looked the part in the bespoke garb, “Free Rein” embroidered above the breast pocket and an inverted crucifix studded into the back. Chewing and bursting bubble gum throughout the performance, he exudes all the pomp and swagger of a person you’d want at the helm of your band. Few bells and whistles, just raw, authentic live music. The Dirty Nil are a proper rock ‘n’ roll outfit and should be treasured as such – long live the Nil.

AARON JACKSON

Surely, for many, waking up on that Friday morning was no mean feat. That Silent Disco is just too good to refuse, right? One day of festivities down, two to go – suck it up. Oh, and bring sun cream.

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

The St Pierre Snake Invasion

Tasked with the midday slot, the sun was already beating down on the exposed lawn of the main stage as The St Pierre Snake Invasion stepped up. In releasing ‘Galore’ earlier this year, they’ve already entered the album of the year conversation, so to hear renditions of ‘Kracked Velvet’ and ‘Submechano’ amongst others live was a right treat to start the day. Stylised vocals drenched in distorted noise carried over crashing instrumentation that brushed away any cobwebs left over as a result of the previous night’s party.

Unfortunately, their set was cut short, according to frontman Damien Sayell because they had too much gear and spent too long getting ready. However, there was still time to close it out with the rambunctious ‘Rock ‘n’ roll Workshops’, during which Sayell was joined by his young son. Proud as punch, he held onto his boy like a trophy as he screamed his head off like a maniac (Sayell senior, that is). It was a wholesome end to a wholly impressive performance.

BLACKGOLD

Something’s happening here. A nu-metal revival of sorts. Hailing from London but with all the pomp and swagger to garner attention from across the globe (including from genre godfather Fred Durst himself), BLACKGOLD take to The Cave with an air of intent about them. Dressed up to the nines, complete with black and gold masks, it’s a cool aesthetic but they must have been sweating up a storm under there.

The industrious blend of hip-hop and hardcore was impossible to resist, particularly throughout the copious fat breakdowns which elicited mass movement throughout the audience. Anonymous as individuals, but expect to be hearing the name BLACKGOLD plenty soon.

Heriot

Without a shadow of a doubt one of the most brutal bands on the bill, Heriot take no prisoners wherever they go, regardless of the size of the stage. Tanking through juggernauts like ‘Enter The Flesh’ and ‘Profound Morality’, there’s a gravity to this music that belies the breakneck speed at which it’s delivered. 

Debbie Gough (guitarist/vocalist) and Jake Packer (bassist/vocalist) exchanged vocal blows between themselves, each one more guttural than the next to shake onlookers through to their core. While the crowd may have been sparser than one would hope (possibly due to the time of day and the heat), there was a healthy nucleus of devoted Heriot fans front and centre that were insatiable in their appetite for heavy music. Flailing limbs aplenty, Heriot made their mark and then some.

Heart Attack Man

Embracing their first UK festival appearance, and a second visit to the land overall, with heaps of energy is Ohio four-piece Heart Attack Man. They bound into their set with ‘Freak Of Nature’ – the titular track of their brand new LP. Only in the public domain for a couple of months, the catchy choruses on album cuts such as ‘Like A Kennedy’ and ‘Stick Up’ ensure that plenty in the crowd are singing every word back to frontman Eric Egan.

‘C4’ was an explosive inclusion that sparked a fiery circle pit in The Cave, satiating a crowd aching for an excuse to get rowdier. There’s a case to be made that the edgier, heavier numbers from Heart Attack Man’s oeuvre would’ve been embraced with open arms in this setting – the likes of ‘Puke’ for example. However, pop-punk anthems like ‘Pitch Black’ and ‘Leap Year’ still had plenty of bite in them for Hammy to hold their own on this turf.

Origami Angel

What a stage for the final show of a first-ever UK tour. The eclectic and bordering on prodigious Washington D.C. duo made up of vocalist/guitarist Ryland Heagy and drummer Pat Doherty were clearly relishing this experience. Spotted on the side stage the previous day cheering on their tour mates Prince Daddy & The Hyena, they delivered a whirlwind set on The Axiom with the same smiles beaming across their faces.

Buckets of variety between the surfy ‘Thank You, New Jersey’, the angsty ‘JUDGE’ and of course, the anthemic ‘24 Hr Drive-Thru’ ensured that there was something for everyone on offer. Each song was expertly executed with the two members sonically bouncing off of each other in perfect unison, all the while fans went frankly rabid at points. The cherry on top was some great news for fans both existing and new when Heagy revealed (after receiving permission from The Wonder Years’ Soupy) that his band would be returning to the UK in November to support TWY on tour. We will be there.

Joyce Manor

Taking to the Main Stage in the blazing sunshine, Joyce Manor looked at home in a setting of such grandeur. Understandably unphased by the intermittent British summer, the Californian quintuplet strolled straight into their 18-song setlist – an incredible feat considering their 45-minute time slot. The set consisted of hits that spanned from 2012’s breakout ‘Of All The Things I Will Soon Grow Tired’ all the way through to 2022’s impressive ’40 oz. To Fresno’, delivering a little bit of everything to the sizable crowd that had assembled in the rolling Gloucestershire hills.

The band rattled through their set at an electrifying pace, calling for inspiration from the crowd for song requests – a theme common on Joyce Manor shows, supported by their short, succinct songwriting style. Of course, hits such as ‘Leather Jacket’, ‘Eighteen’, ‘Constant Headache’ and ‘Catalina Fight Song’ drew the biggest singalongs,  affirming the band’s status as one of the genre’s most beloved cult bands.

Zulu

One of the most anticipated sets across the whole weekend belonged to scorching hot trailblazers, Los Angeles’ Zulu. Largely thanks to the quality of their debut full-length ‘A New Tomorrow’ which dropped earlier this year, the band have a record that has rippled seismically throughout the scene. Moving at an unrelenting pace, all five members displayed unmatched energy as they tore through hit after hit, the likes of ‘Where I’m From’ and ‘Fakin’ Tha Funk (You Get Did)’.

The dual vocals between the principal vocalist Anaiah Lei and the drummer/vocalist Christine Cadette (whose performance stunned from start to finish) hit just as hard in a live setting as they do on the record. The whole experience felt as though it lasted five minutes, each crushing breakdown more doom fuelled than the next, completely capturing the attention of all onlookers. Bowing out with ‘52 Fatal Strikes’ it was a fleeting yet delightful encounter, with a fair few fans stumbling out of The Cave ever so slightly worse for wear than they were 30 minutes prior.

Microwave

There was a palpable air of relief from the Atlanta, Georgia four-piece Microwave as they settled into their slot on The Axiom. Two cancelled UK tours off the back of 2019’s ‘Death is a Warm Blanket’ felt like a significant setback at the time. It had been a long wait, but Microwave seized their opportunity to reacquaint with a British audience in a determined and convicted manner.

Traversing between the grit of ‘Mirrors’ to soothing stoner numbers like ‘keeping up’ later on in the set demonstrated the versatility of the band. Frontman Nathan Hardy even donned an acoustic guitar, rarely sighted outside of 2000trees’ picturesque Forest stage, as he strummed through newer cut ‘Straw Hat’. Microwave’s ability to evoke sunny imagery was the perfect compliment to that late summer afternoon described as “spicy” by Hardy.

Usually, the band would leave their audience with the visceral climb at the conclusion of ‘Vomit’, however, they had five minutes in spare change at the end of the set. A solo acoustic rendition of ‘Something Right’ instead marked the end of a well-rounded performance from a band with such a rock-solid discography on an elegant and poignant note.

The Xcerts

Beloved mainstays of 2000trees, endearing trio The Xcerts are back and toeing their way through a brand new era for the band. It’s been over five years since the release of their previous record ‘Hold on to Your Heart’ and, while there was plenty of space across the 50-minute time slot for old favourites, it was the brand new ‘GIMME’ that fans were greeted with. Frontman Murray Macleod was having great fun with his autotune machine, beaming and bouncing around the stage as he chanted his way through the 90-second flash of dirty pop-rock. 

Making light of internet trolls and the band’s apparent insistence on committing “career suicide” with recent directional choices shows just how confident The Xcerts are with their new output, and so they should be. That said, the nostalgia of older cuts like ‘Slackerpop’, ‘Crisis in the Slow Lane’ and the utterly timeless ‘Aberdeen 1987’ is unmatched and therefore marked the highest points of the set. Being part of a crowd in the thousands singing “I’m your new best friend…” in unison, will forever be one of this festival’s champagne moments, regardless of the year.

Employed To Serve

Walking out to a surprisingly humble crowd in numbers, it didn’t take long for The Cave to fill out once Employed To Serve built into the cascading, crushing brilliance of ‘Universal Chokehold’. The instrumentation throughout the set was airtight, with a special mention for Sammy Urwin whose speed up and down his fretboard was implacable. Fronted by the powerhouse that is Justine Jones, her voice was impeccable as she tore through some of the most aggressive and expressive music of the whole weekend.

There was some exquisite headbanging on display from the band and audience members alike, the lightning pace of the music resulted in hair whipping all over the place and, no doubt, some very sore necks. Mind you, would it even be possible to listen to ‘Force Fed’ or ‘Mark Of The Grave’ without throwing the skull around? Doubt it.

Empire State Bastard

Perhaps a small handful of onlookers stumbled to the Empire State Bastard set having heard that Mike Vennart and Simon Neil (from a little band by the name of Biffy Clyro) would be performing, in a tent, in 2023. Those unfamiliar with the nature of the project were knocked for six as the experimental outfit launched into one of just two songs that have been released for public consumption to date. ‘Harvest’ is the perfect introduction to this off-the-wall cacophony – it’s chaos, but it’s brilliant. The following ten songs are no different.

Even in the weirder early years of Biffy Clyro, this is Neil like never seen before – in fetching short shorts, launching himself across the stage while screaming like a bobcat. What a spectacle. The only disappointment was that legendary percussionist and Empire State Bastard regular Dave Lombardo was unable to attend, as he was away on a US tour with Misfits. That said, the replacement was a fucking animal on the tubs. There were few bells and whistles, just really heavy music to which a core nucleus of the crowd pitted hell for leather on every song, whether they were familiar with it or not. The rest stood and watched, awed by the noise surrounding them.

Cancer Bats

Bodies were spilling out of The Cave to catch a glimpse of seasoned pros Cancer Bats headlining the stage. Knocking about for almost 20 years now, the Canadian outfit have been firmly established as a household name in the hardcore scene and it was a busy festival for them. The previous night saw them perform under their, by now well known, alias Bat Sabbath and delivered a set packed with tributes to metal forefathers Black Sabbath, It was, by all accounts, a fantastic experience.

Funnily enough, it was another cover performance in The Cave on the Friday night that stood out amongst the rest – Cancer Bats really do a mean ‘Sabotage’ by Beastie Boys. Fans of the band will know what they’re getting from a Cancer Bats show, but that never stops it from hitting as hard as it does. Jay R. Schwarzer’s swashbuckling riffs, paired with Mike Peters threatening to beat his kit so hard that it collapses the entire stage creates a colossal sound that rattled the whole field to its core. Of course, always impossible to ignore, was frontman Liam Cormier who never once stopped for breath in between songs, let alone during them – a tireless performance from one of the most consistent acts out there.

Bullet For My Valentine

There were plenty of moments throughout the 90-minute headline slot for Welsh metal outfit Bullet For My Valentine that proved why they are held with such legendary regard across heavy music fans. Filling the stage out, complete with an elevated drum platform and vivid light show, the setup couldn’t have been more opposite to the raw simplicity of Soft Play the night before. Armed with timeless hits like ‘Your Betrayal’, ‘Hearts Burst Into Fire’ and ‘Scream Aim Fire’ (for all the guitar heroes out there), each song was executed with the flawless proficiency of a band that have remained at the top of their games for literal decades.

It was their first time at the festival and there was a bit of a foot-in-mouth moment from frontman Matt Tuck as he pontificated about how Bullet were probably the heaviest band to ever play 2000trees. If he’d caught Heriot or Zulu earlier in the day, then he would’ve quickly realised how silly a claim that was. Things did kick up a notch however, when fans were treated to an impromptu AxeWound reunion as Cancer Bats frontman Liam Cormier was back again, this time on the festival’s biggest stage. Running through ‘Cold’, Cormier’s energy was simply unmatched and made the rest of the band look static in comparison, though he would have this effect on most artists out there.

With ‘Tears Don’t Fall’ ageing into something of a seminal track for the band, it marked a huge moment in the set that will stay with fans, both old and new, for a long time after the final note had rung out. ‘Waking The Demon’ was the perfect closer, standing as something of a quintessential Bullet song – blistering verses fuelled by a storm of riffs and a gigantic chorus that opens up, allowing Tuck to let his voice soar and soar it did. Perfectly suited for the biggest stages, Bullet were built for the occasion and delivered appropriately.

AARON JACKSON

There’s a mild sense of optimism in the air. We’ve been given a vague timeline of when things should be better, and while some festivals are rightly being cancelled, some are being moved to later in the year. And you know what, we cannot wait to see you all in a pit, all sweaty and beer-soaked. But before we count our eggs, here’s another edition of our collaboration playlist.

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.

Nicholas Cage Fighter – ‘Devil’s Head’

Nicholas Cage Fighter – “Devil’s Head” – Discovered this Aussie four piece’s debut EP thanks to the PT New Music Friday playlist a few weeks ago (get ya ears on it!). Metallic hardcore that hits all the sweet spots if that’s your thing, with the 5 track EP slapping harder than a right hook from Gail Platt. All of this before even mentioning how rad their name is!

BRAD STRATTON

Mogwai – ‘Ritchie Sacramento’

‘Ritchie Sacramento’ is absolutely faultless, and devastatingly beautiful. Nice to hear vocals on a Mogwai track, which always feels like bonus content. If anyone hasn’t seen it, I would recommend checking out the video, made in Unreal Engine. tt manages elevates the beauty in the track in my opinion.

SAM LOVELY

The Royal They – ‘Full Metal Black’

The Brooklyn trio make one hell of a racket. The drumfill in the intro is mindbending, leading into a verse full of wailing, distortion and subtle melodies. Possibly the most noticeable part is the way the vocals change pitch as they head into the chorus. Legitimately impressive, it’s a stunning way to change key into the chorus. There’s an essence of Bikini Kill thrown in here, bordering on a grungy sound with saccharin vocals that can switch in an instant. As with much of The Royal They’s material, it’s the drumming that stands out though, with an almost Dave Grohl ‘on the verge of fucking it up’ style that’s rapid as hell. Don’t let that sound like a bad thing though. The balance is superb. FFO Dinosaur Pileup.

ALAIN SMITHEE

HEADACHE – ‘mike’s back’

Since the disbanding of Lower Than Atlantis, Mike Duce has thrown some pretty left field stuff at us under his solo venture, HEADACHE. Although there’s not a single guitar to be found, Duce combines his rock band experience with new influences to experiment on something totally new. And it’s wicked. This track in particular sees him attempting to rap, which could be considered cringe but in actuality, it works pretty well. ‘mike’s back’ will tie your tongue in knots but you’ll have a whole lot of fun learning the words and be hit with a wave of satisfaction once you finally nail it.

YASMIN BROWN

Hotel Books – ‘Run Wild, Young Beauty’

Stick with me on this one. Spoken word poetry seems a little off brand for Punktastic, but it shouldn’t be, particularly when it’s as cleverly written and, dare I say it, poetic as this. The pictures painted by Cam Smith are vivid and vast, with metaphors aplenty. Within ‘Run Wild, Young Beauty’, Cam explains that he can change into whatever is needed in a partner, mailable enough to bend but not break, so as he won’t be lost or left alone. The backing instrumentation is delicate, with gentle, melodic riffs peppering the ears that doesn’t overpower the importance of they lyrics, but adds a level of power and prowess to it’s meaning. If La Dispute leaned more into emo than post-hardcore, you would have Hotel Books. It’s cripplingly affecting. So yeah, spoken word poetry. It might be pretentious, but it’s far less pretentious than this write up. FFO: Listener, La Dispute, Levi The Poet,

ANDY JOICE

Spidergawd – ‘Is This Love?’

A band that are one of many underrated gems of the Norwegian Scandirock scene. This stupendous song is from their fourth album released in 2017 and it’s scandalous that a rock song this good and catchy is pretty unknown, so consider this me giving it a signal boost of sorts. The Foo Fighters wish they could have released a song this good in the last ten years (Sorry Dave).

BRAD STRATTON

Pale Waves – ‘Easy’

I love a song that reminds me of the deepest and most enduring pain in my life, and no track is doing that more at the moment than ‘Easy’. For those still going through heartbreak, it’ll remind you of the good times, and for those in an outrageously happy relationship, you’ll find yourself wanting to text your partner just to tell them you love them. This Avril Lavigne influence has worked so well for Pale Waves but if you haven’t embraced it yet, this should be your starting point.

YASMIN BROWN

Iron Maiden – ‘The Clansman’

I’ve gone down a bit of a rabbit hole with Iron Maiden recently, embracing a heavy dose of nostalgia. Yeah, The Number Of The Beast is a hell of a record, but lets throw a bit of credit at Blaze Bayley. Can’t have been easy to step into Bruce Dickinson’s shoes, but he does so pretty well. Case in point, The Clansman – a song about the Scots fighting the oppression of the bastard English – it might not be the most technical song, the riffs might not be as memorable as Fear Of The Dark or be as thunderously quick as The Trooper, but tell me the chorus of ‘Freedom!’ doesn’t make you want to stand up and shout along. Even Mel Gibson’s speech in Braveheart doesn’t rouse the spirits as much as this song does. Up The Irons

ELLIE JOICE

The Dirty Nil – ‘Hello Jealousy’

On my third listen of “Fuck Art”, the moment the chorus of this track kicked in was when the quality of this album truly clicked with me. The sort of rock’n’roll that has me missing sweaty overcrowded gig venues for the umpteenth time since the world shut down.

BRAD STRATTON

Lonely The Brave – ‘Keeper’

They may have brought on a new front man, but Lonely the Brave are bigger than ever with their new album ‘The Hope List’, and never more so than with ‘Keeper’. A track fuelled by love and appreciation, it’s also produced perfectly to reflect the arena-sized nature of this band. With Jack on board, there’s now no ceiling to this band’s success and although the album is newly released, I still can’t wait to see what’s coming next.

YASMIN BROWN

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.

The follow-up to 2018’s phenomenal Juno Award-nominated ‘Master Volume’, ‘Fuck Art’, sees The Dirty Nil hone their fun-loving blend of punk and classic rock, and cements their place as one of the most consistently brilliant rock bands on the planet. The Toronto three-piece’s ear for melodies and their sneering tongue in cheek attitude is a brilliant reminder of one basic fact; rock ‘n’ roll is meant to be fun. On that front, this record delivers by the bucket load. ‘Fuck Art’ is an absolute ray of sunshine that will no doubt be a comforting listen to rock fans across the world during the cold winter months.

The Dirty Nil have a proven track record of writing colossal choruses, so it’s no surprise that this album continues that trend. It is absolutely packed to the rafters with great choruses and great vocal hooks – some of them hit you instantly, others take a bit more time, however, once you’ve listened to the album a handful of times, every song will eventually get stuck in your head.

The album begins in suitably raucous fashion with ‘Doom Boy’, a staccato thrash riff that wouldn’t sound out of place on a Power Trip song, before giving way to a huge, straight-up rock song. As one of the lead singles from the album, it’s also one of its standout moments. Guitarist and vocalist Luke Bentham is on absolutely blistering form here, as he sings ‘we could listen to Slayer / in the back of my Dodge Caravan’ before dropping in ‘it’s my mom’s Dodge Caravan’ as a sneering aside.

‘Blunt Force Concussion’ and ‘Elvis ‘77’ are deceptive listens. While neither track gets stuck in your head immediately, over repeat listens they’ll slowly worm their way in, to the point where you’ll feel like you’ve known them forever. ‘Done With Drugs’ – released as a single in 2020 – is an absolute joy, with a massive chorus that’s tonnes of fun to sing along to. The lyrics are classic Bentham, as he reels off a list of things he’d like to do instead of getting wasted, tongue firmly planted in cheek, ‘maybe I’ll try origami or jujitsu / or walk around Ikea with you’.

‘Ride or Die’ is The Dirty Nil at the most brilliantly bombastic. The verses have a real rock and roll chug to them, while the song is topped off by a riff that wouldn’t sound out of place on a thrash album. The song really encapsulates what is so brilliant about this band. They have a punk sense of urgency and attitude, while being completely unafraid to lean into other, less contemporary genres to create rock music that is absolutely joyous.

‘Hello Jealousy’ is a speedy, catchy number with more snotty punk attitude than you could shake a safety pin at. The chorus is one of the biggest and most instantaneous on the record, and there’s no doubt that this will sound absolutely huge live. ‘The Guy Who Stole My Bike’ contains some of the best lyrics on the record as Bentham fires barely veiled barbs at the bike thief such as ‘I hope it serves you well / I hope the brakes don’t seize / when you’re riding down the hill to hell’.

‘One More and the Bill’ is catchy, jubilant, and anthemic, or in other words, a perfect album closer. The song is built around a singalong moment that reads like a manifesto for self-care in 2021 as Bentham wails ‘Gonna smash my TV / smash my phone / leave politics alone’. After a year that has felt like one giant doom-scroll, singing along to this at the top of your voice is incredibly cathartic. Let’s hope The Dirty Nil can play live soon, because this song is going to sound absolutely phenomenal in a dingy club filled with fans, bellowing their lungs out while standing shoulder-to-shoulder.

If you’re already a Nil fan, chances are we don’t have to tell you that this album is worth your time. You’ll be there on day one regardless. If you’re not a fan, drop everything immediately, and go check out your new favourite band. ‘Fuck Art’ is the sound of a band nailing down their signature sound, and releasing an absolutely stellar record full of rock anthems in the process.

ASH BEBBINGTON

Fireball UK Brand Ambassador Matt Reynolds has said of the competition “We’re so proud to announce the strongest group of finalists our hottest band competition has seen so far. All handpicked by us at the good ship Fireball and Academy Events from the hundreds of awesome applicants that we received over the last two months – I must say it’s very evident that the UK scene is incredibly strong at the moment”

With local bands playing at local venues, it’s an excellent way to showcase new music on a tour size scale. Accompanied by some of the biggest names in the ska punk scene, it’s the perfect way to help develop and nurture new talent. A list of all eight bands playing throughout the tour is below

Frank Grimes and The Disasters

After a year-long hiatus, Frank Grimes and The Disasters are back and more miserable than ever. Formed in 2016 and releasing the latest EP in September 2019, if you need a hole to stick them in then ‘macabre Pop-Punk’ is a snug fit.

This Time Last Year

This Time Last Year are a Leeds based quartet known for their mix of energetic Pop-Punk with hard-hitting, relatable lyrics. Their highly energetic shows,focusing on crowd participation and positive vibes, ensure This Time Last Year are a band you will want to see live over and over again.

LIKE GIANTS

Like Giants are a four-piece Pop-Punk band from the Midlands, UK. The band formed in 2019 and have just released their debut single ‘Cut and Run’ from their debut EP; ‘Sovereign’, set for release late September. Bringing with them heavier riff-driven tracks, with hard-hitting, but also soft melodic vocal melodies, this has helped them set themselves apart from the ever-expanding Pop-Punk genre.Influenced by; Neck Deep, A Day to Remember and State Champs, Like Giants write songs covering topics like mental health, relationships, and life in general through punchy riffs, and very catchy choruses.

Well Done You

Well Done You are a high octane five-piece Pop-Punk band from Manchester. Having been championed by Kerrang! Radio and The Unsigned Guide, Well Done You recently released their latest EP ‘Please and Thank You’. Their debut album, ‘Welcome to Camp Sunshine’, is set for release on 25 October.

BELLE ELMORE

Belle Elmore formed in the North East with several like-minded souls looking to jam and just play some cover songs for a lark, maybe gig a little if opportunity knocked. But the thirst for more was overwhelming… It was decided that performing their original music was the path to take. Since then the band have found pleasure creating and discovering their own sound, stemming from very eclectic tastes and influences.

Crashes

Crashes have had a great year thus far: sharing the stage with top up-and-coming UK acts Dream State, Woes and Cold Years as well as releasing their secondEP ‘Something’s Wrong’. A collection of songs which showcases their polished, Pop-Rock sensibilities alongside introspective lyrics and atmospheric backdrops. They draw elements from a wide spectrum of influences, such as Paramore, Deftones, The Dangerous Summer and Bon Iver to create a unique sound, with subtle electronics giving way to huge, anthemic choruses.

Weatherstate

With their recent Green Day music video homage receiving the thumbs up from Mike Dirnt himself, Weatherstate are a Punk-Rock outfit from the south coast. The band have spent the past couple of years touring Europe and the UK. Weatherstate’s effervescent take on Punk, harks back to legendary Pop-Punk bands of the 90s whilst incorporating a new, venomous energy. They have been seen shredding stages with the likes of The Dirty Nil, Single Mothers, Trash Boat, WSTR, Creeper and more.

Millie Manders and The Shutup

Millie creates cross-genre Punk that is hard to ignore. With lyricism that pokes fun, draws you in or leaves you questioning social norms teamed with incredible vocal dexterity, grinding guitars, irresistible horn hooks and a pumping rhythm section, the Millie Manders Music Machine churns out more raw punk fusion than you can shake a stick at, with a huge amount of Pop appeal. “Watch this space” is a term very much worth its salt when considering the hype surrounding the force to be reckoned with that is Millie Manders and The Shutup. Their live shows are electric and her songs infectious. If you haven’t listened yet, you need to…

Tickets to all dates available here, with the full list of dates and competition supports below:

OCTOBER

19 SHEFFIELD, O2 Academy – Frank Grimes and The Disasters
20 LEEDS, O2 Academy – This Time Last Year
21  BIRMINGHAM, O2 Academy – LIKE GIANTS
23 MANCHESTER, O2 Ritz – Well Done You
24 NEWCASTLE, O2 Academy – BELLE ELMORE
25 GLASGOW, O2 Academy – Crashes
27 BOURNEMOUtH, O2 Academy – Weatherstate
28 LONDON,  O2 Academy Brixton – Millie Manders and The Shutup