‘Illegal Aliens’ is a protest song that’s highly political and unflinching. Delilah Bon is talking about what is actually happening: the brutality towards immigrants, families torn apart, thousands of children alone in detention camps, and the terrifying reality of ICE raids dominating American streets. When you hear the real events she is referencing, it is genuinely scary. The track covers a range of world topics, bringing issues to the table that too many artists are afraid to touch, and yes, the shadow of Trump’s America looms large over every word.

“People need protest music and now is the right moment to speak out,” Bon explains. “Seeing the brutality towards immigrants, many of which have lived and worked in the US their whole lives, imprisoned in these inhumane camps breaks my heart. There’s thousands of kids alone in those camps, families are searching for their loved ones.”

The track has already been censored and made inaccessible in certain regions, with audio muted on social media. All digital download proceeds will go to MIRAC (Minnesota Immigrant Rights Action Committee), a grassroots charity helping immigrant families with groceries, legal advice, and protest organisation. A handful of songs from her back catalogue will also have proceeds donated this month.

The US tour cancellation came after fans flagged how potentially unsafe it would be for an LGBTQ+ protest artist to travel, given the current climate. “I have many POC fans that are in hiding, many trans fans who are afraid of being body searched by federal agents,” Bon shares. “It filled me with rage imagining my shows becoming a target.”

Rather than retreat, Delilah Bon is channelling that rage into a charity show in Leeds in May 2026. The event will raise money for immigrants impacted by ICE raids and family separation, with the entire show filmed professionally and potentially livestreamed for her overseas audience. She calls it “something historical” that will form part of a new documentary she is working on.

The post Delilah Bon Cancels US Tour, Releases Protest Track appeared first on RAMzine.

Lake Malice went first and having seen them three times before, it’s really time we made this band a household name in the alternative scene. Lake Malice are pure unbridled fury that takes influences from industrial metal, nu metal and whatever else you could to create some of the most aggressive music on a bill fueled by blinding rage. Tracks like ‘Scatterbrain’ and ‘Creepers’ have this industrial hardcore feeling throughout, vaguely reminiscent of Enter Shikari at times, albeit with a bit more emphasis on aggression rather than being progressive.

Tracks like ‘Stop the Party’ and ‘Nobody Wants You’ brilliantly embody the feeling of femme-presenting people and women dealing with anxieties around attending shows and dealing with hostile environments, be it caused by their mental health or real life factors like predatory men in the scene. Vocalist Alice Guala remarked, “can you believe this lineup is so female fronted?” and called attention to just how female-friendly a show of this calibre can be, a factor that should be present in all shows.

The set ended with a violent roar from Alice Guala during ‘Bloodbath,’ and the audience waited patiently for a more laid-back set from Girli. Girli appeared and we were welcomed with a more pop-rock approach, think Warped Tour-era Katy Perry and you’re in the right ballpark.

Girli was accompanied by just a drummer, which was strange considering straight-up rock and metal dominated the bill but the change of pace was still welcome. Tracks like ‘Messy’ had a sing-talk structure reminiscent of bands like The Streets, and there was still an abundance of feminist driven dialogue about equality on tracks like ‘Nothing Hurts Like A Girl’ and ‘Matriarchy’. There’s even a bit of a Kelly Clarkson-style track in the form of ‘More Than a Friend’.

The crowdpleaser moment of the set came right before ‘I Really F*cked It Up’ when Girli said “I would like to channel the rage in this song to JK Rowling” in reference to Rowling’s total inability to acknowledge trans women as women and just the general ignorance that permeates through her cursed franchise. The light and colourful pop tone helps disguise a feeling of genuine malaise and contempt for injustice and mistreatment throughout the modern world as well as a fundamental need to create a diverse and loving atmosphere. It’s the paradox of tolerance: the only way to cultivate a tolerant space is by being intolerant of intolerance.

After a break, Scene Queen finally hit the stage with the crushing one-two punch of ‘BDSM’ and ‘Pink Push Up Bra,’ which satisfied everyone here for metal for just a little bit. The set was full of a good mix of straight-up savage metalcore and bubblegum pop sensibilities like the disco-tinged brand new single, ‘Platform Shoes,’ and the country metal banger, ‘MILF’.

Having missed Pride Month by a few months, Scene Queen said “I’ve been told that Manchester is a very gay city,” and it’s very true. The Ritz is very close to Manchester’s Gay Village, so it felt appropriate hearing so many queer people screaming about gay stuff during tracks like ‘Pink Panther’.

Scene Queen’s music has been quietly experimental over the past few years, so it’s exciting waiting to see what she’ll do next. I can’t help but feel a bit disappointed that ‘L Shaped Couch’ is absent from the setlist but perhaps it will show up in future shows. Seeing as this is her first headline show in Manchester, there’s likely some obligation to play all the classics, of which there were many.

The show took a bit of a break to indoctrinate some of the locals into a cult. The audience in Manchester was finally inducted into Bimbo Beta Pi, a sorority in which Scene Queen fans can find each other and bond over the experience of seeing the heaviest, pinkest show possible. It was a really wholesome experience, and the people on stage seemed to have a wonderful time too. Icons holding up icons was the theme during this interlude.

You could easily interpret Scene Queen’s music as man-hater music, but that’s usually down to the listener choosing to believe that the song is about them, which says a lot about you if you think about it. ‘Mutual Masturbation’ is a brilliant example of this as it deals with obnoxious music nerds talking about banal music nerd stuff, all while being an incredibly catchy banger.

The show ended with the eternal classic and anthem of accountability and denouncement of those we don’t want in our scene, ’18+’. This is clearly about Guy Namington, a band that has garnered criticism and disdain in the scene for years with little consequence till now. ’18+’ is not only a brilliant track but it’s also a reminder to have your local pop punk band spayed or neutered as soon as possible.

Scene Queen is becoming a massive figure in the scene who fights for LGBTQ+ rights, inclusivity and diversity amongst a largely male-dominated space. Not every day boasts a win but we are still edging slowly towards a safer scene for everyone with each show and song we platform from a queer artist. For those who were made uncomfortable by any of the ideas in this article or show, please direct your complaints to your local roundabout.

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It may shock people to learn given RAMzine’s iconic car park reviews that I, Lamestream Lydia, do not drive and resorted to using the shuttle bus from Derby. The shuttle bus from Derby was a smooth ride that wasn’t overly crowded. Shuttle connections were available to the opposite end of the compound and these were hard to follow due to buses picking up people seemingly at random. This whole incident was ironed out after a while but it was frustrating on the day considering some people couldn’t make the massive journey to the other side of the compound without the bus.

Once my tent was up in the camping area, it was time to wander around with a drink in hand and pay for insane nonsense at aptly titled shops like Random Sh*t. It’s all in good fun and I for one am not above paying for random sh*t. The first two days in heavy metal Blackpool (AKA District X) were a blur of elaborate costumes, blaring music and wild shenanigans all catered by the loudest Co-op on the planet. 

My nights on the campsite typically ended with the Hammer Horror films played at the Outpost which included classics like Quatermass Experiment, The Unknown and the brand new Dr Jekyll starring Eddie Izzard. These movies varied in quality but it was fun seeing them on a big screen in a massive crowd under a beautiful night sky all while struggling to see after getting through my poorly portioned Long Island Iced Tea which probably had more use as fuel at the local airfield. 

The first band I saw at Download was Slay Duggee, a heavy metal band for kids. Their stage show was a fantastic introduction to the world of heavy metal led by a group of wise-cracking animals in heavy metal shirts. 

While Slay Duggee may be aimed towards kids, there’s a great deal for adults as the band played crossover thrash versions of ‘I’m Still Standing,’ ‘Sticky Stick’ and the Spongebob Squarepants theme. There were a wealth of surprises including an appearance from Download Dog as well as the school of sharks and dolphins circulating the tent. They are highly recommended for headbanger kids, headbanger parents and headbanger kids at heart. 

Download, home. At least it was before the rain f***** everything up. Number Of The Beef are known for a wealth of covers but this set was a special Grand Theft Auto San Andreas set made up of classics from Radio X, a rock and metal radio station made up of songs by Rage Against The Machine, Jane’s Addiction and Soundgarden. 

This was a set I was particularly looking forward to given how much time I spent roaming the streets of Los Santos and running over pedestrians and gang members while ‘Them Bones’ by Alice In Chains blasts through the car radio. The band did a fantastic job recreating some very difficult tracks including ‘Cult Of Personality’ and ‘Been Caught Stealing’ by Jane’s Addiction. 

The set ended with a chorus of drunk Downloaders screaming the immortal lines from Rage Against The Machines Christmas number one: ‘Killing In The Name’. Even if you feel this song is overplayed, it’s still a brilliantly fun time screaming “f*** you, I won’t do what you tell me” with middle fingers raised to the sky. Be sure to check out Number Of The Beef as they tour around the UK and check out our interview with frontman Tom Hynes. 

Everyone who wasn’t there is a straight-up busta who picked the wrong house, fool. Hopefully Number Of The Beef will take a crack at K-DST in the future, that’s sure to go down better than two number 9s, a number 9 large, a number 6 with extra dip, a number 7, two number 45s, one with cheese, and a large soda.

Having heard a cover of ‘Du Hast’ in the distance and being drawn to it like a pirate ship being drawn to a siren call, we found Old Time Sailors. This band had far too many people to count on stage all playing folk music versions of rock songs on traditional instruments. 

Imagine if Dropkick Murphys were more interested in being pirates instead of Irish and you’ve more or less got Old Time Sailors. One of the most surprising moments of the set was a cover of ‘Start Wearing Purple’ by Gogol Bordello, a modern folk-punk classic that some may remember from Slam Dunk 2023.

There was a wealth of drunken shenanigans, sea shanties and acts of piracy taking place in the crowd and you can catch them back on the shores of England in September lest ye walk the plank like the treacherous sea dog ye be. This will probably be the last time I use pirate speak in this article but no promises. 

Friday

The first day of Download seemed to be fairly smooth with the morning being fairly sunny but threatening clouds were looming in the distance. Could it be the dreaded Drownload? Yes. Yes, it was. 

But the indomitable human spirit prevails as thousands of people banded together and refused to let a bit of precipitation ruin a weekend of heavy metal shenanigans or at least that’s what many would have said on the Friday. The British are no strangers to rain and can power through even the most hellish of situations with one powerful phrase: “it is what it is”. 

Upon entering the arena, the grass was still green and the sun was shining and it couldn’t have been a more promising start to the weekend. With the hopeful optimism in our hearts and wellies on our feet, we made our way to the first act… 

I made my way to the Opus Stage just in time for Harajukucore band, Hanabie. Hanabie had been a point of interest long before entering Donnington, their brand of kawaii metalcore seemed unique and the live show is just as ferociously adorable as the record. 

Hanabie may be a bit of an acquired taste in the same way Babymetal was when they first appeared on the scene but things have changed a bit since then. The vibe of the set is super sweet and sugary bubblegum J-pop mixed with crushing breakdowns and fierce vocals on tracks like ‘Neet Game’. 

The sun was shining and the audience was littered with wonderful weirdos in elaborate costumes including a crowd-surfing Ali G. It really was a perfect set to open my (personally) first Download 2024 with. Having never experienced Download before, I already started to feel my guard lowering in what felt like a true safe space. 

The band asked “Do you like sweets?” before kicking into ‘We Love Sweets’. The whole set is absolutely adorable and could be the only band to start a mosh pit filled with cuteness and aggression. Highly recommended for the Anime crowd and pretty much anyone who has a sweet tooth. 

One of the most controversial additions to Download 2024 was the viral emo act, heel wrestler and general target for the chronically online; TX2. The tent was surprisingly filling up which was a welcome surprise and it seemed like the majority of these people were here to give support but a handful were not…

TX2 puts on a high-energy show as he races around the stage with reckless abandon and even gives himself a potential concussion as he audibly hits himself with the mic. His set is full of songs that have since become staples of TikTok like the Buckcherry swagger of ‘I Would Hate Me Too’ and ‘Swing at Me’. All of these tracks go down really well in a live setting and his vocals are really solid which makes it all the more impressive when you take into consideration that he started learning to properly sing later on in life. 

It’s impossible to talk about this set without talking about the people throwing cups of urine. Don’t throw piss at shows because not only is it incredibly unhygienic and disrespectful, you’re going to drench people that the cup is hurtling towards. Be a normal person and don’t throw things in general, you can get through 25 minutes of music you don’t like or you can leave. 

TX2 ended his set by saying “One day we’re gonna tour the world” and hopefully he does. It seems that so far TX2’s biggest crime is just being a little bit cringe and being cringe but owning it is exactly what the emo scene was built upon. TX2 prioritised putting on a show for the people that wanted to see him and ignored the haters like a true professional and to foreshadow the interview a bit, he was a lovely person to speak to. Hopefully, we’ll be able to catch him again soon… You can check out our interview with TX2 here.

Halocene were over on the Opus Stage and it seemed like a solid chunk of people were waiting for Scene Queen (including myself) but were pleasantly surprised by the show Halocene put on. The set was littered with covers from pop acts and even ‘The Kill’ by 30 Seconds To Mars, a personal favourite of mine. 

Halocene started to gain momentum on social media with their cover of ‘Unholy’ by Sam Smith and Kim Petras so it would only make sense to play it at what could be their biggest UK show yet. ‘Unholy’ is a deeply layered song with a great deal of subtext but it can also stand alone as a track of smouldering intensity once you add crunchy guitars behind it. 

The set ended with an original track, ‘We Are The Storm,’ this track was an anthemic number that just kept building and building in intensity. Addie Nicole’s vocals soared higher than some of the planes that flew above Download festival and the noise of jet engines accompanied the buildup on the last chorus making for an epic display. It even started raining for the first time this weekend which was an epic moment that filled the audience with dread as nobody could have prepared for what was to come in the following days. 

A personal highlight was seeing Addie trying to climb back on stage and hearing someone in the audience scream “YOU CAN DO IT!” like Rob Schneider in The Waterboy. 

The Opus Stage saw a massive turnout, including “a very large number of Pikachus” who had all gathered to see her majesty herself, Scene Queen. The audience was full to bursting with assorted LGBT flags, Pikachu costumes and more pink than a Mean Girls Broadway run. 

Scene Queen came on to her brand new single ‘Finger’ which is sure to go down well once she starts doing more conventional touring for her new album Hot Singles in Your Area. The whole set was a beautifully inclusive display of aggressive tracks you could dance to and throw elbows to. It was a free-for-all in the best way possible where the only rules were to pick each other up. 

Scene Queen ripped through modern bimbocore classics like ‘18+,’ ‘Pink Paper’ and ‘Barbie and Ken’. The peak of the set was the moment our beloved Scene Queen asked “Is it okay if we do a bit of gay sh*t?” before blasting through the bisexual national anthem ‘Pink Panther’. “Kiss a boy, kiss a girl or kiss both” demanded Scene Queen as a legion of ADHD-addled queer people and Pikachus scrambled together in a Twerklepit fueled by their hatred of the patriarchy and love of all things pink. 

The elephant in the room for Download festival was the Barclay’s sponsorship, a number of bands pulled out and even more threatened to pull out if Barclay’s remained a part of Download Festival. Scene Queen donated her fee to charities dedicated to helping the Palestinian people. This would not be the first time Palestine would be mentioned this weekend but it would be my first time encountering it. 

Taking a bit of a break to get food and do interviews, I caught the very end of Polyphia’s set on the main stage and it was more or less what I expected but with added pyro. Polyphia are probably the most technically proficient musicians at this entire festival and you can tell the technical elements play second fiddle to songwriting and hooks. 

‘Playing God’ has become the new end goal for beginner guitarists around the world and it’s easy to see why; it’s absolutely preposterous to see it done so perfectly. There’s so much going on between the hybrid picking and harmonics that it becomes hard to follow unless you’re a seasoned guitar player. Polyphia tracks are more than just a collection of advanced noise, there’s a wealth of earworms and hooks dotted around and while Polyphia aren’t especially active on stage, you can tell that they’re all feeling the music in an incredibly deep and personal way. 

The set ended with ‘GOAT,’ a song that should be used for entrance themes at sporting events. Just imagine seeing someone like Cannello Alvarez walking towards the ring with this blaring through the speakers and hearing hundreds of thousands of people screaming. That’s the vibe of ‘GOAT’ and it translates beautifully to the Apex Stage of Download. ‘GOAT’ even inspired a mosh pit, it wasn’t crazy because it was largely made up of guitar nerds who were too busy gushing over Tim Henson’s flawless technique but it was still an entertaining sight to see. 

Black Stone Cherry on the Apex Stage was an exciting event considering thousands of people discovered their November UK tour featuring Skillet Ayron Jones upon entering the arena. A Black Stone Cherry show is a display of whiskey-drenched Southern rock n roll swagger held together by air-tight performances. The guitar tones were incredible, particularly the lead tones during all the solos. The whole band was on fire and the crowd was thoroughly obsessed as Black Stone Cherry didn’t miss a beat. Even John Fred Young’s drum solo continued after he’d dropped a stick mid-fill. 

Black Stone Cherry were built for stages and crowds this size with hard rock anthems like ‘Blame It On The Boom Boom’ and ‘Me And Mary Jane’ causing a commotion in the puddles of Donnington. From where I was standing, it was hard to make out what frontman Chris Robertson was saying but it didn’t really matter, his mellifluous southern drawl was a smooth contrast to the raucous noise that was coming from the stage. He could have been saying anything but all I heard was “party” and party we did. 

The timings were tight but the stages were fairly close together without causing the sound to overlap. Everyone got to hear Black Stone Cherry perform their sludgy heavy metal classic ‘Lonely Train’ in full before heading over for one of the weirder acts or Download 2024, which was a massive achievement. 

For many, Mr Bungle was their most highly anticipated act of the entire festival. Boasting an all-star lineup including Scott Ian (Anthrax, S.O.D), Dave Lombardo (ex Slayer, ex Testament, ex Suicidal Tendencies) and the indescribable Mike Patton (Faith No More). The band came on to a hilarious caterwaul of ‘Also Sprach Zarathustra’ before ripping through a phenomenal set full of balls-to-the-wall thrash with some thoroughly bizarre covers sprinkled throughout. 

Tracks like ‘Speak English’ or ‘Die And Hell Awaits’ were welcome additions and made perfect sense when you see who’s in the band but made for a hilarious contrast during their cover of ‘True’ by Spandau Ballet and ‘I’m Not in Love’ by 10cc. Mr Bungle only played one track from the older albums and that was ‘My Ass Is On Fire’ which is sure to confuse the people just discovering them and disappoint the old heads but Mr Bungle has always been about experimentation and challenging expectations. 

Mr Bungle was very high on my list of priorities, so much so that I’d bought a ticket for the Manchester show in case I couldn’t get to Download. All expectations were exceeded as I stood completely dumbfounded, laughing hysterically and screaming “go f*** yourself” to the tune of ‘All By Myself’ by Eric Carmen. Truly a glorious display of insane nonsense crafted by one of the most unique and deranged frontmen in music. 

On the Opus Stage was easily the most unique and widely discussed band of the festival: Heilung. Heilung was less of a rock band fit for Download and more of a stage show with the same grandeur and intensity of a mega headliner albeit with much less accessible music. 

It’s hard to talk about their set due to cultural differences and a lack of understanding and it’s even harder to make it sound appealing to the average person but it really is a show that needs to be experienced instead of seen. There were countless people on stage playing strange instruments most Downloaders had never seen before as they played a set of beautiful folk music enhanced by gorgeous costuming, dancing, rhythmic tribal drums and throat singing. 

You can make the argument that Heilung’s music had more in common with dance music, particularly towards the end of their set as the tight rhythms took precedence on some of the longer songs. It’s also hard to pinpoint a particular song to check out as the whole set felt like a cohesive experience. Honestly just go see them in April. 

The whole experience seemed to be divisive as some called it one of the best sets of the entire weekend and others called it pretentious dreck. Having just announced a UK tour, you can find out for yourself. Regardless of how you feel, there was absolutely nothing else like Heilung at Download and potentially anywhere else. Watch our interview with  Kai Uwe Faust and Maria Franz here.

The headliners of Download 2024 have been a controversial talking point with some applauding Download for taking chances on bands that aren’t Slipknot, Metallica or Iron Maiden and others calling them not fit for the main stage. 

In theory, Queens Of The Stone Age should be a perfect fit: they have countless classic songs, a critically acclaimed new album and a grand stage show that has sold out arenas across the UK – but unfortunately, this seemed like an off-day for Josh Homme. Some of their recent shows have featured a charismatic and engaging frontman and others… this. 

It’s anyone’s guess why he seems so offbeat and uneasy but the crowd picked up on the strange energy he was putting out towards the middle of the set. He does manage to get the crowd amped with bits of rockstar bravado saying things like “is tonight yours?” and “security works for me” but to be fair, you could say almost anything on the main stage and have it sound awesome. 

The majority of the set was filled with the usual classics, ‘Little Sister,’ ‘Sick Sick Sick,’ ‘Go With The Flow,’ the smooth yet dusty hard rock banger ‘My God Is The Sun’ and ‘Millionaire’ which was on the Tony Hawk’s Underground soundtrack (I had to bring it up somewhere). The songs were all there, but the stage presence just felt off and it got worse when some tracks like ‘Make It Wit Chu’ turned into Grateful Dead-style jams that seemed to go on forever. 

The set ended with ‘No One Knows,’ a Kerrang staple and eternal banger and ‘A Song For The Dead’ which will go down in history as the greatest drum intro of the 21st century. There’s so much power on this song, even a less than stellar set couldn’t diminish that. 

Queens Of The Stone Age weren’t awful but they weren’t really up to the standard of some of the other bands that have taken the mainstage to headline Download. It’s a disappointment but perhaps a headline tour would be more comfortable for them. 

Saturday

Torrential downpour and thunder threatened Download and it eventually hit fairly hard but nowhere near hard enough to break the spirits of the thousands of dedicated rock fans there to see Pantera, The Offspring, Frank Carter And The Rattlesnakes and so much more. 

The morning was absurdly busy for Team RAM as we ripped through interviews but towards the afternoon, we finally made our way to the arena to get a good look at all the chaos in the flooded mud bath we once called Donnington. 

Frank Carter And The Rattlesnakes are an act I’ve been trying to see for a long time and there couldn’t be a more perfect place to catch them than on the Apex Stage at Download. Having walked past him several times in the press area without noticing, I instantly noticed his pink cardigan and thought “that’s who that was” and proceeded to get what I can only describe as delayed starstruck. 

Frank merrily skipped across the stage with absolute carnage accompanying him as he opened a female-only mosh pit early on in the set in the name of equality. Frank established himself as a fairly down-to-earth and caring gentleman with a rockstar swagger as he crowd-surfed with a mic in his teeth, danced around like some kind of madman and even stopped to help an overwhelmed crying kid in the audience. It was a heartwarming moment that will be talked about at every Christmas dinner at that kid’s family from now until the inevitable heat death of the universe. 

There were theories that the secret set could be by Frank Carter and the Sex Pistols and you can definitely see some John Lydon in his delivery albeit without the contrarianism or butter. The secret set wasn’t Frank Carter and the Sex Pistols but that is sure to be a fantastic show whenever it makes its way across the UK. 

Babymetal was one of the big upsets of the weekend. The weather was getting worse and worse as time went on which led to major delays as the band were forced off stage to rectify technical problems. 

Only 4 songs were played on this set and vocals were really difficult to make out during their set. For what it’s worth, the choreography and skill on display were still spectacular given the circumstances as Download got to experience the bombastic opening of ‘Babymetal Death’ and the magical djenty riffing of ‘Karate’. 

Some may have been disappointed that the fabled Electric Callboy appearance didn’t happen during ‘Ratata’ but the song still got a massive reaction from the swarming crowd with enough pyrotechnics to melt every bit of chocolate in Donnington. Babymetal have come a long way from being a divisive punchline on the internet and seem to have been welcomed into the metal community without question. Would have been nice to have some chocolate in this set but they’re almost certain to come back in the future. 

Ne Obliviscaris were over on the Dogtooth Stage and their set seemed like a nightmare to put together considering most of their songs are at least 10 minutes long. This will be one of the last chances to catch Ne Obliviscaris before their Citadel set at Damnation Fest in Manchester in November so it was nice to see them go through a bit of Exul. 

The Dogtooth tent has been a struggle to get into through most of the weekend and the sound from the Apex Stage tends to bleed through which makes it hard to follow what is going, especially given how complex Ne Obliviscaris’ music is. Despite all these problems, the band put on a stellar show complete with phenomenal musicianship that sounded identical to the record. 

Ne Obliviscaris are a bit of an acquired taste and their breed of Dream Theater-tinged melodic death metal may be a severe turn off for some but if you like your music to feature grand sweeping overtures full of highly technical riffing then Ne Obliviscaris are well worth your time. 

Over on the Apex Stage, British electro/metalcore/etc band Enter Shikari started up their set with a sprawling crowd. Enter Shikari are a band that are highly skilled and engaging on the record but it’s their live show that brings them to another level. Frontman Rou Reynolds dances around the stage like it’s his own personal playground.

The whole set was full of wonderful surprises including an appearance from Download staples Wargasm on ‘The Void States Back’ and there was even a rainbow just in time for Pride Month. “There’s a lovely rainbow over there” declared Rou as he continued to dance like his life depended on it. 

Classics like ‘Sssnakepit,’ ‘Satellites’ and ‘The Dreamer’s Hotel’ were brilliant additions but my personal favourite moment was during ‘Bloodshot’ where Rou climbed a ladder and fell through some kind of X ray machine. It’s a unique bit that builds tension and creates some sense of danger and mystery as it ‘…Unfolds’. 

I had to fight the urge to shake people who didn’t clap during ‘Sorry You’re Not A Winner,’ a classic anthem that demands audience participation. Most of the parties I had attended when I was younger would have kicked out anyone who didn’t clap and I would urge Download to enforce the same policy. If this set wasn’t enough then you can catch Enter Shikari on a newly announced UK tour this November/December. 

Alpha Wolf was directly across from Enter Shikari on the Dogtooth Stage. While the Apex Stage is an oppressively loud environment that tends to bleed into the Dogtooth Stage, Alpha Wolf did their best to deliver a forceful punch in the face with their breed of nu metalcore. 

Holding Absence frontman Lucas Woodland appeared during 60cm of Steel. It feels like even if you didn’t see Holding Absence, you will have seen Lucas Woodland at Download 2024, the man is omnipresent and he brought an intense metal energy you wouldn’t typically associate with him. 

There’s so much pent-up hostility that goes into the songs and getting it out in a safe environment is especially difficult to explain to people who aren’t in the scene. How do you explain that phrases like “this is a f*ck you song, so f*ck you” are pivotal in improving mental health and easing stress before running into people for the better part of half an hour? 

‘Sucks To Suck’ is a personal favourite from the new record Half Living Things, largely due to the walking bastion of hilarious anger we’ve all come to know as Ice T. It would be a dream to see Ice T perform this track on stage with them someday but Alpha Wolf handled it expertly alone armed with pure aggression and vicious intensity. See our interview with Alpa Wolf here. 

The Offspring took to the Apex Stage and if you decided to see Enter Shikari instead of The Offspring at Slam Dunk 2023 then this was a pretty solid show of what you missed. The whole show was full of double-time punk rock antics and the same youthful silliness we’ve all come to expect from The Offspring. This set also boasted the largest crowd of Download and of The Offspring’s career with 2,536,407 people in attendance (you’ll know what we mean if you were watching). 

Some criticised The Offspring’s Slam Dunk set for wasting time goofing off when they could have played more songs but what’s more punk than goofing off when you could be doing something more important? Noodle noodles his way through covers of ‘Blitzkreig Bop’ and ‘The Hall Of The Mountain King’ which were interesting additions that couldn’t be further apart in the grand scheme of music but still added a lot. 

The band played all the classics: ‘Self Esteem,’ ‘Come Out And Play,’ ‘The Kids Aren’t Alright’. If you’ve ever listened to it while cleaning yourself out on a skateboard then it’s on the setlist. Despite being in their 50s, The Offspring still felt like a bunch of goofball punks running from security at the local mall after stealing traffic cones to bring to their skater punk hideout at the abandoned construction site just outside of town. It’s just a shame their set clashed with one of the biggest acts of the entire festival… 

An absolutely crammed Opus stage saw the return of a titans of heavy metal and one of the most highly anticipated sets of the weekend: a heartfelt tribute to Vinne Paul and Dimebag Darrell in the form of Pantera. The stage could barely contain this vulgar display of power as Phil Anselmo, Rex Brown, Anthrax drummer Charlie Benante and the only man who could possibly stand on the same spot as Dime: Mr Zakk Wylde. 

Pantera was always going to be a massive draw, this would be their first UK appearance in 20 years and many were curious about how this would all go and it absolutely ripped. Wall to wall chaos in the audience as people who may not have even been alive at the same time as Dime banged their heads and moshed to heavy metal masterpieces like ‘Mouth For War,’ ‘Becoming,’ ‘5 Minutes Alone,’ ‘I’m Broken,’ the classics just kept coming. 

Some may be critical of Zakk playing certain parts differently to Dime but Zakk has always been clear that his versions of these songs are his versions. We will never hear the original versions again and to even try to recapture that energy would be blasphemous but Zakk still did an incredible job on some absurdly difficult passages. 

The rain came during the guitar solo of ‘Floods’ and to this day, it could be the most metal thing I’ve ever seen. It was enough to make a grown man cry as a group of legends banded together to lay tribute to their fallen brothers. Phil says “Every note we play goes out to Vincent and Dime” and you can feel the love and respect he has for the legacy they helped create. You can make arguments that it’s disrespectful to play these songs as Pantera or it’s just a tribute or a cash grab but it’s an immensely satisfying feeling knowing we can still hear eternal bangers like ‘Cowboys From Hell’ and the immortal riff from ‘Walk’ live once more. 

The first majorly upsetting clash for me this weekend was from industrial metal legends Fear Factory clashing with Saturday headliners Fall Out Boy. Fear Factory was close to inaccessible as the Dogtooth tent was filled to capacity but Fear Factory are a band that can punch through any obstacle you put in their way. 

The band ripped off classics like ‘Shock,’ ‘What Will Become’ and the devastating nu-metal-tinged steamroller of ‘Edge Crusher’. This really was a greatest hits set in the best way possible, Dino Cazares was in perfect form and you could tell how amped he was for this set from our interview with him earlier that day. 

‘Linchpin’ is sure to get everything that isn’t bolted down up in the air as that machine gun riff blasts through the speakers causing unprecedented damage to everything in its wake. It was great to hear more modern tracks like ‘Recharged’ and ‘Disruptor’ when Fear Factory could have easily hid behind a set of tracks from Obsolete or Demanufacture. It shows a band that’s willing to move forward and innovate with their sound. 

The set ended with a triple hit of ‘Replica,’ ‘Demanufacture’ and ‘Zero Signal,’ three absolute classics in the Fear Factory discography. It’s clear that Fear Factory are still dedicated to capturing that sound they’ve worked so hard to create with new vocalist Milo Silvestro while also pushing themselves as musicians, some of these riffs are not easy to keep up with but it’s comforting knowing the machine is still working to the best of its ability as it devastated all that stands in its way. 

Fall Out Boy was the highlight of the entire festival for so many but the way their set was constructed and the clash with Fear Factory caused upset for some, including myself. Fall Out Boy put together their version of the Eras tour with classics from each album being played in neat chronological order. 

Fear Factory’s set ran into Fall Out Boy’s set so if you saw Fear Factory you missed: ‘This Ain’t a Scene,’ ‘Sugar We’re a Going Down,’ ‘Thanks for the Mmrs’ and the best song to come out the entire emo movement: ‘Dance Dance’. It’s hard to feel disappointed about this considering I still got to hear eternal classics like ‘I Don’t Care,’ ‘My Songs Know What You Did In The Dark,’ ‘Uma Thurman’ and ‘Centuries’. 

Fall Out Boy put in an unreasonable amount of effort on the set design and bits including Pete Wentz flying away with balloons, a giant claw machine and magic 8 ball and of course; lots and lots and lots of fire. If you’re not confident in your set at Download just put fire in it, everybody loves fire. 

It’s no secret that Fall Out Boy are all awkward people, Patrick Stump is a phenomenal vocalist but he seems like the type who will do whatever he can to not have to talk on mic and that’s why we have Pete Wentz. Pete’s warm persona was only outshined by his glorious head of hair as he helped out a couple with their gender reveal. “Is it gonna be a Fall Out Boy or a Fall Out Girl” said Pete before revealing that the lucky couple will in fact be having a boy and will likely be naming it Download. 

The set ended with ‘Saturday’ and a legion of Downloaders got to experience this banger while trudging through mud back to their campsites, exhausted but full of memories of an amazing set. You thought I’d make a Simpsons reference somewhere in this set didn’t you? Well, I tried my best but I failed miserably. The lesson is never try. 

Sunday 

Sunday was a rough day for all involved. The mud had become viscous sludge and made traversal incredibly difficult and the majority of bands on the bill had to cut their sets short due to the arena opening an hour later than planned which led to some very public meltdowns including the now legendary stage trashing from Code Orange. 

With many people feeling the effects of the rain, some had opted to go home and end on a high note but the sun had come out for everyone who stayed which made for an awkward experience for those who came with ponchos and raincoats. 

Lord Of The Lost opened the Apex Stage with a 20-minute set which disappointed many including Lord Of The Lost themselves but they still pushed through and gave a highly energised set full of industrial weirdness and classic European heavy metal. 

It’s hard to get a good representation of you as a band when your set is so short but they gave it their best shot as they ripped through tracks like ‘We’re All Created’ and the iconic Eurovision entry, ‘Blood And Glitter’. 

Lord Of The Lost is a middle ground between Rammstein and The Prodigy, their sound is super energised and theatrical but still heavy and rhythmic. Their short set is a highly truncated version of the headline show so be sure to keep an eye out for a UK tour in the future. While they didn’t have the longest set, you can still check out our interview here. 

Hailing from New Zealand and taking over the Opus Stage was Alien Weaponry. Anyone who saw Gojira’s last tour will vividly remember the unique sounds of Alien Weaponry, a monstrously heavy band with respect and love for their Maori heritage flowing through their veins. 

Alien Weaponry are a band that have this intense aura as drummer Henry De Jong performs a Haka before the set begins properly. This whole display sets a tone of intensity that permeates through their sadly short set. The riffing and the drumming on tracks like ‘Kai Tangata’ are as punishing as they are tight. 

There really isn’t anything like Alien Weaponry out there and their embracing of their own culture and history is deeply fascinating and is likely the first experience of Maori culture to a great deal of British people in the audience. Highly recommended to people willing to open their minds and hearts to other cultures while accepting and repenting for the flaws of their own. See our interview with the band here.

Creeper have been gaining momentum over the last few years so it’s only natural they’d end up on the Apex Stage with the oddball breed of spooky rockabilly music. Their sound can be best described as the middle ground between Danzig and Ghost, there’s a clear punk attitude mixed in with some heavy metal harmonised guitar work. There’s something for everyone. “Download are you down with the devil?” asked frontman Will Gould before continuing to prance around the stage to the bright and colourful high energy of Down Below. 

There’s a great deal of production value and fun gimmicks on stage like the pyrotechnics and ghost dancer girls parading around the stage to ‘Lovers Led Astray’ which also featured an appearance from Atreyu guitarist Dan Jacobs. Creeper have announced a co-headline appearance at Wembley with Black Veil Brides on Devil’s Night and there really couldn’t be a more perfect lineup to celebrate Halloween with. There’s a great deal of camp value and fun to be had with Creeper and the fact that the songs can stand alone without all this production value speaks to the quality of the band. Creeper were an absolute delight at Download but a terrifying nightmare in Minecraft. 

Due to interviews, I only caught the last few songs of Kerry King’s new project but they still made a brilliant impression. A few years have passed since Slayer retired and it was amazing to hear the mighty thunderclap of ‘Raining Blood’ once again as this powerhouse of thrash metal legends played a mix of Slayer classics and cuts from Kerry King’s debut solo album From Hell I Rise. 

It was ironic that one of the few moments that would be improved by torrential rain saw beautiful shining skies but there had been enough rain for one weekend. Vocalist Mark Osegueda does a pitch-perfect impression of Slayer vocalist Tom Araya throughout the set before saying  “Thank you for exchanging aggression with us” as the band finished with the Drop B rager ‘From Hell I Rise,’ a personal favourite from the new album. 

Kerry King is far from an eclectic musician but it feels comfortable knowing that there’s still a bit of Slayer DNA still travelling around the globe ready to part the skies and drench all in their path with a torrential downpour of blood. 

Many people spent the weeks leading up to Download 2024 speculating on who the secret set could be: My Chemical Romance, Paramore, Weezer, The Tony Danza Tapdance Extravaganza, Garth Brooks, Frankie Muniz were all solid guesses but it seemed like nobody was right as Parkway Drive announced they would be playing Download on their Instagram that fateful Sunday morning. 

Getting it out of the way quickly, this set should have been on a bigger stage. There was no way inside the Dogtooth Stage tent and hardly anyone could see the band but the sound still carried due to Parkway Drive’s crisp and clear tones blasting through a powerful speaker system. 

The absolute hero of this set was the one drunken man armed with only an inflatable guitar and music in his heart creating his own circle pit outside the tent. This man was an absolute legend as he brought people out to dance in his pit and just be a genuine lover of music. A true king of metal. 

Headlining Download 2025 is a possibility for Parkway Drive but we’ll have to wait and see what the future holds but until then, it was time to turn around and watch another set of goofballs do their thing. 

Bowling For Soup haven’t played Download in 10 years but they fit perfectly on the Apex Stage. Their whacky back and forth mixed with their collection of youthful comedy pop-punk anthems made them a brilliant addition to an already stacked day of incredible music. 

Brendan B Brown of Wheatus showed up on stage to perform ‘Teenage Dirtbag’ and further led to confusion about whether or not Teenage Dirtbag was a Bowling song or a Wheatus song. Incidentally, ‘Stacy’s Mom’ is a song by Fountains of Wayne. I Saved you Googling that, you’re welcome. 

Cramming all your classics and banter into a 45-minute slot is a massive task for most bands but for Bowling For Soup it seemed nearly impossible. ‘Girl All the Bad Guys Want,’ ‘High School Never Ends’ and ‘1985,’ the reminder that existence is fleeting and the time in which your presence on this earth will be acknowledged is incredibly limited, all briefly cured everyone’s chronic knee pain and got a largely middle-aged crowd moving. 

Chris Burney was not present at Download and his presence was sorely missed but we can all hope that he’ll be present at the UK tour with Wheatus in February. While Chris wasn’t there, we can at least enjoy Jaret’s son Everett dressed as a tortilla which surely won’t lead to an entire wave of people showing up to Bowling for Soup shows in tortilla costumes. 

The set ended with a group hug on stage and I’m sure if Bowling For Soup could hug everyone in the audience, they would. A group of absolute icons and you can check out our interview with Jaret here. 

Sum 41’s final UK festival appearance on the Apex Stage garnered a massive crowd desperate to say their goodbyes before the final UK tour in October. Despite it being a sombre occasion, Sum 41 were dead set on making this a brilliant celebration of their time as a band and of the dedicated fans that have made Sum 41 a household name amongst rock fans. 

“We’ve got old songs, even older songs and the oldest songs,” said frontman Derryck Wibley as he made it clear that time was short. 45 minutes isn’t a particularly long time in the grand scheme of things, especially when you’ve been a band for almost 30 years but they did their best to get through all the classics. 

Most bands would be tempted to play the hits but Sum 41 spiced it up with a track from their latest double album: Heaven X Hell. ‘Landmines’ went down a storm and it’s a shame it didn’t have enough time to become a setlist staple but the brief time we had with it in the set was fantastic. 

‘Motivation,’ ‘Fat Lip,’ ‘In Too Deep,’ the list goes on and even though Sum 41 are in the middle of playing their last shows, they still gave it their all and so did Download. A fitting send-off to one of the best pop-punk bands to ever hit the stage. 

The set ended with the most metal pop punk song ever written: ‘Still Waiting’. This track caused unmitigated chaos in the marshes of Download and will be remembered as one of the best closing songs any band has ever put in their set. 

The Apex Stage saw a former underdog return to rapturous applause and a band some believe should have been the headliner: Limp Bizkit. At a certain point in history, Limp Bizkit was massively hated but you wouldn’t believe that was ever the case if you saw their set at Download 2024.

“This is Download 2024, right? But you’re gonna party like it’s 1999” declared Fred First as the skies beamed pure brilliant light on God’s favourite band (go read the bible, it’s in there). “Has this turned into a party yet?” Fred asked rhetorically knowing full well the party started when Limp Bizkit hit the stage. 

Opening with the classic iconic snarled riff of ‘Break Stuff,’ Limp Bizkit set the fields of Download alight as frontman Fred Durst patrolled the stage doing whatever the hell he felt like doing at that time. Fred danced around, listened to his favourite tunes and told people to continue sending pictures of their genitals on Instagram like the benevolent gnome king he is. 

Fred even reminded people what time it was before going into the Kerrang Radio staple ‘Rollin,’ one of the few rock songs that has mandatory choreography. The set continued with tracks like ‘Take a Look Around,’ ‘Nookie’ and the song Wes Borland has been dying to play: ‘Hot Dog’. They even played ‘Break Stuff’ a second time in case you missed it or just wanted to hear it again. 

There’s a case to be made about Limp Bizkit headlining Download. We’re long past the days of Fred and the gang being pariahs. Limp Bizkit are finally a beloved band that garner love and respect despite being made up of gangsta Santa Claus, Ryuk from Death Note and one of the tightest rhythm sections in nu metal. Even Download boss Andy Copping got on stage to celebrate the ‘Nookie’ and just like that, most of the audience figured out their favourite set of the weekend. 

Clashing partially with headliners Avenged Sevenfold but still making the most of the time they had, Machine Head took to the Opus Stage. Having witnessed Machine Head several times over the years, I had first hand knowledge that Machine Head would bring the pain live. The pain was brought in spades as they opened with the crushing groove metal riffing of ‘Imperium’. 

The band continued to blast through immortal riffs like ‘Ten Ton Hammer,’ ‘Blood Sweat and Tears,’ ‘Locust’ and even newer tracks like ‘No Gods No Masters’ went down an absolute storm. Machine Head have this amazing quality to elevate tracks that aren’t as well liked such as ‘From This Day’ and ‘Is There Anybody Out There’ and turn them into absolute masterclasses of heavy metal in a live setting. 

Robb Flynn is a master hype man in even the smallest rooms you can put him in, so imagine what he can do when you put him on a massive stage at Download surrounded by fire. It’s a shame Machine Head clashed with the Sunday headliners but we can still hope for a UK tour in the near future considering how long it’s been since the Vikings and Lionhearts tour with Amon Amarth. 

Avenged Sevenfold have tried to headline Download a few times over the years with one of those times being a Covid year but they finally hit the stage armed with a brand new album, a killer lineup and some interesting choices of attire. 

Some have criticised the set for leaning too heavily on the new album Life Is But a Dream but I’d argue that these tracks were improved in the live setting and gave many a new appreciation for the record. The stomping ‘Nobody’ worked as a slower heavy break in between the classics and the erratic and unpredictable ‘We Love You’ got the crowd ready to throw down when they weren’t experiencing violent tonal whiplash. 

Obviously the set was full of anthems like the ultimate dual guitar solo of ‘Bat Country,’ the gigantic butt rock riffing of ‘Hail To The King’ and the punishing ‘Nightmare’ which saw the band using an AI filter over the video feed. This received a mix reception as many people in the back could only see the filter but from up close, it was an interesting effect that made this song feel all the more unsettling. It’s still disappointing that ‘Beast And The Harlot’ wasn’t on the setlist but there’s only so much time on the stage and you can’t get to everything. 

Frontman M Shadows said “These tours get booked and everything is centred around Download” which is certainly true of the UK legs. Headlining Download is a massive undertaking and Avenged Sevenfold gave it their all and in my personal opinion, it paid off. As a longtime A7X fan, it was incredible to think how many classics were on the set I’d forgotten about. I haven’t listened to ‘Little Piece Of Heaven’ since 2011 and I still remember every single word. 

M Shadows sounds brilliant in between talking about weird things like existing in a simulation but it’s easy to tune that stuff out and go back to enjoying the set and being complacent with your time in the programme. Dual guitar attack from Synyster Gates and Zacky Vengeance is on point as always and the seemingly impossible task of taking over for The Rev was fulfilled beautifully by the immensely talented Brooks Wackerman. 

There were some minor technical issues during ‘Nightmare’ which caused a minor blackout but after a few minutes, A7X were back on stage with the ultimate 578 riff: ‘Unholy Confessions’. If you’ve ever put your guitar in Drop D then you’ve taken a crack at this classic iconic riff. Seeing it live played by the band themselves was a personal highlight of the entire weekend. 

The set ended with ‘Cosmic,’ a grand prog rock track filled with lasers and light and with that, the sunset on Download 2024. Download has always been one of those things I’d abandoned hope of ever getting to experience given health problems and life getting in the way. Getting to see all this amazing music while getting drunk in a field with all these weird and wonderful people that I’d come to call my friends was everything I’d hoped it would be back when I was 15, dreaming of seeing the likes of Black Sabbath and Metallica in this world-famous arena. 

Was it perfect? No, the mud was everywhere, my feet hurt, food was expensive and it was emotionally and physically draining at times. Would I do it again in 2025? In a heartbeat.

The post Download Festival 2024 – Mud, Music and Memories appeared first on RAMzine.

Scene Queen’s debut album features some older tracks that have become live staples like ‘Anthem of Disgust,‘ ’18+,‘ and the call to action against abusers, ‘Push Up Bra’. There’s still a great deal of interesting songwriting and growth in all of the new work, some of which doubles down on the hip-hop influence that her music has featured. The whole album has this sick-of-everything tone and that makes some of the more aggressive tracks like ‘BDSM’ and ‘Oral Fixation’ hit even harder. 

There’s a wealth of girly pop club bangers that hit hard; ‘Girls Gone Wild’ has big single energy with its synth hooks and primal scream chorus and ‘PEG’ could comfortably fit into any girls night out playlist. Whether intentional or not, this album feels like a metalcore interpretation of Ashnikko with its abrasive and crass tone. ‘Amateur’ is probably the best representation of this and also contains my personal favourite line of the album; “if you want an A, eat this apple all day, just Lewynsky the desk because class is in sesh”. Bars. 

‘Mutual Masturbation’ hits super close to home having gone to many prog shows and eavesdropping on insufferable production snobs talking about hybrid picked mixolydian legato sweep arpeggios and the differences between an Asusmajor#9 and a 1997 Toyota Corolla. It’s a cathartic track and I’ll take any opportunity I can to talk smack about prog snobs. 

Hot Singles in Your Area has some surprising emotional depth and vulnerability in the form of the album closer, ‘Climax’. It’s easy to forget that Scene Queen is a character and that there’s a person with genuine thoughts, feelings, insecurities and neuroses and ‘Climax’ touches on all of that for a deep, introspective and relatable moment. “Silly gets old” is a line that holds some particular resonance. As someone who has relied on comedy as a cornerstone of my personality, you always end up asking yourself “What’s left if I don’t have jokes?” 

Scene Queen is a woman who usually writes about being a strong, infallible force of nature who speaks for the voiceless and stands up for those who need it so to hear some vulnerability makes her feel all the more inspirational. Scene Queen has proven that she’s capable of writing clever and funny lyrics that have a point, anthemic emo arena rock ragers, pulverising beatdown bangers all while serving c***. 

There’s something for everyone unless you’re a terrible person, then there’s nothing for you. It’s also worth noting that I clocked that all the song titles were porn categories before Scene Queen mentioned it on Twitter. I don’t know what that says about me but it can’t be anything good. 

The post Scene Queen promises Hot Singles in Your Area… appeared first on RAMzine.

Download is one of the biggest festivals in Europe and arguably the most iconic alternative festival in the UK boasting career-defining sets from bands that have gone on to dominate the alternative scene and become genre-ascending mega stars. All it takes is one good set. This article contains brief outlines and song recommendations for each band and will contain stage times once announced. Pro-tip: Click ctrl + f and type the band you are after, to go directly to that band.

Book your tickets now: www.downloadfestival.co.uk.

Friday, June 14th 2024

Apex Stage

Queens of the Stone Age – 21:10 – 22:50

Masterminded by Josh Homme and boasting some of the greatest rock albums of all time, Queens of the Stone Age have been due to headline a stage of this magnitude for a very long time. ‘No One Knows,’ ‘My God is the Sun,’ ‘Go with the Flow,’ ‘Little Sister,’ the list of classics is seemingly endless. You’re insane if you’re not already getting hyped for that drum intro from ‘Songs for the Dead’. Their set is going to be full of Nicotine, Valium, Marijuana, Ecstasy and alcohol (don’t do drugs). 

Royal Blood – 19:00 – 20:10

It’s not difficult to figure out why Royal Blood deserve to be this high up on the bill. With their brand of punchy and youthful Inbetweeners rock sound, they’re set to do some serious damage. Expect wall-to-wall madness once ‘Figure it Out’ kicks in. 

Black Stone Cherry – 17:30 – 18:30

Black Stone Cherry are full of arena rock energy with rock club anthems like ‘Lonely Train’ and ‘Blame It On The Boom Boom’. An absolute must see if you’re a fan of Lynyrd Skynyrd-style southern rock mixed with modern hard rock sensibilities. For those who saw their intimate club tour last year, it’s well worth seeing them in their natural habitat: on a massive stage in front of thousands of people. 

Polyphia – 16:10 – 17:00

Polyphia are the next big thing in progressive music and boasts the most incredible musicians currently working in the industry. If you’re a guitar player then you’ve likely heard ‘Playing God’ and ‘GOAT’ and promptly sold your guitars. It’ll be interesting to see how Polyphia perform for a wider audience but either way, their set will definitely have some of the best guitar work of the entire weekend. 

The Struts – 15:00 – 15:40

Hailing from Derbyshire, The Struts are the big homegrown rock band that Download has been waiting for. Full of that in-your-face Northern attitude and 60s garage rock aesthetic, expect a massive rock show for the ages. Check out ‘Pretty Vicious’ (covered by Halsey) and the rowdy ‘Body Talk’. 

Those Damn Crows – 14:00 – 14:30

Those Damn Crows are a straight-up rock band. No frills and no fancy genres just big choruses, massive guitar work and bombastic drumming. You may have caught them opening for The Goo Goo Dolls last year but now is your chance to see them on one of the biggest stages in England. Expect many tracks from their brand new modern classic, ‘Inhale/Exhale’. 

The Blue Stones – 13:00 – 13:30

The Blue Stones are a more laid back indie rock outfit that focuses on groove but can still bring the heavy when they need to. Just check out ‘Be My Fire’ and ‘One By One’. They might not be the heaviest band on the bill but they still pack a punch when they need to. 

Opus stage

Bad Omens – No longer playing!

Bad Omens are on track for total world domination at the moment. Supporting Bring Me the Horizon on their UK tour and boasting one of the most voracious and dedicated fan bases in metalcore as well as dropping ‘VAN,’ a genre-defying masterpiece featuring Poppy. 

Funeral For A Friend (replace Bad Omens) – 21:35 – 22:30

Funeral for a Friend are a post-hardcore band that has made significant contributions to the music scene since their formation in 2001. Originating from Bridgend, Wales, the band’s sound is characterised by its blend of aggressive and melodic elements. Throughout their career, Funeral For A Friend has remained relevant not just through consistent musical output but also via engaging live performances known for high energy levels and audience interaction. Their shows have been praised as cathartic experiences where fans can connect intimately with both band members and fellow listeners over shared emotions conveyed powerfully through songs like ‘History’ and ‘Streetcar’.

Heilung – 20:00 – 21:00

Heilung are an experimental folk/industrial band with members from Norway, Denmark and Germany. Their sound is deeply rooted in European culture and stories of Viking mythology. They make use of traditional European instruments and their lyrics come from runic translations from the Iron and Viking Age. Heilung are a must see for anyone with the slightest interest in Norse culture and even European history in general. They truly are a fascinating collection of musicians and one of the most unique acts at this year’s Download. Be sure to check out their 10-minute epic, ‘Krigsgaldr’. 

Mr Bungle – 18:30 – 19:15

The younger generation is about to receive a massive culture shock once Mr Bungle takes the stage. Now a supergroup made up of Mike Patton (Faith No More), Scott Ian (Anthrax) and Dave Lombardo (ex-Slayer), Mr Bungle is a genre-defying experiment that’s been dormant for decades. Having just announced a UK tour, Mr Bungle is going to be the “what the hell was that?” set of the year. 

Soft Play – 17:15 – 17:45

Soft Play are a British two-piece punk outfit inspired by classic punk acts like The Clash, The Ramones and Rancid. They have a great deal of anger towards the state of the modern world, like most people should, and the live show will definitely reflect that as the anarchy unfurls at Download. ‘Mirror Muscles’ is a sludgy banger and you can always check out ‘Punk’s Dead’ if you’re upset about the band changing their name. 

All Them Witches – 16:05 – 16:45

All Them Witches are a slower and more relaxed breed of blues rock that mixes in elements of folk music and stoner elements. They’re a fantastic band to get lost in sound as a wall of noise (and perhaps a particular smell) hits you square in the face as you vibe to the psychedelic sound of ‘The Marriage of Coyote Woman’. Highly recommended for fans of Queens of the Stone Age and Green Lung.

Scene Queen – 15:00 – 15:35

Scene Queen is exactly who you think she is; Queen of the Scene. Her brand of quick-witted and inclusive metalcore has made her a massive figure in the metalcore scene. Scene Queen is gearing up to drop a brand new album this year so Download could be the first place in the UK to hear those new tracks, after she’s done touring with PVRIS of course. You can check out our coverage of her Leeds show from last year here.

Halocene – 14:00 – 14:30

Halocene are largely a cover band but they have a wealth of original songs. You may recognise their collection of Britney Spears songs from various online ads, one of the most popular being ‘Circus’. You can check one of their 22 records which include covers and original songs. ‘Maleficent’ feels like the bridging point between In This Moment and Halsey. 

Hanabie – 13:00 – 13:30

Hanabie are a metalcore outfit from Kichijōji, Japan. They blend Western metalcore with Eastern sensibilities and Harajuku fashion aesthetics. They are another instance of music transcending language and creating something virtually everyone can appreciate in some capacity. Hanabie are recommended for the anime crowd but there’s so much to appreciate about their sound. Check out their crushing (but cute) anthem ‘We Love Sweets’. 

Avalanche Stage hosted by Kerrang Radio

Busted – 20:30 – 21:30

Easily the most controversial addition to Download 2024, Busted may have been a band for rock kids when they first showed up but all those kids have grown up now. Expect to hear millennial mega-hits like ‘Crashed the Wedding,’ ‘Thunderbirds Are Go’ and ‘What I Go to School For’. Everyone out there saying “why are Busted playing” will be out there screaming their lungs out once ‘Year 3000’ comes on as they sit in their foldable chairs because standing for too long hurts their backs. 

Wheatus – 19:20 – 20:00

Wheatus are obviously best known for ‘Teenage Dirtbag’ and they’ve had a fantastic career because of it but it’s worth noting that they have other songs. They’re a pop punk band with that 2000s radical energy you’d hear on something like Crazy Taxi. Get hyped for tracks like ‘Punk Ass Bitch’ and you can even experience ‘Leroy’ with the dirtiest shoes you’ve ever seen. 

Bayside – 18:10 – 18:50

Bayside are now a legacy act in the emo scene but they still pack a punch live. Their music has a somewhat metal edge with harmonised guitars and gallops on tracks like ‘Devotion and Desire’ but the emo sound is absolutely impossible to miss. You can check out their brand new album There Are Worse Things Than Being Alive right now and get some prep done for Download. 

Vukovi – 17:15 – 17:45

Scottish two-piece rockers Vukovi are set to dominate 2024 with a guitar-driven set of powerful pop rock with a metal edge. ‘I Exist’ will get regular rotation on sad playlists and the fact that synth-forward track ‘SLO’ isn’t dominating the radio is a crime. Expect feral energy throughout this set, on stage and in the audience. 

Escape The Fate – 16:20 – 16:50

Metalcore legends Escape The Fate are set to hit the UK with force as they support the release of their latest album, Out of the Shadows. Expect to hear emo/core anthems like ‘One for the Money,’ ‘This War is Ours’ and a wealth of breakdown-riddled mascara anthems to appeal to your inner emo. 

Dream State – 15:30 – 15:55

Dream State are a Welsh post-hardcore/metalcore band that make use of massive choruses and vocal flourishes working in tandem with melodic guitar work. While they’re supporting their latest release, Still Dreaming, they’ll still have time for classics like ‘White Lies’ and ‘New Waves’. 

Aviva – 14:40 – 15:05

Quirky Australian indie rocker AViVA will be hitting the Avalanche Stage with her unique brand of electronic-inspired personal singer-songwriter stylings. There aren’t many acts that are like her and her music is fairly unique, particularly amongst this lineup, check out ‘Grrrls’ and ‘Rabbit Hole’ and see what we’re talking about. 

Oxymorrrons – No Longer Playing

Those who saw Corey Taylor last year have already experienced Oxymorrons, everyone else is about to get a violent introduction. With a hyperpop aesthetic complete with bright neon punk imagery and trap beats, they’re set to take on the world and they’re starting with Download. Check out ‘Look Alive’ and ‘Definition’ to get the full experience before seeing them dominate the Avalanche Stage. 

TX2 – 13:50 – 14:15

TX2 is an infamous figure in the metal community on TikTok, with his inflammatory lyrics and general edginess. His sound is based in modern Metalcore and emo but he’s been known to switch his sound like on the infamous ‘I Would Hate Me Too’.This will be his first time in the UK so it’s anyone’s guess how his set will go down, will he be a surprise hit or not?

Storm – 13:00 – 13:30

Storm invoke a genuine sense of teen angst in their music with tracks like ‘After A Lie’ and and ‘House of Cards’. They may be a new band but they’re sure to make waves as they open the Avalanche Stage. Be sure to check them out, despite having the least search engine-friendly name possible, they will become a talking point soon. 

Dogtooth Stage

Biohazard – 21:45 – 22:30

Expect punishment once Biohazard hits the stop for their headline slot on the Dogtooth Stage. Blurring the lines between thrash and hardcore, Biohazard are legends in the scene and their sets always pack an immense punch. This promises to be a massive well of insanity that runs deep and is fueled by aggression. Be sure to check out their landmark album Urban Discipline before their set. 

Health – 20:50 – 21:20

HEALTH are best known for their synth-driven industrial rock songs that have been featured on video games like Cyberpunk 2077 and Max Payne 3 but they’re also known for their experimental live shows. It will be interesting to see what their show will look like in the daytime but it will surely be a neon-lit sight to behold. 

Make Them Suffer 20:00 – 20:25

Australian metalcore outfit, Make Them Suffer, are a supremely heavy act that combines symphonic elements and grand soundscapes with crushing riffs and abrasive synth work. ‘Doomswitch,’ ‘Erase Me’ and ‘Ghost of Me’ are sure to get the Dogtooth Stage quaking. 

Scowl – 18:50 – 19:30

Scowl have very limited experience with the UK so far but they’ll get to experience what we have to offer at Download 2024. We may have invented punk but America brought it to new extremes and Scowl are the next chapter in hardcore punk. Scowl are a direct band with ultra-short bangers like ‘Bloodhound’ and ‘Seeds to Sow’ but they still have a lot to offer with their latest EP, Psychic Dance Routine. 

Speed – 18:00 – 18:25

Hardcore punk is not for the faint of heart so if you value your teeth, you’ll stay out of Speed’s way once they hit the stage. Beatdown is a famously vicious genre and Speed are definitely one of the more hostile bands on the lineup this year. ‘We See U’ is 68 seconds of pure blinding rage and an invitation to throw down. 

Ithaca – 17:10 – 17:35

Ithaca are a metalcore band from London and have been in the scene since 2012. Fronted by the acid-tongued Djamila Boden Azzouz, their music is as socially conscious as it is aggressive. Their most recent album, They Fear Us, is a wealth of seething rage and hostility just waiting for a riled-up crowd to experience it and cut loose. 

Zulu – 16:20 – 16:45

Hardcore has dozens of small intricacies that divide all of its subgenres but it always has one connective: it’s angry as hell. Zulu have roots in powerviolence and they’re sure to cause some chaos with their socially conscious bursts of rage. Zulu’s major talking point is black pride and the black experience throughout the world on tracks like ‘From Tha Gods To Earth’. They are definitely worth checking out if you’re socially conscious or in need of education through music. 

The Callous Daoboys – 15:30 – 15:55

The Callous Daoboys recently opened for Tesseract in the UK and they went down really well. They’re incredible musicians with a clear understanding of how to use their unbelievable technical proficiency to create songs that actually feel like songs and not just an ostentatious display of twiddly nonsense. ‘Waco Jesus’ and ‘Pushing The Pink Envelope’ are well worth your time if you’re a fan of bands like Sikth. 

Urne – 14:40

Urne are a London-based band that combines Alice in Chains, Mastodon and Metallica to create a unique sludgy mess of abrasive riffing that is capable of shattering bones. Their latest album ‘A Feast On Sorrow’ made many best of 2023 lists and this is your opportunity to see why. 

Froze mode – 13:50 – 14:15

A true oddity at Download this year, Frozemode are primarily a rap group with rock elements. At one point, their inclusion would have been seen as a cardinal sin but we’re at a point where genre matters very little as long as the vibes are right. Frozemode will definitely make the most of their set and bring chaos. Look up ‘Vermin’ and try to say they don’t belong at Download. 

Defects – 13:00 – 13:25

Defects are a brand new metalcore band from London that pack a serious punch in the vocal department and have the riffs to back it. They just dropped their new single and title track from their new album, Modern Error. Modern Error will be released on May 24th 2024, just in time for Download. 

Saturday, June 15th 2014

Apex Stage

Fall Out Boy – 21:20 – 22:50

They need absolutely no introduction, they are the indisputable kings of pop-leaning emo rock. Fall Out Boy have been rock royalty since they first arrived on the arms race back in the early 2000s and it all culminated in their biggest UK show yet: headlining Download 2024. Expect mega anthems like ‘This Ain’t a Scene, It’s an Arms Race,’ ‘Sugar We’re Going Down,’ ‘Thnks fr th Mmrs’ and arguably the best rock club dancefloor rager ever written, ‘Dance Dance’. 

The Offspring – 18:40 – 19:55

For those unfamiliar with Crazy Taxi, be sure to educate yourself about the wild, in-your-face punk attitudes of The Offspring. Despite being in the fourth decade as a band, The Offspring show no signs of being any less radical than they were when they first showed up. ‘Why Don’t You Get a Job,’ ‘Pretty Fly for a White Guy,’ ‘Self Esteem,’ ‘The Kids Aren’t Alright’; the list goes on as Download prepares the stage for the original skater punk badasses. 

Enter Shikari – 17:05 – 18:05

Arguably one of our finest exports, Enter Shikari are on track to become one of the UK’s biggest arena acts following their sold-out tour earlier this year. If it’s anything like their appearance at Slam Dunk 2023, Enter Shikari are set to have a massive set this year at Download. Only one question remains: do you remember how to clap? 

Babymetal – !5:40 – 16:30

When they first showed up back in 2012, Babymetal were one of the most divisive metal acts to ever come out of Japan. They blend the heaviest metal imaginable white super cutest J-pop aesthetics to create something wholly unique. Everyone remembers that feeling of total confusion when they first heard ‘Gimme Chocolate’ and they’ve only grown since then. Don’t forget to bring chocolate for the most brutal kawaii set of the whole festival. 

Frank Carter & The Rattlesnakes 14:15 – 15:05

Frank Carter & The Rattlesnakes are a British punk band with a progressive edge. With a more lyrical focus than some of their peers, Frank Carter & The Rattlesnakes still bring that wild youthful punk aggression. Check out their brand new record ‘Dark Rainbow’ in preparation. 

The Hunna – 13:05 – 13:45

Sandwiched between two of the heaviest acts on the Apex Stage, The Hunna are an indie rock act full of rowdy radio ragers and softer emotional clean tracks. Check out ‘Bonfire’ in preparation, it’s sure to go off when it finally kicks in and it’ll come right back down when ‘She’s Casual’ starts. 

Wargasm – 12:00 – 12:35

Constantly touring the UK and fresh off of massive headline tours and their iconic support slot with Limp Bizkit. If you’re looking for the bridging point between The Prodigy and Limp Bizkit then look no further than Wargasm. Electronic nu-metal might be a newer genre crossover but it’s set to be huge and Wargasm are set to burn it down like ‘Pyro Pyro’.

Bambie Thug – 11:00 – 11:30

Bambie Thug is an Irish solo act that will also be representing Ireland at this year’s Eurovision with their interesting pop banger, ‘Doomsday Blue’. Bambie Thug is closer to an industrial nu-metal act but with a pop edge. Think Billie Eilish meets Coal Chamber and you’ve got something that resembles Bambie Thug. Be sure to check out ‘Tsunami (11:11)’ for a better representation of her sound. 

Opus Stage

Pantera – 19:35 – 20:50

It’s been 20 years since their last appearance in the UK but the Cowboys from Hell are due to make a glorious return with their star-studded lineup featuring Anthrax drummer Charlie Benante and the legendary Zakk Wylde. Take a shot of Jack Daniels for Dimebag and Vinnie as you throw down to anthems like ‘Walk,’ ‘Domination,’ ‘5 Minutes Alone’ and the gut-wrenching ‘Floods’. 

While She Sleeps – 18:10 – 19:00

Hailing from Sheffield, While She Sleeps have been gaining momentum with their energetic brand of hardcore. Supporting their brand new release, Self Hell, they’re sure to make an impression. ‘Silence Speaks’ features Oli Sykes and if that isn’t a glowing recommendation then I don’t know what is. 

Tom Morello – 17:05 – 17:45

Tom Morello is best known as the guitarist for the groundbreaking socially conscious rap metal band Rage Against The Machine, his work with Audioslave and of course, his acoustic solo project The Nightwatchman. His solo set will be made up all of his iconic masterworks and inimitable effects-laden guitar wizardry. There’s no telling what he’ll play but it will be legendary. 

Slaughter To Prevail – 16:00 -16:40

Coming from Russia and fresh off their UK in January, Slaughter To Prevail are the hottest and most controversial deathcore band to come out in recent memory fronted by the ferocious Alex Terrible. Consider this a warning because once the breakdown hits on ‘Demolisher,’ there will be damage. 

Karnivool -14:55 – 15:35

Inspired by the likes of Deftones and Tool, Karnivool are the perfect crossover of nu-metal and progressive metal. They blend heavy downtuned extended-range guitars with expansive prog sound escapes and experimental songwriting. ‘Themata’ is a modern prog metal classic and the world is foaming at the mouth for a new record.

Bleed From Within – 13:40 – 14:30

Bleed From Within are easily the biggest metalcore band from Scotland and Download will be the only place to see them before they support Slipknot on their UK tour in December. ‘I Am Damnation’ and ‘The End of All That We Know’ are designed to be experienced while running in a circle. Listener aggression is advised. 

Asinhell – 12:45 – 13:15

Asinhell is a death metal side project of Micheal Paulsen (Volbeat) formed in 2023. They’ve only released one album, Impii Hora, but it has been making waves amongst the death metal crowd. Impii Hora has that old school death metal sound you’d expect from the likes of Morbid Angel but with modern production and songwriting sensibilities. 

Florence Black – 11:55 – 12:20

Florence Black are a Welsh 70s throwback rock band in the same vein as Budgie. They’ve been quietly picking up traction through their extensive sold-out UK tours. Check out ‘Look Up’ as well as their latest album Bed of Nails now. RAMzine knew about them before they were cool and you can check out our coverage of their Manchester show supporting Bokassa here. 

Heriot – 11:05 – 11:30

Heriot are a devastating machine of pure unhinged chaos that will wake the Opus stage up faster than a hot cup of coffee to the face. Their debut album Profound Morality is a crushing masterpiece of genre-bending brutality that mixes the most abrasive hardcore around with shoegaze and whatever else they happen to get their hands on during the writing sessions. 

Avalanche Stage hosted by Kerrang Radio

Billy Talent – 19:40 – 20:40

Billy Talent are indie punk rock legends and if you don’t know them yet then that’s a massive red flag. Full of twangy guitar tones and the unique vocal stylings of Benjamin Kowalewicz, Billy Talent are here to get you jumping higher than previously thought possible. ‘Fallen Leaves’ and ‘Red Flag’ are mega hits from the alternative hits back in the 2000s and they’re still certified bangers. 

Holding Absence – 18:30 – 19:10

Holding Absence are the latest alt-rock darlings following the release of their next perfect album, The Noble Art of Self Destruction. Too sad to be pop-punk and too bouncy to be straight-up emo, they exist in a sweet spot designed to win over everybody. Expect future classics like ‘Crooked Melody’ and the heartbreaking empowerment anthem, ‘Angel in the Marble’. You can also check out our coverage from last year here. 

Silverstein – 17:20 -18:00

Emo/post-hardcore legends Silverstein have been grinding for over two decades and have a wealth of classics like ‘Smile In Your Sleep’ and the iconic ‘Smash Into Pieces,’ which was featured on American Idol (seriously). Acts like Silverstein prove that mid-2000s post-hardcore still has a place in modern rock and has the potential to win over a massive new following, desperate to discover what came before them. 

Noahfinnce – 16:25 -16:55

Noahfinnce is arguably most well known as a YouTuber but their reputation as a musician is quickly catching up following their support slot on Enter Shikari’s last UK tour. Their newest EP, Growing Up On The Internet, is out now and deals with the intricacies of online culture through a queer lens all without coming off preachy or morally superior like most online discourse has become. Their set is sure to be a warm and inclusive safe space for all, like all music should be. 

RØRY – 15:30 – 16:00

RØRY is a solo artist that utilises heavy themes including mental health and feminism to create a safe space for discourse and positivity while still creating sweeping choruses and power pop songwriting. RØRY’s latest album, Family Drama, is a heartbreaking venture guaranteed to make you feel something, it may not be something good but it’s still something. 

Charlotte Sands – 14:35 – 15:05

Punk singer/songwriters are becoming a more common occurrence but when they show up, they’re destined for great things. Charlotte Sands will be bringing her introspective yet melodic and lively brand of pop punk. Charlotte’s latest album Can We Start Over is a brilliant mix of pop and rock designed for massive broad appeal. 

Lowlives – 13:40 – 14:10

Lowlives are a supergroup made up of members of The Defiled and other alternative superstars. They have an almost goth sound with the classic chorus-drenched guitar tone permeating through their downer anthems. Their newest album Freaking Out drops late May but you can check out the title track and the Type O Negative-inspired ‘Loser’ now. 

Deathybyromy – 12:45 – 13:15

Deathbyromy continues the trend of rock singer-songwriters leaning towards a more accessible but still challenging sound. Problems feature bright and warm production with dower yet relatable lyrics designed to make you think. 

Hotwax – 11:50 – 12:20

Hotwax are a post-rock trio that makes some really spacey yet noisy 90s riot grrrl-style rock music that’s sure to wake you up quick. Highly recommended for fans of Sonic Youth and The Go Gos, ‘Treasure’ is sure to make things kick off in a big way. 

Mallavora – 11:00 – 11:25

Socially conscious and brimming with rage, Mallavora are picking up momentum on TikTok with their new single ‘Wake Up,’ an anthem of social awareness and being mindful of who the real enemy is. Mallavora are highly recommended for those who like their hardcore with an intense focus on social justice. 

Dogtooth Stage

Fear Factory – 20:55 – 21:45

Boasting one of the tightest rhythm sections in metal and with guitar work as sharp as steel, Fear Factory are one of the most important bands in the Industrial metal scene. ‘Edgecrusher’ and ‘Replica’ will get the entire Dogtooth Stage in the year as they rip through their headline slot. 

Dying Fetus – 18:50 – 19:30

Dying Fetus don’t have a very nice name but they make up for that by being very good at what they do; crafting insanely heavy and fast death metal. ‘Your Treachery Will Die With You’ is a certified death metal classic full of vicious breakdowns that will inspire a safe environment full of violence and carnage. 

Alpha Wolf – 17:45 – 18:20

Alpha Wolf are one of the latest bands to mix metalcore with nu-metal in the same vein as I Prevail. Their sound may be harsh but their lyricism and tone have this life-affirming quality. ‘Whenever You’re Ready’ and ‘Sucks 2 Suck’ are brilliant tracks and the latter even features Ice T, which is a glowing endorsement. 

Ne Obliviscaris – 16:45 – 17:20

Australian progressive metal band, Ne Obliviscaris are famous for their incredibly long and technical songs which make use of a violin as a main lead instrument. They may not play many songs but they’re always impressive, just check out their latest album Exuul. You can check out our coverage of their last show in Manchester here. 

Dying Wish – 15:55 – 16:20

Dying Wish are having their time in the sun following their European tour with August Burns Red. Their latest album Symptoms of Survival is a mid-2000s metalcore revival album with modern hardcore elements mixed in. Do not miss their set before they get even bigger because they’re only getting better as they go. 

Gel – 15:05 – 15:30

Hardcore punk band Gel’s debut album, Only Constant, clocks in at 16 minutes but that short runtime is an absolute firestorm of fury. There aren’t many bands that are as succinct and direct as Gel and that makes them a band worth watching. ‘Honed Blade’ is two minutes of simple but effective rage. Keep an eye out for more Gel in the near future. 

Guilt Trip – 14:15 – 14:40

Guilt Trip are a Manchester based band that gained success after supporting Malevolence on their UK tour and since then, they’ve become a talking point in the hardcore scene with frantic and hostile bangers like ‘Broken Wings’ and ‘Tearing Your Life Away’. They’re sure to turn some heads at Slam Dunk this year and Download will be no different. Don’t miss it. 

Calva Louise – 13:25 – 13:50

Calva Louise are a straight-up rock band with some electronica leanings. They may not have some elaborate fancy pants genre name but they do have bangers. ‘Human Becoming’ has a massive arena chorus and a guitar solo to match. A surefire hit early on this year’s Download. 

ALT BLK ERA – 12:35 – 13:00

ALT BLK ERA deal with representation of the alternative scene with their dark hip-hop sound. There really isn’t much like it in the modern landscape of music. ‘I’m Normally Like This’ gives a “We are the weirdos, mister” vibe and is recommended for only the edgiest of people. 

Knife Bride – 11:45 – 12:10

We are currently experiencing a renaissance of nu-metal and some of the best bands of the genre are revealing themselves right now. Knife Bride could be the next big thing. ‘Permanent Smile’ is a ripper that is sure to put a smile on everyone’s face once the pit opens. 

Celestial Sanctuary – 11:00 – 11:20

Celestial Sanctuary play undiluted death metal in the same vein as acts like Obituary and Bolt Thrower. Full of simple yet effective Caveman riffing, Celestial Sanctuary are a killer way to start your Sunday. ‘Rid the Gormless’ and ‘Soul Diminished’ are sludgy and grotesque death metal anthems for only the most extreme people.

Sunday, June 16th 2024

Apex Stage

Avenged Sevenfold – 21:00 – 22:50

Avenged Sevenfold are certain to take up the mantle once Metallica retires. A7X are masters of creating radio-friendly radio metal bangers like ‘Almost Easy’ and ‘Bat Country’ but they also have the ability to craft oddball prog anthems as evidenced by their latest album, Life Is But a Dream. A7X have headline Download before with various issues while performing, but they’re dead set on taking over the Apex Stage in 2024.

Limp Bizkit – 19:00 – 20:00

Limp Bizkit are rap metal gods with a goofball sense of humour and whacky riffs from the inimitable Wes Borland and godly stage presence of the ultimate hype man, Fred Durst. You’ll get so much ‘Nookie’ you’ll want to ‘Break Stuff’ (I’m so sorry you had to read that). 

Sum 41 – 17:00 – 18:00

Sum 41 have announced their retirement which makes Download 2024 their final UK festival appearance. Having given us 30 years of kickass pop punk, it’s only fair they get a proper send-off before their farewell tour returns to the UK (no dates announced yet but we have hope). Eternal bangers like ‘In Too Deep,’ ‘Fat Lip’ and of course, ‘Still Waiting’ are going to be experiences that you may not get to experience for long. 

Bowling For Soup – 15:40 – 16:30

“Perpetual adolescence” tends to have a negative connotation to it but when Bowling For Soup are around, it’s the most desirable trait you can have. Frontman Jarret Reddick is king of vulgar nonsense and it helps to embrace your inner 14 year old. You can check out our coverage of their co-headline show with Less Than Jake in Manchester earlier this year here. 

Kerry King – 14:25 – 15:10

Backed by an all-star cast of thrash legends including Phil Demel and long-time Slayer drummer Paul Bostaph, Slayer guitarist Kerry King makes his UK solo debut just in time for his debut album, From Hell I Rise which drops in May. It’s still a mystery what he’ll play but you can be certain that it’ll be pure thrash. You can stream his new singles ‘Idle Hands’ and ‘Residue’ right now.

Creeper – 13:10 – 13:55

Creeper are one of our very own goth rock legends from Southampton. Having developed a massive following over the years as well as supporting My Chemical Romance on their last UK dates, they’re sure to go down a treat. Their last album Sanguivore is full of hard rock eyeliner anthems like ‘Lovers Led Astray’ and ‘Cry To Heaven’ that are definitely worth checking out. 

Code Orange – 12:00 – 12:40

Code Orange have leant into a 90s alternative sound similar to the likes of Alice in Chains and Smashing Pumpkins recently. Their latest album Below is a critical darling and has caught the attention of many music snobs from all over the world. But don’t let that fool you, they still have a lot to prove and they’re still deadly live. Take cover when ‘Forever’ starts. 

Lord Of The Lost – 11:00 – 11:30

Lord Of The Lost have gone from strength to strength since they represented Germany at Eurovision 2023. They’re currently enjoying worldwide fame and success and their return to the UK is more than welcome. Leaning on industrial metal influences and flaunting a very theatrical image, Lord Of The Lost are a great pick to open the Apex Stage on the final day of Download 2024.

Opus Stage

Machine Head – 19:45 – 20:55

Machine Head are no stranger to Download and their anthemic thrash anthems and raucous energy fit the stage perfectly. Boasting some of the most unhinged mosh pits thrash can offer, they’re sure to let freedom ring with a shotgun blast. Get ready for crushing devastation with legendary tracks like ‘Davidian’ and ‘Halo’ as they close out the Opus stage of Download 2024.

Corey Taylor – 18:30 – 19:15

Corey Taylor needs no introduction, especially not at Download. His set is sure to get people ready for Slipknot’s UK tour in December, it’s set to feature that same trademark aggression but also a little bit of silly fun you wouldn’t expect. All we can ask is: who lives in a pineapple under the sea? (if you know, you know).

Electric Callboy – 17:25 – 18:05

Evolving from a more serious metalcore outfit, Electric Callboy have transformed into a goofy band that still makes ultra-heavy music but also creates whacky fun rippers like ‘Hypa Hypa’ and ‘We Got the Moves’. Electric Callboy are the middle ground between I Prevail and Weird Al Yankovic. Bring your gym gear, bro. 

Thy Art is Murder – 16:15 – 16:55

Following the release of their latest album, Godlike, Thy Art is Murder have been touring Europe and drawing massive crowds with their brand of punishing deathcore. ‘Reign Of Darkness’ is going to be a cataclysmic event. You can check out our coverage of their Manchester show last year too here.

Elvana – 15:20 – 15:50

Elvana sounds like a joke from the initial description; they’re a very talented Nirvana tribute act but their frontman is Elvis. If that doesn’t sound amazing then I don’t know how else to convince you. Everything you’re picturing in your mind is exactly how it plays out on stage and it’s absolutely brilliant. 

Zebrahead – 14:25 – 14:55

Rap/punk/ska rockers Zebrahead are in a new era with new singer Adrian Estrella. Formed in 1996 and still punk rocking like the good old days. Anthem, ‘Falling Apart’ and ‘Rescuing Me’ are all classics and there’s every chance they’re on the setlist this year. 

Royal Republic – 13:30 – 14:00

Swedish outfit Royal Republic will be breaking up the glut of heavy metal with some good old-fashioned rock and roll. Not quite heavy enough to be metal but too heavy to be pop rock, Royal Republic are among the best of the 70s throwback bands. Full of punchy hooks on tracks like ‘Rata Tata,’ Royal Republic are perfect for the Clutch fans out there. 

311 – 12:40 – 13:05

Alternative rock band 311 are chilled with their reggae/funk-inspired rock stylings. Perfect for the stoner crowd (not there will be any of that this year). Look up the spacey mellow twang of ‘Amber’ and the airy vastness of ‘Love Song’ to get the full experience of 311.

Alien Weaponry – 11:50 – 12:15

Many will remember Alien Weaponry’s legendary slots opening for Gojira last year. There were intense pits and rabid audiences throughout every single date, you can check out our coverage here. Be sure to check out ‘Kai Tangata’ from their classic album Tu. Their love and respect for Maori culture mixed in with some of the heaviest riffing around makes Alien Weaponry a wholly unique and transformative experience. Do not miss their set. 

Kelsy Karter & The Heroines – 11:00 – 11:25

Kelsy Karter & The Heroines are part of the 90s riot grrrl revival but with a glam rock twist full of huge arena rock choruses. ‘Love Goes On’ has that 80s glam tone and ‘Devil On My Shoulder’ has a modern pop flavour. It’s sure to win over a lot of new fans once the Opus Stage opens.

Avalanche Stage hosted by Kerrang Radio 

The Used – 20:30 – 21:30

The Used released their latest album, Toxic Positivity, last year and they’ll have plenty of shiny new emo tracks for all to enjoy as well as older classics. ‘The Taste of Ink’ and ‘Buried Myself Alive’ are tracks that have that melancholy edge to them but enough energy to get you moshing through the tears. 

Counterparts – 19:20 – 20:00

Counterparts are modern metalcore band that lean more towards hardcore. They favour the anthemic expansive sound without sacrificing the heaviness. ‘Whispers Of Your Death’ and ‘Wavering Vow’ are fantastic representations of what they do best: blending melody with punishing riffs and intensity. 

Hoobastank – 17:50 – 18:50

Hoobastank are a band that makes thoughtful rock that has this overt sonic sadness that permeates through their music. Hoobastank’s music is as sad as their name is silly. Be ready for their early 2000s mega-hit, ‘The Reason’. 

Atreyu – 16:50 – 17:20

Atreyu are mid-2000s metalcore royalty with an emo edge. Their harsh and abrasive sound blends perfectly with their  heartfelt lyrics and intense guitar work. ‘Ex’s & Oh’s’ is an underrated classic that has been unfairly forgotten and it’s time for Atreyu to issue a reminder. 

Of Mice and Men – 15:50 – 16:20

Of Mice and Men seem desperate to come back to the UK considering their massive UK tour only ended a few months ago. While that tour was full of smaller venues, it’s time they took to a massive mega stage with a gigantic audience. It’s your chance to experience nu-metal/core classics like ‘Second and Sebring’ and classics from their iconic album, Restoring Force; as well as the new classics such as ‘Obsolete’ and ‘Warpaint’. 

Tigercub 14:50 – 15:20

Tigercub are a 70s rock throwback act with a sludgy production from Brighton. They prominently feature growling distortion-fueled groovy basslines working in tandem with old school overdrive guitar tones. The title track from their latest album, The Perfume of Decay, is worth your time if you like a bit of treacle in your rock. 

Royal & The Serpent – No Longer Playing

Royal & The Serpent are an indie rock solo act with pop sensibilities. Their music has that sugary pop sound but still has complex lyricism that many are sure to find relatable and engaging. ‘Overwhelmed’ is sure to catch the attention of many in the audience with its relatability and frank honesty about anxiety. 

Pinkshift – 13:50 – 14:20

Pinkshift are a pop-rock band from Baltimore with far too much energy, hopefully they’ll get to share some of it with a massive crowd at Download. ‘I’m Gonna Tell My Therapist on You’ is a wild raucous track that is sure to go down well as everyone nurses their Sunday morning hangover. 

Cemetery Sun – 11:50 -12:20

Cemetery Sun have a distinctly indie sound but they mix in hip-hop elements to make a fairly unique sound amongst their emo-inspired peers. You can check out our coverage of their set supporting Black Veil Brides in 2023 here.

Delilah Bon – 11:00 – 11:25

Delilah Bon’s approach to nu-metal features feminist lyricism and a general intolerance to the poor treatment of woman at the hands of men. ‘Dead Men Don’t Rape’ will definitely start a dialogue. You can also check out our coverage of her set opening for Scene Queen in Leeds here. 

Dogtooth Stage

The Black Dahlia Murder – 21:15 – 22:00

The Black Dahlia Murder’s continued existence is a tribute to the tragically departed legend that is Trevor Strnad. His influence as a vocalist will never be forgotten just as the music he helped create will. The Black Dahlia Murder will close the Dogtooth stage for this year with their ultra-technical melodic death metal stylings. ‘What a Horrible Night to Have a Curse’ is a melodeath masterpiece and a fitting way to end the weekend. 

Erra – 20:20 – 20:50

Erra have just released their brand new album, Cure, to widespread critical acclaim. Erra are a progressive metal band that leans towards Djent, a 100% real and legitimate genre. Armed with 8 strings and carrying on the traditions of bands like Periphery and Born of Osiris, Erra will have many new fans by the end of their set. 

Fit For a King – 19:30 – 19:55

Fit For a King are an amazing blend of heaviness and melody. Their hooks are so infectious and the guitar work really shines through in a genre that prefers simplicity. ‘When Everything Means Nothing’ is an emotional roller-coaster designed to have you moshing in tears. 

Shadow of Intent 18:40 – 19:05

Shadow of Intent are growing at a terrifying rate and it won’t be long before they start filling the same size venues as Lorna Shore. ‘The Heretic Prevails’ is a bizarre deathcore ripper that has a prominent piano lead and symphonic elements but still has that same blunt force trauma-inducing heaviness we know and love. 

Imminence – 17:45 – 18:15

Swedish metalcore outfit Imminence are a fairly progressive band without leaning too far into the genre. There’s a lot of synth work that fills out their sound and makes them sound massive. ‘Chasing Shadows’ showcases the band at their most eclectic with complex lead guitar lines and colossal drums mixed with epic synths. 

Brand of Sacrifice – 16:55 – 17:20

Forged in Canada and creating pure devastation, Brand of Sacrifice are one of the best deathcore bands around at the moment and they’re biding their time before they get the credit they deserve. ‘Exodus’ and ‘Lifeblood’ are 100% worth adding to your deathcore playlist, ‘Lifeblood’ even has a “blegh”. 

Crystal Lake – 16:05 – 16:30

Crystal Lake are one of the most important metalcore bands to come out of Japan, their approach to modern metalcore is as unique as it is deadly. Their new single ‘Dystopia’ is a classic in the making and their older material like ‘Apollo’ will cause a ruckus this year. 

MISSIO – 14:20 – 14:45

MISSIO are a double act that create these bleak electronic tracks in the same vein as Twentyonepilots. It’s sure to appeal to your inner teenage angst regardless of your age. ‘Twisted’ is a teen angst-riddled bop and many will know ‘Sing To Me’ from the Death Stranding soundtrack. 

Underside – 13:30 – 13:55

Underside’s sound is inspired by classic rock and thrash metal and it doesn’t take long to figure that out. They make use of clean vocals with that trademark thrash snarl and play at great speeds. ‘Still An Eye On You’ invokes Kill Em All-era Metallica and ‘War Of All Against All’ is about as close you can get to sounding like Slayer nowadays. 

Pest Control – 12:40 – 13:05

Leeds crossover newcomers, Pest Control, are set to infest Download with breakneck micro thrash songs. They may have a short set but they’ll be able to fit a lot in it. Their newest album Don’t Test The Pest is a killer slice of party thrash with a hint of hardcore thrown in. You can check out our coverage of their set supporting Obituary in Manchester here. 

Harper – 11:50 – 12:15

Harper is most famous for her appearance on America’s Got Talent singing ‘Holy Roller’ by Spiritbox when she was 9. She’s grown up since then (she’s now 12) and she’s got her own music. ‘I Hope You Choke’ has some killer production and her vocals have come a long way since that ATG appearance. 

Until I Wake – 11:00 – 11:25

Until I Wake are opening the final day of Download on the Dogtooth Stage and it’s sure to be a violent wakeup call. ‘Octane’ has huge vocals and synth to match the punishing guitar work and devastating drums. 

Keep checking back as we update this article with stage times once they’re announced. 
Book your tickets now: www.downloadfestival.co.uk.

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Delilah Bon was first and her set was really engaging but may have been lost on some audience members who were hoping for a purely metal show. Delilah’s set and stage presence is a wild mix of 90s Jnco jeans era Nu Metal, the bad girl pop sensibilities of Christina Aguilera and a Monster High aesthetic. 

Delilah’s vocals and the bass were the only elements performed live to facilitate the props and theatrics that were present throughout the set. This would typically be disappointing to most audience members but Delilah made use of the entire stage along with her backup dancers. 

Her songs leant heavily on female empowerment and retribution for abusers, the latter of which was the highlight of the set; ‘Dead Men Don’t Rape’ was a rallying call for survivors and a wholly agreeable take on how society should treat sexual abusers. For those who needed this kind of sentiment, Delilah delivers a brilliantly high-energy blast of catharsis and aggression. 

In Her Own Words were next and they were a more conventional emo-adjacent band. Vocalist, Joey Fleming, sounded quite similar to many other greats of the emo genre and had a great deal of range and his ability to emote well was admirable. 

The band had a full cast of fantastic instrumentalists, the guitarist displayed a wealth of technical proficiency which was made all the more impressive by the vocal harmonies throughout the set. The MVP of the show was the drummer, his fills and energy were phenomenal and it helped demonstrate just how much work a drummer puts into making a band’s set more energetic and lively. 

The lights dimmed and a techno remix of ‘Barbie Girl’ played as the band came to the stage before her majesty took her to her throne. Scene Queen opened with ‘Pink Whitney,’ a crushingly heavy track about cheap deadbeat promoters. Leeds was the first sellout show of the UK leg so she’s definitely getting that bag tonight as she races around the stage like some bejewelled pink Valkyrie. 

“Aww, you want the fuckin’ song” she said as her guitarist continued chugging. The crowd was more and more riled up and just as tension was becoming unbearable, she busted into ‘Pink Paper’. This was still very early into the set so the audience was rearing and ready to clean themselves up in preparation for another round once they caught their breath. 

The majority of tracks in Scene Queen’s set are now classics on TikTok but the track that exemplifies her sound the most is ’18+,’ an aggressive and confrontational track about groomers and sexual predators in the scene. The most ingenious part of the song is how vague it presents the issue and leads to many people speculating on who it could be about which is a massive terrifying problem. This is your reminder to have your Warped Tour regulars spayed or neutered. 

Continuing the theme of taking power back from people who should be killed, ‘Push Up Bra’ is Scene Queen’s latest single and it’s yet another powerful track designed with empowerment in mind. The continued intolerance of sexual assault is a long-standing talking point in the scene and Scene Queen’s dedication to taking horrible acts committed in the scene and twisting them into talking points and pieces of art with value proves just how important of an artist she has already proved herself to be. 

Scene Queen performed a brand new track that is due to release on streaming platforms later this month. The song is titled ‘MILF or Man, I Love Fucking’ and her Intent is to “take back country from Republicans” which is a massive undertaking but if anyone can pull that off, it’s Scene Queen. 

Joey Fleming returned to perform ‘Barbie & Ken’ and he could be one of the best male vocalists to perform the song since Cody from Set it Off. The two have great stage presence and chemistry as they bounce off each other and race around the stage. It’s clear the two have a great deal of respect for each other as artists and some of the Instagram posts of the two are genuinely heartwarming. 

Scene Queen announced the very last song of the set and apologised that there would be no more songs played after this final song. ‘Pink Rover’ capped off a wonderfully entertaining set with yet another song about killing rapists: a topic I’ve yet to become sick of. 

After a few moments, the band came back on stage for a “pre-planned encore”. Nobody saw this coming and we were all pleasantly surprised to hear her blast through one of the very few bisexual empowerment anthems in metal: ‘Pink Panther’. Clocking in at only 2 minutes, everyone knew they only had a limited time to wreak utter havoc at Stylus and they fully took advantage of every second. 

It’s easy to think that Scene Queen is an arena-selling artist that has long since lost any relatability based on how prominent she is on social media but her live show proves she’s just like the rest of us: an ADHD-riddled lunatic who just wants to be pretty and listen to angry music. 

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Slam Dunk has been a British institution since 2006 and has been steadily growing more and more every year but an overwhelming online opinion has arisen that it may have grown too big to continue being a one day festival held at two separate locations. The parking situation elicited opinions from many on social media throughout the entire weekend.

Many attendees had great difficulty navigating a rather disorganized parking situation, causing huge delays to people’s days, with some cases resulting in hours stuck in traffic. Slam Dunk has since commented to say “there was an unprecedented number of cars arriving to the festival site who hadn’t pre-booked car parking. This alongside other external factors created a traffic flow issue which inevitably caused delays into the festival site.  As a measure to combat the traffic flow issue we made the conscious decision to stop checking passes for parking to increase the rate of entry to the car park and to prevent further delays”. Read Slam Dunks full statement here. Those on social media also reported access issues, as well as coaches from other cities struggling to navigate. 

By the time we’d gotten into the festival grounds, which was an admittedly smooth process once we’d gotten our wristbands, several bands had already been on and we’d missed their sets. Some of the earlier acts like Heriot, Zand, Sincere Engineer, Millie Manders & The Shut Up and Destroy Boys were missed by far too many people because of the parking fiasco and that’s a shame because they’re all artists that deserve massive turn outs. 

Vukovi

Vukovi review by Jess Bland*. 

*Words by Dale Unsworth except where specified. 

Scottish two-piece Vukovi had no issues warming up the crowd for what was a fairly early set at 12:15. Lead vocalist Janine Shilstone seemed genuinely thrilled by the turnout, which was to be expected following the success of their new album NULA which recently won Best Production at the Heavy Music Awards. 

Opening to ‘HADES’, it wasn’t long before Shilstone demanded the crowd to “open this pit right f*cking now,” and with so many songs from NULA featuring catchy hooks and strong riffs from guitarist Hamish Reilly, it only feels natural. Shilstone’s interaction with the crowd is second to none, jumping down to the barrier during ‘LASSO’, giving everyone a high-five and declaring ‘that’s more f*cking like it!’. The set closes with ‘La Di Da’ with Shilstone singing from the barrier before crowd surfing during the final chorus.

Girlfriends

The Key Club stage was where all the smaller acts played which is where we saw Girlfriends, a pop punk project masterminded by Nick Gross and Travis Mills and they were fantastic despite only being together for two and a half years. They had such a life affirming show and seemed so happy to be performing and after meeting them later on it seemed like they’d maintain that energy performing to a crowd of any size. 

They had gigantic sing along choruses on tracks like ‘Life’s a Britney’ and ‘Tattoo’ which won over a brand new audience but the big moment that made everyone love them was when they jumped into a cover of ‘Just a Girl’ by No Doubt. 

If you’re in need of some emo tinged pop punk with the classic iconic “emo yarl” then Girlfriends is worth checking out. 

Check out our interview with Nick and Travis on RAMzine soon. 

Hawthorn Heights

Hawthorne Heights are a mid 2000s emo staple and it was absolutely rammed or at least the entrance was. By this point I was still figuring out how to manoeuvre the festival and hadn’t quite figured out the best places to see the bands but Hawthorne Heights sounded amazing from where I was. 

As someone who didn’t appreciate emo music when it was coming out, this whole festival gave me a new appreciation for the emo scene and I attribute that to what I saw of Hawthorne Heights. They had amazing guitar harmonies and the atmosphere amongst the crowd was electric. 

Having turned my nose up at the likes of Hawthorne Heights when I was a younger and less intelligent metal elitist, their set really turned me around and ‘This Is Who We Are’ became a new playlists staple. This is why giving bands a second chance is important and festivals are the best place to do that. 

LØLØ

LØLØ is a frustrating act to search for online due to several other acts being called Lolo but without the accent character. Despite the awkward SEO, LØLØ gave a really fun performance that acted as a decent introduction to her sound. 

A decent description would be if you took mid 2010s tumblr aesthetics and mixed it with TikTok pop punk and as much as this sounds like a negative, it really isn’t. LØLØ seems to be geared towards a younger audience but that’s an important niche to fill as every singer songwriter has to have that youthful start before they grow and change their sound. All the pieces are there, it’s down to her to put them together and I’m confident she will. 

Scene Queen

Scene Queen took her throne through TikTok but has since become a globally beloved advocate for female empowerment in a scene that has been plagued by the rotten stench of toxic masculinity, entitlement and grotesque machismo perpetuated by some of the worst people in music. 

Scene Queen’s music screams “if you’re not gonna share your scene, then we’re taking it back” as she blasts through iconic ragers like ‘Pink Rover’ and ‘18+’, arguably the most important song about policing your scene in recent memory. 

Even outside of the serious talking points, her set was so much fun, Fred Durst but without the problematic elements and hat. The crowd was losing their minds and even spilled out over the hill as it got bigger and bigger. She even performed a cover of ‘I Kissed a Girl’ from acclaimed nu metal artist Katy Perry.

As a member of the LGBT community, I greatly appreciate having something on my playlist that I can lose my mind to while still being a bit girly pop. If you didn’t see Scene Queen then you’re basic. 

Millencolin

Once Scene Queen ended we ollied back over to The Dickies stage for Millencolin. This band is made up of consummate professionals who still maintain the classic punk rock energy required for a stage as big as Slam Dunk. 

Regardless of whether or not you skate, Millencolin are the quintessential band to skate to. ‘No Cigar’ is best remembered as the best song from Tony Hawk’s Pro Skater 2 (don’t argue with me, it’s objectively true) and hearing it live was amazing. Their whole set made me look around for ways to skate and get big air over the crowd. 

Perhaps it would make the slog between stages through the food stall village tolerable. Just imagine filling your special metre and doing a boneless kickflip over the massive crowds, collecting S-K-A-T-E and going for the sick score while Millencolin is blaring Bullion and that just barely scratches the surface of how cool this set was. If this part of the review made no sense to you then you’re either too young or you’re too cool for video games. 

Gogol Bordello

Gogol Bordello are a highly diverse group of musicians who came together to make punk music mixed with Romani folk elements complete with violins, accordions and thick European accents; and they could be one of the best bands to play The Dickies Stage that day. 

There was such joy on stage as eight people had to fit on the stage to play the most jovial music you could hope to listen to with tracks like ‘American Wedding’ and ‘Immigraniada’. It’s very difficult to make so many instruments work together and not have it sound like an utter mess but Gogol Bordello were all phenomenal musicians and turned an unsure crowd into a legion of fans. 

Even between the fun filled music they made important political statements including a call to continue supporting Ukraine with Start Wearing Purple. Music is the best way to get people to care about things and this seems like a philosophy Gogol Bordello endorses and so do we. 

Go see Gogol Bordello throughout the UK this December and start wearing purple! 

Fit For A King

It was at this point in the day where I needed something heavier and Fit For A King were a welcome pit break in between all the bouncy punky bands and doot doot music. Fit for a King were over on the Knotfest Stage and there were some technical issues which delayed their set but it was worth the wait once they finally hit the stage.

Fit For A King are a great introduction to modern metalcore with their use of clean and harsh vocals which were absolutely amazing and the quick switching between the two styles were very impressive. They had fantastic stage presence as they thrashed around and did the classic iconic metalcore spin move that never gets old. 

You can also catch their headline shows throughout the UK in December with support from Emmure, Thrown and Gloom in the Corner. 

Kids In Glass Houses

Kids In Glasses were over on the Amazon Stage and they were a really lively act that embodied the 2000s alt/indie sound and aesthetic from the twangy guitar tone to the snazzy suits but the best part of their set for me was how close it was to the Crash Records tent. 

Kids In Glass Houses still sounded amazing inside of the tent as I was left in my happy place, listening to amazing high energy rock music while flipping through death metal records. Crash Records are a staple in Leeds and they brought a great selection and I left in a great mood after buying my copy of Left Hand Path by Entombed and walking out into the sun as ‘Give me What I Want’ started playing. A perfect moment. 

Escape The Fate 

Escape The Fate were almost impossible to get close to by the time we’d arrived at the Knotfest Stage. They were one of the biggest draws at this stage and they lived up to hype. They had astounding guitar work and Craig Mabbit gave a brilliant vocal performance as he was accompanied by a rabid audience that screamed along throughout every song. 

From where I was standing I could only make out what the crowd was doing but in my imagination the band was doing insane stunts based on how the crowd was reacting but with that said, the Knotfest stage had been insane all day. 

Maggie Lindemann

Maggie Lindermann review by Jess Bland*.

Maggie Lindemann took to the Key Stage with emotional banger ‘Take Me Nowhere’ from her new album Suckerpunch, before gliding seamlessly into ‘Scissorhands’ from EP Paranoia. Lindemann mentions that the Slam Dunk South crowd opened a pit to ‘Break Me’ and asks almost nervously “do you guys think you could open a pit too, maybe? No need to be shy”. The crowd eagerly took her up her offer with a semi-decent pit, keeping the energy alive right until the end of the set. 

Before playing ‘Phases’ Lindemann reveals that she “didn’t used to like this song much, but it seems to do well live”, and she’s not wrong, as the crowd excitedly sings back the opening lines. Fitting in an impressive thirteen songs, with ‘Break Me’ and ‘How Could You Do This To Me’ only featuring a chorus and verse, Lindemann finishes with sapphic pop-punk anthem ‘She Knows It’, ending on a high.

The Academy Is… 

The Academy Is had been inactive for a very long time and hadn’t played the North of England in around fourteen years according to frontman William Becket but they were welcomed back with open arms and rapturous applause. It’s a little disappointing to see a smaller crowd but they were on at the same time as Less than Jake and PVRIS which are hard acts to compete with. 

The crowd was still really receptive and ready to go as the band pulled out classic tracks like ‘About a Girl’ and ‘Ready for It’ which was notable for being in the end credits of modern cinematic classic Snakes On A Plane. Their sound is reminiscent of 90s alternative acts mixed in with 2000s emo, it’s designed for people who want sad music but don’t want to deal with the emo yarl. 

Hopefully this sparks a UK tour in the future because The Academy Is has been greatly missed. 

We Came As Romans

We Came As Romans were back over in the Knotfest tent and we struggled to get past the awkwardly laid out food village. Queues were overlapping and it just became a mass of people you had to barge through but we made it on time for the start. 

We Came As Romans was a beautiful experience and a testament to how powerful music can be as a tool to overcome the darkest moments in life. ‘Lost In The Moment’ was dedicated to former lead singer Kyle Pavone who had passed away a few years prior and this was a really beautiful moment. 

All the touching tributes were appreciated but the audience were here for crushing riffs and vicious breakdowns and they got those in spades. ‘Cold Like War’ was a standout track with its infectious vocal hooks pounding drumming and crushing guitar work, this song really had everything going for it and you can see them again throughout the UK in January. 

Billy Talent

Billy Talent were over on the Amazon Rock Stage and it was a much older turnout. The majority of the audience were die-hard fans who had been listening since the first three records came out and it was cool to see that level of dedication as longtime fans finally got to see a band they’d loved for decades 

Benjamin Kowalewicz has a unique voice that you’d probably call an acquired taste but he gave a killer performance that lived up to people’s expectations as they performed classics like ‘Devil in a Midnight Mass’, ‘Fallen Leaves’ and ‘Red Flag’. 

You can also read our interview with guitarist Ian D’sa on RAMzine very soon.

Yellowcard 

Yellowcard were over on the Kerrang Stage celebrating a massive landmark by playing Ocean Avenue in its entirety, an alternative masterpiece and one of the greatest rock albums of the 2000s.

Some may be disappointed that there were only songs from that album on the setlist but to those people I ask “what more could you possibly want?”. You’ve got ‘Way Away’, ‘Ocean Avenue’ and ‘Miles Apart’. The whole album is a masterpiece and it’s an amazing experience to finally see them live. 

There were some technical issues that delayed the set which led to a false start and some frustration from frontman Ryan Key but once it got going it was amazing. Everything sounded near identical to the record but it was the crowd losing their minds all around that made it all the more effective. 

Yellowcard haven’t played in the UK for the better part of a decade and It’s a wonderful sight to behold and the Ocean Avenue set made it all the more special because how many more times are they likely to do that again? 

Enter Shikari

Enter Shikari review by Jess Bland*.

It was highly anticipated what the British rock band Enter Shikari had up their sleeve as headliners. The band is only going from strength to strength after recently celebrating the number 1 spot on the album chart with their new release, A Kiss For The Whole World. Opening with ‘(Pls) Set Me On Fire’ frontman Rou Reynolds previously declared they would have a “whole new setlist”, and with a fairly even mix of past albums, fans were eager to hear hits such as ‘Sssnakepit’, ‘Juggernauts’ and ‘Anaesthetist’. 

Eight songs in they welcome Wargasm to the stage for their collab ‘The Void Stares Back’, which recently won Best Single at the Heavy Music Awards. Blitzing through genres that resemble rock, post-hardcore, indie pop and electronic, there really is never a dull moment during the set, most notably the second half which was introduced as a ‘quick-fire round’. Reynolds hypes up an already excitable crowd, asking if they’re ready to “bring the energy and the stamina” for seven songs packed into an energetic four minutes. Starting with ‘Havoc B’, they bring out Cody Frost to join for both ‘Bull’ and ‘The Last Garrison’, as songs seamlessly transition into one another over a lively drum and bass set, both unique and efficient. Ending the round on a high, Reynolds announces they’re “bringing this song in 2023”, and the crowd is ready, making sure their hands are free to clap along to the intro – 2006 emo hit ‘Sorry You’re Not a Winner’ sounds surprisingly good mixed into 140bpm, as the lyrics “my white abode, do you remember” transition into a 30-second drum and bass breakdown.

Bassist Chris Batten humbly admits that they “didn’t expect this when starting the band 20 years ago”, which surely made everyone in the crowd suddenly feel very old. Ending with ‘Live Outside’ and ‘{The Dreamer’s Hotel}’, it’s safe to say Shikari can go down as legends in live performance, and they may not have expected this kind of response, but it’s very well deserved. 

The Offspring

Back to The Dickies Stage for punk rock legends The Offspring, one of the two headliners of Slam Dunk 2023 and based on social media reception, they were the weaker of the two headliners but it’s still hard to be disappointed with The Offspring. 

The strength of their back catalogue was incredible and not a single classic was omitted. ‘Come out and Play’, ‘Want You Bad’, ‘Pretty Fly for a White Guy’, ‘Why Don’t You Get a Job’ and my personal favourite, ‘The Kids Aren’t Alright’. 

The setlist was amazing and the back and forth between Noodles and Dex Holland was entertaining but you’d be forgiven for thinking the whole section of Noodles playing classic metal riffs was a waste of time. On stage banter is really important but if you can play the length of an entire song in that time then you have to be saying something of significant value. 

These riffs included ‘Iron Man’, ‘The Trooper’ and ‘In the Hall of the Mountain King’, all classics but it did feel like a bit of a cop out but you have to ask what else would they have played without that section? Would you rather have heard some fun banter or a deep cut designed to fill the set out. Probably the latter but shut up and eat your noodles. 

According to the band, there were 1,999,004 people in the audience and I can confirm that is a correct estimate because I counted them during ‘Why Don’t You Get a Job’, the slowest of their classics but still a fantastic sing along moment. You can argue that there were better choices for a headliner but The Offspring is still a very safe choice and they always bring it live. 

I’d taken my last chance to go feral during ‘The Kids Aren’t Alright’, an eternal banger which never fails to get people moving and for some it was the last enjoyable experience before their will to live evaporated while trying to get out of the car park. 

Some of the people who left hours in advance to beat the rush were stuck in traffic and still got to see The Offspring from over the wall. Somehow we managed to dodge it coming off the staff car park as ‘You’re Gonna Go Far, Kid’ played in the background like some kind of chase montage from a 90s boner comedy. But at least we were finally getting out of Leeds, something that very few people would be able to say for another few hours. 

Slam Dunk is an important festival in the UK music scene, it fills a hole left by Warped Tour and it’s one of the very few festivals that caters to alternative music without being exclusively devoted to extreme metal or niche subgenres so there’s a responsibility to do right by that audience. 

The festival couldn’t facilitate everyone with food stalls having queues that lasted longer than some band’s sets, toilet queues with minimal organisation and many people having to go without water for long stretches and disabled viewing platforms being essentially useless to the majority of people who need it. 

For anyone hoping to blame the venue, Live at Leeds happened at Temple Newsam the previous day and it was smooth sailing, I even managed to get a pizza while watching Kate Nash without having to plough through the crowd Dead Rising style. 

The lineup and bands themselves have not disappointed. Slam Dunk 2023 was still an amazing experience with the chance to see acts that hadn’t toured the UK in years. Hopefully these issues will be ironed out for Slam Dunk 2024.

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