Words: Kathryn Edwards  //  Photos: Jez Pennington

Rivers of Nihil

Rivers of Nihil are handed the unenviable task of waking up a field of metalheads on Sunday morning, and they do it with style. They launch into ‘The Silent Life’ and immediately sweep the cobwebs away with technical riffs sharp enough to cut through any hangover. Their set draws heavily from 2018’s ‘Where Owls Know My Name,’ blending death metal brutality with soaring textures that make the Dio Stage feel oddly serene for such an early slot. By the time they close with the title track, the crowd is locked in, and a saxophone sample at a metal festival before lunchtime feels like the perfect kind of madness.

Rizen

Over on the New Blood Stage, Rizen waste no time proving why they’re tipped as one of the UK’s brightest new acts. Their opener thunders out and the pit is moving almost instantly, which is impressive given some people are still clutching bacon rolls. Mid-set highlight ‘Ashes to Embers’ gets fists in the air, a proper call-to-arms that shakes the tent awake. By the closer, the crowd are fully with them, shouting back and grinning, the kind of reaction that makes you think you’ll be seeing this band on the main stage in a couple of years.

August Burns Red

August Burns Red arrive with a bang. They open with ‘Fault Line’, the pit goes nuclear, and Jake Luhrs is already commanding the stage like he owns the place. The setlist is a greatest-hits sprint, with ‘Composure’ sparking chaos and ‘Invisible Enemy’ getting one of the biggest singalongs of the afternoon. Every breakdown lands harder than the last, and the band play with the kind of precision that makes other musicians quietly hate them. They close with ‘White Washed’, the crowd screaming the words like their lives depend on it, and it feels like August Burns Red have just levelled the field.

Dogma

Dogma bring their industrial-punk hybrid to the Sophie Stage and turn it into a rave inside a riot. ‘Forbidden Zone’ sounds like being hit by a truck full of strobe lights, the tent bouncing as if it’s 3am in a club rather than mid-afternoon at a metal fest. The band are a blur of motion, snarling through songs that refuse to stick to any one genre. By the end, the Sophie crowd looks like they’ve just survived an exorcism, sweaty and dazed but grinning ear to ear.

Lowen

Lowen take things in a completely different direction, their doom-laden soundscapes rolling across the stage like a storm front. Nina Saeidi’s vocals soar above the weight of the riffs, equal parts mournful and commanding, and there are moments where you could hear a pin drop in the tent. Songs from 2021’s ‘Unceasing Lamentations’ unfold like ritual chants, slowly building until the air feels charged. They finish with ‘Hymn to the Mother’, the whole thing feeling less like a gig and more like a ceremony, and the audience leave quieter than they arrived, still processing the spell they’ve been under.

The Black Dahlia Murder

The Black Dahlia Murder hit the Dio Stage and instantly turn grief into celebration. They open with ‘What a Horrible Night to Have a Curse’, pits opening up as if on command, and Brian Eschbach proves he’s more than ready to lead from the front. The energy is relentless, ‘Statutory Ape’ causing carnage halfway through, the pit stretching almost across the field. They close with ‘Deathmask Divine’, the crowd screaming every word, and for a few minutes it feels like the entire festival is united in remembering Trevor Strnad. It is brutal, heartfelt and proof that this band is still very much alive.

Lord of the Lost

Lord of the Lost sweep onto the Dio Stage looking like they’ve just walked out of a gothic opera. They open with ‘Drag Me to Hell’ and it’s instantly clear they’re here to put on a show, all black leather, towering choruses and more melodrama than a soap finale. The set jumps between pounding industrial anthems and soaring ballads, each one somehow bigger than the last. ‘Blood & Glitter’, 2023’s German Eurovision entry, gets the biggest singalong, but closer ‘Loreley’ feels almost sacred, voices rising with the dusk. It is camp, theatrical and completely irresistible.

thrown

The Sophie Stage nearly implodes when thrown step up. They blast straight into ‘guilt’ and the pit detonates, walls of death colliding like rugby scrums on steroids. Marcus Lundqvist stalks the stage like a man possessed, every line barked like a challenge. ‘on the verge’ only adds fuel, the crowd practically tripping over themselves to get involved. They close with ‘look at me’, and by the end it looks like the entire tent has been put through a blender. It is chaotic, nasty and exactly what everyone came for.

Mastodon

Mastodon arrive on the Dio Stage and ease in with ‘Oblivion,’ the progressive layers slowly drawing the crowd into their otherworldly realm. Their set sprawls across their catalogue, from the crushing ‘Mother Puncher’ to the soaring ‘More Than I Could Chew’, each track delivered with trademark intricacy. The visuals behind them; cosmic, surreal, psychedelic, elevate the performance into something hypnotic.

As the sun dips, they close with the sprawling ‘Blood and Thunder’, the entire field screaming ‘white whale, holy grail’ as one. It’s a cathartic end to a set that reminds everyone exactly why Mastodon are revered: few bands can be so heavy, so complex and yet so universally captivating all at once.

3 Inches of Blood

Reunited and hungry, 3 Inches of Blood storm onto the Sophie Stage with ‘Deadly Sinners’, the crowd instantly transported back to the glory days of early 2000s metal. Their dual-vocal assault cuts through the tent like steel, fans bellowing along with every chorus. Midway through, ‘Destroy the Orcs’ sparks a frenzy, plastic swords and inflatable axes waving above the pit in pure joy. They close with ‘Goatrider’s Horde’, the audience in full voice, a triumphant comeback soaked in nostalgia and fire.

Gojira 

The day belongs to Gojira. As night falls, they open with ‘Ocean Planet’, the Dio Stage bathed in deep blues and smoke. The crowd roars as ‘Backbone’ follows, its stomping groove sending shockwaves through the field. Every song feels monumental, from the thunderous ‘Flying Whales’, greeted with inflatable whales bouncing above the pit, to the colossal ‘Silvera,’ which sees the entire crowd screaming along.

The second half of the set grows ever more intense, pyro and visuals amplifying the band’s overwhelming presence. ‘Stranded’ turns the field into one massive bounce, and by the time they reach ‘L’Enfant Sauvage,’ it feels as though the whole of Bloodstock is moving as one. They close with ‘The Gift of Guilt,’ its outro stretching into the night as fireworks burst overhead. It’s a masterclass in modern metal headlining. Gojira not only justify their place, they deliver one of the defining performances in Bloodstock’s history.

Obituary

Obituary stride onto the Sophie Stage like seasoned executioners, wasting no time in turning the tent into a swamp of riffs. They open with ‘Redneck Stomp’, the crowd instantly moving in that slow, grinding way only death metal can inspire. John Tardy’s growls sound as feral as ever, cutting through a wall of filthy guitar tone that rattles the walls. Midway through, ‘Slowly We Rot’ whips the pit into a frenzy, fans colliding with grins plastered across their faces. They close with ‘Chopped in Half’, the iconic riff landing like a sledgehammer, and it feels like Obituary have given Bloodstock one last, glorious beating before the weekend fades.

Words: Kathryn Edwards  //  Photos: Jez Pennington

Cage Fight

Kicking things off on the Ronnie James Dio Stage, Cage Fight waste no time setting the tone for the day. Their opener smashes through the tent like a fist, riffs colliding with hardcore fury that instantly sparks a pit. The crowd may still be shaking off the previous night’s excess, but the band’s relentless pace refuses to allow lethargy. Each song bleeds into the next with little respite, vocalist Rachel Aspe commanding the stage with an intensity that keeps the crowd moving. By the time they close, sweat drips from the tent ceiling and the day feels fully ignited.

The Spirit

Next up, The Spirit bring a very different atmosphere. Their opening track sets a cosmic, unsettling tone, all swirling tremolo riffs and cavernous drums, pulling the field into their blackened death vortex. It is a strange but captivating juxtaposition; harsh, frostbitten sounds delivered under a blazing august sun. As the set progresses, their blend of melody and ferocity creates a hypnotic effect, drawing the audience deeper into the haze. When they end with a sprawling, immersive finale, the crowd stands momentarily hushed, as if stepping back into reality after being pulled through a void.

Warbringer

The pits start before Warbringer even hit the first note, bodies colliding in chaotic celebration as anticipation boils over. When they launch into ‘Remain Violent’, it’s bedlam, and the surreal sight of someone in full Shrek costume charging into the melee makes the chaos even more memorable. Frontman John Kevill roars, ‘we are Warbringer from Los Angeles and this is our first time playing Bloodstock in the UK’, and the reception is deafening. Mid-set classics like ‘Living Weapon’ and ‘Severed Reality’ keep the tempo unrelenting, hair and sweat flying as the band thrash through with precision They close with ‘Combat Shock,’ the Dio field a storm of movement, fans drained but grinning from ear to ear at the pure ferocity of the set.

Pengshui

The Sophie tent is heaving long before Pengshui even appear, a noticeably younger crowd buzzing with anticipation. They explode straight into ‘Break the Law,’ frontman/MC Dave Illaman pacing the stage with boundless energy and spitting every bar like rapid-fire. The tent goes off immediately, pits erupting while children on parents shoulders wave along at the back, a perfect snapshot of how welcoming and diverse the Bloodstock community can be.

Between songs, Illaman keeps up a constant rapport: ‘wakey fucking wakey’ sends the crowd into overdrive, ‘battered sausage’ becomes a bizarre but brilliant call-and-response, and the declaration ‘people, music, energy, love, that’s all we need’ draws cheers and raised horns from wall to wall. He shares how they landed the slot through a fan tagging them on TikTok, and explains his own roots in drum and bass and dubstep before praising metal crowds as the best in the world, an admission met with a booming cheer. When they drop their remix of The Prodigy’s ‘Omen,’ the tent erupts, the energy peaking as bodies surge in unison. They close with ‘No Love,’ Illaman’s delivery like bullets from an AK-47, leaving the Sophie tent absolutely electric. For many, this isn’t just a highlight of the day, but of the entire weekend.

Heriot

Heriot begin their set on the Ronnie James Dio stage with the force of a wrecking ball. They open with material from their 2024 debut album and immediately set off a circle pit that barely lets up for the rest of the set. The sight of a man in full knight armour guiding the chaos in the centre adds a surreal edge, as if the pit itself has a steward. Debbie Gough wields her yellow guitar with venom, her screams slicing through the dense, metallic wall of sound, while bassist Erhan Alman matches her intensity with his own guttural roars.

Songs like ‘Demure’ and ‘Enter the Flesh’ tear through the tent, the crowd moving violently but in unison, embodying the collective release that makes this scene thrive. By the time they reach closer ‘Siege Lord’ (maybe that explains the knight?), the pit has expanded to cover most of the tent, dust and sweat hanging heavy in the air. Heriot leave the stage victorious, cementing their reputation as one of the most vital new forces in UK heavy music.

Creeper

With all the drama you would expect, Creeper arrive on the Dio Stage looking like rock ‘n’ roll vampires, dressed in black leather, eyeliner heavy, and blood-red makeup smeared across their faces. They launch straight into ‘Cry to Heaven’, the stage erupting in pyro and flames, the crowd roaring back every word. Their set feels less like a performance and more like theatre, with each song delivered as part of a wider narrative of gothic grandeur.

The middle stretch features fan favourites like ‘Black Rain’, greeted with mass singalongs that carry across the field, and ‘Down Below’, delivered with haunting flair. They close with the anthemic ‘Annabelle’ and the eternal ‘Misery’, the latter sung back long after the band have departed the stage. Creeper’s ability to balance camp, emotion and spectacle makes them unlike anyone else on the bill, and tonight’s show is proof of why their cult keeps growing.

Kublai Khan TX

When Kublai Khan TX hit the Ronnie James Dio stage, the floor barely holds steady under the surge of bodies. Opening with ‘Supreme Ruler’, Matt Honeycutt’s roar cuts through the air like a war cry, and the pit explodes instantly. His (in)famous crowd call-outs keeps the audience fuelled; calling them ‘baby girl’ one minute and mocking ‘sweaty nutsacks’ the next, he commands every inch of the tent.

The set escalates with ‘Boomslang’ and ‘Antpile’, each breakdown landing like a hammer blow, the floor a writhing mass of limbs. The wall of death for ‘The Hammer’ is pure chaos, hundreds splitting and colliding with ferocity. They close with ‘Theory of Mind’, the final riffs ringing out as exhausted fans stumble out of the tent grinning, having been put through the wringer by one of hardcore’s most punishing live acts.

Fear Factory

Next, Fear Factory deliver mechanical precision and sheer weight. They open with ‘Shock’, the industrial riffs reverberating across the field, instantly locking the crowd into a march. Their signature blend of machine-like groove and soaring choruses feels as potent as ever, even decades on. Mid-set, ‘Edgecrusher’ and ‘Demanufacture’ send waves of fists into the air, their impact amplified by the thunderous rhythm section. Closing with ‘Replica’, the field becomes one seething mass, the refrain screamed back at full volume by thousands of voices. Fear Factory prove themselves masters of controlled chaos, a band whose influence is written across countless acts on the lineup, yet still deliver it with unmatched authority.

Ministry

When Ministry take the stage, the atmosphere shifts to something far darker. They open with ‘Thieves’, strobes cutting through a wall of distortion as Al Jourgensen spits venom into the mic. The set is a barrage of industrial aggression, each song hitting like a political sermon wrapped in pounding beats. Midway, ‘N.W.O.’ and ‘Just One Fix’ draw the loudest cheers, fans moving like a single entity under the onslaught of riffs and samples.

They finish with ‘Jesus Built My Hotrod’, the festival field bouncing as if the ’90s never ended, nostalgia colliding with raw urgency. Jourgensen looks every inch the apocalyptic preacher, and as they leave the stage it’s clear Ministry remain just as vital and uncompromising as ever.

Breed 77

Breed 77 bring a welcome change of pace. Opening with ‘La Ultima Hora’, they immediately distinguish themselves with their fusion of flamenco flair and heavy riffing. The crowd responds warmly, swaying and moving as much as moshing, caught up in the unique atmosphere. Mid-set tracks ‘Blind’ and ‘World’s on Fire’ highlight the band’s gift for melody, showing just how broad the spectrum of heaviness at Bloodstock can be.

They close with ‘Alive’, fans singing every word back with passion, creating one of the most uplifting moments of the day. For many, this set feels like a triumphant return, a reminder of the rich diversity that has always been part of the Bloodstock spirit.

Machine Head

The main stage anticipation reaches boiling point before Machine Head even appear, and when the opening riff of ‘Imperium’ crashes in, fireworks lighting the sky, the field erupts. Robb Flynn commands the crowd like few others can, every chorus roared back at deafening volume. The set is a career-spanning showcase, from the sledgehammer weight of ‘Ten Ton Hammer’ to the enduring groove of ‘Old’, greeted like the return of an old friend. Pits churn constantly, the sheer size of the crowd moving as one under Machine Head’s command.

As the night deepens, the atmosphere turns euphoric. ‘Halo’ is stretched into a massive singalong, voices echoing across the field like a hymn, before ‘Aesthetics of Hate’ sends the crowd into one final frenzy. They close with the immortal ‘Davidian,’ the cry of ‘let freedom ring with a shotgun blast’ shouted skyward under a shower of fireworks. For Machine Head, this isn’t just a headline set, it’s a coronation, a moment that cements their place in Bloodstock history.

Static X

Rounding out the night in the Sophie tent, Static X deliver a nostalgia-drenched victory lap. They kick things off with ‘Push It,’ the tent instantly bouncing as if the late ’90s never ended. The band lean hard on their classics, with ‘I’m With Stupid’ and ‘Cold’ sending waves of joy through the crowd, each chorus screamed back at maximum volume.

They close with ‘Wisconsin Death Trip’, the final riff echoing through a tent that refuses to let the party die. Static X deliver exactly what the audience came for; a high-energy throwback packed with hooks and adrenaline. As fans spill out into the night, the buzz lingers, Saturday sealed as a day of non-stop energy, diversity, and iconic performances.

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Words: Kathryn Edwards   Photos: Jez Pennington

Konvent

Over on the Ronnie James Dio Stage, Konvent prove that death-doom doesn’t need speed to crush. Rikke Emilie List’s gutturals feel like they could level Catton Park, while the riffs on ‘Sand Is King’ and ‘Fatamorgana’ roll in like a storm front; slow, suffocating and utterly commanding. The crowd don’t mosh so much as get swallowed whole, heads nodding in heavy unison before erupting into roars between songs. Bleak? Absolutely. Boring? Not for a second. Konvent turn grim intensity into one of the weekend’s most captivating sets.

Flotsam and Jetsam

As the first major act of the day on the Ronnie James Dio Stage, Flotsam and Jetsam deliver a high-energy set that sets the tone for the rest of the festival. They kick off with ‘Hammerhead,’ immediately igniting the crowd with its aggressive riffs and rapid tempo. The band continue to showcase their thrash prowess with ‘Iron Tears’ and ‘Desecrator,’ each song building upon the last in intensity and precision. Midway through, they dedicate ‘I Am the Weapon’ to their fans, a moment that resonates deeply with the audience. Closing with ‘Doomsday for the Deceiver,’ they leave the stage to roaring applause, having delivered a masterclass in thrash metal.

Rough Justice

Rough Justice bring a punchy, no-nonsense dose of punk straight to the crowd. Songs like ‘Chaos Reigns’ and ‘Burn It Down’ ignites the pits almost immediately, the fast riffs and snarling vocals leaving little room to catch your breath. Fans bounce and shout along with every chorus, the energy in the tent electric and relentless. By the final chord, it was clear Rough Justice have left the crowd buzzing and fully charged for the rest of the day.

Paleface Swiss

Then Paleface Swiss step up, carving out a set that is part atmospheric doom, part hypnotic sludge, and entirely captivating. Tracks like ‘Frosted Veins’ and ‘Mirror Lake’ roll in heavy and slow, each riff layered with a sense of foreboding that made the crowd lean in rather than rush about. The vocals alternating between guttural growls and mournful chants, giving the songs an unsettling depth that lingered long after each note. Fans respond with rapt attention, heads nodding and fists raised, drawn into the oppressive beauty of the sound. By the time the final chord echoed across the festival grounds, it’s clear that Paleface Swiss have left an indelible mark on Bloodstock 2025.

Orange Goblin

Orange Goblin mark their farewell show with a high-octane dose of stoner metal that has the crowd moving from the very first riff. They kick off with ‘Red Tide Rising,’ immediately throwing the crowd into motion with heavy, groove-laden riffs. The set moves seamlessly through fan favourites including ‘Scorpionica’ mid-set, giving moments for both headbanging and fist-pumping. They close with ‘Some You Win, Some You Lose,’ leaving the audience roaring in appreciation, fully aware they were witnessing the last live performance of a band that have defined modern stoner metal for decades. The energy never dips and by the end of the set Orange Goblin have left the stage chaotic, intense and impossible to ignore.

Lacuna Coil

Lacuna Coil have the crowd completely captivated, delivering a darkly theatrical set (fans would expect nothing less from them), absolutely dripping in melodrama. Opening with ‘Heaven’s a Lie,’ the band instantly establish a gothic atmosphere, enhanced by black and white face paint, and red roses scattered across the stage. As the set unfolds with ‘Layers of Time’ and ‘End of Time’ mid-set, the crowd is drawn into their world of soaring choruses and heavy, hypnotic rhythms. Closing with ‘Our Truth,’. Fans sway and sing along in unison, caught up in the spellbinding combination of haunting visuals and commanding performance. By the final song, the stage looks like a gothic tableau and the crowd are left in awe, buzzing long after the last note faded.

High Parasite

On the Sophie Lancaster Stage, High Parasite unleash a punishing, unrelenting set that keeps the audience on edge from start to finish. They open with ‘Vermin Crawl,’ immediately setting a frenzied pace that never let up. Midway through, they pause to honour Sophie Lancaster, dedicating ‘Wired for Decay’ to her memory, which was met with a respectful, hushed reaction from the crowd. They close with ‘Cleansing Fire,’ leaving the audience exhilarated and emotionally charged by the intensity, chaos, and raw emotion of their performance. Though the crowd is light on the ground to begin with, fans continue to filter in throughout the set, banging heads and spinning pits in every direction as the band maintain relentless energy. By the end of the set, High Parasite have carved a raw, unyielding mark on Bloodstock 2025, leaving the audience buzzing from their uncompromising heaviness.

Emperor

Back on the Ronnie James Dio Stage, Emperor command the evening with their signature symphonic black metal. They open with ‘I Am the Black Wizards,’ immediately filling the space with grandiose, atmospheric intensity. Mid-set tracks like ‘Inno a Satana’ showcase both the technical precision and theatrical flair that have become their hallmark, with the audience mesmerised by the wall of sound. They close with ‘Thus Spake the Nightspirit,’ leaving the crowd in awe, applauding the masterful blend of darkness and musical intricacy.

Nailbomb

On the Ronnie James Dio Stage, Nailbomb explode onto the stage (go figure) with the ferocious energy their industrial thrash is known for. Opening with ‘Wasting Away,’ they instantly draw the crowd into their chaotic, politically charged performance. Midway, ‘Guerrillas’ sees mosh pits forming and hands thrust skyward, the intensity only building from there. They close with ‘Illegal Alien,’ leaving a lasting impression with the raw aggression and confrontational energy that defines the set, earning raucous cheers from fans who had been carried along for every punchy riff and pounding beat.

Trivium

Headlining the Ronnie James Dio Stage on Friday night, Trivium deliver a set that feels both triumphant and reflective, marking a major moment in their career. Returning to Bloodstock after several years, the band is playing to a homecoming crowd that had followed them through two decades of releases and tours. Opening with ‘The Sin and the Sentence,’ they immediately ignite the audience, with singalongs and circle pits forming across the front. As the set progresses, tracks like ‘In the Court of the Dragon’ and ‘Strife’ showcase their ability to balance technical intricacy with stadium-ready hooks, keeping energy levels sky-high. Mid-set, ‘Catastrophist’ and ‘Like Light to the Flies’ gives longtime fans a moment to revel in nostalgia while newer material demonstrated the band’s evolution.

The significance of this headline slot is clear; Bloodstock has long been a proving ground for metal acts, and for Trivium, it represents both recognition from their peers and a chance to celebrate their ongoing relevance in the scene. Throughout the performance, the crowd’s enthusiasm is relentless, responding to every riff, drum fill, and vocal flourish with fervent applause. They close with ‘Pull Harder on the Strings of Your Martyr,’ a high-energy finale that leaves fans shouting and cheering long after the final note. The performance captures Trivium at the peak of their powers, blending showmanship, technical mastery, and emotional resonance in a way that few headline sets manage, cementing their place in Bloodstock history.

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The weather is questionable once more, but with yesterday’s winds fortunately banished and even a bit of sun coming out to warm our damp feet, we’re thankfully left with a final day that’s able to run as smoothly as possible and let us focus on the task at hand: banging our goddamn heads until our necks break.

Words: Gem Rogers / Photos: Matt Higgs

There’s no Sunday wake up call quite like a Harbinger wake up call, and boy are we glad we aren’t nursing any hefty hangovers when we arrive at the Sophie Lancaster stage this morning. Occupying the heaviest end of tech metal, this five from London are unrelenting, building their tracks in huge layers before dropping like a dead weight. It’s heart-stopping and exciting stuff only made better by gorgeous guitar tones, riffs for days, and superb vocals from Tom Gardner – we could listen to this for forever, so half an hour doesn’t seem nearly enough. Harbinger are flying the flag for young British tech metal, and – especially on the strength of this set – we can’t wait to see where they go next.

When it comes to legends of the metal scene we don’t see nearly enough of in the UK, Soilwork are surely near the top of that list. Their handful of appearances over the last five years have been mainly confined to support slots and London shows, and as a result the Swedish melodeath group’s set at Bloodstock feels both overdue and eagerly awaited. Bjorn Strid is still one of the most astounding vocalists in the – or, indeed, any – genre, with a spectacular ease and strength in every note, and their newer, more power metal influenced tracks suit the currently sunny skies perfectly. There is, however, something lacking in the performance and songs that is unexpected from a band who have always been mesmerising live; whether it’s the change in style, the departure of legendary drummer Dirk Verbeuren, or something else, this isn’t quite the Soilwork we remember. That said, coming down from such a high point still leaves you with one of the strongest sets of the weekend – it’s just a shame it doesn’t reach former heights, and we hope to see a return to form (and a headline tour or two) sooner rather than later.

Following up on the main stage are another renowned Swedish band – it’s not really any surprise that a metal festival line-up is dominated by our Nordic cousins – and Hypocrisy haven’t come to play. Heavy, dark, and atmospheric, they are impressive to behold, though the set feels a little rushed as they sprint through as many tracks as possible. On the plus side, this means a bit of everything for everyone as they pick at their huge back catalogue, with Peter Tägtgren’s vocals on formidable and snarling form. Their style might be more suited to a tent, especially with the sun still (just about) hanging around, and it’s not the most exciting set of the weekend, but it is an otherwise faultless 45 minutes on the main stage from these Swedes, and one that seems to go down well with the Bloodstock masses.

Although it takes a minute for everyone to realise things are underway for the next main stage set, thanks to the continuation of generic background music, there can be no mistaking that Dee Snider has arrived once he makes his way on stage. The former Twisted Sister front man has drawn a huge crowd, and as he breaks into the opening track from last year’s ‘For The Love Of Metal’, it feels instantly like being transported back to a mythical past, an altogether shinier and more colourful place. There are, of course, plenty of Twisted Sister songs included in the set, which is also littered with good humour – “you may not go to the bathroom during the new songs!”, comes a regular threat that may or may not be entirely joking – and entertaining banter from this most experienced of performers. If you needed to leave early on this final day, this is the perfect finale – packed to the brim with delightfully enjoyable glam metal and huge singalongs in the form of ‘We’re Not Gonna Take It’ and ‘I Wanna Rock’, it’s headline material through and through. There’s not a single face in the crowd without a smile, and we wish we could have Snider at every festival.

You’d be hard pressed to find anyone, metalhead or otherwise, who isn’t familiar with at least one Scorpions song, and few have had such phenomenally long careers – that they’re still releasing music today is, without question, incredibly impressive. Perhaps it results in higher expectations than normal for a band occupying the ‘legendary’ Sunday slot, and the crowd gathered around the main stage is certainly sizeable as the five current members appear and instantly look like they’re having the time of their lives. Unfortunately, that’s about all that can be said of the German legends’ hour and a half on stage. They’re in the sticky situation of following two of metal’s greatest current headliners in Sabaton and Parkway Drive, and in comparison, this performance simply falls flat.

The band work their way enthusiastically through fifty years worth of music, and their experience on stage is evident, but whether it’s an off day or simply a sign of a band who are no longer able to achieve the form they once had, it’s a slog to make it through this tired and uninspiring set, with Klaus Meine’s monotone and off key vocals frequently almost painful to listen to. Their influence and former glory will never be up for dispute – but, with the sting in the tail clearly dulled, perhaps it’s time for Scorps to call it a day.

Fortunately, our weekend isn’t quite over, as Swiss folk metallers pack out the Sophie tent for one last metal party. In stark contrast to the deflating main stage set we’ve just witnessed, this is a livewire performance with a serious spark. The sheer number of musicians and instruments on stage lends an air of perfect chaos, though there’s nothing chaotic about their delivery of enchanting folk melodies with just enough heaviness to get heads banging. The band have seen a fairly regular churn of members over the years, with founder and front man Chrigel Glanzmann the only constant presence, but each song is delivered with precision and filled with just as much atmosphere as their recorded counterparts. From the soaring ‘The Call Of The Mountains’ to epic closer ‘Inis Mona’, with the stunning ‘A Rose For Epona’ forming a major highlight in the middle of the set, this is absolutely everything we could hope for from a final headliner. Despite the tiredness of a long weekend beginning to set in as the clock ticks close to midnight, there is a vibe of overwhelming joy in the tent – and plenty of dancing to go along with it. It’s the perfect way to round off a weekend of metal, and there’s only one thought on everyone’s minds as we leave the arena for the last time (apart from “where’s the beer?”, obviously). Can we come back for Bloodstock 2020 yet?

It’s a day that’s also hampered by some fairly temperamental weather that results in delays and stages closures, the expert handling of which truly demonstrates the quality of this festival and its team. It inevitably leads to a little frustration, but that’s swiftly tempered by some of the most outstanding sets Bloodstock has witnessed so far – controversial headliners and all…

Words: Gem Rogers / Photos: Matt Higgs

At first glance, Cancer Bats are a bit of an oddity this weekend – a hardcore band at a metal festival is definitely unexpected. They’re also a band not used to playing so early in the day, as vocalist Liam Cormier highlights (“did any of you even sleep last night? Because it is early…”), but they are one hell of a wake up call. Pulling out half an hour of raging, heavy hitting tracks, they are the definition of fury and fire, generating plenty of energy in the crowd despite the howling winds and rain. Finishing up with a gigantic singalong rendition of ‘War Pigs’ to keep the metalheads happy, any doubts about their place on this stage can be swiped away – if you love heavy music of any genre, a Cancer Bats show is the place to be.

Glaswegians Lotus Eater were a late addition to the Bloodstock bill after a few last minute dropouts, and what a welcome addition they are. The Sophie tent isn’t the busiest for this set, yet when they beckon everyone forward, it works immediately – whether the crowd are motivated by enthusiasm or mild fear of these ferocious Scots isn’t entirely clear, but they’re definitely worthy of the movement. Best at their weirdest and most technical and with some delectably meaty breakdowns, Lotus Eater aren’t here for hugs and rainbows. They want you to get fucked up, and they’re going to do everything they can to make it happen; it’s brutal in the best way, and Lotus Eater is sure to be a name we hear more of in future.

Over on the main stage, things are getting weird this afternoon. Really, really weird. Once witnessed, Evil Scarecrow are a band that can never be forgotten, with their near annual appearance at Bloodstock earning them the title of house band – and despite grumblings about the regularity of their bookings, it looks like the entire festival has turned out for this absolutely absurd set. The ever increasing wind has taken its toll on their planned stage show – pyro is very much out of the window – and there’s a few sound issues with absent vocals and, well, absent everything at times, but with crowdpleasers like ‘Hurricanado’, ‘Robototron’, and ‘Crabulon’ getting thousands of people participating in ridiculous spins and scuttles, alongside a guest appearance from the spectacular twelve year old Alfie, it barely matters that any kind of musical quality has vanished. It’s utterly fucking ridiculous both on paper and in person, and we wouldn’t have it any other way. Ready? Crabulon, crabulon, crabulon…

Australian metalcore mob Thy Art Is Murder bring the rage back to the main stage after the daftness of Evil Scarecrow – though vocalist CJ McMahon still brings plenty of humour into the set, along with criticisms of our “fucking shit weather”. He’s not wrong, to be fair. Despite their incandescent music, the set does lack a little energy and excitement after Evil Scarecrow, and interest tails off a little, but it’s a mercilessly loud set delivered with precision – and when McMahon demands “500 crowdsurfers”, the final tally can’t be too far off it. It’s not the most memorable set of the day, but Thy Art Is Murder have proved their worth nonetheless.

Another last minute addition to the bill, The Wildhearts seemed to have been well received by the masses upon their announcement, but the crowd assembled at the main stage is one of the smallest of the weekend. Granted, this is probably the least ‘metal’ act the main stage has seen across the three days, with their brand being more radio-friendly classic rock – but when it’s a band with such a legendary status as this lot, it’s surprising all the same. The seeming lack of interest in the set – aside from a very enthusiastic front few rows – doesn’t help what turns out to be a proficient and superb quality, yet ultimately underwhelming set for this time of the day. Given a bit of sunshine instead of these howling winds, perhaps things might have gone down a little better – as it is, we can’t blame most of the crowd for having wandered elsewhere.

For a time, it looks as though The Wildhearts may have, by default, gained the title of Saturday night headliners. The weather is no joke – the screens by the main stage have been lowered all day due to the gales, and soon after The Wildhearts’ set, Bloodstock are forced to shut down the main stage entirely. A few reshuffles and a lot of hard work from the festival team later, we’re ecstatic that the festival is able to continue, with Anthrax taking to the stage around an hour late. It is, of course, well worth the wait; the legendary thrash metallers are kings of the stage and the set feels absolutely jubilant (not just because we’re thrilled the main stage’s day isn’t over yet after all). It’s a positive riff-fest from a band who are still on form after nearly 40 years when so many others have faded away – and it seems somehow fitting that this set from old masters should lead into one of metal’s newest headliners.

There can be no doubt about the fact that the announcement of Parkway Drive back in February prompted some fairly heated discussion online. Too young, too trendy, too metalcore; it seemed there were many who not only deemed the Australians unworthy, but they were determined to make it known, too. When it comes to this headline set, then, what of those words of discontent? Well, if indeed any were still floating around by the end of this showstopping, jaw dropping hour and a half, they can only have been used to stoke more of the flames that drenched Bloodstock’s main stage.

Entering through the crowd surrounded by flames and hooded figures, opening track ‘Wishing Wells’ showed not only Parkway Drive’s flare for dramatics, but their stunning musicianship, too. Winston McCall’s ominous vocals cut cleanly through the night air before the track erupts with a furious roar, and the crowd are all too eager to join in – the chaos is immediate and sublime, and every last person with a view of the main stage is lapping up the fury and excitement.

Every moment of this set is as memorable as the one before it, with infectious madness sweeping through the field to the rage of tracks like ‘Vice Grip’, ‘The Void’, and ‘Dedicated’, not to mention the riff-singalongs for ‘Wild Eyes’. When time to breathe finally comes, it’s in the form of the stunning string quartet accompanied ‘Writings On The Wall’ and ‘Shadow Boxing’, no less captivating for their less riotous nature.

If any energy remained in the crowd by the time the flames are fully ignited for the encore, it is surely gone by the end of the double hit of ‘Crushed’ and ‘Bottom Feeder’ – bodies pour over the barrier, and the instruction to “snap your neck to this” taken probably rather too literally. Neck braces for Sunday, anyone?

The flames and the spectacle Parkway Drive bring are stupendous, but what’s clear is that they are only props for a band who could already dominate the largest of stages and crowds with their music alone. We have been witness to something special this evening, and this will by no means be the last time we see this band headlining a festival stage. Parkway Drive are coming for the world, and they will take it.

The 2019 edition does not see us blessed with the kindest of weather; belting rain all night leads us into the first day, though only small patches of ground suffer even under hundreds of clomping boots in the arena. With only a few more downpours forecast and even a little sun coming out to play during the day,  we’re content to ready our devil horns and waterproofs to head to the arena for a stellar and varied day one line-up.

Photos: Matt Higgs / Words: Gem Rogers

Part of the legendary Bay Area thrash scene, Death Angel may not be one of the Big Four, but they have well earned the respect of the metal community and are still delivering hefty punches with their new material, including latest album ‘Humanicide’. Their music and performance doesn’t hold the darkness and aggression of bands like Slayer, but what they lack is more than made up for in the groove that sneaks in, particularly in newer tracks – it lends itself well to the sunshine that’s now beating down on Catton Hall and the plentiful circle pits that have sprung up, making a great start for a full on weekend of metal.

Over in the New Blood tent, Newcastle’s Metal 2 The Masses winners Tomorrow Is Lost have drawn in a healthy crowd for their set of lively hard rock, though sadly the sound doesn’t do them any favours – it’s a muddy mess, with only front woman Cass King’s strong vocals cutting through the cacophony. Fortunately, it does improve towards the end, and the poor sound is made up for by plenty of on stage energy; they may not be producing any groundbreaking music, but Tomorrow Is Lost are easy to enjoy and quickly earn the appreciation of the gathered crowd.

Another Metal 2 The Masses winner, this time hailing from Oxford, The Hope Burden bring a very different vibe into the tent this afternoon. Their brooding post-metal is enrobed in darkness and atmosphere, with roaring vocals that cut through the shoegazey melodies; the screams at times almost border on white noise, like the aural representation of pain. It’s a shame that the side of the tent is open towards the main stage, as the ongoing Metal Church set can be heard clearly over some of the quieter moments, but for fans of this oppressive and cinematic style, there’s plenty on offer here – and it’s apt that the end of their set has pulled in the most torrential rain of the weekend outside. Looks like the weather gods approve of this darkness, too.

The rain has, thankfully, taken a break by the time Finnish legends Children Of Bodom take to the stage, though there’s still a fair amount of wind about. It’s a stiff enough breeze that it doesn’t help – though is certainly not the only cause of – some fairly frustrating sound issues throughout the set, being much too quiet and doing little justice to this highly technical, fast-as-fuck metal. The band themselves mean business, though, kicking things off with ‘Are You Dead Yet?’ before barrelling through a strong set that doesn’t lean too heavily on any of the albums in their back catalogue – though older tracks like ‘Angels Don’t Kill’ get some of the strongest receptions, songs from latest album ‘Hexed’ provide some of the standout moments. Though Children Of Bodom may not always be the most exciting band on record, they are formidable live performers, and despite the poor sound this is still evident; the overcast skies suit this epic, sweeping, and occasionally sinister set, and Bodom are still a force to be reckoned with.

Amongst all the thrash, power, heavy, and death metal dominating the main stage this weekend, progressive tech metallers Tesseract stand out a bit – and when their hour long set starts, they stand out even more. This is far and away the best sounding set of the day, if not the weekend, and it’s staggering from the instant they break into the first three parts of ‘Concealing Fate’ from 2011’s ‘One’ album. Tracks from latest album ‘Sonder’ have a truly soaring, stadium-filling feel, and sound spectacular on this huge stage, with ‘King’ and ‘Juno’ particular highlights; this set is technically flawless and breathtaking throughout, and there can be no doubt that Tesseract deserve their place here.

If there’s any band capable of setting the scene and the right mood ahead of tonight’s eagerly anticipated main stage headliners, Powerwolf must be it. From the outset, this set is intensely captivating and, yes, just a little bit silly – it doesn’t matter that it’s starting to get a bit chilly, because the German power metal mob have brought enough pyro with them to heat a small city during opener ‘Fire And Forgive’. The stage is decked out in the ruins of a cathedral and the band are one of the most visually exciting, with corpse paint and props accompanying their mystical power metal to great effect. Is it revolutionary, exciting music? Not in the slightest. It is, however, fantastically enjoyable – in the cheesiest way possible – from start to finish, and the large crowd assembled at the main stage are having a blast as the band play up to the crowd. If Powerwolf were today’s headliners, we could likely all retire to our tents happy – but as it is, things are only going to get bigger and better this Friday night…

It’s been four years since Sabaton last played Bloodstock, grabbing a sub-headliner slot under Trivium back in 2015, and ten years since they first appeared here “at midday, to people with hangovers.” That there’s an hour gap between Powerwolf and the beginning of the Swedes’ headline set makes it clear they’re going to deliver the epic and spectacular show we’ve all been waiting for – and sure enough, it’s not long before a tank makes its way to the stage amongst mountains of sandbag battlements. There’s a reason Sabaton have drawn a phenomenally huge crowd to the main stage, and for an hour and a half we are guided through centuries of war via power metal – who could ever have thought that history could be this damn entertaining? Sabaton have gone hard on their theme and, however unlikely it might seem that in-depth tales of battles could ever become popular, their stage presence and mastery of performance has comfortably made them one of the greatest modern metal bands out there. A few catchy-as-hell choruses along the way help, too. Tonight’s show is accompanied not only by the usual pyro, but also by an impressive backdrop of graphics blended with live visuals, all adding up to form the perfect headline show – and yes, the tank goes off too. It’s proficient metal with a colossal side helping of cheese, and there’s nothing anyone can do but have an utterly brilliant time – Sabaton are here to stay, and we bloody love it.

Very few spaces in music feel as accepting, diverse, and special as the field at Bloodstock Open Air. Headlined by Amon Amarth, Ghost and Megadeth, Download’s slightly more extreme cousin was a joyous weekend of headbanging and horn raising.

There is a real sense of community at Bloodstock, from the families with toddlers, through to the three-deep generations laying out their camp chairs to await the main stage headliners. It’s not groups of lads – it’s groups of dads, and sons, and mums, and daughters, and everything in between. It has the sense of a big family barbecue – it’s warm and friendly.

Bloodstock is fundamentally more accessible, and therefore diverse, than any other festival in the heavy space. From the man rocking a full viking ship mod on his electric wheelchair/bed, through to the countless attendees repping legacy Bloodstock merch, it is clear that this is a festival that cares about its audience, and it’s reciprocated. On a predominantly flat field, with large viewing platforms for disabled punters, Bloodstock doesn’t feel exclusionary. In fact, they can celebrate having one of the most ethnically and socially diverse crowds seen at a festival in 2017.

The crowd is a delight. Yes, there are groups of men going hard on their horns of craft ale, but they don’t feel threatening. Bloodstock’s demographic is slightly older than that of Download, and there is a sense that these punters are here for their love of music – not their love of hitting the booze. The crowd isn’t intimidating, the pits aren’t violent, and the bands are constantly reinforcing ‘If someone falls, pick them up’. Multiple times throughout the weekend battle vest bearing individuals turn around to strike up conversations between sets, endlessly keen to share their stories of gigs long past. 

Highlights from the crowd included the most metal dad imaginable, waist length beard and hair in full battle vest denim, chasing around his little girl, who was delightfully dressed as a triceratops, in a matching denim cutoff jacket, complete with Metallica patches. In the sun of Friday, a group of five middle aged metalheads posing with their Mr. Whippy 99 Flakes was a sight to behold.

The line-up did not disappoint either. From Testament’s glorious hair blowing in the wind, onto Blind Guardian’s explosive set, right through to Amon Amarth’s full viking show on the Friday night, it was clear that Bloodstock came onto the field with the intention of playing to win.

Amon Amarth’s headline set featured a colossal viking helmet drum riser, fire and smoke galore, and even on stage viking fights. The culmination of 25 years of viking metal makes for a satisfying headline show and you couldn’t swing your viking axe in the crowd without hitting at least three pieces of Amon Amarth merch all weekend through. The band has stalwartly trooped their way to Valhalla, and they’re being celebrated for it. 2011’s ‘Surtur Rising’ featured heavily, as did 2016’s ‘Jomsviking’. ‘First Kill’ was a highlight – there is something quite powerful about a field of battlevests crying out “I am an outcast. All alone. I’m a nomad without home.”

Things didn’t slow down from there, with Saturday’s main stage line-up featured a killer set from Municipal Waste, including the classic ‘Headbanger Face Rip’. Returning to the festival after a year off, Municipal Waste clearly aren’t pleased with Gojira’s 2016 usurping of their claim to fame. ‘Most crowd surfers over the barrier’ has been a long standing point of pride for Municipal Waste and frankly, they weren’t leaving till they’d claimed back their thrown. Calling onto stage a ‘World Records Judge’ otherwise known as Cam, they whipped the crowd into a frenzy. Rumour has it the real number of surfers over the barrier during their set was upwards of 700, but figures haven’t been confirmed.  

Special mention needs to go to Flint, Michigan’s King 810. Despite being down one guitarist (unable to travel due to legal reasons), King turned up. Yes, they played to a backing track, and if you’re a bit of an obsessive you could complain that it sounded thin – but honestly, it didn’t matter.

King 810 are making metal feel dangerous again, the way heavy music should feel. They’re taking the scene back to the fearful curiosity that artists like Marilyn Manson and Slipknot invoked. Yes, it’s a safe space, but it should feel like a knife’s edge. There is a hardness that King 810 embodies that very few other bands are able to sustain in the current musical landscape. The visuals were unsettling and effective, treading the line between arthouse film and gang territory documentary – but most importantly, King got up and played. There wasn’t any theatrical crap, it was just heavy, angry, violent music. ‘Kill ‘Em All’ was roared back by the crowd, proving that Slipknot aren’t the only metal band who can get a singalong going. 

Sunday’s bands followed accordingly. Hardcore at 10.45am isn’t an easy thing to pull off, but Broken Teeth did it. Judging by the man in head to toe leather and wrist to elbow spikes standing with his sword raised in the centre of the circle pit, Bloodstock received Manchester hardcore’s finest well.

Venom Prison positively tore the main stage up before lunch on Sunday, and as one of only a handful of women gracing the stage, Larissa held her own. With more space to play with than the dinky spaces they’re normally confined to, Venom Prison opened up and let rip. It was reassuring to see the crowd throw up horns again and again over the weekend for young bands that are pushing boundaries. Obviously bands like Obituary are incredible, and proving that they still have some fight in them after more than 30 years, but seeing a scene embrace young artists is exciting.

Metal tends to be dominated by legacy acts, and it takes a lot to break in. With artists like Broken Teeth bringing hardcore, Venom Prison with feminist death metal, and Puppy with their metal fusion that no one quite seems to be able to define entering these spaces, it’s exciting to see a future in extreme heavy music. 

If you enjoy heavy music, and the unique community that it cultivates, Bloodstock Open Air is a very special way to spend a weekend. A lot of love goes into it, from the bands on the stages right down to the curated art gallery and choice of vendors.

2017 celebrates the festival’s largest attendance to date, quite a mean feat in a year of economic uncertainty. With the announcement of Gojira and Nightwish as headliners for 2018, hopefully we will continue to see the rise of Bloodstock in years to come.