Slam Dunk Festival is an unmissable calendar event for those of us with Converse and checkered Vans, marking an exciting start to festival season. Accessible for northerners and southerners alike, the dual festival takes place over the May bank holiday weekend in Leeds and Hatfield.
This year marks its 20th anniversary, with a bill boasting over 50 acts and the introduction of an extra stage to accommodate the arrival of heavier bands. It’s a move that brings newer crowds to the grounds and solidifies Slam Dunk’s commitment to a range of genres in the scene, having once held a more pop-punk and emo-led lineup.
Starting off with humble roots at Leeds’ Millennium Square and later Leeds University, Slam Dunk has spread its eyeliner wings and evolved over the years to take over Temple Newsam and Hatfield Park, with six stages dominated by well-known and upcoming names in the scene. With an absolute scorcher of a weekend for the bank holiday, we were armed with suncream, a desire to mosh and a hope to stay hydrated. Read on to find out what we got up to over the weekend at Slam Dunk North.
Read about even more acts from Slam Dunk 2026 here.
Dying Wish
Our first act of the weekend was American metalcore band Dying Wish, marking the first of many hours spent at Main Stage East. Despite being unfamiliar with their music, it’s hard not to be impressed by the raw power of vocalist Emma Boster, opening with furious headbanger ‘I Don’t Belong Anywhere’, roaring “That’s f***** right!” as the crowd descends into chaos. Fast-paced drums lead us into ‘Symptoms of Survival’, where Boster unveils her effortless clean vocal that strikes the right emotional chord. An afternoon lull under the hot sun may have been stifling the crowd’s enthusiasm, as the band cries out in desperation: “We need more crowd surfers!” Thankfully they’ve come to the right place, and Leeds answers their plea with a wave of heroic surfers making their pilgrimage toward the barrier.
Funky solos from drummer Jeff Yambra keep us on our toes before unleashing pure fury with ‘I Brought You My Soul (Your World Brought Me Despair)’. The more melodic chorus encourages a sea of hands in the air, but Boster’s not letting us go that easy, as the track culminates with a destructive breakdown joined onstage by George Holding of Static Dress. Ending with ‘Lost in the Fall’, Dying Wish were a headbanging good time.
Static Dress
Leeds-born metalcore mavericks Static Dress open their set with explosive track ‘Nostalgia Kills’, the second single from upcoming album injury episode, boasting a feature from Underoath, who they’re often likened to for their similar styles. The track proves an impactful opener with alternating screams between vocalist Olli Appleyard and bassist George Holding, giving the crowd a taste of what they’re in for. Crowd favourite ‘Push Rope’ showcases the band’s strength in understanding the art of an emotional breakdown, flaunting their live talents with a solo from newly-unmasked guitarist Vin Weight.
As mentioned previously, impending heatstroke added an extra layer of challenge for performers trying to rile up the crowd to their usual standard, especially for those performing in the late afternoon where the sun had cooked us al dente. The band were giving it their all for their hometown, simply asking in return to match their efforts: “It almost felt like I was back down south again,” taunts Appleyard to the struggling crowd. It stings, and the people roar to prove him wrong, hitting us where it hurts.
Sustaining momentum straight into newer track ‘human props’, frontman Appleyard bounces around the stage with a vigour to match the forceful impact of their sound, lobbing the mic stand into the air. We’re demanded to put both hands in the air as the track crescendos into the mellifluous guitar breakdown, where Weight repeats the melodic hook with satisfying precision.
The four-piece emit an undeniable appreciation to be delivering a performance of this weight in their hometown, with Appleyard reflecting on his roots from festival attendee, employee and finally performer. It strikes a humble chord that lands well, and he furthers the appreciative momentum by reminding us to take in this moment with the people we love. What better way for metalheads to channel this feeling of love and appreciation than to slam into one another with a thunderous wall of death during closing track ‘clean’.
Guilt Trip
After a brief excursion to find water we joined Mancunian hardcore band Guilt Trip‘s set to a thunderous northern roar demanding more energy for the ripping track ‘No Love Lost’. It takes a few goes to encourage the crowd to separate, and frontman Jay Valentine has a determination similar to a secondary school teacher, reminding us we’ll be here all day until we comply. Their goal was to break the record for barrier climbing, claiming to have had over 2,000 at the previous day’s South performance, testing the crowd’s appetite for rivalry. Valentine expresses annoyance at the crowd for “being dead”, and although it’s understandable, we appreciate his unrelenting persistence to rile up the crowd to match the fury of their sound. Valentine demands us to “open the gates to hell” with a circle pit around the sound desk for ‘Thin Ice’ – it doesn’t quite work, but there are a fair number of enthusiastic fans trying to make it happen. Guilt Trip acknowledge they’ve been around for ten years, and they’re clearly no strangers to live performance, bringing a captivating confidence accompanied by pinching guitar harmonics and furious screams.
Stand Atlantic
Australian pop-punkers Stand Atlantic bring a nice change of pace from the crushing riffs of the early afternoon. Vocalist Bonnie Fraser greets the crowd with an endearing “What’s up, Dunkers!”, before showing off her vocal power on tracks like ‘KISSIN’ KILLER COBRAS’ and feel-good early hit ‘Lavender Bones’. The four-piece show off an evolved versatility throughout the setlist with dreamy power-pop ‘Velcro’ contrasted with heavier breakdowns in track ‘WARZ0NE’.
Currents
Metalcore titans Currents storm on to Main Stage East with an unbridled fury, launching into opener ‘Living in Tragedy’. Currents‘ music is a beautiful combination of cathartic wrath and an example of how pure aggression can translate to deep emotional release. Vocalist Brian Wille’s raw screams work in perfect harmony with complex melodic guitar hooks from Chris Wiseman. They sound exactly as they do on record if not better, with Wille channeling an even deeper beastly scream in certain moments. “Monsters.” blurts Wille matter-of-factly, as few words are needed before launching into the chaos of the stand-out track. Being one of the few bands not to demand anything of the sun-stricken crowd, Currents don’t hold back at any moment and bring a setlist studded with bangers, notably ‘Kill the Ache’, ‘Better Days’ and newer track ‘Making Circles’.
President
One of the more anticipated acts on the bill were anonymous rockers President, who emerged onto the scene last year, releasing a six-single EP and a couple of newer tracks this year in anticipation of their debut album. The releases have been strong, with varied and unique tracks that lean into traditional metalcore, electronic and synth elements, drawing comparisons to the hugely successful Sleep Token.
The people yearn for a mystery and an aesthetic – President‘s shtick centres around a ‘campaign’ as the leader of a group, giving slightly cultish vibes, with the band’s logo using a Cross of Lorraine to symbolise resistance against fascism. It’s metalcore with meaning.
On stage, President give a slightly unnerving presence, mainly due to the wax mask holding the same unchanged expression throughout the performance. The band open with headbanger ‘Fearless’, straight into emotionally-charged ‘Dionysus’ before the live debut of standout newer release ‘Doom Loop’. Due to a power outage at the South festival this track got cut short, saving the debut for Leeds.
The set closes with debut track ‘In the Name of the Father’, with the vocalist’s guttural screams perfectly complimenting the heavier riffs. President‘s sentimental and reflective lyrics are felt through the vocalist’s uniquely powerful voice, translating the emotions even through the unmoving wax mask.
As anonymous performers there was little audience interaction or speaking between tracks, which felt like a missed opportunity. The frontman would occasionally stand at the altar and offer the peace sign symbol, which was quickly adopted by the crowd – they were eager to receive and take part in the campaign. Having such a specific aesthetic and world-building elements could offer more room to add interesting layers to the performance and really lean into it. At one point, the frontman tried to encourage a pit by using hand symbols to mime the parting of the seas, but as we’ve learned from previous acts to take this stage, the tired and sun-beaten crowd needs a bit more pushing than that. It shows the need for a human element to get the crowd truly invested, as less-anticipated acts from earlier in the day seemed to manage a livelier crowd.
Despite all this, the tracks speak for themselves and were well-received. It’s fair to say that anonymous marketing is a tool to success, although strong rumours of their identity leave us wondering if they will ever unmask, or if this is the plan all along. And if it is, where will they go with it?
Vukovi
Scotland’s Key Club tent gives a nice break from the sun for Glaswegian duo Vukovi, who explode onto the stage with frontwoman Janine Shilstone spraying a bottle and getting the party started in style with opener ‘THIS IS MY LIFE AND MY TRAUMA’. Despite a few sound issues, the momentum of the crowd never fails as they rip through tracks ‘GUNGHO’, ‘MISTY ECSTACY’ and ‘SLO’. Shilstone spots a Scotland flag in the audience and waves them to the front, donning it with pride and dancing around the stage with infectious confidence as they lead into the empowering anthem ‘I EXIST’. You can count on Vukovi for authenticity and genuine enjoyment, as Shilstone interacts with the crowd and crowdsurfs for closer ‘La Di Da’, enjoying the moment just as much as we are.
Malevolence
Northern pride is at an all-time high as Sheffield metalcore band Malevolence storm onto stage with the backing of the ‘Yorkshire’ chant. “We’re up north now,” roars frontman Alex Taylor, “we need more energy!” Using the north/south divide is an impenetrable tactic and the crowd bite back, rumbling with fury to opener ‘Trenches’. Taylor enthusiastically two-steps on stage, setting the example for his people to follow. Wearing a Nike battle vest, he commands his army to split down the middle, rallying the troops for track ‘Karma’, joined by Andrew Neufeld of Comeback Kid.
“Watch what happens when we play in Leeds on a bank holiday in 30 degrees!” he cries, before launching into ‘Self Supremacy’. He’s right, the power of a northern city on a bank holiday in good weather is something to be reckoned with, and sometimes we need reminders of how perfectly things line up. He demands a circle pit, ironically taking a full-circle moment to acknowledge the beginnings of the band and their struggle to get attention from labels – yet now, their effortless command of Main Stage East is certainly something to behold.
It’s not all violence and chaos, as track ‘Higher Place’ allows us a pause to sway in emotional contemplation, appreciating this moment of unity and perhaps the fact that this stage is now in the shade, echoing the earlier sentiment of appreciation.
Moment of calm over as we head straight into the ferociousness of ‘Keep Your Distance’, where Bryan Garris of Knocked Loose makes an appearance to further descend the crowd into chaos.
“I can think of no better place to do one of our only two UK shows this year,” says Taylor, acknowledging their ‘second home’ of Leeds, and it’s a proud moment.
Jay Valentine of Guilt Trip joins for ‘Serpent’s Chokehold’, and Taylor demands 200 surfers over the barrier, putting the security to work. We close with ‘It’s All the Same to You’, ending with a final ‘Yorkshire’ chant of approval because it feels right.
The group’s genuine love for what they do and gratefulness to be on the stage is clear. Malevolence have gained so much momentum since their last performance in the tent at Slam Dunk, and it wouldn’t be surprising to see them work their way up to headliner in the future.
Good Charlotte
Pop-punk hall-of-famers Good Charlotte are a huge name on this year’s bill, and a bucket list band for many of us who haven’t managed to see them live due to their limited presence overseas in recent years.
The set opens with banger after banger, starting with ‘The River’, followed by ‘I Don’t Wanna Be in Love’, ‘Last Night’ and ‘Girls & Boys’. The whole set was a nostalgia-fuelled trip, paying homage to the good old days and acknowledging their journey to get here. With genre giants like Good Charlotte who have been around for decades, there’s the wonder whether the magic of performing has gone stale. Yet there’s a respectable amount of appreciation coming from both Joel and Benji Madden that makes us feel welcome.
“Thanks for having us, we appreciate this so much you have no idea,” says Joel. He reminds us they’ve been in the band since 1996, thanking us personally for giving them the opportunity to be there. The feeling is mutual. Benji admits to feeling emotional while playing nostalgic bangers like ‘Riot Girl’, ‘The Chronicles of Life and Death’ and ‘The Motivation Proclamation’, and it’s nice to know the music still has meaning to them.
“The only reason we get to be up here is because people listen,” adds Joel. “We come from nowhere, we were never supposed to be on this stage, and if you ever listened to Good Charlotte you contributed to making these songs matter.”
It’s always nice to take a moment and pause for appreciation, and Joel reminds us to believe in ourselves, keep going and achieve our dreams, encouraging us to wave our phone lights in harmony for ‘Hold On’.
“What year should we go to?” asks Joel, holding all the power like a pop-punk Doc Brown. There are moments in the setlist to please any Good Charlotte fan, dominating with tracks from The Young and the Hopeless, Good Morning Revival and The Chronicles of Life and Death. They even thank us for listening to some of the newer material, and we’re ready to receive.
‘Lifestyles of the Rich & Famous’ hits just as good as we’re expecting, with an extended last chorus to really take in the moment before finishing with ‘The Anthem’. It feels like a perfect ending to another great Slam Dunk.
Slam Dunk feels like a festival that is always evolving and growing for the better. The addition of the second Main Stage East, as well as the two Monster Energy stages, allows for seamless transition between sets, fewer clashes, less wait time for fans and a generally more manageable experience, and certainly feels like a worthy investment going forward. The festival has learned from previous overcrowding, queues and bottlenecks to improve the experience for fans and focus on what really matters – the music, closely followed by the moshing. The festival’s 20th anniversary certainly felt like something to celebrate and is a solid marker for Slam Dunk’s future in the scene.
