Download Festival, an absolute giant in the alternative music scene, landed once again in Donington Park, Derbyshire, for its 22nd instalment. Taking place between the 11th – 15th June, the festival coincidentally fell on Friday 13th, which was appropriately spooky if not ominous, and fans wondered, would the weather Gods smile on Donington?
Two years ago, it was Droughtload; last year it was Drownload, so what would this year bring? Well… beautiful weather with light patches of rain. Fans waited two long years, and at last, the weather didn’t give anyone something to complain about.
With all first-time headliners, Download XXII packed an absolutely stellar lineup with the likes of Green Day, Sleep Token and Korn. The trio pleased music fans across multiple genres, but also brought the all-important controversial topic of the year… are Sleep Token worthy headliners? Read on to find out.
Friday 13th June 2025
American rock band CKY brought stoner rock energy to the Apex stage with grungy, moody opener ‘Frenetic Amnesic’. Frontman Chad I Ginsburg, who took over as the lead vocalist in 2016, was full of cheesy American enthusiasm – “It’s f***** awesome to be here,” he says. Although it’s CKY’s third time at Download, original bassist Vern Zaborowski returned for the performance, marking 21 years since playing with the band in the UK. Notable track ‘Escape From Hellview’ was sung with slightly less oomph than the original, but it seems they were saving their energy for crowd favourite ‘96 Quite Bitter Beings’, featuring one of the most catchy, recognisable guitar riffs of the early 2000s. “Who here plays Tony Hawk?!” asks Ginsburg, before launching into the irresistibly catchy Jackass-adjacent track. Although clearly keen to get the word out about their upcoming tour, the dad rock legends were a great opener to the weekend, and the perfect vibe for sitting in the sun with a cold one.
Texan metal band gore were in the intimate Dogtooth tent, where they were playing their first ever festival performance. The trio were greeted with the traditional Download welcome in the form of a swirling mosh pit, summoned by the power of guitarist Alex Reyes’ crushing chord progressions in track ‘Pray’. Frontwoman Hayley Roughton has one of the most powerful voices in modern metal, with ethereal clean vocals that switch effortlessly into guttural screams. New track ‘Sepsis’, described as the “heaviest they’ve ever written”, rallied an enthusiastic wall of death lined with a tornado of dust. Although being relatively new to the scene, gore. oozes anything but inexperience, with a commanding stage presence and musical talent to back, each track blends emotionally charged metalcore that culminates in aggressive breakdowns and technical precision. For a band so early on in their career, it’s an extremely promising start, and one you’ll want to get on board with. For fans of bands like Spiritbox.
Northlane frontman Marcus Bridge, who joined the Aussie metalcore band in 2015, stormed the Opus stage in an unexpectedly stylish green suede suit, setting him apart from the rest of the band in all black. Bridge’s powerhouse vocals mix melodic cleans with grisly screams during opener ‘Carbonized’. Fast-paced drums ripped through tracks like ‘4D’, where a captivating energy emitted from the four-piece as they viciously spin, headbang and play instruments in wacky positions, giving it their all for the crowd to return the favour. Guitarist Josh Smith dichotomises the audience into “those who crowdsurf, and those who hold them up,” leading to a sea of bodies floating through recent release ‘Mirrors Edge.’ Northlane have a distinctly polished and progressive sound, marked by use of ambient synth and electronic tones that complement drum and bass elements, grungy guitar and soaring vocals.
Australian pop-punkers Trophy Eyes played to a mixed crowd of devoted moshers and those sheltering from the sun in the cool Avalanche tent. Opening with upbeat synth-laden ‘Blue Eyed Boy’, singer John Floreani commands the crowd to “wake the f*** up”, perhaps noticing the lethargic energy during the 5pm lull. Tracks like ‘Chlorine’ and ‘Heaven Sent’ evoke a caffeine boost in the form of buoyant ‘sad but happy songs’ that Trophy Eyes deliver.
Back to the main stage, where pop-punk giants Jimmy Eat World delivered pure nostalgia with tracks like ‘Pain’ and ‘Sweetness’. Although not having much to offer in-between tracks, the band have been doing this for over three decades, so we don’t blame them for wanting to just get on with it. After anthemic emo-rock hit ‘Bleed American’, frontman Jim Adkins teases, “Thanks guys, Weezer on next!”. He’s kidding of course, he wouldn’t disappoint a crowd hungry for 2000s staple ‘The Middle’. “Hey, don’t write yourself off yet” is echoed through the crowd, and we feel satiated, knowing that everything will be just fine.
Possibly the coolest uncool-looking band around, Weezer continue the momentum of nostalgic crowd pleasers that demonstrate their brilliance in versatility. From gritty distortion in opening track ‘Hash Pipe’ to folky, melodic anthem ‘My Name is Jonas’, we take a moment to sway and ‘hip hip’ our way through Island In The Sun, soaking up the tropical rays of Donnington. Frontman Rivers Cuomo sounds identical to records released thirty years ago, rocking the harmonica along with guitarist Brian Bell on tracks like ‘In the Garage’. The performance marked the band’s first time at Download, aptly changing the lyrics in ‘Beverly Hills’ to ‘Donnington Park’ – and that’s where we want to be.
The festival’s first headliner was renowned pop-punk trio Green Day, who have surprisingly never played Download in the span of their 35-year career. Traditionally, Download has made a name for itself in the heavy metal/classic rock scene, only pivoting over the last few years to accept a broader genre of headliners. As festivals like Reading and Leeds move far, far away from the alternative space they once held, the door is widened for festivals like Download to fully embrace the alternative scene and all the subgenres within it. There couldn’t be a more perfect time for legendary bands like Green Day to take the slot and make it their own.
If you’ve seen Green Day before, you’ll be familiar with the iconic ‘Drunk Bunny’ who prefaces the start of the show by stumbling around the stage to The Ramones’ ‘Blitzkreig Bop,’ drinking fake bottles of beer in a mascot suit that has frankly seen better days. Crashing onto the stage with ‘American Idiot’, the 2004 hit is one of the most recognisable tunes of the early 2000s, and one that the band probably didn’t expect to take on a whole new life decades later. In the interlude, frontman Billie Joe Armstrong reminds us of their fascist government – “it’s up to us to fight back,” he yells, giving the 20-year-old song more relevance than ever. With perfect timing, the camera pans to an audience member dressed in a suit and orange face mask with the sign “F*** Trump”, as we appropriately chant “It’s calling out to idiot America”. An inflatable version of the iconic American Idiot artwork frames the stage for the first few tracks, likely left over from their last tour that celebrated its 20th anniversary as one of the best-selling albums of the decade.
Green Day’s live performances are stappled with audience interaction, injecting new life and energy into decades-old songs. As a result, the barrier is littered with signs from fans claiming to play various instruments in a bid to be invited on stage. Enthusiastic cheerleader India is the chosen one to belt the bridge from 2010’s ‘Know Your Enemy,’ it’s certainly a raspy performance, but we’re happy for her nonetheless, as Billie Joe waves her pom poms in support.
The three-piece are no one-hit wonder, rattling through a barrage of recognisable hits like ‘Longview,’ ‘Welcome To Paradise’ and moody emo anthem ‘Boulevard of Broken Dreams’. No strangers to commanding the crowd, Green Day look like they’re having the time of their lives (no pun intended), with drummer Tré Cool whipping crazed looks to the three cameras orbiting the drum set. Armstrong is wide-eyed, erratic and energetic, perhaps channelling the ego seen in the Basket Case music video, yeehaw-ing his way through lyrics and saying we make him so happy, the feeling is mutual.
Not only did tunes like ‘Hitchin a Ride’ take us back to 1997, but Armstrong took it further, reminding the crowd of a popular 1990s chant, shouting “you fat b*****”. Armstrong, feeling nostalgic, “needed a taste of it”, but this time aimed at Trump. Everyone loves a chant, and even more so to insult someone universally hated. “Do you have the time / to listen to me whine?” from ‘Basket Case’ is echoed through one of the biggest crowds of the weekend, with a giant ‘Bad Year’ blimp circling the audience, before dropping inflatable “dookies” as a nod to the 1994 album.
Towards the end of the set, the acoustic guitar makes an appearance for the emotional ballad ‘Wake Me Up When September Ends’, a tribute to Armstrong’s late father. As he utters the lyrics “Here comes the rain again / falling from the stars”, exactly on queue, raindrops fall from the sky with incredulous timing and bring the song to life, amplifying the melancholic lyrics. The downpour lasts throughout the nine-minute musical titan ‘Jesus of Suburbia,’ but the rain can’t dampen our spirits. As ‘Time of Your Life’ is played as the encore, Billie sings over a final chant of ‘You fat b*****”, and it’s everything we could’ve wanted and more.
From watching Green Day you wouldn’t think they’ve been doing this for well over thirty years, bringing youthful life and energy to each and every performance. With a plethora of recognisable hits, from tender, emotional moments and chantable bangers, they make a perfect headliner that pretty much anyone can enjoy. If you haven’t seen them before, add it to your bucket list. If you have, then see them again, it’s one of the few shows I could watch over and over again and never get tired of. Green Day may well be one of those bands that end up being around forever, and what a pleasure if so.
Saturday, 14th June 2025
‘Tasmanian devil’ Kim Dracula is one of the most unique and interesting artists in the scene, having gained popularity through TikTok duets showcasing their insane scream vocals and nu-metal rap ability. Blending a theatrical persona with chaotic, innovative sound, each track is an endlessly entertaining rollercoaster of genres and flow, switching to keep you on your toes. If that hasn’t sold you, opener ‘Land of the Sun’ introduces us nicely to the signature Dracula style – a whiplash of death metal power, salsa-inspired interludes, and catchy indie hooks. The operatic hair metal ‘Seventy Thorns’ features Korn’s Jonathan Davis in the chorus, complementing Dracula’s similar scratchy vocal style. The entourage of musicians in suits and black eye makeup support ringleader Dracula, who is dressed in a signature military-inspired outfit and gloves, speaking through a pseudo-Texan drawl between songs, their real voice unknown. In between thrashing guitars and pounding drums, Dracula’s saxophonist provides jazz-fueled relief before plunging back into chaos. It’s unlike anything you’ve ever seen and that’s what makes it so great. With an earlier slot in the day, the time and stage settings are limited, so it would be interesting to see what Dracula would do at full capacity.
Still at the Opus stage, American band Currents were an absolute powerhouse in modern metalcore, characterised by their complex and melodic guitar hooks that underpin frontman Brian Wille’s emotionally battered screams. Lyrics in tracks like ‘Living in Tragedy’ echo themes of turmoil and resilience, culminating in cathartic release belted by Wille’s clean vocals. Commanding a tornado of moshing dust, the band harnesses absolute raw power and summons a circle pit for ‘Flag to Wave’. The band notes that the crowd is the largest they’ve played to date, and their music is certainly deserving of it.
Due to the clash, we made it over for the second half of Poppy’s performance on the main stage. Dressed in a frilly red dress with white trim and cowboy boots, Poppy’s doll-like appearance brilliantly juxtoposes the violence and innocence seen in her music, delivering calm, airy pop vocals in the chorus of ‘the cost of giving up’, before grabbing the mic stand and frantically screaming “Lift me up / Can’t push me further down in the trench”. An interlude of Poppy’s robot-like voice plays while off-stage, questioning her ability: “I’m Poppy / There’s so many people watching / What if I make a mistake?”, echoing themes of introspection and identity that have been a part of Poppy’s persona since the beginning.
Poppy’s older tracks mark notable moments in her artistic evolution, with ‘Scary Mask’ (where Poppy holds a distorted mask in front of her face) starting as a slow ballad before picking up speed with Slipknot-esque guitar riffs. ‘Concrete’ is an unpredictable, aggressive and multi-genre track that starts as a bubbly retro pop song with metalcore interludes, before concluding with K-pop catchiness. It’s a perfect representative of Poppy’s whole persona, contrasting horror and cuteness while questioning the idea of being consumed by fame, the internet or the music industry: “Bury me six feet deep / Cover me in concrete / Turn me into a street.”
Tracks like ‘the centre’s falling out’ and ‘they’re all around us’ are stand-outs from her recent collaboration with Bring Me The Horizon’s alumni Jordan Fish, which is a much more traditional and polished take on modern metalcore. Before closing track ‘new way out’, Poppy’s overlaid voice reinforces ideas of robotic detatchment: “Remember, when we part we’ll take with us a memory, everything we shared together is ours, did you capture it? Was it real? Was it all a dream?”, before taking us back to where we started: “For one more time tonight, can you tell me who am I? … Poppy!”
Back to the Opus stage for Australian metalcore band Polaris. For tracks like fast-paced ‘Landmine,’ the harsh aggression of Jamie Hail’s screams fosters a frantic atmosphere as the band are welcomed on stage. Emotionally raw cleans in tracks like ‘Nightmare’ delivered by bassist Jake Steinhauser are layered over intricate guitar melodies, before coming to a head during crushing breakdowns. Hail certainly has the look of a traditional metal vocalist, handbanging long dark hair alongside epic pyro cannons like a demon possessed, commanding hellfire and channelling the raw emotion that their songs deserve. Splitting the crowd into a wall of death for track ‘Hypermania,’ Hail commands the crowd to “snap their f***** necks” to Dissipate, the melodic guitar hooks working in heavy harmony with Steinhauser’s cleans.
Sleep Token are one of the most talked-about additions to the lineup, with no debate on whether they belong at Download, but whether they are worthy headliners. Granted, it is a huge slot to be given amongst rock and metal legends, even compared to Green Day and Korn this year. Sleep Token don’t quite have their stature, but of course they’re simply a newer band. Their first album was released in 2019 but they didn’t gain traction until 2023’s Take Me Back to Eden. Even Bring Me The Horizon were slated for being given the headline slot a couple of years ago, and they’ve been around for nearly 20 years, so it’s no surprise that Sleep Token are so widely debated.
Opening with an intro spanning around five minutes, a huge black curtain covers the stage, moving slowly to the sound of wind that gets more and more intense. Even in Arcadia’s introductory track, ‘Look to Windward’ begins to play, with a slow build-up in traditional Sleep Token style. The final “Will you haunt this eclipse in me?” culminates in a heavy instrumental breakdown, as the curtain drops to reveal the fantasy set of ‘Arcadia,’ a realm of peace and idealism. A large brick building lined with flowers sees frontman Vessel appear from a large entrance in the middle, roaring much darker screams than in the recorded version, showcasing his aggressive vocals to a crowd hungry for metal.
Following ‘The Offering’ is ‘Vore’, which is one of Sleep Token’s heaviest tracks. It seems as though they’re proving doubters wrong about just how heavy they can be, following the discourse on whether or not they’re a metal band. Their latest release Even in Arcadia was given scathing reviews, criticising the band’s lack of metal ability, despite the band never labelling themselves as this in the first place. As Vessel screams “Welcome me in” in Vore, he channels a magnificent, beastly scream before the screens cut to black. Throughout the performance, the screens have various filters overlaid, from total distortion to red filters and glowing fire, perhaps echoing their messaging that what they look like isn’t important, but the music itself. However, this is never a popular tactic in large venues, where those at the back can be left feeling disconnected without a clear visual, especially given the size of the Download grounds.
The set slows down slightly for tracks ‘Alkaline’ and ‘Hypnosis’, with ‘Rain’ having an extended piano intro that briefly featured ‘Unforgotten’ from the Halo 2 soundtrack. Unlike the day prior, Vessel’s chant of “Rain down on me” thankfully did not control the weather, as this power is only reserved for Billie Joe. Stand-out single ‘Caramel’ is one of their less-heavy songs, yet had one of the most enthusiastic receptions from the crowd, proving heaviness isn’t what gravitates people to the band. The track features guitarless RnB and raggaeton ambience throughout the verses, leading to a deathcore style breakdown towards the end as Vessel layers his clean vocals over screams – “Tell me did I give you what you came for? / Terrified to answer my own front door.” The track was noted for being a self-reflection on the dark side of fame and the intrusiveness of fans, leading to an ironic performance to a sea of cameras, recording the masked frontman belting “This stage is a prison / a beautiful nightmare”. At the end, a slight crying sound can be heard.
Various video interludes of corridors take us through the world-building of Arcadia, where the album explores the existence of a mythical paradise with themes of loss and morality. These perhaps represent the band’s own struggle between their fictional world and reality expressed in ‘Caramel’ and later ‘Damocles,’ which Vessel sings in a ‘prison’ made of stage lights: “Who will I be when the empire falls? Wake up alone and all be forgotten.” The set closed with the eight-minute emotional centrepiece ‘Take Me Back to Eden,’ from the album that shot them to fame.
Sleep Token’s self-reflection on the adverse effects of sudden fame, high expectations and lack of privacy are a common theme in Even in Arcadia. It wouldn’t be surprising if the controversy of this headline slot further contributes to the pressure and struggle expressed throughout the album. It’s a shame, however, that only the three singles and the opening track were featured in the setlist, unless sticking with better-known material was a safer option for a headline slot. As a Sleep Token fan, I enjoyed the performance, but it’s worth questioning the experience of those who are unfamiliar.
If you want to know whether Sleep Token are a ‘good’ headliner, you must first ask yourself the subjective question: What makes a good headliner in the first place? Is it the music, performance, showmanship, or longevity of the band?
For most people, they want to be able to recognise the songs. If you don’t know their music, you’re less likely to want to see it, and Sleep Token simply don’t have enough recognisable material that has stood the test of time. Even if you’re not in the alternative scene, you’re likely to know a few Green Day songs, and maybe even a few Korn songs – but for the average Download-goer this is a given, hence the green (day) light for these two.
In addition to this, Sleep Token’s anonymous persona means they don’t give interviews or speak, and they certainly do not address the crowd or incide any interaction. This is a far cry from Green Day, who are the exact opposite, making for an interesting show even if you’re not familiar with the material (which is pretty unlikely anyway). Unknown music + no interaction = less likely to be enjoyable for a non-fan.
Sleep Token can give a stellar performance that sounds great, but their music is ultimately varied, multi-genre and has slow buildups that are enjoyed best if you already know the songs. They’re far from the traditional rock’n’roll that the average Kiss or Iron Maiden fan is looking for, and Sleep Token are an acquired taste for many, even within the metalcore scene.
There’s no question as to whether Sleep Token are popular enough; the band have been selling out arena tours across both the UK and across the world. Throughout the weekend, there were hundreds of Sleep Token T-shirts, tattoos and even cosplays, confirming festival-goers’ commitment to the anonymous band. However, this surge in popularity is only recent, and perhaps it needed a bit longer until they’ve cemented a few recognisable hits that have stood the test of time.
Sunday 15th June 2025
A rising star in the alt-metal scene, Amira Elfeky creates dark, moody atmospheres with her ethereally haunting vocals over nu-metal distorted guitar. Dressed in a long-sleeve light flowery sundress, cascades of long dark hair give her the appearance of a Victorian doll. In contrast, Elfeky demands the crowd to “get the f*** up” – “I said move!” she barks, as the guitar riffs crunch through ‘Forever Overdose’. Reminiscent of a blend of Evanescence and Deftones, Elfeky’s dreamy vocals dominate the guitar breakdowns, creating a heavy yet emotionally resonant combination. Although Elfeky’s songs can be haunting and subdued, she created an unexpected amount of energy in the crowd, demanding movement, pits and aggression that fit perfectly well.
American metalcore band The Ghost Inside play to a strong crowd at the Opus stage, opening with emotionally resilient ‘Avalanche’. Frontman Jonathan Vigil screams through verses with triumphant aggression, where tracks like ‘Wash It Away’ showcase passionate clean vocals for a change of pace. The iconic opening line “For whom the bell tolls” in ‘Mercy’ soundtracks a sea of heads in the circle pit, giving them a fury reminiscent of Parkway Drive or Architects. The band address their near-fatal 2015 bus crash, expressing their gratitude for a second chance at life. Stand-out track ‘Mercy’ from their 2020 follow-up from the crash is a battle cry for reclaiming their purpose, combining relentless aggression with hope, making for an uplifting and powerful watch.
Alien Ant Farm drew one of the largest crowds to the Opus Stage for their mere seven-song set. Arriving on stage to Vicente Fernández’s ‘Volver, Volver’ the American rockers opened with ‘Courage’ and ‘Wish’ from debut ANThology. The performance marked singer Dryden Mitchell’s birthday, although he seemed more interested in celebrating Father’s Day, encouraging a “dad’s only” mosh pit to ‘Last dAntz’. Nostalgic hit ‘Movies’ was a crowd favourite – they did sound slightly tired of singing it, but that’s okay. Mitchell praises the show for being a “healthy distraction” for him, as he celebrates three years clean from alcohol or drugs – “I’m trying, everybody, I’m trying,” he reassures, to a chorus of proud cheers. Alien Ant Farm are remembered for their playful cover of ‘Smooth Criminal’, which closes the set and goes down a treat. Mitchell then proclaims his love for Jesus and wishes him a happy Father’s Day – “I love your dad, Jesus!” Whatever floats your boat, I suppose.
In the Avalanche stage, explosive duo House of Protection (made up of ex-Fever 333 members) blend post-hardcore, electronica and hardcore punk into a whole lot of fun. Due to the clash with Alien Ant Farm many caught the last half of the set, starting with ‘Fuse’, where drummer Aric Improta was doing anything but drumming – running relentlessly down the stage side to side, jumping from amplifiers and half-scaling the scaffolding. Maybe he was restless from sitting at the drum set too long? Their songs are wildly varied but each is just as enjoyable as the last, ending with ‘It’s Supposed to Hurt’. The duo have gained notable popularity, with their music being produced by ex-Bring Me The Horizon Jordan Fish, and featuring on Architects latest album.
The last time Spiritbox were at Download in 2022, they packed out the Avalanche tent beyond capacity. Fast-forward three years and the Canadian metalcore giants have the warm-up slot before Korn on the main stage, which is a huge testament to how much their popularity has snowballed. Opening with the lead track from their latest album Tsunami Sea, guitarist Mike Stringer evokes stompy riffs while frontwoman Courtney LaPlante demonstrates the raw power of her gut-wrenching screams. ‘Perfect Soul’ showcases the band’s versatility, with all-clean vocals that pack just as much emotional harmony as screams. LaPlante shouts out 2022 as one her “best memories”, and that she’s “honoured to be back today.”, swanning around the stage with a sense of calmness and confidence, all with a huge smile.
‘The Fear of Fear’ EP’s ‘Jaded’ and ‘The Void’ are irresistibly catchy, combining alt metal djent groove with haunting melodies and stomping breakdowns. Clean vocals shine through pop-rock adjacent ‘Secret Garden,’ allowing us a moment of calm before the crushing impact of ‘Circle With Me,’ one of the band’s biggest tracks, as the crowd circle pit in solidarity. LaPlante is a calm, commanding Goddess at the helm, steering us into absolute chaos. There’s no slowing down, as heavy titan ‘Holy Roller’ crashes in with full force, with LaPlante gracefully posing in anticipation before unleashing full fury into the mic.
LaPlante expresses that she can feel the love in the air, but this next song isn’t about love, she says. “This goes out to everyone that I f***** hate,” she roars, as ‘Soft Spine’s “You all deserve each other!” detonates unrelenting rage – after all, we can all channel people we hate. Closing with brutal ‘Cellar Door,’ there’s a tsunami sea of crowdsurfers, as LaPlante hypnotically dances around the stage like a siren of destruction.
Gone are the days of Spiritbox performing in small tents, the main stage is where they’re meant to be, commanding the crowd at their will and having fun doing it, with the full potential of a future headline slot.
Korn
At last, all those dressed in Adidas tracksuits, kilts and Korn merch can rejoice that their time has come: The nu-metal titans are about to close the festival for the first time. It’s surprising, given Korn’s popularity in the nu-metal scene since the early 90s, but they’ve never quite been big enough to headline. In 2021, Korn had the warm-up slot before Biffy Clyro, which many noted to be an unpopular order as they drew a far bigger crowd than the headliner.
As of this summer, Korn have added ‘Blind’ back to the start of their setlist, in true Woodstock 99 style. ‘Blind’ has one of the most iconic build-ups in nu-metal, erupting into the grisly “Are you ready?!” as the curtain drops and the crowd goes insane (but without burning the festival down).
We launch straight into ‘Twist,’ which is a showcase of why Korn are so wonderfully unique – where else can you listen to nonsensical ratata grunting and scatting? There are many bands in the nu-metal universe, but no one does it quite like Korn, and tracks like this make them so instantly recognisable and unreplicable. We just wish it was longer.
2002’s ‘Here to Stay’ is another salient example of Korn’s mastery in song build-ups, with stomping guitar riffs until the chorus, where the crowd chants back: “Anticipating all the f***** up feelings again!”, bursting into the breakdown where Jonathan Davis screams “Bring it down!” over and over. Dreadlocks were swinging and heads were banging, as Davis sang into a giant silver metal mic stand that resembled a sculpture of a naked woman. Guitarist Brian Welch was rocking the Adidas Korn merch, and if you can’t back yourself, who can?
Towards the end of 1994’s ‘Clown,’ a dramatic pause as Davis yells “Shut the f*** up!”, before erupting into “Clown, you ain’t s***! Turn around! Get your face split!” The camera pans to an audience member holding a Scottish flag, and we know what time it is; the honorary Scot launches into his impressive bagpipe solo that prefaces ‘Shoots and Latters,’ all while wearing a signature kilt. ‘Twisted Transistor’ was another welcome addition to the setlist, which hasn’t been played since 2019, and before that 2007.
In a moment of humility, Davis expresses that he wants to take in this moment. “We’ve been playing here since it was called Donnington,” he says, possibly referring to Download’s predecessor which was held in the same area until 1996. “We’ve come up the order, we’ve gone down, we’ve not headlined a stage and finally we’re here after 30 years.”
Towards the end of the set, we put up our middle fingers for ‘Y’all Want a Single’, before the four-song encore of ‘4 U’, ‘Falling Away From Me’, ‘Divine’ and finally, ‘Freak On A Leash’.
“I will remember this for the rest of my life!” roars Davis, screaming “Have a safe and incredible night!” in Korn-style. They’ve been waiting for this moment, and so have we – it’s a true sign of the nu-metal resurgence, a testament to the longevity and power of the genre. Despite Davis showing humility and insisting this is finally the right time, this definitely could have happened earlier. We’ll be hearing ‘Freak on a Leash’ for many decades to come, and it’s only right that Korn are headliners from here on out. And they are, indeed, here to stay.
With three brand-new headliners, Download XXII was a perfect take on honouring legends, paving the way for new bands, and creating legendary moments for giants in the scene to remember for years to come. It’s a strong year to follow, and with new booking agent Kamran Haq taking over from Andy Copping this year, it marks a year of change for Download. It’s exciting to see how the festival will evolve and keeps going from strength to strength.
