As we make our annual pilgrimage to Catton Hall in Derbyshire for Bloodstock Open Air, the weather is warm and looks set to stay hot all weekend. This year’s instalment is shaping up to be the biggest yet. Opening the Ronnie James Dio stage for the first time on Thursday gives us an extra headliner. Celebrating 25 years since its inception, we delve into everything that happened over this bumper weekend of heavy metal mayhem.
Thursday
An exciting buzz flows through the crowd like the cool breeze that is just keeping the warmth of the sun at bay. Over the heads of the crowd you can see dinosaur costumes, which have become almost a given at Bloodstock over the years. Look a little closer, though, and there seems to be more of them this year, along with a lot more dinosaur themed headgear. This can only mean one thing: Heavysaurus are about to hit the stage. Starting a little later than advertised, these dino metalheads quickly get the party going. Bringing a power metal style to their music, this prehistoric five piece waste no time in getting the crowd involved. Although mainly aimed at kids, this is an act you can’t help but enjoy for its infectious Europop style. It is the perfect way to open the weekend at Bloodstock: a bit campy, tongue in cheek, but a whole lot of fun.
Next up on the Ronnie James Dio stage are Bloodstock veterans Evil Scarecrow. Walking on stage in horror inspired costumes and face paint to match, you could be forgiven for thinking this is a band who take themselves very seriously. That idea is thrown out of the window the moment the whole crowd starts dancing like robots. Evil Scarecrow bring an industrial metal sound and don’t take themselves too seriously, despite being fantastic musicians who have gained an almost cult like following over the years. The silliness continues with frontman Dr Hell getting the crowd to cluck like chickens to summon the crack hen. This is a band who look over the moon to be playing the main stage at Bloodstock, and they can have a good laugh with the crowd and at themselves when things go awry. I must admit I wasn’t too clued up on Evil Scarecrow, so I wasn’t expecting a ballad, but ‘Brother Pain’ sounded massive and anthemic. Singing Bloodstock one of the best Happy Birthday songs you will ever hear before launching into ‘End Level Boss’, complete with video game dance moves from the crowd, only adds to the madness. Closing out with ‘Hurricanado’ and ‘Crabulon’ brings a fantastic set to a close. I now understand the hype.
Heading over to the Sophie Lancaster stage for the first time for Black Spiders, I miss the opening couple of songs thanks to the way the Ronnie James Dio and Sophie stages line up on the clock. When I enter the tent I am greeted with loud guitars, a loud attitude and booze fuelled rock and roll. ‘Just Like a Woman Should’ and ‘Take It Easy Baby’ get the crowd going and fists pumping. Unfortunately there doesn’t seem to be that big a crowd, as everyone appears to be heading in the other direction for the evening’s headliners. This doesn’t stop Black Spiders one bit, and they launch into the rest of their set with as much energy and swagger as ever. ‘What Good’s a Rock Without Roll’ gets the blood flowing within the engaged crowd. This no nonsense group are a tightly locked in band, delivering a blistering array of tunes. There are no gimmicks here, just a group of people playing their hearts out the way they want to.
Back to the Ronnie James Dio stage for the evening’s headliners, the mighty Saxon. As the first ever headliner of Bloodstock, it is only fitting to have them back for the 25th anniversary. Flying out of the gates with ‘Hell, Fire and Damnation’ and straight into ‘Power and the Glory’, these Barnsley lads are not starting slow. There is always something special about watching Saxon for me, and to see them do it headlining the main stage is truly fantastic. Biff Byford briefly touches on his health scares before launching into ‘Never Surrender’. ‘Motorcycle Man’ ups the speed, the bass drums punching through your chest. Biff’s vocals are amazing this evening, hitting every note, and the whole band are fantastic, providing an absolute masterclass. Bassist Nibbs Carter has more energy than men half his age, up and down the stage all night. ‘The Eagle Has Landed’ is a nice change of pace in the middle of the set. The rest of it is a testament to Saxon‘s longevity and their brilliant records over the years. It is basically a greatest hits set, which so many people at the festival love: ‘Dallas 1 PM’, ‘Heavy Metal Thunder’, ‘Strong Arm of the Law’ and ‘Wheels of Steel’ close things out. I don’t think there was a song I wanted to hear that wasn’t played. The ritual encore arrives with the huge, powerful and anthemic ‘Crusader’, followed by ‘747 (Strangers in the Night)’, a belting one two. My only criticism is that ‘Solid Ball of Rock’ felt a little out of place with the rest of the encore. It feels more like a mid set song than something sandwiched between Saxon classics. A festival appearance by Saxon would not be complete without ‘And the Bands Played On’. Closing out with the amazing ‘Princess of the Night’, Saxon sounded and looked fantastic all night. This was a triumphant headlining set by one of the best in the game.
A barrage of vocals welcomes the late night crowd wanting some extreme metal as Cryptopsy take to the stage. Matt McGachy drives home his guttural vocals with unrelenting force, flipping between gutturals and high screams with ease. The sonic barrage is powered by the bombastic drums of Flo Mounier. The assault is rounded out by the tight and technical ferocity of guitarist Christian Donaldson, all while being locked down on the low end by bassist Olivier Pinard. A whirlwind of hair matches the organised frenzy as this Montreal four piece lay waste to the Sophie Lancaster stage. Celebrating 30 years of None So Vile by performing it in full, Cryptopsy bring an unmatched tightness and technicality to their music.
Friday
Kicking things off on the New Blood stage on this surprisingly hot Friday morning are Cumbrian heavy hitters Void Below. Crunching doom riffs combined with rumbling low end culminate in fantastic Lovecraftian death metal, summoning monsters from the deep. ‘The Ancient Deity’ warms up the growing crowd, which for 10:30 is quite impressive. Hammering through their 30 minute set, this Whitehaven crew take a bold chance with ‘Primordial Realm’, the first time they have played it live, a gamble in front of an audience where the majority have not seen them play before. The gamble pays off, and the crowd laps up the low end doom riffs with their strong underlying groove. Rounding out the set with ‘Pillars of Pestilence’, a powerful start that drops into a slow, heavy, menacing middle before picking back up into classic death metal. Void Below are a commanding underground band from the barren North, and you feel it in their music as they lay waste to any who stand in their way.
Hopping over to the Sophie Lancaster tent for the first time of the day, Blood Countess are about to take to the stage. The eerie rattling of shackles fills the tent, captivating the audience. Bursting onto the stage with their Elizabeth Bathory inspired black metal, Blood Countess have a classic but toned down black metal aesthetic. Vocals take centre stage, with the other musicians providing subtle but important support. Vocalist and frontwoman Nina ‘The Cuntess’ Blackwood prowls the stage when not at the mic stand, with a soft yet sinister demeanour. Blood Countess play a very traditional style of black metal, but what sets them apart are sections of almost ‘black ‘n’ roll’ styling, which provide excellent musical contrast.
Throughout the morning I keep seeing banana costumes, and I feel like I’ve missed the memo. As I edge closer to the main stage it becomes very clear why everyone is dressed as bananas… Party Cannon. Party Cannon are a band I only know by name, so I’m not quite sure what to expect, and their colourful logo makes them easy to misplace. Speaking of colours, the band have adorned the stage with bouncy logos and stage sets, which is wildly juxtaposed by their brand of brutal slam metal. Party Cannon are lewd, rude and brutally crude, a band who want to have as much fun as possible and play party slam. Their huge crew (or just mates wanting in on the fun) constantly run around the stage with gratuitous pictures and cue cards, like toddlers running away from their parents holding something they shouldn’t have. Crowd surfing on inflatables seems to be a must, and the mix of colours in the pit is not what you would normally expect from this type of music. Neither is the push up pit, but all bets are off when this Scottish lot are on stage. If you took away all the stupidity they’d still be very talented musicians, but why on earth would you want to do that.
Hopping back over to the Sophie stage for Sellsword, a band I have high hopes for with their themes of medieval wars and sieges. I must confess that while I do like power metal, it isn’t a genre I listen to a lot, and I have to be in the mood for it. Sellsword do not disappoint. This is power metal at its best. A mic stand made from an actual sword and a fully functioning trebuchet, what more do you need. Considering Bloodstock’s roots as a power metal festival, it is hardly surprising this five piece have pulled a hell of a crowd for lunchtime. Driven by galloping drums and soaring vocals, Sellsword have a fantastic take on the genre while putting their own stamp on it. New song ‘Mighty Mercenaries’ goes down a storm, while ‘War Wolf’ shifts the dynamics to a more serious, sombre and almost sinister tone without losing their signature style. ‘Merchants of Menace’ is a rousing number, just like the whole set. Sellsword make you want to don your armour and follow them into battle.
Staying put in the Sophie tent for Aussie thrashers Hidden Intent. This trio create a huge sound with thundering double bass and electric solos. ‘A Place of Horror’ pays homage to the Bay Area thrash sound, while ‘Terraform’ leans into crossover elements. Hidden Intent are a melting pot of thrash sub genres rolled into one loud, aggressive, menacing unit. It is only the second time they have played Bloodstock. I can see a third coming soon.
Another brutally heavy band graces the Ronnie James Dio stage as we drift into the afternoon. New Jersey deathcore legends Fit for an Autopsy rip the place to shreds. With a machine gun delivery, vocalist Joe Badolato commands the audience and never lets up. An excellent mix of punishing breakdowns and rapid fire riffs gives an awesome contrast that sets them apart from some other deathcore bands. This is heavy deathcore with infectious grooves, and the more melodic parts (for deathcore, anyway) really stand out, breaking the intensity to add texture. The crowd surfers never let up, even between songs, and the pits are rabid from start to finish. Fan favourite ‘The Sea of Tragic Beasts’ is crushingly heavy, driven by the pulverising chops of drummer Josean Orta, while ‘Pandora’ showcases their technical speed. Fit for an Autopsy are a staple on the festival circuit, and it is easy to see why.
Also celebrating their 25th anniversary and playing the UK for the first time, Excrementory Grindfuckers take to the stage like a whirlwind. I had no real idea what to expect beyond some grindcore and extreme metal flavoured parody. These Germans do not disappoint. It is almost as though someone opened the doors to an asylum and handed everyone instruments, and bonkers hilarity ensues. Extreme metal meets Europop is the best way to describe it, perfectly summed up by their cover, or sample (it was that bonkers I’m still unsure), of 2 Unlimited’s ‘No Limit’. The band are full of energy, charging around the stage madder than a box of frogs. Who knew you could get camp extreme metal. Paying homage to Germany’s most famous rock star, David Hasselhoff, tells you all you need to know. These Germans are unrelenting, even when the power blows to the whole tent, taking the disruption in their stride, joking, dancing and messing around with the crowd. For a band who have been going this long, I only have one question: why has it taken so long for this infectiously funny lot to grace our shores.
Back to the Ronnie James Dio stage for crossover legends Biohazard. The New York unit truly are a polished and experienced live band. ‘Wrong Side of the Tracks’ and ‘Black, White and Red All Over’ are all the evidence you need, guitarist Billy Graziadei heading right out into the crowd for the former. Unfazed by the size of the crowd, Biohazard rip through their set with surgical precision. They are a live band who don’t disappoint, every single time.
Staying on the main stage, another east coast band is up next. No stranger to Bloodstock, or to a party for that matter, Municipal Waste know exactly what they are here for: to bring the party and raise hell. Speaking of hell, that is exactly what security must be thinking, as Municipal Waste are known for getting people over the top. Security earn their pay cheque. The Waste immediately crank up the speed with ‘You’re Cut Up’ and never relent. ‘Thrashin’ of the Christ’ and ‘Poison the Preacher’ blast you into next week with some mild blasphemy. The crowd are well and truly warmed up, the bodies never ceasing, one after another over the barrier, a never ending sea of human bodies. This being a Municipal Waste show, I was a little disappointed by the lack of inflatables from the crowd, especially after an inflatable pizza earlier in the day, but you can’t have everything. Crowd favourite ‘Sadistic Magician’, along with ‘Beer Pressure’ and ‘Slime and Punishment’, keeps the party going. In true Municipal Waste style they try to break the crowd surf record, with an unofficial 1,000 people going over the barrier. If it was even possible, ‘The Art of Partying’ takes it up a notch, and, as always, they end on ‘Municipal Waste Is Gonna Fuck You Up’. You can’t argue they didn’t try.
After next year’s band announcement, which got mixed reviews from the people around me, I pop over to the Sophie tent to catch a bit of Neckbreakker. It takes a while to snake through all the chairs at the back of the main stage, so I only manage half their set. What a half it is, though. These young Danes bring a youthful energy and a crushing sound influenced by old school death metal, which you can hear underneath the brutally modern edge. They also bring an intricate sound, with some guitar parts offering an almost melodic feel without losing any heaviness. I feel we could see a lot more of Neckbreakker in the future. The near constant circle pits attest to that.
This was always going to be a special set, celebrating 40 years of Sepultura and being their final UK show. With the afternoon sun getting lower in the sky, the temperature has cooled slightly to a nice warmth. Andreas Kisser is bathing in the aforementioned sun, looking the epitome of cool, shredding on the setting sun, as much the rock star as ever. There is a different feel to this show than any other Sepultura show I have seen. I can’t put my finger on it exactly, but it feels extra special. Musically Sepultura are on form as always, and I have never seen a bad show from them. Thrust forward by the strong drumming of Greyson Nekrutman, the driving, almost tribal sound they are known for really stands out, with the hulking presence of Derrick Green commanding the stage. Focusing on songs from throughout their career, the first half of the set draws from the band’s later albums. ‘Beyond the Dream’ feels like an emotional goodbye, then without hesitation they blast into ‘Territory’, which sounds massive. Diving into the last part of the set, Sepultura pull out all the classics you would expect. Moving into ‘Refuse/Resist’ and ‘Arise’, it is a poignant moment knowing this is the last time we’ll hear such metal classics from them. Closing on ‘Roots Bloody Roots’ to a sea of seething bodies stamps home Sepultura‘s legacy. To all the people who say it’s not Sepultura without Max, I understand their point of view, but this form of Sepultura have released some amazing records, and tonight certainly shows they are truly an amazing live band. Goodbye Sepultura, you will be sorely missed.
The screens cut. Lamb of God chants start. The anticipation builds. A huge cheer erupts as the band take their places on stage. A concussion blast, and Lamb of God slam into ‘Ruin’, bathing in a glowing red light. No let up as the Virginia heavyweights fly into ‘Laid to Rest’ and ‘Now You’ve Got Something to Die For’. Randy Blythe prowls the stage like a caged animal that has just been released, stalking its prey. Lamb of God are out to take no prisoners, the crowd getting wilder and more rabid as the show hammers on. This is an absolute clinic, and it shows exactly why Lamb of God are so respected and loved. A beautifully long intro to ‘Grace’ showcases the guitar work of Willie Adler and Mark Morton, sharing an intimate moment bathed in a blue hue, like two old friends having a jam. The moment shatters when the meat of ‘Grace’ comes crashing in. ‘Blunt Force Blues’ debuts for the first time, and ‘Desolation’ lays waste to the grounds of Catton Hall. ‘512’ is a harsh reminder of the issues surrounding Randy’s time in a Czech jail. The anthemic, circle pit inducing ‘Walk with Me in Hell’ follows, along with ‘Omerta’, which unfortunately leaves out the intro, something I believe is a fundamental part of the song, building up to the drop. Rounding out the set with ’11th Hour’ and ‘Redneck’, this is a headlining set that shows why Lamb of God are, and have long been, one of the best live acts out there.
The evening’s closing band on the Sophie stage, Wednesday 13, have one hell of a dedicated following. I lost count of the amount of Wednesday 13 merch I saw throughout the day. This fast, industrial tinged horror punk is an excellent way to end the evening, not overly heavy, something everyone can enjoy before departing into the night. There is a huge crowd in the Sophie tent, and I believe they are all here to watch Wednesday 13, not just because there is nothing else on. Closing with a couple of Murderdolls songs, dedicated to former bandmate Joey Jordison, before finishing with ‘I Wanna Do Bad Things to You’ is a great way to end. One thing I did notice is that Wednesday 13 were genuinely appreciative of the crowd, which can’t always be said of other musicians in the genre.
Saturday
The sun is already hot on this Saturday morning, beating down on the folks who have ventured from the safety of their camp. Starting the day is no easy feat, with most people nursing hangovers in their tents. Each year, though, there always seems to be an exception to the rule, and this year Froglord are it. Pulling a huge crowd in the Sophie tent, I can’t quite comprehend how many people are here. Bringing a swampy, sludgy sound that complements their theme perfectly, these amphibian worshippers create an unusual spectacle. Bikini clad dancers flank the stage while the masked musicians deliver a powerful set. Vocalist Benjamin ‘Froglord’ Oak perches at his altar, preaching to the amphibian overlords. ‘Magic Toad’ brings a heavy blues feel, not out of place in the deep south of the USA. Inflatable frogs sporadically appear throughout the crowd, proving that Froglord won’t be opening stages for much longer.
A blistering start to the Ronnie James Dio stage, Inhumane Nature are here to blast away those pesky morning hangovers. Modern crossover thrash is the summoning call for those brave enough to bake in the morning sun. A punchy, rapid fire, relentless and uncompromisingly aggressive performance, these Londoners take no prisoners. It is a masterclass in modern thrash as the dust encircles the crowd from the building mosh pit. ‘Dead and Buried’ closes the set in excellent fashion.
Staying on the main stage, independent symphonic power metal band Imperial Age are up next. Featuring a dual vocal attack of Alexander ‘Aor’ Osipov and Jane ‘Corn’ Odintsova, the set starts a little rocky, both sets of vocals struggling to cut through the music. Two songs in and the vocals have been sorted. Odintsova has a powerful operatic style that nicely contrasts Osipov’s lower range. The first half still feels a bit lacking, missing the grandeur and depth this style of music demands. That said, Imperial Age have all the pieces in place, it just lacks a little punch and drive. Moving into the second part of the set, the music picks up, bringing more of that genre defining power. Imperial Age have the visuals in place with plenty of pyro and CO2, also mixing growled vocals into some tracks for a nice change. All in all, not a bad set, just a little lacking in the first part.
Back to the Sophie tent for the second time of the day, for British deathcore brutes Bound in Fear. Featuring massive breakdowns that can be felt across the world, this slow and heavy style features emotionally driven lyrics that cut through the sheer brutality. The crazy breakdowns are interspersed with blistering passages, while the mid tempo structures are full of crushing grooves. With the biggest wall of death the Sophie stage has seen so far, this is a very strong outing for a band whose genre is sometimes overlooked.
An acoustic intro breaks out on the Ronnie James Dio stage before London heavyweights Urne descend onto it. With a crushing modern metal style, these are one of the loudest bands of the day. Down the front the sound isn’t great, the vocals and guitars drowned out by the thundering drums, particularly the double bass. Moving further back as the punishing set continues, the sound becomes a lot better balanced, giving more clarity to each instrument. Heavy riffs balanced with emotive choruses provide an almost melodic construct to parts of their songs. Urne have been slowly carving out their own path, and this was one more step in the right direction.
Next up in the Sophie tent are British hard rockers Viking Skull. ‘Eastbound and Down’ plays through the PA just before the band take the stage. Kicking off, one thing is clear: this is a good time, booze drenched rock and roll band. Vocalist Frank Regan has a fantastically gravelly voice that lends itself to this style of heavy, blues driven rock. This is a band you can’t help but bang your head to. Ploughing through the set, with most songs involving drinking, I can’t help feeling they would make a perfect end of the night band, once everyone has had a few.
There always seems to be a lot of hype around the next band on the main stage. Maybe it has something to do with some of the members’ parents, maybe not. One thing is for certain: Vended are carving out their own path, irrespective of their famous families. Opening with ‘Nihilism’, there is a youthful aggression to the band, the music raw and emotive, and they have a subtle swagger about them. There is no denying Griffin Taylor has similar vocal qualities to his father, but that’s where the similarities end. The quintet drive through the set, contrasting their raw aggression with the humility they show the audience between songs. Playing a stellar set, the arrow is pointing up for the Des Moines natives.
Across to the Sophie tent for British death metallers Celestial Sanctuary. I normally love my death metal, but for some reason Celestial Sanctuary didn’t resonate with me, maybe it’s the lack of caffeine, who knows. There is nothing wrong with the set, delivering the brutality you’d expect from a death metal band. Musically they are tight and very well rounded, something just didn’t click for me. I wouldn’t rule out seeing them again, and maybe next time they’ll change my mind.
Thrash legends Death Angel are now gracing the Sophie stage. The compère asked for some engagement with the band for the videographer they had with them, which was essentially a red rag to a bull. As you would expect, when Death Angel ripped into their first number all hell broke loose. Huge circle pits erupted and waves of bodies hurtled toward the barrier. The Sophie tent is packed out to watch the Bay Area greats put on a thrash clinic. The sound is unbelievable, vocalist Mark Osegueda hitting all the notes just as it sounds on the records. ‘Claws in So Deep’ erupts into face melting madness before turning into a chugging behemoth, while ‘Evil Priest’ gives the crowd a blistering classic. The crowd feed off Death Angel‘s energy, consuming it, while the band feed off the crowd, like a perpetual metal machine. This is classic thrash at its best. Take a bow, Death Angel.
After missing the start of Bleed from Within thanks to Death Angel being so awesome, by the time I make it over to the main stage the Scottish crew are already in full swing. Vocalist Scott Kennedy releases a barrage of powerful growls and screams to a receptive audience, who he has commanding control over. ‘Levitate’ builds the atmosphere with a huge sing along, while ‘Pathfinder’ whips the bulging crowd into a frenzy, multiple circle pits erupting on the command of Kennedy, who has the crowd eating out of his hands. ‘Pathfinder’ concludes with a massive wall of death, while ‘God Complex’ sees, as Kennedy puts it, the cliché get down and jump up, as numerous black balls are released into the crowd. Bleed from Within state that this is the highest they have ever played at a festival. That seems hard to comprehend, as this is headlining stuff, from the energy to the sound to the stage show. Move up one place next time, lads, you are ready for it.
Rumbling onto the Sophie stage next, with a name so difficult to pronounce, are Sanguisugabogg, or just Bogg, as I’ve heard them called. Old school death metal is on the menu this evening. Growling vocals courtesy of Devin Swank beat you into submission with their short, sharp delivery, while the slow and extremely heavy music grinds your bones to dust. Swank patrols the stage looking like he’s about to rip your arms off and beat you to death with them. Hailing from Columbus, Ohio, this is classic, gruesome death metal, with ‘Skin Cushion’, ‘Feed the Bloodshed’ and ‘Felony Abuse of a Corpse’ all following a similar script of crushing brutality. This is definitely not dinner party music, and that’s exactly why we love it.
A quick trip to the EMP stage is where we find relatively new outfit Dosed. Bringing short and furious hardcore inspired music, this Welsh rabble also mix in some metal and crossover elements. This five piece is squashed onto the small stage, but that doesn’t stop the ferocity they bring. Wales, produce some more of this please.
Rave music starts to play over the main stage, and there is a look of bewilderment on some of the faces in the crowd. Is this part of the set or not? Due to the controversial nature of Slaughter to Prevail, there was some thought that people would snub the Saturday night headliners, but that doesn’t seem to be the case. StP hit the stage full of aggression, and there is not a band quite like this. A massive, bombastic sound fills the grounds of Catton Hall as StP fly through their first few songs with technical precision. There also isn’t a frontman quite like Alex Terrible, whose ungodly vocals slice through the crowd, clearly audible right at the back even without the mic. Originally classed as a deathcore band, I feel StP have outgrown the label, evolving by incorporating elements from across heavy music, refusing to be pigeonholed. As for the show, it is a full theatrical spectacle, with massive amounts of pyro, CO2 and whatever else they could get their hands on. Whatever you feel about Alex Terrible, he seems full of humility tonight, addressing the crowd about how lucky he is but how he misses his family dearly, telling everyone that if you want to change you have to start with yourself, recounting past struggles. Huge circle pits are present throughout, as you would expect, and surprisingly there is no wall of death, something they have a reputation for. With the set drawing to a close, regardless of your thoughts on the band, there is no denying they can put on one hell of a show.
Closing Saturday on the Sophie stage are Norwegian progressive metal masters Leprous. Prog metal is one of my least favourite types of heavy music, but I am willing to give them a try with an open mind. Bathing in bright white light while smoke engulfs the stage, Leprous launch into their set full of stuttering song structures and harmonious vocals. All the members fly around the stage, which is somewhat unusual for this type of music. Vocalist Einar Solberg has an unusual vocal range and style, even dropping in some growls and screams. As is normal with progressive music, the sound is fantastic, every member locked into a very tight and cohesive unit. While prog isn’t for me, I can appreciate fantastic music, and Leprous have it in droves.
Sunday
The mid morning sun is already beating down strongly on the crowd at the Ronnie James Dio stage. Bootyard Bandits bring a welcome distraction from the heat with their infectious country inspired heavy metal. To be honest I wasn’t expecting them to be this heavy, I was thinking of a more hard blues style rock. Having a violinist provides a unique dynamic that adds the extra country flair. This fantastic, heavy, southern boot stamping sound is a great start to the day, and it is hard not to enjoy yourself to this type of music. Bootyard Bandits have brought a Sunday hoedown to Bloodstock, and it makes you want to dust off your cowboy boots and ride off into the sunset.
Thrash soaked death metal awaits all who are taking respite from the heat in the Sophie Lancaster tent. Flayed Disciple combine razor sharp speed with punishing groove to create a crazed sonic assault. Their intense speed is only matched by their intense breakdowns. ‘Feast in the Forest of Impaled Bodies’ is a death metal bruiser. Closing on their self titled song ‘Flayed Disciple’, they round out a short but brutally sharp 30 minute set.
Next on the Ronnie James Dio stage is a band who have been getting a lot of hype over the last year. Castle Ratt come out to quite a large crowd for lunchtime, probably doing the same as me, seeing what all the hype is about. Playing an old school doom style akin to early Black Sabbath, Castle Ratt don’t just play their songs, they take you on a fantasy journey. Following their intricate lore, you are transported to a rich and elaborately created world where the ratt queen is here to defend her realm. This feels more like a story with music attached than the other way round, even rounding out with a battle against the ratt reaperess. It is a fantastic journey through the world of Castle Ratt.
Staying on the Ronnie James Dio stage, Canadian metal outfit Kittie are up next. Often mislabelled as nu metal, Kittie offer so much more. While they still have the odd nu metal sounding part from the time when they formed, over the years they have developed a more extreme style. Mixing raspy growled vocals with clean passages offers nice depth. A great, hard hitting sound emanates from the stage as these Ontario women put on a great offering.
Fast rising Swedish metallers Orbit Culture are up on the Ronnie James Dio stage next. Nailing the balance of heavy and harmony that Swedes do so well, Orbit Culture manage to keep their own sound without falling into the catch all Gothenburg sound (that is not a slight, some of my favourite bands fall into that category). Delivering an absolutely bruising set, these guys seem to take it up a notch every time. Unfortunately, a medical emergency down the front causes the band to pause while the issue is resolved. With just enough time for one more song, Orbit Culture hammer into ‘Vultures’, not missing a beat, continuing their uncompromising set.
Brighton based band Wrex take to the EMP stage, bringing a supercharged mix of alternative, punk and rock that is a nice change of pace for Bloodstock. Wrex have a fantastic sound for the small stage, and vocalist Mae Seaton is bouncing all over it. Normally just a duo, when playing live Wrex recruit other members to form a full band, all of them full of energy, guitarist George Donoghue even entering the crowd for a song. They bring a thick sound, with ‘Paranoia’ having a turn of the millennium feel. This was a pleasantly surprising set that I thoroughly enjoyed, and I will be checking them out in the future.
Thrash royalty takes to the Ronnie James Dio stage in the form of the mighty Testament. From the get go these Bay Area natives are full on, snapping necks at a record pace. ‘The Henchmen Ride’ is driving thrash brilliance, while ‘Practice What You Preach’ is received favourably. Bringing fuel to the fire with bucketloads of pyro, security work overtime with the hoses to keep the front cool. ‘More Than Meets the Eye’ offers a huge ‘wooooo’ along, while ‘Over the Wall’ brings old school thrash mayhem. Testament‘s set flew by, the 45 minute slot feeling like half of that. Time flies when you are having fun.
If there is one band’s merch I have seen the most of this weekend, it has been Black Label Society. It is no surprise that there is a huge crowd to watch Zakk Wylde and company. An intro plays that mixes ‘War Pigs’ and ‘Whole Lotta Love’. The man, the myth, the legend graces the Ronnie James Dio stage in his signature cut and kilt. Stood behind a crucifix mic stand perched on top of a skull tower, Zakk Wylde is a formidable presence. There is a love and admiration for the legend on stage that you can feel emanating from the crowd. The band blast into ‘No More Tears’, obviously a tribute to the late Ozzy Osbourne. An unsuccessful release of large inflatable balls fails to have the desired effect, as the wind immediately blows them off the crowd. Black Label Society showcase unbelievable musicianship, shown no better than in both guitarists playing long technical solos behind their heads. There is a strong respect between fans and musicians alike for Black Label Society, and this evening shows exactly why.
Playing for the first time at Bloodstock, Body Count have been a long awaited band for many. Ice-T takes to the stage with his no nonsense attitude, and he is not here to mess around. Slamming into Body Count‘s ‘Body Count’s in the House’ and Slayer’s ‘Raining Blood’, they would have blown the roof off the place, if it had had one. Continuing through the set with his unique style and attitude, Ice-T seems to be enjoying himself, even if his face doesn’t always show it. Cracking jokes and having fun with the crowd adds to the show, bringing this hip hop styled metal the respect it deserves. ‘The Purge’, ‘Psychopath’ and ‘Disorder’ all cement this as one of the best sets of the weekend. Ice-T brings a couple of kids on stage and gives them a life lesson in dealing with bullies, ‘Talk Shit, Get Shot’, and then proceeds to play it. There is more to Body Count than just Ice-T, with original member Ernie C on guitars, and the rest of the band are all integral parts, including hype man Lil Ice, Ice-T’s son, who crowd surfs his way into the mosh pit. ‘Cop Killer’ is declared the UK’s new national anthem, while ‘Born Dead’ and ‘This Is Why We Ride’ round out the set. This was a fantastic and absolutely raucous show. It was a long time coming for Body Count, but it was worth the wait.
With a name like 200 Stab Wounds, what were you expecting other than death metal. Quickly becoming a household name in the death metal scene, these Cleveland, Ohio natives are not here to mess around. Blasting straight into their set with a festering energy, they whip the crowd up into a mix of circle pits and two step chaos. Harnessing the power of classic death metal while putting a very modern edge on it, 200 Stab Wounds pummel the Sophie tent into submission. With the band mainly back lit, casting their silhouettes onto the crowd, it creates an even more sinister ambiance to the already menacing tone. Blistering solos accompany killer grooves for a huge contrast. 200 Stab Wounds just laid waste to Bloodstock.
A huge banner rises over the front of the main stage, ready for the evening’s headliners, Judas Priest. Adorned on the banner are classic Priest albums. ‘War Pigs’ starts to play and the excitement builds. The whole site has felt busier all day, with a lot of people buying day tickets just for this moment. The unmistakable sound of ‘You’ve Got Another Thing Coming’ plays and the banner drops to reveal the mighty Judas Priest stood shoulder to shoulder. Fanning out to their positions across the stage, Rob Halford paces back and forth along the front. Rolling into ‘Metal Gods’ and ‘Breaking the Law’, Priest are pulling out the big songs early. Continuing with ‘The Sentinel’ and ‘Turbo Lover’, it feels like Rob needs a few songs to really get into his groove, and yes, I know he is in his 70s. Priest are as good as ever, with a fantastic light and laser show alongside the amazing music. It is truly unbelievable that they can sound like this after 50 odd years. ‘Panic Attack’ sounds excellent no matter how many times you have heard it live, and then there is that iconic drum intro. I don’t need to mention the song, you all know it. ‘Painkiller’, what a song. Entering the encore with the massive opening of ‘The Hellion’ / ‘Electric Eye’, and then there it is, the Harley ridden onto the stage for ‘Hell Bent for Leather’. I don’t think there is anything more iconic. Finishing on ‘Living After Midnight’, this was a truly great headlining set and a perfect way to finish an excellent weekend.
Rolling into the Sophie tent one last time, we are greeted by darksynth act Carpenter Brut. Having seen this band once before, on an open air stage that lost some of the atmosphere, getting to watch them in a tent should be a treat. The tent is bathed in red light as the band start to play. This is something else. You feel transformed, an almost surreal quality to it, like being stuck in a fictional world. The addition of guitars and drums in a live setting creates a much bigger sound with fantastic depth. It is an engulfing and powerful sound that wouldn’t be too out of place in a Blade film. This is as much a metal show as it is a rave, and it feels like a great way to finish the festival.
