EXPLORING BIRDSONG truly have built their rightful home as a genre-fusing band brick by brick, the release of their debut full-length album Every House We Built a new, rock-solid foundation in their expanding estate. Puns aside, this album is a venture that sees the three-piece push themselves to new heights sonically while drawing on real experiences to fuel their impassioned lyrics and performance. Initially using sparing metaphors for house construction to represent changing relationships, they found the metaphors translated exactly the deep feelings of heartbreak and hope they wanted to depict. Sticking to this theme has seen the band promote the album in the style of tan-suited estate agents, generating delight and intrigue for fans waiting to ‘see their viewing’ with Birdsong Property Developers and the band hosting early listening parties. Successfully creating a buzz ahead of the album release and September tour, let’s open the door and give you the grand tour. Archipelago kicks off the album with white noise of late night driving during a thunderstorm before lead vocalist and pianist Lynsey Ward breaks through with her soft vocals and a lilting piano scale, changing to her renowned powerhouse voice as she hints at an unavoidable truth as synths and sample drums fall in behind her, everything briefly fading to her whispers and suddenly rushing back in in a swell of sound and pounding drums. Shifting from a ballad to crispier alt-rock vibes, the album’s first release 42 perfectly demonstrated the elevated sound the band have developed, Jonny Knight shredding the bass and dramatic synths as Matt Harrison hammers at the drums while Ward’s vocals soar on words dripping in paranoia, the melody stripping back abruptly as the subject’s perspective shifts and shows how easily doubt can be cast. Romanticise crashes in with a truly catchy beat to lose yourself to, the thundering synths and drums keeping up with the racing lyrics of a vicious cycle of a toxic relationship you keep returning to. Footprints has a quiet beginning that builds into a melancholic ballad, bursting into a sonic kaleidoscope of thumping drums and uplifting synths as Ward laments for something that was never certain, with rising vocal runs and layered harmonies. Leading in with a slow, solemn intro, Arrhythmia strips back to crushing, gently sung “don’t keep me locked in this house” as piano and synth keys play in tandem, subtly adding more keys and a beat on the second verse before it climbs into an explosion of sound and soft calls. Spy In The House Of Love blurs the edges of genres and time, its 80s style synth and vocals combining with a 90s pop drumbeat and modern bass - contradictory to the heartbreaking lyrics, it’s the type of theme song you’d hear in a feel-good movie. Giving a hint of Bridgerton, I_You is one of the more uplifting tracks on the album in its hopeful and expressive sound with orchestral strings and belting drums, Ward’s vocals fierce and powerful as they remind you of your self-worth over echoes of “I love you”. The Warning drops back into a sombre sound full of yearning that abruptly changes into something dark and dangerous, reminiscent of a relationship that appears smooth on the surface but is turbulent underneath. Knight’s bass rattles through in a staccato fashion adding a heaviness to the emotion of the track as agonized strings climb to a frenzied pitch. You Like It Best When It Hurts is the furthest the band has treaded into heavier music, weaving together an operatic metal sound with Ward’s voice pitching lower as she asks in frustration “is that what you want?”, Harrison driving through with a pulverising beat mirroring the dropped bass notes, the aggression palpable. Cartography focuses on the sadder aspects of a fractured foundation, the low synths and swelling strings working in parallel to the simple piano keys that feel both mournful and resigned to their fate, the words ringing out about things breaking down and a vulnerable pleading of “can someone come and take me home”. Title track Every House We Built starts with a synth riff under dejected vocals “anchored down by the weight of the words that passed right through your lips”, the reserved drums and strings gradually joining before it all crests in volume and descends again, finally reaching a crescendo of harmonised yells and instrumentals that feel defiant even as the walls crumble down. Meadowlands doesn’t just close out the album, it breaks ground on new beginnings and the hopefulness that these things will pass, Ward singing over a lone piano “I’m here with you, you’re here with me”, Harrison and Knight joining forces and crashing back together before the album fades out to a distant piano, the gathering silence a moment to reflect and wonder what comes next. Score: 8/10 Every House We Built will be released on 26th June 2026 via Long Branch Records. Words: Julia Stark Photos: Exploring Birdsong

Punk rock and country seem entirely removed from each other, yet Montreal based TRUCK VIOLENCE have forged the two genres into opposing sides of the same coin with their emphatic second album The weathervane is my body. A sound that blurs the line between small-town folk music and forceful punk-rock, the music takes some inspiration from the band’s experiences of moving from picturesque rural zones - where guitarist/banjoist Paul Lecours and vocalist Karsyn Henderson single-handedly created a studio and radio station to encourage the scene in an already tiny town - to the urgency of Canada’s sprawling cities, discovering the expansive underground scene that furthered their musical fusions and personal beliefs. Quickly finding their counterparts in bassist Chris Clegg and drummer Thomas Hart, their innovation and self-reliance has been utilised to the fullest on The weathervane is my body as they created and mixed their eclectic sound entirely in-house. A sentence you’d never expect to read, My dog would fuck the air starts the album with a guttural scream and jarring riffs that descend into sludgy grunge, Henderson shifting from hoarse yells to clean statements of “everyone is the same”, Clegg’s bass a rumbling constant throughout that gives the opener a near-primal feeling. Jaundiced and reaching for a mother begins stripped back to a hook and a deep “I was born jaundiced”, before it ramps up into a cacophony of visceral screams, obliterating drums and borderline hardcore riffs. Compelled by Christy continues the sludge punk sound, battling through a dense, distorted bass line and Lecours’ simple yet evocative riffs and warring solos, as Henderson brings emotional breadth to a message of being knocked down but never being defeated, his screams giving way to a soulful vocal run as the track bleeds out into languid bass and guitar and a lonely banjo riff in the background. House caught fire heads more toward the folk-country route with harmonised guitar and banjo riffs accompanying Henderson’s swooping vocals that have a distant, muffled effect to them as if he’s trying to reach the listener over a great divide through the words “thinking about it brings me down”, before it falls to a pleasing hook and spoken song over a yearning call beneath. New Jesus bursts back in with a powerfully driven drumbeat and rattling bassline, vengeful guitar riffs adding to the ferocity of the screams as it delivers a subtle yet scathing message against the rise of fascism and its orange leader and his self-belief of being the second coming of Jesus. A snappy drum solo and low bass notes kick off Your name, it’s walking, bringing a hardcore punk sound that slows to a trudging pace for the breakdown and forces you to sit in the emotional screams before the riffs and beats race back in at an alarming speed, dropping abruptly into a slowed banjo and guitar medley that builds to turbulent screams of “I’m just trying to remember it, my own face”. Stomach as a tower and the globules descending starts out as a slower entity with weighted bass riffs, the guitar and drums momentarily restrained before they all crash together in an abrasive crescendo, falling away to a slowed breakdown of Henderson rising in pitch and power as he goes from speaking to bellowing “they are not blemishes”. Folk sounds take the wheel for Gerard, be quiet with an emphasis on the banjo and guitar riffs that weave around each other in a melodic dance, melancholy hooks and bass ringing out in the background of their shortest yet most moving track on the album. “Wash yourself clean, clean of everything” is repeated throughout Kindly, wash yourself as the instruments fall into line with each other, the lyrics taking on new metaphorical meaning the longer you listen, the lyrics and rhythms gradually erupting into fast-paced medleys and molding into a cathartic end to a charged album. Score: 7/10 The weathervane is my body will be released on 26th June 2026 via The Flenser/Mothland. Words: Julia Stark Photos: Truck Violence

DELILAH BON is the type of artist who doesn’t just perform, she confronts. Her music doesn’t arrive quietly and politely; it kicks the door down, wearing platform boots and pink, demanding that you listen and feel something. Emerging from the ashes of her previous band HANDS OFF GRETEL, with a new persona built from a feeling of feminist rage and exhaustion by the misogyny and gatekeeping within the scene, DELILAH BON dropped her first single Devil back in 2020. It was a warning shot that quickly became a manifesto and a call to arms. By the time her debut self-titled album landed in 2021, she had already carved out her own lane as an artist, with her genre‑defying fusion of hip‑hop, nu‑metal, and ‘Brat punk’. She alternates between rapping, screaming, and singing, often within a single verse, where she creates a vocal landscape that feels volatile in the best way. The most compelling part about her music is not just the sound, it’s the intention and meaning behind her lyrics. She is building a world where anger is allowed to be loud, where people can weaponise their own femininity and where the girls, the gays, and the theys get to scream back in a release of power and determination. Early singles like Chop Dicks and I Wish A Bitch Would weren’t only songs, they were declarations of power and a refusal to be anything other than the loudest, most unapologetic version of herself. Touring the UK and Europe in 2022, she started building a fanbase that did more than just listen to her music; they absorbed it, recognising her fury, her humour and her vulnerability as a vocalist who wasn’t performing empowerment, she was living and breathing it. Her big moment came in 2023 when she performed her track War on Women on French TV programme Taratata, with SHAKA PONK. Second album Evil, Hate Filled Female, titled after the name an internet troll christened her with, showed how BONN had sharpened her sound and expanded her audience, but still had the fury at heart. She sold out UK and European tours, before playing Shredder, Glastonbury and Download festivals, pushing her reach even further, as well as playing as support for SCENE QUEEN. She went on to release her Princeless Princess EP, with tracks like Cinderella and Bush tearing up the fairy tale story, replacing tiaras with teeth and happily‑ever‑afters with self‑worth and rebellion. BON’s sonic palette is a beautiful collision of contradictions - she’s got sugary hooks over industrial beats, punk riffs alongside snarled rap verses and with heavy-hitting tracks like Dead Men Don’t Rape, she’s got screams that melt into your ears. Every song is built for both individual and collective catharsis; for dancing around your bedroom alone or at a show surrounded by people that look and feel just like you, exorcising your demons and your rage. She is not simply an artist; she is a cultural pressure point, with songs that speak directly to the marginalised, in a way that isn’t just performative, it’s actual support and solidarity. Her work is a safe haven, disguised as a riot with rallying cries. After having to cancel her recent US tour due to safety concerns, as well as general disgust at the way the country is currently being run, she put on a charity show in Leeds, raising over £7,500 for charities aiding those affected by ICE raids and family separation in the US. Along with this, she is constantly lifting up marginalised communities, sharing stories and calls for action. She’s not just talk, she is a real bona fide activist. DELILAH BON is filling a void in music; she’s saying the quiet parts loud, giving rage a rhythm and a reason in a landscape where women in alternative music are often still expected to be palatable and polished. She’s choosing power, she’s choosing noise and most importantly, she’s choosing herself. DELILAH BON will play 2000 Trees Festival on Thursday 9th July. Words: Lou Viner-Flood Photos: Anna Goley for Out Of Rage

“We write a song, a year later it's more relevant than the day we wrote it. That keeps happening, and to be honest, it fills me with dismay.” This is the emotional devastation prevalent in DEAD PIONEERS’ third album Wagon Burner, an incredibly moving, politically charged, and rage-inducing album made up of defiant punk-rock carnage and evocative spoken word from vocalist Gregg Deal. Its core message is unshakable in its fierce sound and lyrics “No kings, no masters / Kick against fascist bastards”. The swift follow-up to 2025’s album PO$T AMERICAN, many bad things can happen in the short span of a year. Inspired by the real-time rise of fascism as well as bringing a voice to the experience of minorities, particularly of Native Americans, Wagon Burner is an absolute sucker-punch of an album that rightfully calls everyone to arms, whether by screaming the album’s lyrics at the top of their lungs or marching in protests. It’s a necessary weapon in its ethos braced behind a shield of furiously cathartic punk. Opening with a disconcerting, reverb sound that gradually builds, Deal begins the album with spoken word in Dead Presidents, saying he gives “no thought” to American presidents, instead paying homage to Indigenous people and the power of “presence and existence” they gave to their descendants. From here, Nazi Teeth brings the ruthless heat of Josh Rivera and Abe Brennan’s guitar riffs and menacing fret slides over Shane Zweygardt’s bold drumbeats that build into rampaging cymbals and rolls, while feminist punk band CHEAP PERFUME’s lead vocalist Stephanie Byrne yells harmoniously of punching out Nazi teeth. Brief at 18-seconds yet carrying a hefty weight to its spoken word is A Message From Mr Bell, delivering a scathing account of how the system is built on Indigenous genocide and American slave trade and maintained by “oligarchs…greedy white pedophiles”, declaring that “none of us are free until all of us are free”. No Kings jumps straight into a galloping drumbeat and fuzzed riffs, Lee Tesche’s bass rumbling under the instruments and keeping us grounded throughout the heavy post-punk rhythms, Deal singing matter-of-factly until the bridge where his rage spills over into powerful shouts of how the systems are designed to benefit fascists, subtly ending on “fuck you and your golden toilet”. Animals That Roam The Planet begins with a voice speaking in English “have you spoken your language today” over a Native American translation (we’re unable to confirm which Indigenous dialect is used and may potentially be Paiute, given Deal’s heritage), before the band launch into cutting rhythms with alt-rock elements and a deliciously slick guitar solo. Guaranteed as the sing-along anthem, Never Alone ramps up the pace and combines alt-rock with punk-rock features in its riotous riffs, featured vocalist Aimee Interrupter of THE INTERRUPTERS taking the lead on the chorus over harmonised backing vocals, her husky voice strong and resolute as she sings “you’ll never (never) stand alone”. The Worst Among Us starts with an alarm-esque sound before breaking into a rock melody with hazy guitar notes reverberating under Deal’s spoken song based on his real-life experience, vocalist Jason Williamson from post-punk SLEAFORD MODS giving an edge to the lyrics as he builds to an ending yell of “colonise!”. Seeing Red begins with Deal’s spoken word surrounded by an imposing silence, before Rivera and Brennan’s riffs flank him, Zweygardt bringing a marching beat and Tesche gradually joining the ranks with a shuddering bass line, the entire band building in speed, volume, and righteous anger as Deal yells “am I angry?” for the simple sin of being “Indigenous in the 21st century”. Circle Jerk The Wagons brings more post-punk with an undercurrent of post-hardcore, a lightning fast rhythm and beat that refuses to let up and will incite frenzied mosh and circle pits to the acidic breakdown of all the types of fascists in charge. Fascists aren’t the only ones ripped to shreds on Wagon Burner, as Zealots takes aim at the virtue-signallers, the bootlickers, and the devil’s advocates, over steadily rising punk riffs and an unwavering beat - you can’t be punk and agree with oppression. Nobody has a dangerously dark feel to it, Tesche prevalent in his relentless and consistent bass line, Rivera and Brennan piercing through jarringly with distorted notes, Zweygardt also beginning in a stop-start fashion before becoming a consistent presence, Deal giving an almost philosophical spoken narrative about the generalisation of “Indians” and how they’re reduced to nobody individuals. DEAD PIONEERS closes out their explosive album with LFG, weaving from punk to alt-rock that races along like a freight train on the choruses and gives a spark in the current darkness of there still being hope, if we can only stand up as a community - we’ll follow Deal’s “let’s fucking go!” into battle. Score: 9/10 Wagon Burner will be released on 26th June 2026 via Hassle Records. Words: Julia Stark Photos: Derek Bremner

Please stand for your Republic’s national anthems. A roaring proclamation with a blazing hot sound, EVERY HELL return to pierce your ears and black hearts with new EP The People's Republic of Hell. While the Brighton/Bristol unit may be leading us joyfully into hell, it's been a heavenly month for the band, with new management, international touring teams, and fresh from their support slot for HAGGARD CAT. What better way to celebrate their hattrick wins and hard graft than the announcement of their new EP, a line of release shows, and the unleashing of second rampaging single Bane Of The Bear, adding more firepower to an already scorching month? EVERY HELL, you spoil us so. The People’s Republic of Hell wastes no time ripping immediately into frenzied Let Me Go (their first single and music video from the EP), Mark Roberts thumping out a rapid battle beat as guitarists Toby Stewart and Jules Maas-Palmer face off with intensive riffs and hooks while bassist Andrew Gosden keeps up a palpitating line that cuts through at times at shudderingly low notes. Stewart and Gosden’s vocals echo under frontman Will Gardner’s fluctuating chants, his voice shifting from soulful lilts to frantic shouts through the choruses before descending into guttural screams on the closing bars. Catching Thunder keeps the rampant pace through the opening riffs and beats before Gardner’s voice breaks through at ethereally high notes, dropping into hoarse, bruising shouts of “now we’ll never get these words” over a haunting guitar melody, Roberts changing drum pace and Gosden’s electrifying bass riffs, Gardner building in momentum with a scream that reaches sky-high levels in intensity and fury. Rushing in at a fever-pitch, Bane of the Bear’s opening disconcerting guitar riffs keep tempo with the quick-fire drums, slowing momentarily for the verses before ramping back up in speed and fire until the track launches into a menacing breakdown of drums and bass accompanying Gardner’s rasping screams of “stop. Stamp it out. Sick. Psychopath”, Stewart and Maas-Palmer joining the cacophony with dually wielded riffs. On Slaughter hits out of nowhere with its gradual build of fuzzed distortion and static interweaving with dramatic, languid guitar before it all fades into a jarring burst of white noise. No words are spoken, no other instruments heard, yet it feels like the calm before the storm and prepares you for one final onslaught. Closing track Ironclad brings back the unbridled speed and driving power of The People’s Republic of Hell, opening with a breakneck saxophone riff from Gardner as the other instruments keep up with the heated rhythm, the guitars lessening slightly to give space to the emotionally charged lyrics while still maintaining a high-intensity power. Synths subtly sound in the verses before echoing more forcefully over harmonised backing vocals on the breakdown as Gardner easily shifts from coarse screams to clean sounds, prolonging a scream as the pace slows and the volume becomes more dense and unyielding. Fusing an array of alt and metal genres in unexpected ways while delivering an abundance of striking hooks and rabid beats, EVERY HELL has just one law in its glorious republic - go fucking nuts. Score: 7/10 The People's Republic of Hell will be released on 26th June. Words: Julia Stark Photos: Every Hell

Vancouver gloomwavers DOUR wrote and recorded their debut album AGORA with an earlier lineup: a trio consisting of Zak Salehian (guitar/vocals), Patrick Hamil (drums), and Gabe Jacob Ferman (bass). After a lengthy battle against substance abuse and depression, Ferman tragically passed away in January this year. He never had the chance to see the album released into the world. Months later, the record is being put out unchanged, exactly as recorded; a document that preserves his creative talents. Gabe’s fingerprints are all over the record and AGORA stands as much a preservation of memory as it is an incredibly strong debut for the band. The album plays into neo-dystopian themes: technological rises, the shaping of our social downfall as a result, and the gradual loss of identity. These themes sit intertwined with tight defining basslines, drums that roll into each other like crashing waves, and melancholic vocals with a classic post-punk dramatic timbre. Neophiliac begins with rhythmic vocal patterns, a subtle bassline building up in the shadows alongside a clashing of drums. Zak Salehian’s vocals arrive melodic, echoing his gloomy ruminations on living screen-to-screen. Towers follows, trading in the deliberate, darker tones of the opener for speed; fast-paced guitar strums carry us out to a stormy sea. The track is one that defines the record’s themes: rising costs of living and the allure of online presence where that doesn’t matter leads us inwards, into a self-imposed social isolation, which steadily erodes our senses of identity. The only solutions are to return to nature, give ourselves to open air instead. But it’s not that easy, as Salehian sings "I’m left to lean / left to lean / into your tower." We will always be drawn back to that tower. Laugh is steeped in BAUHAUS-esque guitar rhythms and deep basslines that serve to ensure that track has a spot in any Halloween playlist, while also carrying something of a lighter feel lyrically. It’s not all doom and gloom here - "Laugh when you’re happy," Salehian suggests over a throughline of angular guitar. Mundies feels like a deliberate contrast to its predecessor, a more contemplative track that ties back to the album’s central themes. The people are tired; of barely staying afloat on a poverty line that rises with each passing year, of having to constantly fight an uphill battle for survival, of the steady loss of self that feels inherent to this modern existence. Musically, the track centres its identity around reverberating bass - this one makes Ferman’s talents really stand out. In Numbers, we’re met by a crashing, sonorous tsunami of guitar, and the constant cliffside rockfall of snare-heavy drum hits. It fades to an end by pitting Salehian’s repeating vocals against the simple backdrop of Hamil’s drums, stripping the track bare so the emotion can seep through. Call is another morose track; Salehian spends the runtime waiting for a call that never comes. Musically, it’s especially cavernous, reverb-heavy with all the classic post-punk stylings. Closer Just Enough Rice is reflective and light on lyrics at points to really let the instrumental breathe. An echo of drums, the haunting of reverbic guitars, and a subtle, yet important, bassline all intertwine into something memorable to cap off this record. AGORA is not without its faults: at times, the record struggles to find its identity, and some tracks aren’t exactly flashlights in the darkness. If listened to in a oner, there is a tendency for these tracks to blend together. As a whole, however, AGORA is a really strong debut for DOUR; it’s claustrophobic post-punk that drags us out to sea in tempestuous weather, leaving us adrift on the frigid waters of a raging ocean, but occasionally washes us ashore into the inky black of a beachside cave, where melodies echo from cavernous walls and reverberate through the air, leaving no space untouched. There’s a duality to this record, it’s both an opening chapter for DOUR that establishes the gloomy post-punkers as a band that will stand the test of time, and also a closing chapter for Gabe Jacob Ferman, whose legacy is well-and-truly captured in this album. Every time this record gets a spin, he will be there, remembered in the very grooves of his eternal bass. Score: 8/10 AGORA will be released on 26th June 2026 via Tuna Records. Words: Naomi Colliar Duff Photos: DOUR

2000Trees has long been one of the UK’s most exciting festivals for fans of alternative music, bringing together the best of rock, punk, hardcore, metal, emo, and everything sitting somewhere in between. Its reputation has always been built on more than just big names, with the festival consistently giving space to the bands pushing heavy and alternative music forward. Taking place from Wednesday 8th to Saturday 11th July at Upcote Farm in Cheltenham, this year’s lineup is stacked with scene favourites, rising stars, and artists who refuse to fit neatly into one genre. With so many brilliant acts across the weekend, planning your schedule is never easy. Here are ten bands that should absolutely be on your radar at 2000Trees this year. BLACKGOLD Mysterious masked outfit BLACKGOLD have been carving out their own place in the UK alternative scene since breaking through in 2022. Sitting at the heart of a nu-metal revival that feels bigger and more exciting by the year, the band brings together huge riffs, bounce-heavy grooves, hip-hop influence, and a live DJ scratching and mixing straight through the set. After supporting the likes of LIMP BIZKIT and SKINDRED, BLACKGOLD have already proved they can hold their own alongside some seriously energetic live acts. What makes them such an easy festival recommendation is how instantly fun their sound is. Even if nu-metal is not usually your thing, this is the kind of set that will have the crowd moving within minutes. Expect big vibes, big energy, and a ridiculous amount of bounce. HAPPYDAZE Edinburgh’s HAPPYDAZE are one of the clearest signs that the UK pop-punk scene still has plenty of new ground to cover. Blending pop-punk foundations with alt-rock edges and slick modern production, they have built a sound that feels polished without losing the emotional pull that makes the genre hit so hard. Live, they are the kind of band that immediately hooks you in. Having shared stages with BROADSIDE, HOT MULLIGAN, and TRASH BOAT, as well as their own headline shows across the UK, HAPPYDAZE have developed a presence that feels far beyond “up-and-coming band” territory. There is a confidence and sharpness to their performances that makes them feel like they are right on the edge of something much bigger. Their 2000Trees set could easily be one of those moments people look back on later and say they were lucky to catch early. BAD NERVES BAD NERVES make rock and roll sound like it is travelling at 200 miles per hour. Their music is frantic, infectious, and completely in your face, pulling from punk, garage rock, and power-pop with the kind of speed and urgency that makes standing still feel impossible. Often compared to acts such as THE HIVES, SUPERGRASS, and JAY REATARD, the band have built a reputation for turning every live show into a massive party. Their stamina on stage is ridiculous, and their songs are so immediate that even first-time listeners can get swept up in the chaos. After a whirlwind few years that saw them move from small, sweaty rooms to joining SEX PISTOLS FEATURING FRANK CARTER on their upcoming USA tour, BAD NERVES arrive at 2000Trees with serious momentum behind them. NATIVE JAMES NATIVE JAMES is building something that feels genuinely separate from the usual UK alternative pipeline. Refusing to sit inside any one genre, his sound pulls grime, hip-hop, punk, and metal into something fierce, fearless, and completely his own. It is not just genre-blending for the sake of it either; every part of his music feels intentional, confrontational, and full of personality. Backed by a seriously skilled live band, the heavier parts of NATIVE JAMES’ music hits even harder on stage. Recent milestones, including a MOBO nomination for Best Alternative Music Act and support slots with DON BROCO, ENTER SHIKARI, and UNPEOPLE, have only made his rise feel more exciting. He is not just redefining what alternative music can sound like, he is carving out his own space in it completely unapologetically. At 2000Trees, expect a set packed with intensity and charisma. DELILAH BON Built on brat punk, riot grrl rap, and feminist rage, DELILAH BON’s music feels both furious and deeply necessary, especially for anyone who has ever felt pushed to the edges of it. Her sound is loud, confrontational, and impossible to ignore. Through heavy beats and unapologetic lyricism, she channels the anger and frustration felt by so many people who have been pushed aside in spaces that often claim to be inclusive, while still having so much work to do. That sense of catharsis is exactly what makes her live shows so powerful. DELILAH BON does not offer a passive festival set; she creates a space for release and collective rage. With a huge run of festivals across the UK and Europe in 2026, as well as Australian and Canadian tours later in the year, her momentum is only growing. For anyone looking for one of the weekend’s most freeing performances, this is the set to be at. HO99O9 HO99O9 are not a band you casually stumble across and forget about. From the moment they step on stage, they demand full attention, dragging together hip-hop, hardcore, punk, metal, industrial noise, and flashes of electronica into something that feels genuinely unhinged in the best possible way. Their live shows are pure chaos, but there is a sharpness underneath all that noise. It is hellish, intense, and strangely beautiful, with every song feeling like it could collapse at any moment while somehow staying completely in control. Following the release of their third full-length album in 2025, HO99O9 have continued to pull in new listeners while keeping the edge that made them so thrilling in the first place. At a festival like 2000Trees, where genre boundaries are already being pushed in every direction, they feel like a perfect fit. CAROLESDAUGHTER Behind the darkly glamorous visuals and mysterious online presence, CAROLESDAUGHTER has built a sound that reaches far beyond one viral moment. The American singer, songwriter, and multi-instrumentalist first gained wider attention with her Platinum-certified 2020 single Violent, but her world has always stretched further than that; blending alternative pop, pop-punk, and darker emotional textures into songs that feel raw and intimate. Her 2022 EP Please Put Me In An Induced Coma helped build on that identity, pairing vulnerable lyricism with a sound that refuses to stay completely polished. With just a handful of UK and European shows around her 2000Trees appearance, this feels like a rare chance to catch an artist whose following has been growing steadily for years. SPLIT CHAIN Shoesgaze and hardcore might seem like strange starting points, but SPLIT CHAIN makes that collision feel completely natural. Blending hazy textures with hardcore, alt-rock, grunge, nu-metal, and even black metal influences, the band have helped push the “nu-gaze” sound into wider attention, while still keeping a raw DIY feel at the heart of what they do. Their live shows have become a huge part of their reputation, explosive without losing the atmosphere that makes their music so distinctive. It is easy to see why they fit so well across different corners of the alternative scene, with enough heaviness for hardcore fans, enough melody for alt-rock crowds, and enough texture for anyone drawn to the more immersive side of heavy music. Fresh from a major USA tour supporting SOUL BLIND and with a UK headline tour later in the year already close to selling out in places, SPLIT CHAIN’s 2000Trees set feels like one to prioritise. LAKE MALICE LAKE MALICE are one of the UK heavy scene’s most distinctive bands. Heavily influenced by Japanese anime in both sound and style, they splice hyperpop energy with metal heaviness to create something bright, chaotic, and completely their own. Their music is sharp and futuristic, but also grounded in lyrics that deal with trauma and lived experiences, channelling an immense amount of emotional honesty. That balance between high-energy production and genuine vulnerability is a huge part of why fans connect with them so deeply. Their rise has already seen them nominated at the Heavy Music Awards for Best UK Breakthrough Artist and Best Breakthrough Live Artist, alongside support slots with ENTER SHIKARI, SKINDRED, and BLOODYWOOD. On a festival lineup packed with heavy music in all its forms, LAKE MALICE stands out as a band pushing things somewhere new. STATIC DRESS STATIC DRESS have spent the last few years building a reputation as one of the most compelling live bands in the UK scene. While their sound draws from post-hardcore, screamo, and metalcore, what sets them apart is the way they package everything into a fully realised creative world, where the visuals and music interconnect to do the storytelling. That attention to detail has helped them stand out on increasingly bigger stages, from appearances at Download Festival and Slam Dunk Festival, to touring with BRING ME THE HORIZON. Yet even as their profile has grown, there is still an unpredictability and raw energy to their performances that makes every show feel special. For anyone heading to 2000Trees looking for a set that balances atmosphere, intensity, and genuine artistic ambition, STATIC DRESS should be high on the list. Whether you are looking for chaos, catharsis, massive hooks, or a new favourite band, these ten acts should be firmly pencilled into your 2000Trees schedule. With a lineup this strong, there will be clashes everywhere, but missing these sets might be the thing you regret the most. Words: Zuzanna Pazola Photos: James Smith for Out Of Rage Tickets and further information can be found through the official 2000Trees website.

While visiting the UK for the Download Festival, MAGNOLIA PARK decided to add a London date to their trip, playing O2 Academy Islington with THE PRETTY WILD supporting them. Coming all the way from Florida, they made their trip across the ocean worth it with festival dates across Europe such as Rock Am Ring, Nova Rock, Rock For People and many more! Their packed out 2026 is just beginning, with the later half of the year taking them around the US supporting BEARTOOTH along with Britain's own DON BROCO. Before the opener had even made it to the stage, the room was packed out with so many fans it was difficult to move around. Singing along to the pre-show playlist and chatting with each other with many of them also having been at Download Festival at the weekend. Just from the room, you could visualise the band's wide spread demographic with a range of genders, ages and styles all coming together for the band. Opening the night and warming up the crowd were THE PRETTY WILD, who stormed onto the stage to a huge cheer. The duo sister act - Jyl and Jules - from Las Vegas were bursting with energy and vigor, bringing the rooms energy up with them. The sisters are polarizing with each other, yet matching and looking cohesive. Musically the band are best described as nu-metal and metalcore, but their sound bends the boundaries set by the labels. Both of them shared the load of a frontwoman, side by side sharing the limelight and both taking their turns to sing and scream, as well as coming together to harmonise at times. Their setlist compiled all their best songs like Sleepwalker, Button Eyes and Paradox, each song giving a unique look into their talents. The duo also gave a moment to cheer on their drummer and guitarist, as well as each encouraging cheers for their sister. Despite only opening the show, the fans were loud with many knowing words and singing along, starting mosh pits and even having a crowd surfer! They did their job perfectly, warming up the room and getting everyone on their feet, and the fans showed up for them and let them know how loved they are across the pond. The lights dimmed for the second time, shocking the crowd and causing a ruckus, somehow the room was even more packed than before with late comers having to stand right at the exit to the venue. MAGNOLIA PARK paraded onto the stage and kicked straight into their opening song Animal, and right from the start every fan in the crowd knew every word. Each member of the band was moving in synchronized chaos, not leaving one spot along the stage empty and singing, dancing and jumping along with the fans and each other. The band play a range of metalcore, pop-rock and punk songs, each bringing a certain flavour to the venue. They had their logo hanging as a backdrop over the stage as well as on their mic in a metal decal, a great attention to detail that just enhanced the performance overall. Lead vocalist Joshua Roberts flaunted his skills throughout the show, flipping between a deep growling scream and impressive drawn out high notes. The energy in the room coming from the band was reflected ten fold by the floor and despite the lack of space, the moshers found a way and kept the mosh going the whole show. One part of the show even saw the band's guitarist jumping into the middle of a circle pit to then crowd surf out to make it back to the stage. The connection between the fans and the band was so present throughout the night, the gap from the barricade to the stage being bridged through the music. Joshua took a moment to let London know that they were “one of the loudest crowds we've ever performed to” before they even performed their biggest hits. They played hits like Omen, Worship and Crave before ending the main part of their set on their biggest hit Shallow. Having found a huge platform across social media, everyone in the room knew it word for word, fans from upstairs on the balcony ran downstairs just to join the mosh pits. The venue also saw numerous crowd surfers, proudly passing by the signs instructing them not to do so. After Shallow the band left the stage, but of course were instantly cheered back on for an encore. “You want one more song? You gotta dance with us then”, Joshua shouted before starting their song I2I. Every person in the room danced along from the front to back, the balcony and even the staff in the bar, although it's hard to measure with how loud the venue was, it was certainly loudest during their encore. They then finally brought the show to a close with their track Misfits, another that every person in the crowd loved. Ending the show on an ultimate high with as many people as there could be crowd surfing and everyone off their feet. When the music finally ended, the band took a moment to wave to everyone they could and give out all the setlists, picks and drumsticks they possibly could. The appreciation between the fans and the band was so mutual, you could feel the love all across the room. We hope that this showed the band how loved they are over here and convinced them to return soon, with such a huge year ahead of them still they can only go up! Words and photos: Amy Smyth

When DIE SPITZ released their second album, Something to Consume, last September, it was obvious they were about to have a massive moment. Returning to the UK for a run of shows around major festival slots, we caught the Texan Punks at their Bristol headline. After the release of their second album, Labyrinthine, in September 2025, FAETOOTH are another band having an incredible year, and the combination of these bands on the lineup is the perfect match. FAETOOTH’s Doomgaze drowns the room in deep bass tones and ethereal vocals, hypnotising the audience within the rich atmosphere. They play a selection of songs from their most recent album, displaying the fine-tuned sound they’ve developed since their debut. FAETOOTH closes with Echolalia from their first album, starting with a gentle riff, and catapulting into a deep wall of noise. The song showcases the combination of the clean and unclean vocalists’ voices, cutting through the heavy instrumental. This stage feels exactly the right place for them to be. Whilst their live show doesn’t reach its full potential, naturally limited as a support act, you can see members of the crowd converted over the course of their 30-minute set. When FAETOOTH next returns to the UK for a headline run, it will be exciting to see how they can take their live show to the next level. When a band enters the stage not only to the infinite banger that is KESHA’s Blow, but with their bassist in a walking handstand, you know you’re about to witness something awesome - and DIE SPITZ more than delivered. Riding off the momentum of a much-talked-about set at Download Festival, the Texan punks dive straight into their latest album’s opening song Pop Punk Anthem (Sorry for the Delay), setting the unrelenting pace for the rest of the show. DIE SPITZ’s sound is hard to pin down. Sitting somewhere between Doom, Punk and Thrash, one thing is certain: the frenzy and fun they always bring. By song 3 – Red40 – the crowd has already established a growing mosh pit, and Frontwoman Eleanor calls out: "Bristol, are you ready to get fucking rowdy!", the crowd responding without hesitation. In the middle of the set the energy in the room settles to make space for a run of softer songs, with band members swapping between drums and guitar. The previous momentum does start to get a little lost, and maybe a rejig of the setlist to balance the intensity of songs could rectify this. Punishers stands out amongst this section of songs, with drummer Chloe taking up the mic for the emotional outpouring in the song. One of the most exciting things about DIE SPITZ is their unapologetic critical lyrics on difficult subjects, whilst still maintaining the fun of their shows. They constantly celebrate girlhood and female connection, without shying away from discussing the challenges that come hand in hand. It’s extremely refreshing inside the male-dominated genre of punk, and that joy alongside frustration only fuels the energy they bring to their live show. They close the main set with RIDING WITH MY GIRLS. The band returns to the stage for an encore of two songs. They close with THROW YOURSELF TO THE SWORD, reanimating the crowd for one final mosh. Whilst the set doesn’t feel quite resolved at the end of the encore, it just speaks to the energy they reserved for the beginning of the show. It’s undeniable that DIE SPITZ are on the rise. If you want to experience their infectious energy as intimately as possible, make sure to catch them sooner rather than later, as it’s clear they’re not going to be playing small venues for much longer. Words and Photos: Alice Needham

To limit a band’s extensive discography to ten songs is a monumental feat. Especially when that band is KNOCKED LOOSE. Over and over, they have proved they are a band capable of doing it all. And after the release of their third album, You Won’t Go Before You’re Supposed To, they are only getting bigger and better. They are a band that continues to prove they are all bark, all bite. Moreover, their live performance is impeccable, and their stage design completes any experience seeing them live. While every song in their catalogue is worthy of recognition, we have ranked the top 10 songs from their catalogue before their exclusive Outbreak show this weekend. 10) SEPARATE It is always important to acknowledge a band’s roots and respect their earlier releases. When the material released is this good, it’s hard not to. Separate is a track that starts with a sonorous riff - the kind that snakes into your ribcage and beats a rhythm alongside your heart when turned up loud. The song resurfaced in recent years as a soundtrack to videos of people on TikTok. It is usually clipped at the lyric: "Whether you die on your feet or on your knees / at this point you should take what you can f*cking get.” a pleasantly gnarly line. 9) PERMANENT This song is the concluding track on the band’s EP A Tear in the Fabric of Life, released in 2021. Fans of the band saw the release of Permanent in a period of time where the dust was still settling after the pandemic. An earworm like this, then, was almost medicinal in what was a strange, isolating time for many. Here, the guitars sound almost like a vehicle alarm or a siren. It would be fitting that a siren sound signals the arrival of this song; it is the kind of track that should come with a warning. 8) MISTAKES LIKE FRACTURES Despite the track rising to fame as an internet meme, Mistakes Like Fractures is worthy of some attention. Featuring on the band’s second album, A Different Shade of Blue, it is interwoven with a certain kick and sharpness. It contains a lone, slow riff before rising again like a phoenix from its own ashes - just when you think it is all over. It becomes a welcome surprise that there is still more of this tune to enjoy. 7) BELLEVILLE Booming drums. The clash of cymbals. A hefty riff on a guitar that hops from note to note. These are the things that make Belleville. The elements that form this song are fast, then slow, then they pick up the pace before you have even had the chance to catch up.It is an untamable rift ripped wide open into KNOCKED LOOSE’s world, and any listener is unable to close it. 6) DEADRINGER To understand KNOCKED LOOSE more thoroughly as a band, Deadringer is a must-listen. Featuring on their debut album Laugh Tracks, this song permeates like a mist. It’s the kind of song that grips you by the shoulders and shakes. Fierce guitars take you around everywhere, like a path dipping and rising in a valley. There is a certain groove to this track, despite being rooted in metalcore. There is no such thing as static when listening to it. 5) DON'T REACH FOR ME When it comes to making music, KNOCKED LOOSE are not the kind of musicians to hold back. Everything they release is a substantial thing, something that you can sink your teeth straight into, only to keep craving more. A gritty song is something KNOCKED LOOSE excel at. Don’t Reach For Me is no exception. Kevin Kaine’s fast-paced drumwork pulses alongside vocalist Bryan Garris’ screams. The track concludes with a slow riff you can chew on and savour. 4) OBLIVIONS PEAK KNOCKED LOOSE are a band who have perfected the formula for making the opener of their albums strong. Oblivions Peak marked that worthy place on their album Laugh Tracks, which turns ten this September. Furthermore, this was one of the first songs that put the band on the metalcore map. It’s vicious. As Bryan Garris himself has announced at Knocked Loose shows before, it is a song for the LGBTQIA community, and that makes it all the more special. Oblivions Peak is to us like climbing ivy is to an abandoned house: it snares and grips you in place. But most importantly, the track sounds as good as it did in 2016. 3) HIVE MIND KNOCKED LOOSE are known for some epic collaborations over the years. Billy No Mates with COUNTERPARTS. Suffocate with POPPY (which has its Reggaeton influences). Hive Mind is no different. It is a genre fusion with DENZEL CURRY, who has mingled with the likes of DEFTONES, and it is a hip-hop-infused hit. The track maintains that Rap and Metal have always gone hand in hand. This song has all the hallmarks of a traditional KNOCKED LOOSE song, but worthy of note is an eight-second pig squeal and thunderous guitars. 2) EVERYTHING IS QUIET NOW If you have ever been to a KNOCKED LOOSE concert, experiencing a wall of death to Everything is Quiet Now is a rite of passage. The song has been a staple of KNOCKED LOOSE setlists since its release in 2023. After all, nothing can compare to that feeling when the lights shut off and you’re moshing to the sound of low-pitched guitars in the flickering dark. This is the kind of song that makes you want to pull a face when the breakdown strikes. You know the one. 1) BLINDING FAITH This track often kicks off the band’s set and has done so since its release. Upon hearing it, it’s not hard to see why. Blinding Faith is the match that ignites a mosh pit. From the first few beats, you are entranced: it is as though the band has woven magic into those first few beats. A magical spell will get you moving toward it in some way. Full of staples that pin a KNOCKED LOOSE song, it is cathartic. And if the pig squeal before the breakdown doesn’t entice you, it’s hard to know what will. Words: Shania Richards Photo: James Smith for Out Of Rage

Stood beneath a glittering disco ball shining lights on the excited faces of those in attendance, fans waited in anticipation for what was to be an epic night. BLACK VEIL BRIDES brings their completely sold out three date tour, ‘The Unveiling’, to the UK. A “one of a kind fan interactive experience and show”, only days after having played on the monumental main stage of Download Festival. Proving the hard rock five piece are still just as loved as they have been from the start, fans of all ages await eagerly for their beloved band to grace the stage and bless their ears, chattering across the room of their excitement. Entering through strobing lights, an eerie synth intro to build up tension and a scream of “bloodsuckers, motherfuckers!”, SAINT AGNES came on like a whirlwind and made their presence known, diving right in with Bloodsuckers. Though wearing a suit and tie, lead vocalist Kitty A. Austen was far from formal, tearing up the stage with abandon as they powered on through with tracks The Blood Beat (Angel In The Marble) and Good Boy, fresh off their new album Your God Fearing Days Are About To Begin. Between screaming guitar riffs, chest rattling bass and drumbeats so clean they could hypnotise, and accompanied by a stunning display of hairography from the entire collective, SAINT AGNES gave it everything they had for Get Them Out - a self proclaimed homage to March Of The Pigs by NINE INCH NAILS - which had more hands raised and heads banging than could be counted, a classic example of a crowd pleaser. Rounding out the set with heavy emotion, a track that swung from pleading softness to biting anger, the lyrics “I don’t want to feel this anymore” of The Beast resonated around the room, ending with a somberness that felt like a cradle back down to earth from the soaring highs the crowd had been taken to throughout the set. While being a new discovery for many in the audience, these London based genre-bending firecrackers certainly left with a whole host of new fans to follow along their journey upwards. The moment everyone was waiting for had finally come, the house lights lowered and the stage lit blue, the intro of Toccata And Fugue in D Minor - or more commonly known as Dracula’s Theme - rang out, setting the mood for a darkly enjoyable evening. As elated cheers roared from the crowd to see their beloved band, the organs faded and the sound of Knives And Pens replaced it, each member taking their place as they played, Andy Biersack hitting centre stage with a big beaming smile before unleashing hellish vocals. Making good on the promise of being an interactive show in the small and intimate venue, between songs fans were given opportunities to ask their burning questions, such as “got any vocal tips?” and “what other band would you want to collaborate with?” - the answer from Andy, “for the bit, SLEEP TOKEN.” But the question that had both the crowd and band excited came from a fan whose ex had been less than boyfriend material, asking if they would stamp on her engagement ring. Of course the answer was yes, though bassist Lonny Eagleton looked shocked that this was happening. Andy did the honours, stamping it to pieces and exclaimed “I think I really fucking broke that thing!” to which the sea of people in the room erupted into celebratory cheers and whistles. Continuing with the set, BLACK VEIL BRIDES played on with tracks Bleeders, Vindicate and Hallelujah from their newly released album Vindicate. With lights bright enough to make anyone believe that angels were up on stage, it was quickly proven wrong as guitarists Jake Pitts and Jinxx shredded devilishly delightful riffs back to back and more growling vocals came. A moment of acknowledgment and appreciation was given for the BLACK VEIL BRIDES’ drummer Christian “CC” Coma, who unfortunately couldn’t join on this tour for personal reasons, and stand in drummer Wade Murff (GODSMACK) was introduced, receiving a warm welcome in return. Between songs Certainty, Rebel Love Song, Wake Up and Revenger, and a brief sing along to Saviour, more one on one interactions and questions came. Notably following a Batman theme, the likes of “are you secretly Batman?” and “how many songs are about Batman?” - to which it was revealed that the lyrics to I Am Bulletproof describe the opening scene of The Batman Rises and parts of the theme is hidden in Wretched And Devine. Finishing up a truly special and unique night for all with the well loved track In The End and a promise to be back in the UK soon, confirmed by the just announced EU/UK leg of The Vindicatour next year, this experience won’t be forgotten any time soon. Words: Ashleigh Robinson Photos: Ace Cheng

“We’re not here to roast some marshmallows around a fire… we’re here to party!” LZZY HALE shouted to an already ecstatic crowd. The Garage in Glasgow was a far cry from the arenas that she and JOE HOTTINGER were used to filling with their band HALESTORM, especially having headlined the Opus Stage at Download just two days earlier. With countless hits and a legacy already firmly cemented in modern rock, a more intimate approach was looking to be a welcome break. Judging by the reception, it was clear that their dedicated fans welcomed this, especially considering the usual experience would be mosh-heavy and draw in thousands. As HALE and HOTTINGER stepped onto the stage armed with nothing but an acoustic guitar and a microphone, it almost felt as though they were your friends playing an impromptu gig at a local pub; a level of intimacy not often achieved by musicians who usually command arena-stages. After introducing themselves, HALE shared a laugh with her partner before asking, “Do you wanna start, Joe?” and diving headfirst into I get off. Despite being just off the back of a huge show at Download, it was immediately obvious that HALE’s vocals weren’t affected at all. Her voice remained as commanding as ever, and she had such a sheer level of power that she arguably didn’t need a microphone at all. With a set mostly built around HALESTORM favourites, the combination of HALE’s soaring voice and the understated charm of HOTTINGER’s acoustic accompaniment created an utterly captivating dynamic, proving that none of these songs have less intensity when stripped back. The chemistry shared by the pair, who later disclosed that they had been together for nearly twenty-three years, only added to the intimacy. Nowhere was this more evident than during The Silence, which the pair introduced as a song about how they met and built their lives together. It was in these moments that the mental barrier between artist and audience faded, making it feel less like a performance and more like we were being welcomed into a deeply personal chapter of their story. Working through favourites such as I Am The Fire and I Miss the Misery, HALE took several moments throughout the set to acknowledge pride month and her bisexuality. HALE has been a vocal supporter and made brief references to her queerness since 2014, but it was only 2022 when she declared herself “unapologetically bisexual,” and since then queerness has had a more prominent role onstage and in their music. In the current cultural climate, it was genuinely uplifting and encouraging to see her embrace her queerness so joyfully. Before launching into Like a Woman Can, HALE revealed that the first spark of the song came from the question, “Why can’t you love me like a woman can?”, before quickly laughing and ensuring the crowd that “this isn’t about Joe.” A brief interval, followed by a difficult scramble to the bar, ensued. The second half began on a far more reflective note, with HALE quietly taking her place at a piano. She spoke warmly about the fans she’d met on the streets that day, before explaining that “this song is in tribute to one of those fans' mother, Grace,” and played an emotional rendition of Dear Daughter that hushed the room. One glance around made it clear that the duo had garnered a fiercely loyal fanbase over the years. The audience definitely skewed older, and the venue was a sea of people clutching home-printed tickets and proudly sporting tour tees from HALESTORM past runs, which created an atmosphere of genuine long-term admiration. Yet, the intimacy of the venue had its drawbacks. With the room packed from the barrier to the bar, movement was borderline impossible at times, with the overcrowding detracting what was otherwise a warm, nostalgic evening. Part of what made the evening feel so warm was the commentary from the duo throughout the set, offering sincere insights into their creative processes and their life more generally. Before launching into Break In, HALE reflected on her close friendship with fellow industry veteran Amy Lee of EVANESCENCE, sharing a story that had the room laughing. “In this song, there’s a line that goes, “I’ll follow the echoes”, and she said thought it said “I’ll follow the Eggos”, so now I can’t stop thinking about Eggos when I play it,” HALE joked before settling into yet another piano-driven ballad. The set wasn’t limited to just HALESTORM tracks, either. They also delivered a few inspired covers, such as Bad Romance by LADY GAGA and Gold Dust Woman by Fleetwood Mac. While they are big crowd pleasers, it also highlighted the pair's versatility as they effortlessly moved between genres. Bringing the evening to a close with a fitting, stripped-back version of Here’s To Us, HALE and HOTTINGER left the stage to a ferocious applause, only for the crowd to linger for a good five minutes after to see if there was one more song to give. Shows like this really do make you feel like you’re a part of a band's history. After an evening filled with laughter, stories and witnessing the emotional core of your favourite songs, it was easy to see why they’d inspired such intense loyalty over the years. Words: Chloe Sodeau Photos: Laura Davies