For those of you who’ve spent months eagerly awaiting the debut full length from a band that’s just over a year into its existence, that’ll be music to your ears. The hype surrounding this album has certainly been palpable, in no small part due to the glittering careers enjoyed by the band members prior to making music under the Better Lovers name. This band contains members that have some of the 2010s’ finest heavy records on their CV, including ‘Option Paralysis’ and ‘Dissociation’ by The Dillinger Escape Plan, ‘Low Teens’ by Every Time I Die, and ‘A Different Shade of Blue’ by Knocked Loose, which was mixed by the band’s guitarist and producer, Will Putney.

If you like any of the albums named above, you’re in for a treat with ‘Highly Irresponsible’. This record hits enough familiar notes for fans of those records to be instantly on board, while having enough of its own flavour and being of a high enough quality to stand on its own two feet without relying on the past glories of its members.

So how did this roster of hardcore royalty come to be? It wouldn’t have been on the cards without the breakup of one chaotic hardcore’s most beloved institutions; Every Time I Die in 2022.

Following the dissolution of Every Time I Die, three of the band’s former members (Jordan Buckley, Stephen Micchiche, and Clayton Hoyloak), and their producer (Putney), went into the studio to start working on material for a new project. The project was eventually christened Better Lovers, with Putney joining the three Every Time I Die alums on guitar, and former Dillinger Escape Plan vocalist Greg Puciato rounding out the lineup.

With the instrumental powerhouses behind Every Time I Die’s signature sound being key players on this record, it’s tempting to wonder if they sound like that band but with a new singer. And sometimes, yeah, they kind of do. ‘Your Misplaced Self’ and ‘Drowning in a Burning World’ are pure high-speed chaos, with Buckley’s trademark guitar style stamped all over them. But to say that’s all this band is would be to do a massive disservice both to the musicians involved, and to the colossal impact Puciato has on the album’s sound.

It’s uncontroversial to say that Puciato is one of the greatest heavy vocalists alive – a singer with an insane vocal range, from guttural growls to soaring cleans and everything in between. A whole generation of budding hardcore singers has grown up wanting to emulate the man from Maryland, and usually falling way short.

Additionally, there is evidence of Puciato’s influence on the record’s quieter moments, which feel reminiscent of some of the Dillinger Escape Plan’s more reflective pieces (‘Symptom of Terminal Illness’, for example) or his work with his post-Dillinger project, The Black Queen. ‘Deliver Us From Life’ and ‘At All Times’ are each a perfect case in point, more laid back tracks that act as vehicles for Puciato to demonstrate soaring examples of world-class clean vocal delivery.

Ultimately, though, this record is just a hell of a lot of fun. If chunky riffs and yelped vocals are your thing, just try and listen to tracks like ‘A White Horse Covered in Blood’ or ‘Lie Between the Lines’ without having a grin plastered across your face.

Hype can be a curse for some new bands, but not for Better Lovers. ‘Highly Irresponsible’ is a record that delivers in spades, and is sure to delight fans of the members’ previous projects and win over some new ones as well. This is comfortably one of the best heavy records of 2024, and one of the most exciting new bands of the decade thus far.

ASH BEBBINGTON

Of course, there’s elements of her earlier sound on this record. How could she avoid that? Especially considering she has three members of her former band as her backup. But there’s a sense that what we’ve seen from her up until now – mostly bouncy euro power metal mixed with with piano-heavy emotional solos – is only part of the story. This is less an album and more a collection of symphonies that attempt to evoke the vast potential of a theatre on the moon, and that’s a compliment. Dramatic without giving in to the desire to drift into over-twiddly prog, this is the road-less-travelled for the entire Delain project. Fans of the complexities that can be poorly encompassed by the label ‘metal’ will rejoice, as will aficionados of the ‘all-conquering yet sensitive frontwoman’ sound.

From the get-go, there’s a driving ambition that practically beams out from every chord. Opening track and early single drop ‘Chasing Sunsets’ features catchy hooks, crashing guitars and enough delicious layers to make this the musical equivalent of a mille crepe cake. “I might not make you feel good, but I will make you feel something,” Wessels promises, and she makes a good point: whether you’re into her sound or not, you can’t help but admire just how much has gone into it. Simone Simons of Epica adds operatic wails to ‘Dopamine’, a fast paced, late night tribute to everyone’s favourite chemical. Moody, piano heavy ‘Soulstice’ is wintry, choral comfort. So far, so expected. 

It’s when Wessels starts to break away from her established groove that things begin to get really interesting. ‘The Exorcism’ is a slow burner, growing over it’s five minutes from artic murmuring to a full, gutsy scream, dipping in between determined meditations and rage. ‘Crying Room’s dives into electronic hums make the sunshine guitar squeals even brighter in comparison.  Alissa White-Gluz of Arch Enemy’s appearance on the cinematic ‘Ode To The West Wind’ fuels a pleasurably compact narrative that slinks into the sophisticated struggle of ‘Serpentine’. It seems as though Wessels is walking a tightrope on this release between wanting to put out the songs that take you through a kaleidoscopic drama and ones that are more guaranteed to provide the catchy, memorable setlist moments when she tours this autumn, and blend she’s created between the two seems to be working. 

As a finale, in what feels like a thank you note to her devotees who’ve stuck with her, fan favourite solo track ‘Soft Revolution’ gets a ‘(2024)’ suffix and full studio treatment. “I call for a soft revolution instead of a war,” she sings as her manifesto. She’s not going to announce hostilities against her former band and previous musical output. She’s going to remake her sound with euphoric string and, make her call to arms through infinite emotional tweaks through backing vocals with enough space for classic metal guitar solos. It’s a seven minute epic, with a subtle shift from ‘I’ to ‘We’ halfway through to make it clear how much she values her friends and supporters. 

This is a bold first statement from Wessels. It’s a line in the sand about where she’s come from and where she wants to go, interesting enough to capture casual listeners but with enough warmth and gratitude to enthuse her fanbase, with a lot to like and a whole lot more with which to intrigue the metal scene. 

Kate Allvey

Words: Dave Stewart. Photos: Paul Lyme and Penny Bennett

Inhuman Nature

If coffee isn’t kicking you into gear for the final day of the festival, perhaps some axe wielding, battle jacket-donning, fist-pumping thrash will do the trick. Like Gatecreeper but with a little less fuzz, Inhuman Nature are a no-holds-barred metallic storm and they’re here to deliver a sharp shock to the festival’s early risers. They put on a very enthusiastic and high energy display, and though it isn’t fully matched by the crowd they still put on a sledgehammer display. There is some chaos though, most notably a midday circle pit that includes a banana, a hot dog and Bert from Sesame Street among its ranks, and the band somehow manage to keep stern straight faces. The tent is criminally quiet, but those in attendance are treated to a pulverising dose of sonic caffiene.

HAWXX

HAWXX’s music is about as inclusive, uplifting and loving as heavy music can be, and their unfiltered aggressive delivery beckons a lot of people into The Cave to catch their set. They stomp across the stage with attitude and confidence, and it gives the entire set a powerful aura that’s near impossible to turn away from. With a set full of brutally low riffs juxtaposed by angelic vocal hooks, it’s a seriously hard-hitting display, let down a little by the muddy sound. Their vocal harmonies are on point, though, and they’re most hypnotic during ’The Death Of Silence’ where their stunning four-part acapella completely silences the tent. They bravely finish on a brand new unreleased song that they only finished yesterday; a feral and risky way to end a set, but one that pays off.

Press Club

There is so much energy spilling out of Press Club as they take to The Axiom’s stage that it’s impossible to not be enveloped by it. The band dominate the tent with an eye catching show that showcases a lot of their latest record ‘Endless Motion’ as well as all the biggest and best from their catalogue, and it’s such a joy to watch. Vocalist Natalie Foster bounces across the full width stage while delivering her impassioned and adrenaline-fuelled vocals, and the crowd give back every drop of effervescence right back to her. She repays them for their enthusiasm by leaping into the pit for the stunning ‘Separate Houses’, the entire floor jumping and moshing around her as the band lock into their groove back on stage. If that wasn’t enough, during set closer ‘Suburbia’, Foster climbs the stages central steel beam and empties her lungs while swinging from its side, and she has everyone’s undivided attention while doing so. The set is further proof that there’s something in the Aussie water that makes good bands, but above all, that this band have drank a lot of it. A festival highlight.

The Xcerts

The gathering around the main stage for The Xcerts is enormous, and rightly so. Their posi-vibes, feel good anthems are everything a festival like this is about. The weather understands this too; even though you couldn’t see the sun you could feel it, and every song they play seems to turn up the temperature up a little more. Considering there’s only three of them, they sound colossal. Every song they play, from the delicious ‘Daydream’ to the short but joy-filled ‘Ache’, shakes the ribcages of everyone in attendance and it’s enough to get your dancing feet twitching, regardless of whether you’re a curious spectator or a devoted fan. They have one of the best sounding snares of the entire weekend, too; when hit hard it feels like a bomb going off right next to you, but it gives off a tasty and delicate snap when hit softly. The set is full of minimal banter and maximum tunes, vocalist Murray Macleod using one of his few crowd interactions to dedicate the stunning ‘Aberdeen 1987’ to his now cancer-free dad. Closing the set on the immaculate ‘Feels Like Falling In Love’, helped along with a surprise guest vocal from You Me At Six’s Josh Franceschi, they leave the crowd feeling content and full. A glorious smile-fest, from beginning to end.

Angel Du$t

If you were looking for a band to knock you off your feet, you may well have found it in Angel Du$t. The Cave temporarily transforms itself from a festival stage into a gigantic hardcore party, and Angel Du$t are the function band providing all of the good vibes for everyone to lose their minds to. If you close your eyes during the set you can picture yourself skating down an empty boardwalk, sun shining, carton of cranberry juice in hand, but when you open them it’s pure chaos. The front half of the crowd is an ever-moving mass of energy; an non-stop mosh-fest, not even taking the opportunity to take a breather in between songs. The band spot Tigger amidst all the bedlam and invite him onstage as a hype man for the rest of the crowd and it works like a charm, causing the madness to stretch even further back through the tent and ending his contribution to the set by leaping from the stage to much applause. This isn’t just one of the most spirited sets of this year’s festival, but one of the most high-powered that you’ll ever see. Simply incredible.

Blanket

The Neu Stage is criminally quiet when post-rock heavyweights Blanket take to the stage. Their expansive and gut-wrenching approach to their sonics is hypnotic to those in the know, but for some reason it just doesn’t grab the curiosity of those passing by the tent. Vocalist Bobby Pook is giving off Liam Gallagher vibes today; shades on, arms held behind his back when not playing guitar, he oozes cool as he delicately sings his lullabies down the microphone. The crowd takes a couple of songs to get going, but by the time the majestic ‘Euphoria’ and the colossal ‘White Noise’ show their faces everyone in the tent is either moshing, head banging or both. It’s impossible to stand still, really; the band are so tight, and their soundscapes and incredible use of dynamics translate so well into a live setting and truly fill every inch of space around the crowd. They’re a hidden gem on this year’s bill, and hopefully the next time they play it’ll be to a bigger audience.

Lonely The Brave

There’s a real buzz in the air as The Cave awaits Lonely The Brave, and that buzz suggests that what is about to happen is going to be a tad special. As soon as the members begin to appear, that begins to become a reality, with the crowd surfing, limb flailing and mass-singing kicking into gear almost immediately. Everyone on stage is visibly delighted by what they’re seeing, and the mutual appreciation for one another ensures that everybody present will have a good time. The band occasionally come across as a tad messy and disjointed, maybe a direct result of them losing themselves in the adrenaline-fuelled chaos of the performance, but the crowd doesn’t notice at all. The tent finds itself getting extra busy during the second half of the set due to the first heavy rain of the weekend rearing its unwanted head, and the tightly packed feel adds to the vibe; it feels like a sold out venue, and the band raises their own bar. A serene and punchy display that makes everyone forget the rain even happened at all.

Creeper

As the masses crammed into The Axiom prepare to receive Creeper, Darcia the Vampire Familiar steps out to introduce the set. “Isn’t there a better band on another stage you could be watching,” she asks, and its safe to say that as far as this enormous crowd is concerned, there isn’t. Shortly after this, the band creep (sorry) one by one onto the stage to rapturous applause, and everything that follows is absolute bliss. Set opener ‘Further Than Forever’ is the perfect kick off for the set, turning the heat up from nought to a hundred within seconds as the audience explodes into action, and the follow-up punches of ‘Lovers Led Astray’, ‘Sacred Blasphemy’ and ‘The Ballad Of Spook And Mercy’ ensure that those energy levels stay high. If Mötley Crue and Billy Idol had a biker vampire baby that grew up listening to Meatloaf, this is exactly what you’d get – a theatrical, hard-hitting and fierce rock show that’s all killer and no filler. 

The band express their gratitude to the attending mob of Creeper cult members for supporting them, frontman Will Gould (currently William Von Should – vampires innit) holding them all in the palm of his hand as he steers them through hit after glorious hit. The closing moments of the set are just as epic as the rest has been; ‘Down Below’, ‘Chapel Gates’ and the stunning set closer ‘Cry To Heaven’ are all lapped up eagerly by the crowd, but its ‘Misery’ that completely steals the show. The performance is one of the most powerful not just of their set but of the entire weekend, and the acapella singalong led by the crowd caught the band completely off guard, genuinely moving them as they allow their fans’ power to take the spotlight. One of the most triumphant sets of the weekend, and if this is anything to go by they could be 2000 Trees headliners in the not too distant future. Absolutely magnificent.

Don Broco

It’s time for the main event. The final main stage band of the weekend. Not the end of the festival for everybody, but the end of the festival for some, and Don Broco are one hell of a band to close out this magnificent festival. Their stage production is the biggest that the main stage has seen all weekend; they’ve brought an enormous lighting rig with them to enhance their energy and it definitely did the trick. Kicking things off with the towering ‘Everybody’ is a masterstroke and the crowd are bouncing and dancing immediately; merely minutes into the set, the full field is completely captivated. ‘Pretty’, ‘Technology’ and the irresistible ‘Come Out To LA’ ensure the party keeps going, and the atmosphere is unlike anything else that’s happened this weekend. This is a real spectacle. 

Don Broco are one of those bands where you forget just how many songs you know until they play them one after another; every song is a barnstormer, and the crowd bathe in every glorious moment. The majestic ‘One True Prince’ is as crushing as it is trance-inducing, ‘Manchester Super Reds No.1 Fan’ is a riot-starter, ‘ACTION’ is meteoric and connects even harder thanks to a guest vocal from a very rabid Kid Brunswick; every song goes down a treat and the band seem unstoppable. 

Another thing about the band that we often forget is how far back the bangers stretch, and when they drop ‘Priorities’ into the setlist we’re reminded of how ahead of how groundbreaking they were in the beginning. Debut album cut ‘Priorities’ and old fan favourite ‘You Wanna Know’ sound even more staggering than they did back then, sitting in their setlist just as pretty as their newer output. ‘Bruce Willis’ and its deafening “yippee ki yay motherfucker” chants and confetti cannon explosions kick the set back into the now, and the main set ends with the stunning ‘Nerve’ and an ‘Endorphins’ / ‘Thug Workout’ mashup that re-forms their push-up crew in the many wall of death-prone pits scattered through the crowd. 

After playing a brief game of adult peekaboo, the band return to the stage to treat the crowd to two final songs. The first is newer cut ‘Fingernails’, its towering riffs and dark pulsating electronics summoning the final outbursts of energy from the sweaty and ecstatic field. No Don Broco set is complete without the dazzling ’T-Shirt Song’ though, and it’s the most apt way to finish proceedings. Everyone in attendance has an item of clothing ready to swing around their head before they even start the song, and by the time the chorus comes around you can barely see the stage through all the flailing garments. It doesn’t just feel like a celebration of Don Broco; it feels like a celebration of the festival, capping off a wonderful three days at Upcote Farm with a unifying belter and an incredible fireworks display.

The lights come up, the punters begin to slip away into the night, and everyone in attendance is left feeling full. Full of happiness, full of positivity and, most importantly, full of gratitude for this wonderful festival. What a weekend, huh?

don

Words: Dave Stewart. Photos: Paul Lyme and Penny Bennett

Mouth Culture

“Morning campers,” bellows Mouth Culture vocalist Jack Voss as they take to The Axiom’s stage. The greeting is delicate, something the headache-tainted and coffee clasping attendees are grateful for, but the set that follows it is far from it. They put on a very high-energy show and it shakes the hangover from a big portion of the crowd, summoning collective jumping, moshing and lyric-screaming almost right from the get-go. Before they started playing the sky was a grey blanket of clouds, but now that set-closer ‘Cherry Red Rage’ has arrived to summon the final dredges of chaos from the early risers, the sun has fully broken through and it feels like the second day of the festival is truly underway. A great way to kick off the Friday.

Cruelty

If Mouth Culture didn’t wake you up, this definitely will. Cruelty’s take-no-prisoners approach to metal creates a real jolt of electricity, pulverising your eardrums at every opportunity. They’re ferocious and the tent fills up pretty quickly as a result, and even though their stage presence looks a little unconfident and unsure at times the music paints a very different picture. Rough around the edges at times, but intentially so, they summon elements of numerous sub-metal genres into one cohesive and terrifying package – death, black, core, thrash and everything between, all designed to intimidate and overwhelm. It does that very well, and it definitely made an impact on the midday crowd at The Cave. 

Burner

If you don’t know anything about Burner before you start watching their set, by the end you’ll either be fascinated, terror-stricken or both. Donning that blood-curdling buzzsaw metal tone and forcing it outwards with unflinching barbarity, the band’s performance is restless and intense, encouraging the eager pit-goers to go full pelt. Their music’s lyrical content is as varied and unpredictable as the musical direction – with subject matter ranging from tornadoes killing racists to Jesus Christ, soundtracked by expansive, ambitious and completely monstrous metal. Easily the most sonically aggressive band of the weekend so far, and they’ve set the bar to top them incredibly high.

Tropic Gold

It’s back over to The Axiom to catch a band with an enormous amount of buzz surrounding them. Tropic Gold have a very big crowd awaiting their arrival, and they enthusiastically start the party from the second the set begins. They’re incredibly polished and confident; they don’t sound or act like a new band whatsoever, and they aren’t really that new, but for a lot of people in this tent catching them for the first time this is one hell of a display. They don’t even let the resurgence of yesterday’s tech issues halt their set for too long. The guitar was noticeably quiet, maybe even completely missing at times, but they keep the ball rolling and use as much of their allotted time as is humanly possible. This was their first time at 2000 Trees and it definitely won’t be their last.

Unpeople

Unpeople debuted at last year’s 2000 Trees Festival, and they’ve returned to the 2024 bill after having an incredible first year as a band. From releasing their debut EP to supporting the one and only Metallica, they’ve done more than simply make a mark, and the incredible turnout to The Cave is a heartwarming sight. Opening with the colossal ‘Waste’ is a masterstroke, getting the entire crowd moving and singing from the very start, and everything that follows is simply perfect. Everything that follows is flawless; precise vocal harmonies, note-perfect delivery and suave stage presence, all hypnotising the masses that are spilling out of both sides of the tent. From a thrill-ride cover of the Nirvana classic ‘Territorial Pissings’ to the rest of the ‘Pressure’ EP and a set closing new song which goes down an absolute storm, this cements that the band are going to become real favourites in the UK scene. If this is how well they’re doing after one year, where will they be in another?

Sweet Pill

The crowd gathered in The Axiom for Sweet Pill is a calm but incredibly attentive one. The Philadelphia quintet have never played this festival before, but from the looks of things this definitely won’t be the last. Their jangly, bright and commanding music is utterly irresistible, and it transmits an almost hypnotic aura through the tent. There’s very little chatter among the onlookers; you can hear a pin drop during the quieter sections of the music, with every single note they play tightly held on to by every set of ears in attendance. The music feels like something between Paramore and Touché Amoré but it’s definitely delivered more like the latter, with vocalist Zayna Youssef bounding across the stage with seemingly limitless energy. Before the closing moments get underway, the band takes the opportunity to grab a picture with the crowd before they empty out to continue with their day, and as a thank you they rip through two more explosive belters, followed by overwhelming cheers and applause. The band are over the moon, so are the crowd, and we all leave the tent feeling a little lighter. That was special.

Nova Twins

The now-iconic British duo have been turning heads for years, and their main stage set at this year’s festival has an air of triumph about it. The size of the crowd gathered to witness it confirms that, too, and as soon as they take the stage the bodies start flying over the barrier and the crowd seems to pulsate, beating along to their rib-shaking grooves. They’ve brought levels of swagger and attitude unrivalled by the rest of today’s bill, and they stomp across the stage like they own it. When they’re hurling out weighty performances of crowd favourites like ‘Cleopatra’, ‘Taxi’ and ‘Puzzles’, even the festival organisers would be willing to declare the stage as theirs. There’s some guitar issues that plague Amy Love’s performance early on but she breezes past it like it never happened, and by the time the riot-starting ‘Choose Your Fighter’ makes its appearance it doesn’t even matter. The show they treated us to is one deserving of a higher billing. Maybe the next time they grace these grounds, that’s exactly what will happen.

Bears In Trees

“We’re going to make you think about death a little more. This song is about death.” If you heard those words upon walking into The Axiom, perhaps you’d have thought you’d accidentally stumbled into a death metal band’s set by accident. As soon as the music starts, though, it becomes very clear that you’ve correctly attended a Bears In Trees show. The music feels like it’d fit in the credits of The Inbetweeners and the vibe is incredibly British as a result. Feel-good, upbeat, tongue-in-cheek, ever so slightly cheesey indie-meets-emo flavoured tunes full of keytar solos, drum riser leaps, dance breaks and the occasional sprinkle of banter. And death. A reasonable amount of death. Thematic doom and gloom aside, there’s something about this band that forces you to smile when they play, and it’s completely unavoidable. They’re clearly having the best time, and it rubs off onto their crowd without even a millisecond of hesitation. If you came here for a good time, you found one.

Blood Command

If you’ve never seen a Blood Command show before, it’s something that truly needs to be experienced. Imagine a slavic underground rave, full of vodka swilling, cigarette smoking, tracksuit wearing techno enthusiasts; that’s exactly what their stage show looks like, but you have to swap out the pounding electronics with eardrum-destroying Norwegian death-pop. The set is a non-stop thriller, hurtling out of the gate with ‘Cult Drugs’, ‘The Plague On Both Your Houses’ and the crowd-pleasing ‘Saturday City’ instantly opening multiple pits, much to the bands delight. Vocalist Nikki Brumen is a ball of energy and there’s nothing that can slow her down, wrapping herself around the stage’s steel beams one moment and swigging rum and slut-dropping the next. The rest of the set is just as magical as the start, with big hitters like ‘Quitters Don’t Smoke’, ‘It’s Not Us It’s Them’ and the monolithic set-closer ‘Cult Of The New Beat’ serving up a sonic storm. They played this very stage two years ago and they were a festival highlight. This year they’ve completely packed the tent out and they’ve raised their own bar. A feral, unrelenting fun-fest with zero restraint. Bliss.

Palm Reader

This is it. The end of an era. Thirteen years of glorious boundary pushing music, written with care, delivered with sheer vigour, now reaching its finale with love. Pure, unfiltered, formidable love. Palm Reader have been nothing short of an institution in the British heavy music scene, passionately adored by the initiated and criminally underrated for most of their career. From 2012’s debut self-titled EP to 2020’s ambitious masterpiece ‘Sleepless’, the band’s sound has undergone some changes but has always retained its intensity, both sonically and lyrically. All this has led to now, a packed out Cave, ready to witness the band’s power live in the flesh and hover in their magic. One last time.

As the band skulks out onto the stage, now with seven members among their ranks, they explode straight into ‘Internal Winter’ and the pits have already opened wide before frontman Josh McKeown can utter the words “We lost the majesty”. Old classic ‘I Watch The Fire Chase My Tongue’ keeps the chaos intact, those snare drum hits connecting like shotgun blasts; something that can only be mended by the emotional power of ‘Willow’. Three songs in and they’ve already shown off how far their musical tapestry stretches, and we appreciate it now more than ever.

The mid-section of the set is where people start getting teary. ‘Hold/Release’ is already a wrecking ball of emotion but, when accompanied by the realisation that this is the last time we’ll hear it, it’s even more devastating than usual. The waterworks begin to flow throughout the tent, and not even the heaviness of ‘Stay Down’ or the enthralling ‘False Thirst’ can stop it. In a surprise move, though, the band whip one of their earliest songs out of retirement, along with founding member Sam Rondeau-Smith who joins them to tear through ‘Seeing And Believing Are Two Different Things’ in an event which McKeown labels as “our first song for the last time.” The weight of what’s coming continues to get heavier, and before we know it that moment is upon us far sooner than we’d have liked.

The flawless set closes with the hauntingly stunning ‘A Bird And Its Feathers’, performed with all eight musicians in the collective, taking around three times longer to reach its cataclysmic conclusion. The reason for that is the palpable grief, mainly that of the members themselves who all find themselves teetering on the edge of the end of their final live performance. McKeown struggles to compose himself, fighting back tears as he speaks on the importance of connection and the collective euphoria that we all share when we gather like this. We all hang off every word, not just because we don’t want the set to end, but because everything he says is true. The energy in the tent shifts, the end in very clear sight, and everyone comes together in unison to send off the octet in the strongest way possible.

There isn’t a dry eye in the crowd. The band all clink their tinnies, embrace one another, whisper words of gratitude into each others ears and wipe their tears onto their sleeves in anticipation of the final hurrah. When the band finally reach the dramatic conclusion of their set, 15 minutes over their allotted set time (which is still too soon), it’s overwhelming. The pits become their most rabid, the head banging its most animated, and the teary-eyed audience members grow in numbers. It’s a hauntingly beautiful display – it’s the final song in the set for a reason – and the audience explodes with applause as the band take a majestic bow. There’s a warmth present that feels different to the applause given to other bands on this weekends bill; everyone in attendance is genuinely moved, and leaving the tent is somewhat harder than it is after other artists finish their set. The same is true for McKeown too, who remains on stage watching the crowd disperse for the final time with a shaky smile on his face and gratitude in his heart. “The next time someone mentions the name Palm Reader, make sure it’s followed with love,” he implores. After a farewell like this, how could we not?

Hot Milk

After saying a very emotional farewell to Palm Reader, Hot Milk initially feel a little more like Lukewarm Milk, but it doesn’t take very long for them to turn that frown upside down. The turnout rivals Hot Mulligan’s yesterday; hordes of people tightly packed on both sides of The Axiom, all trying to get in for a piece of one of Manchester’s finest. They don’t need to ask for any chaos or direct the crowd at all, everything just sort of happens by itself without instruction. The crowd understands their job and they get the party started fast. “If I see anybody’s phone I’ll come down there and kick your head in myself” declares Hannah Mee, and we don’t need telling twice. Funny how a vibe completely shifts and lifts when no one is starting a screen, isn’t it?

Everything that follows is a limb flailing, crowd surfing, shoulder hoisting, mosh pitting singalong, with participants stretching from the barrier all the way to the far reaches of folks unable to get under the tent. No wonder when the setlist shows off just how many bangers they have now, spanning their entire career to date. ‘HORROR SHOW’, ‘I JUST WANNA KNOW WHAT HAPPENS WHEN I’M DEAD’, ‘BREATHING UNDERWATER’; the intensity barely drops for a moment and the crowd laps up every single morsel. They close on the enormous ‘Glass Spiders’, causing a huge wave of that chaos to erupt, and both band and crowd are exhausted yet absolutely ecstatic. British pop punk is in good hands right now, and if Hot Milk continue at this pace they’ll be the ones flying its flag. 

Empire State Bastard

Considering that The Cave is about to witness a band of bonafide musical legends unleash hell, it’s surprisingly sparsely attended ahead of Empire State Bastard’s headline set. Comprised of Biffy Clyro’s Simon Neil, Slayer’s Dave Lombardo, Oceansize’s Mike Vennart and dynamic bassist Naomi Macleod, it’s a wonder that more folks aren’t piling in to pay homage to some of the alt world’s greats, merging their talents together to create some of the most unsettling tones – none of which resemble any of their other projects. Thankfully the space in the tent fills up quickly once the onslaught of noise begins, the abrasive and often overwhelming textures like an evil siren song. 

The opening one-two punch of the sludgy ‘Stutter’ and the frenzied ‘Harvest’ is devastating, strobe flashes catching hundreds of eyeballs staring in bewilderment at the jagged shrieks thrusting at them, like deer in headlights completely locked in place. Neil’s vocal is a whole world away from what he usually does in the rock world, and it sounds more powerful now than it ever has. He has some real demons inside him and we’re more than happy to watch him exorcise them. Everything that follows is utterly feral and sonically corrosive, scrambling and melting the brains of everyone in close proximity. The stoner metal-esque ‘Blusher’, the ominous and doomy ‘Sons And Daughters’, the moody and shapeshifting ‘Moi?’ – the show is beautifully paced, and the crowd ebbs and flows its energy right with the band.

The back end of the set is where things get really special. Vennart dedicates a song to Palm Reader, the band that preceded them on this very stage, and it’s a really heartwarming moment. The song in question is the furious ‘Palms Of Hands’ that sees Lombardo flex his chops in the most magnificent way; everyone brings their own flavour to proceedings but Lombardo is a true force of nature, his power and precision completely unstoppable. This particular number reminds everyone in attendance that we aren’t just watching four people making lots of disturbing noise – it’s four formidable presences, all masters of their craft. Following with lethal renditions of ‘Tired, Naw?’ And ‘Sold!’ entices the last shreds of energy from the attendees, ending things on the epic ‘The Looming’ to sway the night away (with the occasional banshee shriek and blast beat, of course). It’s hard to see this band perform and leave with feelings other than fear, bewilderment and adoration. Their output isn’t meant to be comfortable, and this definitely wasn’t. In a good way, though. The most pleasantly uncomfortable way to end day two.

‘PEACE OF MIND’ opens this album with a huge punch of power, before segueing into ‘LEAVE ME ALONE’. Bruising guitar work opens this absolute powerhouse of a song – it simply brims with pure, unadulterated rage. Electronic undertones are punctuated with war cries of, “Leave me the fuck alone!” It’s not hard to imagine that one line being screamed with gusto in a sweaty venue, packed with flying bodies and pits.

There’s a visceral energy throughout ‘RAINBOWS’, before kicking off into single and title-track ‘SELF HELL’, which needs no introduction. The first single released from this album in late 2023, it’s a track that’s confident of its strength without being cocky and arrogant. Deep riffs are paired perfectly with fun lyrics of, “Let’s praise the love inside of us.”

‘NO FEELING IS FINAL (feat. Aether)’ is, simply put, an absolutely sublime interlude – it’s ethereal, invoking a curious sense of mystery. It’s a perfect palate cleanser, before the opening chords of ‘DOPESICK’ strike.

The clean vocals on ‘DOPESICK’ are staggering – their power could cut glass; the vocals are that immense. Fin Power lends dynamic and skilled vocals, strengthening an already solid track. It’s the first of two utterly brilliant back-to-back tracks, as ‘DOPE’ follows straight after. The clash of Lawrence Taylor’s guttural screams and the roars from MALEVOLENCE’s Alex Taylor are simply staggering. Layered with bruising riffs and crushing drum work, ‘DOPE’ is yet another highlight and a track that will go down a storm for fans.

Single ‘TO THE FLOWERS’ is incredibly melancholic – there’s an air of despair beneath the lyrics. The guitar work is clever and bold, layered over drumming that’s dynamic and oozing with pure energy. This track reflects a wide spectrum of human emotion; from distress and sorrow to an elation and ecstasy that soars, it’s not hard to understand why this single caused an emotive and loved response from fans.

Another interlude, in the form of ‘OUT OF THE BLUE’ is another haunting instrumental piece, and really showcases just how diverse While She Sleeps are. ‘ENEMY MENTALITY’ is brawny and beefy, full of electric power and clout.

Closing track ‘RADICAL HATRED RADICAL LOVE’ throws even more weight behind what is already an excellent, awe-inspiring album. While She Sleeps don’t seem to miss, and ‘SELF HELL’ is just testament to their maturity as a band over the last few years and is the perfect package to showcase their immense and never-ending talent.

JESS TAGLIANI

Opening with ‘New England’, thick rhythmic beats land heavily before Jack Wilson’s vocals describes  the ‘new England’ – overtly patriotic, pride bordering on narcissism, and a general apathy for change. With Bob Vylan adding a verse that’s equally scathing – “Worry ’bout your neighbours and worry ’bout the druggies/And not the Eton graduate that’s taking all your money” – it’s clear that these two powerhouses have one clear goal; to force everyone to wake the fuck up and smell the oatmilk spiced chai latte.

Couple this track with ‘Party At No. 10’, a takedown of the 2020 Tory Christmas Party, it’s clear that Kapichi aren’t just spouting meaningless, repetitive catchphrases like other bands. There’s a passion and power to their lyrics that should resonate with anyone living in this country we sadly call home. A delicate acoustic track, complete with a whistling solo, its slower tempo allows the lyrics to stand out clearly, delivering the point that whilst people were dying, others were taking the piss. The downside is the stripped back guitars are mildly jarring following a collection of punchy, upbeat tracks.

Although politics isn’t entirely a thread for the album, societal equality is, with singles like ‘I.N.V.U.’, ‘5 Days On (2 Days Off)’, and ‘Rob The Supermarket’ all pointing at the disparity between the working class and the social elites. Lyrically, ‘Rob The Supermarket’ is particularly dexterous, with slick rhymes. They might not be particularly complex, but the way it paints a picture is superb, Wilson’s microphone akin to Monet’s brush.

Similarly, ‘I.N.V.U’ feels like a modern retelling of Blur’s ‘Charmless Man’ – effortlessly describing the modern, big dick idiot flashing cash and talking trash.  We all know someone like it, living the easy life whilst we’re working ourselves to the bone, and although there is naturally some jealousy, that’s exactly what they want.

‘Cops And Robbers’ and ‘Smash The Gaff’ both have a subtle Prodigy-esque feel to the instrumentation. Big swells of beats, with subtle synthy moments. It’s a testament to their talent and writing that they don’t feel overwhelming amongst the other tracks, particularly ‘Smash The Gaff’, at its breakneck tempo.

Perhaps the standout song, or at the very least, the one that is absolutely clear to get live crowds bouncing, is ‘Tar Pat’. With a distinctive hook, and thunderous rhythms from Eddie Lewis and George MacDonald (who’s drums seem to be hit harder than adamantium), and killer chorus gives way to a delicate refrain before dropping an absolute destructive and layered breakdown. Queue this one up, get the volume cranked up and let it embrace you.

Fans of ‘Hope’s A Never Ending Funeral’ from their 2021 (appropriately named) album, ‘This Time Next Year’ will be pleased to hear ‘Never Really Had You’, a balladic, piano led piece. Gentle and self reflective, it’s a welcome reprise that allows you to catch your breath before the frantic ‘Smash The Gaff’ explodes.

Closing with ‘Special’, it truly lives up to its title. With a delicate bassline that pins everything together, layers of twinkling guitars and subtle drum work, it’s a captivating listen that fits together like a 1000-piece jigsaw. And yet, despite the layers, the harmonies with Wilson and guitarist Ben Beetham, there’s almost an absence to it, its ambient nature reflecting the day-to-day poverty and welfare injustice. This might sound hyperbolic, but there are pangs of The Beatles in the way they descend the scale in the chorus with big strings and flair.

Kid Kapichi are a band with one finger on the pulse of society, and another stuck up at the people running it. Their punchy instrumentation is matched only by their heavy hitting honesty and wit. The perfect follow-up to their 2021 debut, ‘Here’s What You Could’ve Won’ adds to their observations of the last few years with an open eye and a clenched fist. Here’s hoping the next instalment of the Kapichi diary is far more positive.

ANDY JOICE

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

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

CASKETS

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

CASSYETTE

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

THE BRONX

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

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

YOURS TRULY

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

HOT MILK

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

SILVERSTEIN

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

CANCER BATS

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

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

WITH CONFIDENCE

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

HOT MULLIGAN

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

THE WONDER YEARS

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

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

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

MAGNOLIA PARK

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

BEARTOOTH

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

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

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

THE STORY SO FAR

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

ALEXISONFIRE

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

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

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

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

NOVA TWINS

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

DEAF HAVANA

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

Where ‘Outrage is Now’ leaned away from some of the more punk elements of old, ‘Is 4 Lovers’ leans back towards them with wild lust. DFA never lost their edge moving to a more traditional rock sound, but seeing ‘Mean Streets’ going all in on the manic energy will see you shocked back into the mid ’00s. That’s not to say that the pair haven’t abandoned those wild hard rock influences altogether. ‘Free Animal’ celebrates them proudly as Keeler’s iconic screeching bassline leads one of the album’s more quirky tracks (British rock duos take note here: more songs with backing cowbell percussion please). ‘NYC Power Elite’ parts 1 & 2  continue on with some rather tongue-in-cheek lyricism (“I haven’t carried cash since 9/11… I haven’t eaten cake since last election”) and solidify this notion that the duo have learnt a lot of lessons from their 2017 record.

Yet at the same time it’s deeply refreshing to see Keeler and Grainger explore the ‘dance’ side of dance-punk a bit more than OiN did. As a rather contrasting pair of musicians (Keeler making a name as part of the electronic outfit MSTRKRFT and Grainger exploring more alt avenues with his solo projects), seeing the musical dichotomy and watching the two play off each other’s strengths to form something exotcially unique is always a delight, and here the electronica shines like gold. ‘Glass Houses’ is perhaps the best example here, led by a truly f-u-n-k-y, almost chiptune-era keyboard riff. It’s no less intense than the punk-heavy tracks of the record, indeed, the amount of substance these additional elements give this album lead to a much more dynamic heaviness. They even present DFA with something of a stylistic advantage on the softer side of things, such as ‘Love Letter’, with its Cold War Kids piano line playing off the neon-soaked synths in a rare moment of rest for the band. 

Production wise, there’s a lot to get excited over. There are still some of those jarring transitions lingering from previous outings that give the album a more uneven pace than expected, and some of that precious momentum is lost just before its grand cacophonic closing track ‘No War’, but the pair’s manic energy is anything but poorly mixed. One of the curses that inevitably plagues every rock duo is the need to cover a sparse soundscape by soaking the music in a layer of distortion.  Fortunately, the bass and keys on ‘Is 4 Lovers’ are lively and robust enough to shine through of their own accord, distortion only ever serving to complement the duo’s sharp instrumentals, never to blanket them. There’s very little fat to be trimmed here, but everything feels very loose and open, always keeping the record from ever feeling empty. 

DFA’s discography is perhaps their most telling sign of clear growth throughout a decade and half of noise. The exuberantly youthful sound of ‘You’re a Woman, I’m a Machine’. The attempt at reclaiming that same sound 10 years on with ‘The Physical World’. A turning point in maturity in ‘Outrage Is Now’. Every part of DFA’s history culminates here, in a flurry of funk and punk, and while Keeler and Grainger keeping a 15-year flurry of energy alive through ever-evolving electronic hard rock won’t surprise those who have followed the band closely through their comeback years, it’s nevertheless a joy to be reminded that outrage isn’t dead, it just learned how to dance.

FIACHRA JOHNSTON

Hayley Williams

Ah — Hayley Williams. The woman every “female-fronted” (not a genre) band has been compared to since the early 2000s, and yet who is, frankly, incomparable in every way. Williams has faced unparalleled pressure in the years she’s been active as a musician and a songwriter, and her pain has been boldly expressed through her music over the years. Unafraid of being vulnerable (see latest solo release ‘Flowers for Vases’ as cutting proof of this), Williams was one of the first women in music to tell us that it’s okay to express your feelings, and it’s totally cool if those feelings aren’t always positive. Williams validates our anger, our grief, our love — however crazy it may seem — and our bitterness, and who knows what this industry would be today without her. [YASMIN BROWN]

Heriot

If you’ve ventured into the world of “metal Twitter” at any point then you have almost definitely come across one of Debbie Gough’s guitar videos — and with good reason, she’s super fucking talented. If she’s not getting her shredding shared by bands like Knocked Loose and Code Orange, she’s rubbing shoulders with Lamb Of God or doing videos for Marshall Amplification. Her band Heriot have also been making waves, with recent singles ‘Cleansed Existence’ and ‘Recreant’ garnering attention from Kerrang!, Knotfest, and other high-profile outlets. It will be interesting to see if Heriot can keep this momentum going but for the time being, these two girthy slabs of groove-laden metal are well worth your time. [LIAM KNOWLES]

Pinkshift

With some bands, a few singles are all it takes to know they’re going to kick the shit out of the universe, and make a huge impact as they do it. Pinkshift are one of those bands. A bit grungey, a bit punk rocky, a bit pop punky, Pinkshift are a lot of things all rolled into one, not least of which is being seriously addictive; vocalist Ashrita Kumar revels in angst, spitting out her words with snarling, glorious sharpness that begs to be played at earsplitting volumes. The lyrics, too, are equally biting, the perfect therapeutic soundtrack for those days when the world needs to get in the bin – and honestly, if the song title ‘i’m gonna tell my therapist on you’ isn’t enough to sell you on this band, we really can’t help you here. Mark our words, 2021 is the year of Pinkshift, and we can’t wait. [GEM ROGERS]

Laura Jane Grace

Laura Jane Grace is a fucking badass. Whether on latest solo offering ‘Stay Alive’, side project The Devouring Mothers, or as front woman of Against Me!, Grace’s music demands attention with astute social commentary and brutally honest storytelling. Her songwriting recounts narratives that scream with raw emotion or leave their mark through a poetic vulnerability – and then there are the live shows. A sweaty and euphoric trip delivered at breakneck speed with intimate moments of stripped-back beauty… all delivered with Grace’s trademark smile. An icon and inspiration to many, Grace’s anarchic punk roots and personal journey continue to start conversations, provoke thought, and challenge preconceptions. Her ability to hold a mirror to the punk scene and society at large is deserving of both recognition and celebration. [RYAN CRAIG]

Ithaca

It’s hard enough being a straight, white woman in metal, so add being a person of colour and a member of the LGBTQ+ community into the mix and you’re almost definitely going to face some backlash if your band is in the public eye. Luckily, Ithaca vocalist Djamila Azzouz is hard as fuck and will not put up with any bullshit thrown her way. You only have to glance at the band’s social media to see that Ithaca are a deeply political band, with strong stances on social justice, mental health, human rights, and cultural representation. With Djamila acting as the band’s mouthpiece, they are utterly unapologetic about standing up for what they believe in. Lots of bands won’t speak about certain things because they’re worried about alienating fans or pissing off the wrong people, but Ithaca are not that band. Their debut album, 2019’s stunning ‘The Language of Injury’ is 31 minutes of incandescent rage, harking back to the glory days of white-belt metalcore bands like Poison The Well and Misery Signals. So if you want to have a mosh but also feel empowered to make the world a better place, then Ithaca are the band for you. [LIAM KNOWLES]

Pale Waves

Fronted by the coolest emo, Heather Baron-Gracie, Pale Waves have easily moved themselves away from their association with The 1975 since their inception in 2014, and proven themselves to be massive in their own right. Their latest record ‘Who Am I?’ debuted at number 3 in the UK charts in the week of its release, proving that you don’t have to follow anyone’s lead in order to be a successful woman in 2021. 

Their last UK tour was in support of Halsey last March (remember live music? Those were the days…), but despite the lack of their usually extensive festival schedule last summer, Pale Waves have still gone from strength to strength, growing their fanbase monumentally. It won’t be long before these guys are headlining arenas, and you’ll absolutely want to be a part of the fun when that dream becomes a reality. [YASMIN BROWN]

RedHook

It wouldn’t feel right to celebrate IWD without also shouting about the women who are about to make a huge new impact on the music scene we love – and Redhook’s Emmy Mack is surely among that number. The Aussie group have been around for a few years, but have really found their feet over the last 18 months with a tantalising blend of rap, rock, metal, and a hefty dose of “fuck you” attitude; if you listen to this music and say it doesn’t immediately make you feel like you could take down a ten storey building with your bare hands, we simply don’t believe you (although it also probably isn’t recommended to try). Mack and RedHook have something truly unique and utterly empowering, and there can be no doubt they’re about to change the game for everyone – ignore them at your peril. [GEM ROGERS]

Men I Trust

Founded in 2014 by multi-instrumentalists Jessy Caron and Dragos Chiriac in Montreal, Quebec, Men I Trust started their career by laying down dreamy instrumentals and collaborating with a variety of different vocalists. However, it wasn’t until singer and guitarist Emmanuelle Proulx became a permanent fixture in 2016 that Men I Trust’s sound was truly completed. Proulx’s delicate, almost whispered, vocal stylings stamp an identity on the band’s dynamic that makes for an extraordinarily pleasant and refreshing listening experience. A unique fusion between indie pop-rock, jazz, and R&B, 2019’s ‘Oncle Jazz’ perfectly showcases what Men I Trust are capable of. The album features reworked versions of eight singles that were released since Proulx’s full-time inclusion in 2016 as well as a multitude of fresh genre-transcending pieces that make the record irresistible to return to time and time again. [AARON JACKSON]

Nova Twins

Once touted by rock royalty Tom Morello as “the best band you’ve never heard of”, London duo Nova Twins have moved from strength to strength since forming in 2014. Driven by fierce riffs and delivered with a ruthless punk attitude, Nova Twins pack a punch that is even better experienced live. Amy Love’s vocals relentlessly traverse from rapped verses dripping with grime to shouted choruses that rival any hardcore punk band at the top of their game. Equally, Georgia South’s proficiency on bass is crucial to Nova Twins’ brilliance. An instrument that is too often overlooked, South stretches her bass guitar to its limits with effects pedal wizardry and expert technique to ensure that her contributions simply can’t be missed. 2020’s debut LP ‘Who Are The Girls?’ (released via 333 Wreckords Crew) is the essential gateway into the fast-emerging Nova Twins movement. Get involved. [AARON JACKSON]

Tramp Stamps

They may only currently have two singles to their name, but those two tracks easily show that Nashville’s Tramp Stamps are going to take the world by storm in no time at all. Their latest single, ‘1-800-miss-ur-guts’, released earlier this month, takes the bubblegum pop punk of ‘Sex With Me’ and strips it back, allowing for a more emotional element to their otherwise unapologetic attitude. Made up of singer Marisa Maino, guitarist Caroline Baker, and drummer Paige Blue (Baker and Blue also working together as co-producers), this is a band that screams female empowerment, but there’s a lot of fun in their approach to songwriting — a breath of fresh air in an industry that can feel so damn serious sometimes. With their debut EP set for release mid-year, we’re super excited to see what’s coming next from Tramp Stamps. [YASMIN BROWN]

Svalbard

“Metal is the most inclusive, tolerant, and welcoming community there is.” That’s something you’ll see quite a lot in the comments section of almost any major music publication. If that’s the case, why do so many people (usually men) go ham-pink with rage every time Svalbard guitarist and vocalist Serena Cherry dares to speak on her experiences as a woman navigating the scene? It’s almost as if metal isn’t actually a utopia of tolerance after all. The simple fact of the matter is that whilst progress has undeniably been made in recent years, your beloved metal scene is still rife with sexism, misogyny, homophobia, transphobia, racism, and pretty much every other form of prejudice you could think of. That’s why we need bands like Svalbard making it clear as day — in both their lyrical content and their public interview statements — that we cannot turn a blind eye to it anymore. It helps that their blistering blend of black metal, hardcore punk, and shoegaze is utterly fantastic, but their steadfast, unflinching message is what makes Svalbard a truly special band. [LIAM KNOWLES]

Meet Me @ The Altar

They’ve been around for a little while but it’s only recently that Meet Me @ The Altar have been picked up by Fueled By Ramen and, subsequently, made a huge name for themselves. The band is made up of Edith Johnson, Téa Campbell, and Ada Juarez, three young adults who met online, bonding over bands such as twenty one pilots and Paramore — both of whom are now their label mates. This band is a perfect example of dreaming big and achieving every. Single. Goal.

As well as making super-catchy pop-punk tunes, though — and they are catchy and fun as hell— MM@TA have a mission with their music, and that is to contribute to wider representation in the industry.

“We want to be the representation we didn’t have growing up. We hope to encourage young girls, especially black and brown girls like us. We definitely have a different perspective than the average pop-punk white dude crying about his girlfriend. Even as a band, we experience the music world in our own way. It gives us an interesting viewpoint that we put into the songs.”

Fierce can-do attitude combined with unstoppable success, Meet Me @ the Altar are set to be an inspiration to young artists — particularly women and non-binary — worldwide. [YASMIN BROWN]

Wolf Alice

From debut EP ‘Blush’ to The Mercury Prize-winning ‘Visions of a Life’, Ellie Roswell and co. have danced from album to album and through genres upon genres with careless abandon. Are they folk? Pop? Indie? Grunge? They’re none and all of them, styles borrowed and sampled like they’re strangers’ hats on a night out. It’s this ethereal mysticism that has grown the group’s reputation as one of rock’s most exciting groups, and with acts like Siouxsie and the Banshees, Elastica, and Courtney Love touted as inspirations, they’ve rather gracefully inherited the legacy of a long line of female powerhouses of the industry. With a third album looming on the horizon, and new experiments by this fae coven of a band already teased, it’s hard not to be utterly enraptured by this almost asymmetrical style of rock, and be excited as to where they may take it next. [FIACHRA JOHNSTON]

Pillow Queens

It was only three short years ago that selling out a modest-sized venue in their hometown of Dublin was what Pillow Queens would class as overwhelming success. Flash forward to the present day, and they’re being beamed into the homes of hundreds of millions of Americans while performing on The Late Late Show with James Corden. From their early scrappy EPs to their long-awaited, and beautiful debut album ‘In Waiting’, the all-girl group of Sarah Corcoran, Rachel Lyons, Cathy McGuinness, and Pamela Connolly have been penning heartfelt and powerful songs. Their signature four-part harmonies and wicked sense of humour make every show — whether it be in a sketchy practice space next to a garage or the grand halls of Whelan’s in Dublin — a celebration. And in their success, they provide inspiration for female and LGBTQ+ musicians wanting to find their voice. If you haven’t seen them before, make it your absolute priority — they are going to be huge. [TOM WALSH]

Petrol Girls

“We’re not finished, we never fucking will be,” Petrol Girls’ Ren Aldridge calmly states at the end of their seminal 2019 record ‘Cut + Stitch’. Those eight words encapsulate what their mantra is all about. This is much more than just a band; it’s a movement, led by the fearless and outspoken Aldridge. It’s an assault on the toxic masculinity and the glass ceilings that women have to face each day and Petrol Girls are here to hold the mirror up to society. Their sound is raw, mighty, and explosive, their lyrics poignant, vulnerable, and with a razor-sharp edge. The post-hardcore scene is generating more and more female voices, thanks to the empowerment that Aldridge and Petrol Girls demonstrate with every record. A truly wonderful band with a powerful message that will never be quietened. [TOM WALSH]

Bloxx

Bloxx are one of those bands that spent 2018 and 2019 getting on every festival bill that suited their sound until there was no way regular festival-goers could possibly emerge from the summer without knowing who they are. And they are a band that deserves to be known. Fronted by Fee Booth, Bloxx’s unapologetically indie/pop/rock sound is the exact encouragement you need to crank up your crackly bluetooth speaker and pour a beer into a red plastic cup while you lounge (or dance) in the garden with your best mates. They are, undeniably, the sound of sunshine and laughter — even if sometimes their music is more likely to make you cry. While their support slot with Twin Atlantic was cut short last year, there’s still so much more to come from this band, and once we’re all back crammed together in sweaty clubs or feeling liberated in our bras in muddy fields, Bloxx are undoubtedly going to be a part of that experience for many people. [YASMIN BROWN]

Dream State

It’s hard to believe only three years have passed since Dream State released their sophomore EP ‘Recovery’, catapulting them to the forefront of the upcoming alternative music scene in the UK. The impact of their songs is not one that can be understated, and it’s something driven by vocalist CJ Gilpin; through ‘Recovery’ and 2019 debut album ‘Primrose Path’, Gilpin has shown us that vulnerability and strength go hand in hand, revealing her own struggles to provide comfort and hope for others. It’s a message that extends beyond their music, and is central to everything Dream State do – it only takes one live show to see the spirit, passion and energy that flows from Gilpin in particular, and it’s not only an uplifting experience, but a life changing one. Latest single ‘Monsters’ proves Dream State still have plenty more to say and more hope to share, and we should consider ourselves incredibly lucky to have them. [GEM ROGERS]

Pupil Slicer

There has been undeniable hype around Pupil Slicer in the last few months. Their debut album ‘Mirrors’, is being touted by those who have already heard it as a potential Album Of The Year contender, and if the singles they have released so far are anything to go by, those people may well be correct. The London-based trio have been compared to seminal bands like Botch and The Dillinger Escape Plan, thanks in no small part to Kate Davies’ incalculable vocal performance. Their sound is as belligerent and chaotic as their name is eye-watering, so if that sounds like your cup of razorblades and broken glass then keep an eye out for Pupil Slicer. No pun intended. [LIAM KNOWLES]

Rivals

Somewhere in between outright heaviness and ultra pop is a magical land where the two combine, that unexpected power couple who walk into the room and immediately grab everyone’s attention. With minor keys aplenty and a thundering darkness that underpins some heavy lyrical content – mental health, addiction, and the challenges of growing up all make appearances here – LA band Rivals also bring plenty of light in the form of towering, gorgeous melodies, brought to life by vocalist Kalie Wolfe. There’s a depth and emotion in her voice that adds so much more to every song, whether it’s softer, hope filled tracks like 2018’s ‘To Leila’, or all out ragers in the form of recent single ‘Fake Rich’; Wolfe is, without question, a musical force to be reckoned with. With their second album coming in just a few weeks, expect Rivals to be popping up on more radars very soon – and it’s attention they definitely deserve.

[GEM ROGERS]

Cultdreams

One thing is abundantly clear from Cultdreams’ discography: the duo of Lucinda Livingstone and Conor Dawson are resolve incarnate. The pair’s debut, ‘Seafoam’, delivered their mission statement with force and gusto, from the raucous ‘Berlin’ to the airy ‘I Don’t Want to Be Sad Forever’. Even before the pandemic, the duo made a career out of long distance production, working on their sophomore album between Leeds, London and Berlin. The result, ‘Things That Hurt’, spared no expense in drawing from trauma to tell a stark tale of disenfranchisement with the system. Bleak but hopeful, sharp but comforting, Cultdreams’ shoegaze-infused baring of the soul makes grand use of tension and release, and Lucinda continues to stand as one of the most unique punk vocalists in the UK. [FIACHRA JOHNSTON]