However, it’s in her solo work that Hekt bares her soul. Her debut LP, ‘Going To Hell’, is a deeply personal record in which she opens up about her sexuality, the environment in which homophobia sadly permeates, and the battle to be true to yourself. Sonically, it picks up where her 2019 EP, ‘Gigantic Disappointment’, left off with infectious riffs and melodic vocal styles.

In opening track and lead single, ‘Whisky’, Hekt lays everything down on the table. In this intimate, warming song, she speaks of the internal struggles of coming to terms with being gay and how to process these thoughts. It comes with an uplifting sentiment in the message of community and simply being happy with the people around you.

‘Whisky’ is complimented by title track ‘Going To Hell’, an almost tongue-in-cheek title for an acoustic track attempting to convey the theory of conservatism from a gay person’s point of view. Hekt sings, “You’re doing fine and you’re doing well, but the Catholics think you’re going to hell”, in a light ribbing to the outdated views that still persist in a society we thought was open.

In between these excellent bookends, there are some real gems including ‘Stranded’, in which Hekt addresses her desire to connect with her German roots while wandering the streets of Berlin. ‘80 Days of Rain’ is a rager on the lurking doom that’s heading our way in the form of climate change, while ‘Undone’ is an ode to reconnecting to that special someone that has drifted away.

‘Going To Hell’ shares a lot of similarities with Against Me!’s poignant ‘Transgender Dysphoria Blues’, in that both feel like an exercise catharsis. While they tell their stories of identity in wildly different manners, both share the same traits of reflection and, ultimately, happiness in accepting themselves, and that’s not to mention the lasting songs.

It shouldn’t be any surprise from her work as part of Muncie Girls and as a solo artist that Hekt is capable of crafting such powerful tracks, and ‘Going To Hell’ is just another excellent addition to her already stellar catalogue.

TOM WALSH

From the peaceful and emotional sets that took place under a canopy of trees, to the raucous mayhem over at the main stage that had us thrown into the most fun pits we’ve ever experienced, this festival really does have it all.

Lucky for us, we were there to check out the whole thing, braving the heat and having the time of our lives.

Words: Yasmin Brown [YB], Gem Rogers [GR] Images: Penny Bennett [PB], Matt Higgs [MH]

Sweden’s Normandie have spent the last few years steadily ticking off the UK festival circuit, and after a triumphant set at Reading + Leeds in 2018, it’s now 2000trees’ turn to see what the four piece can do. Blending rock, pop and metal sounds, Normandie are masters of all they turn their hand to, and it results in a thoroughly upbeat and enjoyable set with a true festival vibe. Heavier tracks like ‘Dead’ bring monster mosh pits into The Cave tent, while set closer ‘Collide’ is a beautifully uplifting dose of pop rock; their experience on stage is evident as they lace the air with energetic fun, and the packed tent is full of smiles and singalongs that stretch all the way to the back. It’s the perfect start to our final day at 2000trees, and main stage slots will surely be coming Normandie’s way in future. [GR]

After two wonderful yet tiring days, Scottish delights Vukovi are the perfect band to revive you. Their vibrant and humorous set entices aimless wanderers to position themselves purposefully in front of the main stage. Front woman Janine Shilstone carries the band on her back, the combination of her charisma and flawless powerful vocals a definite highlight of the weekend. Those in the crowd who have up until now been seated quickly rise to their feet, intrigued by the rough and ready Glaswegian accent that fills the field in between sweetly sung songs. Shilstone’s personality never shines through quite as much as it does when she first spots ‘Mr. Fridge’, however – an apt (if a little unoriginal) name given to a crowd member who is, indeed, dressed head to toe in a cardboard fridge-freezer, his head popping out of the open freezer door. She’s so excited, in fact, that she commands a circle pit to open around ‘Mr. Fridge’. It’s a pit made up of just two rules: “Keep Mr. Fridge in the middle and keep Mr. Fridge safe'”. The entire set is the very definition of a delight, made up of wonderfully catchy music and inexplicably cool characters that you can’t help but give into, setting a high bar for so early in the day. [YB]

Following Vukovi’s vibrant and entertaining set, Muncie Girls is unfortunately met with little enthusiasm. With the very nature of their music being more serene, the atmosphere mellows as they make their way through the afternoon set. While the Exeter trio are undeniably talented, their presence on the main stage seems out of place, and the lack of enthusiasm throughout the crowd highlights that perhaps they’d be better suited to festivals with more indie lineups than the heavier, more energetic vibes we have come to expect from 2000trees. [YB]

Hello – did anyone order an extra large helping of Incredibly Loud and Crushingly Heavy? Because it’s just been delivered (albeit a few minutes late) to The Cave in the form of Glasgow five-piece Lotus Eater, and you’ll definitely want to come and get it. This set is absolute mayhem, with riffs that climb in to rip out your eardrums and a rhythm section that rattles the hell out of (what’s left of) your bones; each song is a short, sharp hit to the senses, with that energy mirrored in the pits in front of the stage. This is an impressive, rage-filled set from a band who are only just beginning – Lotus Eater could well be one of the best breakout bands of the year. [GR]

Cold Years know exactly how to work a festival, not taking for granted the fact that the crowd may just be killing time between sets and wandering into their tent by pure chance. Before the set even starts, front man Ross Gordon demands that everyone in attendance comes forwards to the stage, so as to see “the whites of your fucking eyes”. The soft aggression in this command results in total compliance, and as Cold Years make their way through the set, their outstanding performance sees the tent quickly fill up. More commands are met with obedience as the crowd claps along in time with the beat, and while Gordon finds himself restricted behind the microphone, bassist Louis Craighead has enough charisma to carry the whole band, likely being the main reason the crowd eventually loosens up and lets go. [YB]

Back in the forest, we’re in for an emotional rollercoaster as Norwich-based Ducking Punches take to the small stage for a stunning acoustic set. There’s no setting more appropriate for this duo, bringing with them an acoustic guitar and violin to ensure that there isn’t a dry eye under this shaded canopy of green. While following the acoustic nature of this particular stage, there’s still something unquestionably punk about Ducking Punches, not least when Dan Allen takes a moment to discuss the importance of mental health and suicide, particularly among men, before dedicating their song ‘Six Years’ to Scott Hutchison of Frightened Rabbit. This is particularly poignant given Frightened Rabbit’s band’s history at 2000trees, with Scott’s death coming just before they were due to play last year. Silent tears roll down cheeks, drying only during ‘Big Brown Pills From Lynn’, inciting the loudest singalong the forest has seen yet. [YB]

As it nears the start time of Deaf Havana’s set in the forest, the floor becomes a carpet of people, until it’s soon standing room only at the back – and even that’s only if you’re lucky. It’s a solo show today from vocalist and guitarist James Veck-Gilodi, and when he finally appears ten minutes late, he gives profuse apologies – in an incident that most festival goers can probably relate to, he’s had the “chicken wing shits”. Whoops. He then confesses that he’s not sure what to play, not wanting to ruin Deaf Havana’s headline set later – before realising that “we don’t have that many good songs, or at least that I know the lyrics to”. Of course, that’s just not true, and we’re treated to some soul-mending renditions of tracks like ‘Sinner’, ‘Fools And Worthless Liars’, his soothing voice blending perfectly into the beautiful surroundings. It feels personal, relaxed, and elating, and ends with brother Matt Veck-Gilodi taking to the stage to join James for a rendition of classic singalong Robbie Williams track ‘Angels’. The Forest Sessions are one of the most special parts of 2000trees, and sets like this are exactly why it is so loved. [GR]

Can’t Swim seem to have appeared out of nowhere, launching themselves into the scene without taking a moment’s breath. With numerous UK festival slots and headline shows under their belt, they’ve picked up one hell of a British following with only two albums released to date. Their afternoon set at Trees as a testament to this, as the crowd refuses to let up, persistently throwing themselves around, not least when guitarist Danny Rico throws himself into the crowd during ‘sometimes you meet the right person at the wrong time’. The energy wanes slightly when it comes to front man Chris LoPorto, who stands stationary with his hands behind his back for the majority of the set, only seeming to relax part way through the set during ‘$50,000,000’. This doesn’t deter the rest of the band or, indeed, the crowd, however, and the set is a strong contender for being one of the most manic of the day. [YB]

Sadly, The Bottom Line lets down an otherwise outstanding day. Their performance is entertaining, yet the music itself feels stuck in 2002 with early Simple Plan and Sum 41. While most bands have matured and developed their sound to grow with their fans, The Bottom line have unfortunately remained stagnant, and it shows through the response to their set. Even those stood at the barricade are hesitant to get involved and an attempt to get the crowd clapping along with the beat is met with a painful reluctance. It’s not a great sign when a band has to explicitly coax a crowd forward midway through a set, but sadly it perfectly sums up the set. [YB]

When it came to Every Time I Die’s exceptional and noteworthy set at this year’s 2000trees – featuring ‘Hot Damn!’ in full – it seemed only right to hand over the mic (or keyboard) to our resident ETID expert, for a very special look at a set that was not only a powerful experience for all in attendance, but held extra significance and meaning for many. Head here for Liam’s moving report on a set that will be remembered for many years to come.

Finishing up The Cave’s weekend is a man who needs little introduction; now performing as Frank Iero and The Future Violents, third album ‘Barriers’ was released in May, an authentic and well-received collection of punk-infused rock and roll. Despite the band’s status and excellent performance, though, the tent is relatively empty – though the front few rows are crammed in with enthusiastic fans. It feels almost like Iero has a battle on his hands to break through the expectations that come with his role in seminal emo band My Chemical Romance, and it’s a shame – his performance is incredibly slick from start to finish, with sublime harmonies from guitarist Evan Nestor. It’s a set that could do with a bit more variety in pace at times, and doesn’t always feel as exciting as it should, but there’s plenty of love from fans gathered near the stage and there can be no doubting the band’s skill; Frank Iero and The Future Violents are well deserving of your attention. [GR]

Through little fault of their own, Deaf Havana’s headline set falls flat. With technical issues that means the sound doesn’t travel much further than the first few rows in front of the main stage, it’s hard to command the crowd in the way we know they can. The drums sound like they’re five miles away, failing to cause that thumping in your heart that allows you to feel the music as well as hear it, and you can’t help but feel that nothing about this set up is doing this usually incredible band any justice. With that said, front man James Veck Gilodi’s voice is as strong as ever, belting out tunes from across the band’s discography with ease, and there has clearly been a lot of thought put into the set with extended intros and outros highlighting the band’s strengths.

Ultimately, it’s evident that both the Deaf Havana boys and their fans are having the time of their lives. From a blow up sex doll gracing the stage, to humble and sincere expressions of gratitude (“Thank you for supporting us. I don’t have any other skills”, states Veck Gilodi), the set has all of the fundamental tools of a great show and is embraced by the majority. Most of the crowd seem oblivious to any issues and spend the evening screaming the lyrics back at the band, never louder than when Veck Gilodi’s memory fails him, undeterred by the slight imperfections in his performance. There’s no doubt that Deaf Havana have been stronger than they are tonight, but it’s still a monumental end to what has been a near perfect weekend. [YB]

So when Muncie Girls arrived at Manchester’s Deaf Institute to find a gig space out of bounds due to a leaking roof, it is met a knowing roll of the eyes and an “of course” sigh. However, when one door closes another opens and the demise of the original room means the Exeter trio are faced with an impromptu intimate show.

Tonight marks the beginning of a mammoth tour for Muncie Girls which will take them across the UK, mainland Europe and the US – starting in Manchester and ending on Beverly Boulevard in sunny Los Angeles. Their latest record ‘Fixed Ideals’ builds on the political and social observations of 2016’s ‘From Caplin To Belsize’, but offers a much more personal reflection from lead singer Lande Hekt and is starting to turn heads in the punk scene.

The downstairs bar of the Deaf Institute is already packed as Australia’s The Hard Aches make their live debut on British soil. Providing a similar to tone to The Menzingers, the duo showcase raw and immediate tracks from their latest album ‘Mess’. Tales of getting too drunk, waking up hungover and raging with self-doubt feature prominently through the rasping vocals of Ben David. Such is the enthusiasm of the audience, there is a sense that a lot of people have been waiting a long time for The Hard Aches to make landfall in the UK. Closing song ‘I Get Like This’ has everyone screaming “I get like this/when I get fucked up” along with David as he delivers a communal confessional.

Muncie Girls immediately address the elephant in the room and explain their confusion as to why they are playing in a bar, but the circumstances act as a blessing in disguise. This is a performance of inclusivity as Hekt’s words resonate with her audience. She speaks of frustration and fear of an emboldened far-right on the mocking ‘Jeremy’ while making frank admissions of her own anxiety on ‘Clinic’.

The intricate harmonising guitar work Dean McMullen and the addition of a touring bass player – allowing for Hekt to take on rhythm guitar duties – provides a fuller sound and allows the newer material to flourish. Naturally, a new tour comes with new ideas and Muncie Girls have opted to go bold by investing in a bubble machine.

While it very much hits the right note for ‘Bubble Bath’, the downside is that it is already causing a slip hazard with Muncie Girls’ bassist almost ending up head over heels in the front row. “Yeah I forgot we’d bought that”, Hekt admits.

Disaster averted, they close with the treat of ‘Respect’ capping the intimate performance that the notice on the Deaf Institute’s door had promised. Despite a leaking roof and an admittance of eating far too much before going on stage, Muncie Girls’ honest songs and unique performance make it all worthwhile.

TOM WALSH

Whilst the lyrical content is an extension of their previous album, melding political and social observations with deeply personal and relatable stories, there’s a progression musically. With vocalist and bassist Lande Hekt adding additional guitar parts, there’s a layer of intricacy evident throughout the whole record. Hekt, accompanied by guitarist Dean McMullen and drummer Luke Ellis, has managed to evolve their sound without changing it entirely.

Always honest and heartfelt, the record opens with ‘Jeremy’, a self-confessed fuck you to Hekt’s dad, “a right wing guy who denied my existence and refused to support my mum in any way.” Although the lyrics aren’t overly positive, with Hekt referencing being the only child her father avoided, it doesn’t come across as completely bitter or resentful.

First single ‘Picture Of Health’ is an ode to solidarity within friendships. Supporting those close to you who’re suffering internally and expecting the same treatment when you’re neglecting yourself. An upbeat jaunt, it’ll almost certainly become a staple within Muncie Girls’s top tracks.

Mental health is a recurring theme throughout the album. While ‘Last Laugh’ is Hekt’s attempt to cheer up her long-suffering friends, ‘Clinic’ reflects on her own battles with anxiety, her road to recovery with CBT, and addresses the waiting times to be seen by mental health specialists. It’s obviously a subject that Hekt feels strongly about and, when you’re known as a socially conscious punk band, it’s absolutely right that she brings attention to it.

‘Fixed Ideals’ is wholly more personal than their debut, and second single ‘Falling Down’ gives us another example of this. Dealing with the effects alcohol have the morning after and the ‘crumbling of the day’, Hekt, who’s been sober for a year, is pensive about the wasted time and how it isn’t a necessity in life. This track in particular shows the strength of adding additional guitar parts to their sound, creating a jaunty yet memorable singalong chorus. ‘Hangover’ also deals with drinking to deal with personal problems, albeit it in a more tender way.

It’s often difficult to follow up a debut album, with many bands suffering from the proverbial “second album syndrome”. And not all albums are as captivating or well regarded as ‘From Caplan To Belsize’. It was always going to be difficult for Muncie Girls to follow it up, however, with ‘Fixed Ideals’ they’ve all but surpassed expectations – creating a deeply personal, more delicate record. It resonates perfectly and is sure to cement them as one of the most interesting, intellectual British bands within the genre.

ANDY JOICE