For the better part of a decade, TURNOVER have occupied a unique position within alternative music. Ever since the release of Peripheral Vision, the Virginia band have found themselves constantly measured against one of the most influential emo records of the 2010s. Rather than attempting to recreate that success, the band have spent subsequent releases exploring dream-pop, indie rock and psychedelic textures, steadily moving further away from their roots. Down On Earth, the band's sixth studio album and first fully independent release, continues that journey while finding a comfortable middle ground between past and present. Produced by longtime collaborator Zac Montez, Down On Earth feels less concerned with reinvention and more focused on refinement. Across ten tracks, TURNOVER blend elements of dream-pop, shoegaze and indie rock into a cohesive and atmospheric listening experience. Themes of love, loneliness, self-reflection and acceptance run throughout the record, creating an album that feels mature without becoming overly sentimental. Opening track Wheelie For No One immediately establishes the album's warm and reflective tone. Rather than arriving with a dramatic statement, the song gently eases listeners into the record's world. That atmosphere continues through Nightjar, one of the album's strongest moments, with shimmering guitars and understated melodies that recall elements of the band's earlier work while remaining firmly rooted in their current sound. I See You And Realize follows with an immersive dream-pop soundscape that highlights the band's ability to prioritise mood and texture over immediate hooks. A key strength of Down On Earth is its patience. Austin Getz's vocals remain understated throughout, allowing the instrumentation to carry much of the emotional weight. Guitars drift and sparkle, rhythms move at a measured pace and every arrangement feels carefully considered. The album rewards listeners willing to spend time with it rather than demanding attention through obvious peaks or radio-ready choruses. The middle section of the album contains some of its strongest material. My Hand Is A Curtain stands out as a clear highlight, balancing lush melodies with emotional clarity. I'm Up, I'm Up and Pieces continue that momentum, layering subtle psychedelic influences across relaxed but purposeful songwriting. Rather than building towards explosive climaxes, these tracks gradually reveal their strengths across multiple listens. Later tracks such as Little Bees Don't Bite and Ultrasensitive further reinforce the album's introspective nature, while Off Into The Lonesome Sky delivers one of the record's most expansive moments. Its spacious production creates a sense of movement and freedom without losing the intimacy that defines much of the album. Closing track Spade Head provides a fitting conclusion. Instead of ending on a grand statement, TURNOVER opt for a quieter resolution that mirrors the themes explored throughout the album. It leaves listeners with a sense of acceptance rather than closure, reinforcing the record's reflective character. While the album's consistency is largely a strength, there are moments where its restrained approach causes individual tracks to blend. Listeners searching for standout singles or dramatic shifts in energy may find themselves wanting more. However, Down On Earth is clearly designed to be experienced as a complete body of work, and its strongest moments emerge when viewed within that wider context. With Down On Earth, TURNOVER deliver their most assured and cohesive release in years. It may not carry the immediate impact of Peripheral Vision, but it succeeds on its own terms by embracing growth, maturity and self-confidence. Rather than revisiting the past, the band continue to move forward, creating an album that feels both familiar and refreshingly genuine. Score: 8/10 Down On Earth was released on 29th May 2026. Words: Kelly Gowe Photos: Sean McDonald

Download festival is one of the biggest festivals in the UK and the largest gathering of metalheads you might ever see, so we want to help you navigate its 900-acre grounds. This list contains our top 10 bands you won't want to miss from the top end of the bill (The main Apex and Opus stages). This list isn't just the headliners but the performances that we truly think you shouldn't miss, whether it's a band that has travelled from far or bands that rarely visit the UK, the acts on this list should be your priority for the weekend! BABY METAL The online world has fandoms barking about the superior music genres, rock, metal, and even K-pop. Somewhere in between lies the world of Japanese Kawaii Metal, and the absolute queens of this genre are, of course, BABY METAL. The three of them are widely regarded across the world as some of the best performers Japan has to offer, gathering fans of over 55,000 multiple nights in a row in their own capital of Tokyo all the way back in 2016. They are known for putting on a show full of rage, terror and cuteness; their set will be utterly unique in the Download line-up, so you’d be stupid to skip it. (AS) SILLY GOOSE Kicking things off are SILLY GOOSE. Straight out of Atlanta, Georgia, they channel the wild spirit of 90s nu-metal with crunching riffs, rapid-fire beats, and pure attitude. Landing on the same day as LIMP BIZKIT feels deliberate — the perfect warm-up to a nostalgia-fuelled headline slot. (DW) THE PLOT IN YOU Having joined the stage with artists like UNDEROATH, THE AMITY AFFLICTION, LIKE MOTHS TO FLAMES, SUM 41, and THE PLOT IN YOU, they are more than experienced with stages like Download. Their performances are said to be better than their recorded music, and they have been consistently improving, now being on their 5th studio album. All their music is a story of the band's transformation and the path they've trodden to be where they are now. Their most well-known track, ‘Forgotten’, is always one that wipes out the audience live; their set is definitely one to catch if you're looking to support the artist that doesn't get as much hype over this side of the globe. (AS) AS EVERYTHING UNFOLDS AS EVERYTHING UNFOLDS are a British band that has been rising through the metal scene for the last decade. They are forging their own chaotic identity with skull-crushing riffs and the ability to switch vocals across a vast range. They are definitely worth a listen. (DW) BLOODYWOOD If you came to this page looking for something different, something unique in the lineup but still brings that intense metal embodiment, BLOODYWOOD might be exactly what you’re looking for. The band have brilliantly merged Indian folk metal with nu-metal and metalcore, they're famous for their metal covers of pop songs throughout the 2010’s, and you will probably have heard them come across your feed before. Their particular popular cover of ‘Tunak Tunak Tun’ garnered the band millions of views, which they have now used to create their own music. We can expect them to perform bangers like Gadaar, Dana Dan and Nu Delhi during their slot at the mainstage on Sunday. (AS) THE PRETTY WILD THE PRETTY WILD are sisters from Las Vegas who broke into the metal scene via TikTok with their “mosh cough” feature on their viral anthem Sleepwalker. Blending metalcore, nu-metal, and country into what they call “Y’allternative,” they bring a unique energy that will keep the Donington crowd moving. Viral fame might have introduced them, but their genre-blending punch proves they’re far more than a social-media novelty — and overdue for wider acclaim. (DW) THORNHILL To add some post-hardcore madness to your weekend, you should try out the energy-filled THORNHILL. Coming all the way from Australia, the band brings chaos to any stage they conquer. Opening the APEX stage on Saturday will be no different. Going since 2015 and opening for names like PARKWAY DRIVE, OCEAN GROVE and even SLEEP TOKEN last year, the band have become a somewhat familiar name for most metal heads. The set is bound to shake you awake and guaranteed to get the whole crowd bouncing along with them. We can expect them to play bangers like Nerv, Obsession and Silver Swarm that should all definitely be going in your pre-fest playlist! (AS) ANNISOKAY ANNISOKAY are a German metalcore outfit that has spent the last decade building a strong reputation across Europe as one of the genre’s most exciting acts, consistently pushing boundaries while maintaining a close connection with their growing fanbase. (DW) MAGNOLIA PARK The Florida quartet saw their early touring plans halted during the pandemic, but quickly gained momentum through social media. With previous UK appearances including SLAM DUNK FESTIVAL and support slots with BOWLING FOR SOUP, their fusion of punk, hip-hop, metalcore, and rock creates a gripping, high-energy live experience driven by strong storytelling and infectious melodies. (DW) LANDMVRKS Also playing the APEX stage on Saturday are French metalcore band LANMVRKS. The band have truly built a name for themselves playing shows with PAPA ROACH, A DAY TO REMEMBER and ARCHITECTS, making it hard not to have heard of them. The band very much fit into that metalcore niche, so if you're going to see bands like BAD OMENS and LINKIN PARK, LANDMVRKS are definitely for you. They built themselves from the ground up and have worked their way to Downloads Main APEX Stage, with over a decade of live performances across the world under their belt, they are sure to put on a hell of a set. (AS) THE PRETTY RECKLESS To sprinkle in some rock with a touch of nostalgia to your weekend, you'll need to catch THE PRETTY RECKLESS on Sunday. Their hits like You Make Me Wanna Die and Heaven Knows from the early 2010s will be getting the crowd singing along as TAYLOR MOMSON herself flaunts her raw power. The band have been going since 2009 and having been in the limelight so early in their career, know how to put on a show. They're noted as one of the earliest female-fronted bands to really break into the alternative scene, having won many awards throughout their years; their set isn't one to pass up! (AS) AS IT IS Returning after a two-year hiatus, they will be playing DOWNLOAD for the first time. A familiar name at Slam Dunk Festival, the Brighton band has undergone several lineup changes and evolved from hook-laden pop punk toward a darker experimental sound. With a recent return to their earlier style, they are an act to watch closely. (DW) SOUTH ARCADE SOUTH ARCADE have been reaching further and further heights with their popularity taking them from headlining smaller venues like Camden Assembly to supporting giants like 5 SECONDS OF SUMMER and playing the mainstage for Reading and Leeds festival in less than 3 years, and now Download's very own mainstage. The Oxford quartet bring a brand new freshness to the punk rock scene with addictive riffs and a style that calls right back to the 2000’s - jorts, baggy tees and all. The band also have an incredibly supportive fanbase and has been making waves with many LGBTQIA+ fans, their gigs becoming a safe space of acceptance and letting loose for many. (AS) BAD OMENS BAD OMENS are a band that have been massively on the rise in the metalcore scene, just last year playing their biggest headliner show ever at Manchester's very own Co-Op arena, a sold-out show with 17,000 attendees. Their music crosses lines between what metal is and what it can be, with frontman Noah Sebastian's voice being something that really sets them apart. He switches from sweet siren-like symphonies to demonic screams and growls. Specifically, the last song in their set, Dethrone, is famously their most impressive live; it's always saved for the end of their set and is the absolute pinnacle. If you want to really see what all the fuss is about, this is the song to experience. (AS) FEEDER With over 7 million records sold, worldwide tours, and more than three decades of anthemic rock behind them, they remain one of the most oddly overlooked bands on the bill. They may be headlining the Avalanche Stage, but a band of their stature deserves a truly packed tent — especially for era-defining anthems like BUCK ROGERS, Just the Way I’m Feeling, and Just a Day, which still hit as hard now as they did on release. (DW) LIMP BIZKIT LIMP BIZKIT have been doing rounds in recent years with many performances across the world, so why should you go to this set? Well, despite playing Download Festival multiple times, 2026 will mark their first-ever Headline slot at the legendary festival. The band are of course, mega stars in the scene and are famous for getting a crowd going. This is bound to be one of the most lively sets of the weekend, so if you’re looking for an opportunity to mosh your rage out, this is it. As well as playing their hits, they will be playing their newer bangers like Dad Vibes and Making Love to Morgan Wallen, so even if you’re a seasoned metal head that's seen them before, they will make your return worth it. (AS) SLEEP THEORY SLEEP THEORY enter the frame. Blending heavy metal and R&B, they exploded in popularity last year and already hold a strong slot on the Avalanche stage. With just under three million monthly listeners on Spotify, which doesn’t scream underrated at first glance, but just like FEEDER, their trajectory suggests they deserve a bigger stage or at least a higher billing. Nevertheless, powerhouse vocalist Cullen Moore is set to tear the roof off the tent with emotional ballads and future festival anthems. They may arrive as a discovery for many, but they should warrant a main stage appearance - watch this space. (DW) LINKIN PARK It’s been over a decade since the nu-metal pioneers LINKIN PARK returned to Download Festival, and they are finally back with their brand new frontwoman, Emily Armstrong. Their songs are those that even those outside of the metal scene know the words to, we can expect the band to play a mixture of their biggest hits, What I’ve Done, In The End, and Bleed It Out, as well as new bangers like The Emptiness Machine and Heavy is the Crown. With a headlining slot, we can expect the band to bring their full tour production and a fully fledged setlist with it. You will not want to miss their iconic return to Download Festival this year. (AS) Words: Amy Smyth and David Waites

A.A. WILLIAMS has steadily and successfully conquered the uncharted space between dramatic metal and conceptual sound, laying the foundations of her empire with her self-titled EP in 2019 and building with visionary collaborations, boundary-breaking sounds, and relentless support and headline touring. She now adds another level to her solid monument with new album Solstice, an album that defies limitations, blends genres and concepts, and leaves you channelling the soul-searching and agonised feeling Williams embedded into the album. Recently signing to Reigning Phoenix Music, Solstice marks her first project with them whilst delivering a sound that’s been shaped by years of grafting and refining to achieve something that’s elevated and confident in its production and weighed by its intense sensation. Williams both invites you into the depths of her emotion and embraces you in yours, the album a tapestry of intense longing for someone or something tailored into a cinematic experience of sound. Drawing you into a near-dreamscape melody, opening track Poison opens with muffled piano keys before descending into a sombre rhythm that flickers between the border of grunge and shoegaze, Williams crying out “be my saviour from myself”, abruptly falling to organ notes then crashing over like a wave breaking the shore. Wolves displays the power of Williams’ vocals as she weaves from low pitches to prolonged notes whilst preserving the heavy emotion behind the lyrics, to the point you can practically feel how wearied and defeated she begs to be left to the wolves. Little By Little showcases more of the darkness built into the album, the rhythm understated but with the promise it’s merely holding itself back, a subtle shift in volume and sound effects jolting through, before Williams’ voice powerfully rises over and the dark instrumentals break through the restrained facade. Drowning in vulnerability, Hold It Together is one of the most introspective tracks on the album, the lyrics “this isn’t easy feeling everything so deeply” particularly hitting a deep pain as poignant piano plays under her rising, ethereal vocal runs, a sudden crescendo of guitar and drums over a choir, the illusion of holding everything together shattered. Outlines holds the type of yearning you could only find in an epic film or novel and wish would happen in real life, the vocals and instruments rising unbridled as the lyrics reflect on a feeling lost and the desperation to reclaim it. Enveloping you in rich, low tones over melancholy keys, guitar plucks and subtle strings, I’ve Seen Enough doesn’t let up on the inescapable feeling of loss and despair prevalent throughout Solstice. The Veil feels like the crumbling of the world around you while you can only watch, Williams’ mournful voice pleading with an unseen “love” that “[she] can’t keep this flame alive on my own”, vocalised over a lone piano with sorrowful chords. Driving back in with powerful instruments, Just A Shadow is a solid track that weaves between paces and instrumental highlights, a guitar solo ringing out over everything as they all rise as a unit, unclear if it should feel triumphant or defeated or leaving you lost in your feelings as it fades to silence. It Won’t Rain Forever starts with stripped back piano and vocals before crashing in with vocal runs and heavy rhythms, in a mix of dark gothic, melancholic metal, and a lament, the breakdown of strings adding dramatic weight to the track. Breathe almost starts as the fastest track on the album, but as the instruments fall into place and the pace remains at a dragging speed it’s actually Williams’ vocals that give that impression, as if she’s rushing to get her feelings out before it’s too late, begging “give me a chance to seek serenity, my love, I just want to know what it feels like”. We come to the end of Solstice and its heart-breaking self-reflection with The Gentle Harm, beginning with a deep sadness over percussion and strings, when suddenly Williams almost seems to bite back that she won’t let her sadness consume her, a guitar soaring over the growing crescendo of crunchy drums and repeated keys, fading out one aspect at a time and leaving to process everything you just felt. It’s A.A. WILLIAMS at her most established and features the most expressionism in her work to date, whilst still leaving a space for future developments - she’s at the top of one peak in a mountain range of creativity. Score: 10/10 Solstice will be released on June 5th 2026 via Reigning Phoenix Music. Words: Julia Stark Photos: Jake Owens

SIM have travelled six thousand miles over to the UK to play at Slam Dunk Festival, so while on their trip over, they surprised their London fans with a one off show! Taking place at the Signature Brew Blackhorse Road, the small venue was packed to the brim with their biggest fans. Their last show in London was in November 2024, so it is needless to say the fans have been waiting patiently. Supporting them was the UK’s own DEADWAX, coming over from Yorkshire. The band brings together a rare mix of nu-metal, grime, dubstep and garage, among other things depending on the track. They threw themselves onto the stage and the crowd immediately returned their energy, you could visibly see the band's surprise at the reactions they got. Throughout the set they both fed off each other, ramping up and accelerating making the room immensely sweaty and rowdy. The bass shook the room and from the first track the crowd were off their feet and jumping despite maybe not knowing the music. Lead vocalist Jake Milburn owned the stage, utilizing every bit of space he could and making it his own. Most of the tracks feature him rapping over a metal instrumental, his bars were impressive as the crowd found themselves wondering when he had time to breathe. He also punctuated some tracks with short bursts of fry screams that were an exciting display of another talent he has. Although it might not be matched with the genres the crowd enjoys, the band got the crowd joining in, pointing fingers to the sky for their drum and bass tracks and doing frequent call and response with the crowd keeping them on wavelength with the music. They of course gave many thanks to SIM for having them open, it was a display of great showmanship when playing to a crowd that isn't your own. After a short break with enough time for everyone to grab the pints they needed, SIM finally made their way onto the stage. As the music ramped up there was a small ruckus in the middle, nothing out of the ordinary. That was until the first track actually started and the pit immediately engulfed the entire floor, a mosh pit the size of the venue appeared in front of your eyes. It was an instant reflection of how much energy the fans had just for the band, more and more fans joining by the second. They opened with the devastational Five Times Dead which the entire room seemed to know the lyrics to. Lead vocalist Mah marched up and down the stage singing and connecting with every fan he could. The band had VIP meet and greet tickets available for this show, as well as multiple speeches throughout the set that really showed how much the band cares about their connection with the fans. Their songs amalgamate genres and stitch them together using elements of nu-metal, hip-hop and most notably ska. The songs flip back and forth between genres making each section so unique. Different instruments being highlighted meant the respective band members coming forward and taking the spotlight, the band worked really well together leaving no inch of the stage empty for more than a moment. Energy poured from every molecule of their performance, it could not be overstated how much of a show they put on, the kind you can imagine would fill a stage even in the biggest arenas. Every song started with an eruption of applause and screams from the crowd, it didn't even feel possible that they could get louder and yet they did every single time. A few songs in Mah asked for a circle pit which began right after his word, again filling the entire floor just leaving a few stragglers on the outside stuck to the walls. As the setlist carried on, more crowd surfers and stage divers started to appear, some making it all the way from the front to the back of the venue. About half way through the set the lead vocalist prepared the crowd “This is the big one!” Mah warned, shortly followed by a fist on his chest and the introduction to The Rumbling. It's arguably the band's most well known song as it features in the popular anime Attack On Titan, and the fans undoubtedly knew it. Many fans put their phones in the air to capture their highlight of the gig while others launched themselves straight in the devastational mosh pit. Mah flaunted his out of this world vocals with various screams mixed of both fry and pig squeals that echoed through the venue then flipping to various vocal tones as well as sprinkled in raps. They played all their hits like Killing Me, Red and Devil In Your Heart as well as playing some newer tracks like the just released Blindeyes and the unreleased DALALA – both from their album arriving into the world on September 2nd. In a break between songs the band shared how surprised they were that they had so many fans waiting for them despite being a band from so far away, they also shared that they wanted to choose a smaller venue so they can continue to rise. Their tour next year as them headlining a show at Electric Ballroom in Camden, a lot of fans at this show cheered when asked if they’ll be attending this show during their 2027 tour, HOOMAN AFTER ALL. They finally drew the show to a close with perhaps the heaviest breakdown of the setlist f.a.i.t.h from their 2013 EP EViLS. Mah asked everyone to get down on the ground and everyone got involved, you could see all the way from the very back to the stage, before all jumping up in unison. It cannot be stated enough how much fun each individual in the room looked like they were having, the band have clearly created an escape at their shows. As Mah said himself “Forget everything you carry and just get the fuck up” the room escaped all outside worries and judgment and just let themselves go in the pit. We look forward to catching SIM again during their 2027 tour where they will be attending more UK cities so keep an eye out for them! Words: Amy Smyth Photos: Katerina Stepanikova

The old-school death metallers in ANCIENT RIVALRY are ready to unleash hell on their debut LP WHAT LIVES BENEATH. Having relocated to Nottingham since forming in London five years ago, the five-piece have developed a reputation for groove-laden death metal that harks back to the 90’s, and they very much back themselves up on a record that screams for bloody gore. Opening on the title track, it’s obvious that their reputation is by no means overstated or undeserved - there’s dirt and bodily fluids leaking out of the speakers already, and if you look carefully there’s probably a couple of teeth caught in somebody’s pick guard. Next up comes ALTARS OF THE DAMNED, another raging piece of brutality carved from concrete and flesh. The guitar lines are particularly evil in this one and are well worth digging into, although you’ll still find plenty of suitably nasty riffs all across the LP. ROTTED CROWN and DROWNED IN HUMAN FILTH follow up in a devastating one-two punch, raining blood and guts down onto the ears of the unprepared and funnelling ludicrous drum lines into place, underneath dizzyingly sinister solos and vocals that you’d struggle to understand even with the lyric sheet in hand. Pay particularly close attention to the end of the latter for a prime example of the kind of music that could be played over the top of the invasion of Hell’s demons at the end of times. Marking the beginning of Side B is SIEGE ETERNAL, a track that shows the power of nominative determinism - that being the idea that a name can cause a person (or in this case, a song) to gravitate towards a path that fits that name. This track feels very much like the listeners’ ears are being besieged, and quite frankly it would not be a surprise if the band could keep that up for a very hefty length of time. This track rips. SANCTIFIED EXECUTION has the gnarliest intro this writer has heard in a very long time, with one of the scummiest bass tones in recent memory. It would be an offence to not listen to this track. All the qualities of an artillery bombardment can be found here with the singular exception of actual explosives, somehow almost topping the previous song for relentless aggression and pure, barbaric heaviness. There’s no rest for the dying on penultimate track HUNGER OF THE DEAD, as shrieks of anguish blend into the all-encompassing punishment that is the sound of ANCIENT RIVALRY enjoying themselves immensely. Finale BREATHLESS DOMINION throws a little curveball by slowing down a touch at points, marking it prime territory for any circle pits that may be created in the vicinity. Deciding to walk down the path of incredibly ominous, sparsely populated guitar solos, it finishes up the release in suitably evil style and fades out just before your brain explodes and runs out of your ears. If you like unrelenting 90’s death metal, go and listen to this album. If you like stupidly heavy death metal, go and listen to this album. If you like any form of extreme metal, go and listen to this album. If you don’t fall into any of the above categories, listen to it anyway because it’s bloody good fun and is only a bit over half an hour. There’s crazy dive bombs, pick scrapes, mind-boggling solos and riffs, drum lines that would have even the most competent of drummers working up a sweat, vocals that might not actually be human, and much much more, all wrapped up in a lovely blood red bow. Go and listen to this album. Score: 8/10 WHAT LIVES BENEATH will be released on 6th June 2026. Words: Jasmine Longhurst Photos: Ancient Rivalry

Newly 4-piece, prior duo act LOVELOST are a noisy alt-rock band spawned only a couple of years ago within the quiet depths of South West UK, but the traction and quality tied to the group would easily have one think they’ve been kicking for plenty longer. Earning support from numerous radios and magazines, plus spots in official playlists from major music platforms such as Spotify, Apple Music and TIDAL, the collective demonstrate thorough determination when it comes to spreading the word of LOVELOST, despite only having released a handful of songs up until now. This number is set to double with the release of their second EP, titled Picking Petals By Your Graveside, the gnarly follow up from the debut EP that collected a modest following, COLLAPSE, released in 2024. This record is visceral in sound and theming, with much of the lyrics being targeted towards a person with a relationship to the voice, from places of fury, desperation and anguish. The opening track All Love Is Lost is an ominous speech, a prelude that sets the scene intensely, leaving you on edge as you wait for the imminent eruption. Following this passage, the listener is swiftly thrusted into the high-octane energy that persists throughout the record, with thrashing drums, riffing guitars and aggressive, screamy vocals to ensure that you are well awake and immediately rocking your body, planting you deep into the atmosphere of the EP right off the bat. A Stomach With Silver Lining is a perfect track for those unfamiliar with the band’s relentlessly infectious vigour, being a grand mix of many of the elements you should expect to become familiar with later on, such as vocalist Tobias’ ability and enthusiasm with both raw screams and harmonic singing, one of the group’s key strengths. Not to mention, drummer Ed is eager to show off his own range of abilities here, dancing with half and double time and constantly adding a subtle kick or fill to keep the beat exciting. The next two tracks scratch a certain itch, with Beneath The Surface taking a more subdued approach that demonstrates stellar production, while I Thought I Could Hide But You Caught Me, the lead single, offers an impassable banger. The former, an emotionally driven clash between Tobias’ fiery frustration and brazen, climactic instrumentals (with more tender contemplative moments in between), all complimenting each other perfectly. The latter being an outright screamer of a song, relentless energy that slams into the listener with delightful force, once again a commendable effort from all members, including newcomers Daniel on bass and Jon on guitar, that’s sure to be a crowd pleaser at upcoming shows. Rolling into the second half of the EP, Hollow Eyes keeps up the momentum with some flavourful, glitchy production and smooth layered vocals, all around an enjoyable ride, but by this point the consistency of the band’s style, though badass, starts to feel a little repetitive, which carries onto the next track and second single released in anticipation for the EP, Don’t Set Yourself On Fire To Keep Someone Else Warm. In structure and sound, there’s not a remarkable contrast, so the majority of tracks offer a similar experience, if that’s not an issue for you, you’ll have a cracking time. The aforementioned track is anthemic, containing profound lyrics, the chorus expressing the title phrase, alongside “don’t burn yourself out just to save someone else”, it’s easy to appreciate the writing present when you aren’t violently swinging your head around. The EP briefly returns to top quality rock with Sitting On The Sidelines, expelling unique, flavourful production, a fantastic chorus and more massive vocals from Tobias to indulge in. The closer, Nothing, wraps up the EP with some gnarly guitar riffs, but otherwise you know what to expect by now, large, raw and fierce on all fronts. LOVELOST have surely nailed down their signature sound and given us a feast with it, it perhaps just needs a little more flavour to truly blow the roof off, which we are sure is only a matter of time. Score: 8/10 Picking Petals By Your Graveside will be released on June 5th through Year Of The Rat Records Words: Paul Cutts Photos: LOVELOST

There is a sense of repetition running through DEATH CAB FOR CUTIE's I Built You A Tower. Not repetition in a negative sense, but repetition as a reflection of memory itself. The thoughts that keep returning. The conversations replayed long after they have ended. The people who continue to occupy space in your mind long after they have left your life. Across eleven tracks, DEATH CAB FOR CUTIE explore heartbreak, self reflection and acceptance, creating one of their most emotionally resonant releases in years. Opening track Full of Stars immediately establishes the album's vulnerable tone. Beginning with little more than acoustic guitar and the unmistakable voice of Ben Gibbard, the song feels deeply personal from its first moments. As the arrangement gradually expands, so does its emotional weight. There is a pleading quality throughout, as though Gibbard is trying to hold onto something already slipping away. It is a powerful introduction to a record concerned with the things we struggle to let go of. While tracks such as Punching The Flowers and Pep Talk bring more energy and optimism, they never fully escape the emotional uncertainty hanging over the album. Pep Talk in particular feels like an attempt to find hope amidst confusion. Its uplifting melodies and beautiful harmonies suggest brighter days ahead, but there is still a sense of someone trying to convince themselves that everything will eventually be okay. The emotional centrepiece of the album arrives with I Built You A Tower (a). It is not only the strongest song on the record but also the clearest expression of its central themes. The song explores what happens when someone becomes so embedded in your thoughts that they begin to dominate your internal world. The repeating instrumental patterns mirror that feeling perfectly, circling endlessly while subtle flourishes drift above them. It is an incredibly clever piece of songwriting that captures the feeling of being trapped within memory and unable to move forward. That theme continues throughout Envy The Birds, where recurring lyrical ideas become increasingly powerful through repetition. Rather than losing their impact, they gain meaning, reinforcing the album's fascination with the thoughts and emotions we cannot seem to leave behind. If I Built You A Tower (a) examines obsession, then Stone Over Water explores the emotional toll it can take. The lyrics are some of the most affecting on the album, confronting insecurity, self doubt and emotional exhaustion with striking honesty. What makes the song resonate so strongly is how relatable it feels. Many people know what it is like to reassure others that everything is fine while quietly struggling beneath the surface. Stone Over Water captures that experience with remarkable clarity, making it one of the album's standout moments. The energy picks up considerably with How Heavenly a State, one of the album's most immediate tracks. Distorted guitars and a faster pace create a welcome shift in momentum, while its stunning bridge provides a brief moment of reflection before the song cuts off abruptly. It feels restless, urgent and perfectly suited to a live environment. By the time I Built You A Tower (b) arrives, the emotional landscape has changed. While many of the ideas echo the earlier title track, the perspective is noticeably different. The fixation that defined I Built You A Tower (a) has begun to give way to acceptance. Rather than remaining trapped in the past, the closing track begins the difficult process of moving beyond it. Importantly, the album does not present healing as a finished process. There is no grand resolution or perfect ending. Instead, there is simply a willingness to keep moving forward. That honesty makes the conclusion all the more impactful. At its core, I Built You A Tower is an album about reconciling with the past in order to create a future. Through thoughtful songwriting, deeply relatable lyricism and some of the strongest performances of their recent career, DEATH CAB FOR CUTIE have delivered a record that feels both intimate and universal. It embraces uncertainty while gently searching for acceptance, and in doing so becomes one of the band's most compelling releases in recent memory. Score: 9/10 I Built You A Tower will be released on 5th June 2026 via ANTI- Records. Words: Con Macadam Photos: Shervin Lainez

With HOUNDSTOOTH, SIIICKBRAIN builds a record that feels like stepping into a dark, sweat-soaked room and letting the walls close around you. It is abrasive, hazy, clubby, vulnerable, and strange in all the right ways, pulling from industrial grit, electronic production, hip-hop beats, alternative pop structures, and something far more instinctive. It never feels interested in sitting neatly within one sound, and that restlessness becomes part of its identity. The album opens with a short, haunting intro, almost mechanical in its delivery, declaring “this is the sound of breaking the loop” before launching straight into PALO SANTO. It is an effective introduction to the world SIIICKBRAIN is creating here, immediately pairing rave-like instrumentals with softer, more ghostly vocals. That contrast becomes one of the album’s biggest strengths. There is a constant push and pull between aggression and fragility, between control and collapse, and HOUNDSTOOTH often feels most powerful when those sides are allowed to clash. FILTHY, featuring FETISH, is a standout example, carrying a sense of intoxicating danger that made it such a strong single before the album’s release. Its heavy, industrial-leaning production and club-ready pulse make it feel grimy and physical, with punchy drums and distortion giving the track a razor-sharp edge. SIIICKBRAIN’s vocals sit somewhere between seduction and menace, making the title feel deliberate rather than decorative. DELICATE is another example of that masterful tension. Built around a trap-leaning, hip-hop influenced beat, it starts with a vulnerability that feels bruised but not passive. Lines like “they promised it all, left me worse than before, I did what was told but they just wanted more” are open enough to be read through multiple lenses, whether that is toxic love, exploitative friendships, or the pressure of industries built on image and consumption. As the track progresses, SIIICKBRAIN delivers “I’m tired of being the victim”, with the vocals eventually becoming harsher and more forceful, cutting against the softness suggested by the title. By the end, this track feels less like a confession and more like a breaking point. That sense of taking power back runs throughout the whole album. There are repeated images of godhood across HOUNDSTOOTH, not in a hollow, ego-driven way, but as a kind of survival mantra. On I WOKE UP ALIVE, the repetition of “I am a god” lands with a ritualistic force, as though saying it enough times might make it feel real. It taps into the wider emotional thread of the record: reclaiming autonomy, rewriting old patterns, and finding empowerment not through easy triumph, but through confrontation. Elsewhere, HER introduces one of the album’s more accessible moments, with a chorus that almost leans into pop. In another context, that might soften the record too much, but here it works surprisingly well against the layered electronic details surrounding it. It is arguably one of the lighter-sounding tracks on the album, but still feels distinctly tied to the same world, never losing the eerie, off-kilter quality that makes HOUNDSTOOTH so compelling. By the time closing track FAWN arrives, the album pulls back slightly from some of its denser moments, but without losing any of its atmosphere. It feels darkly cinematic and shadowy, letting the record fade out with tension rather than closure. While each track holds its own, HOUNDSTOOTH is especially rewarding when listened to in full. Across the album, SIIICKBRAIN creates a world that is confrontational, contradictory, and occasionally uncomfortable, but still deeply magnetic. Some moments are more disjointed than others, though that never feels like a flaw. If anything, it suits a record built around shedding old versions of the self and refusing to be made smaller. HOUNDSTOOTH is a bold, sharply produced step forward from an artist who clearly understands the power of making chaos feel intentional. Score: 8/10 HOUNDSTOOTH will be released on 3rd June 2026 via NOWHERE Recordings. Words: Zuzanna Pazola Photos: Giovanni Varlonga

BLACK LABEL SOCIETY have been a band that have been wowing audiences since 1998. For a band to have this much notoriety they must be doing something more than right, and their latest UK tour has solidified why they have evolved into the iconic band they are today. Opening the evening were DARK CHAPEL. Fronted by Dario Lorina from BLACK LABEL SOCIETY, the band are fairly new in their formation, however played as though they had been doing this for decades. Opening with Afterglow, an anthemic song that felt cinematic as the phenomenal riffs soared through the crowd. Each song felt like a great blend of sludgy grooves with a blues/grunge feel. By the time they played a cover of Bill Withers’ song Ain’t No Sunshine you could truly see that the talent on stage was on another level. Whilst the ties to BLACK LABEL SOCIETY could arguably be the reason they did so well on stage, the audience reaction and applause told everyone they deserve the recognition this tour is giving them. Next up were British heavy metal rockers VENOM INC. Hailing from Newcastle, this band are old school to their core. Featuring a member from the original VENOM line up from 1989, the three piece are confident that they are more than just a cover band by creating songs that are both classic and modern at the same time. With only one cover of the VENOM song Cursed, the band showcased the range of songs that they have created in subsequent years. Their songs were full of never ending riffs and drums that rattle you alongside classic northern grit that lends well to heavy metal. Vocalist Tony “Demolition Man” Dolan paid tribute to those metal icons that have passed such as Phil Campbell before exploding into a Motorhead cover of The Hammer This band know how to play music and play it well. Before BLACK LABEL SOCIETY takes to the stage, a giant logo covered curtain rises to help cover what’s to come, allowing the mystery to stay that way for a little while longer. You can feel the excitement building in the sold out venue as the time draws closer to curtains up and by the time the opening sounds of Whole Lotta Love and War Pigs came through the venue speakers, the crowd could hardly contain themselves with excitement. Stood in front of a wall of amps are the band, shaking the venue as they open with Funeral Bell. There doesn’t seem to be much time to slow down the pace as the band race through in the most perfect of ways and the audience go wild with crowd surfers and mosh pits galore. Supported with a tower of skulls around his microphone, vocalist Zakk Wylde is every part the frontman that a band needs. Stepping onto the riser in front of him, he reaches to the sky, plays powerful riffs, and sends the audience into a frenzy. Backed by a band that are equally as talented, there is no stopping these music making machines. Wylde takes time out of the set to pay tribute to Ozzy Osbourne in the most fitting of ways before playing No More Tears. This tribute is one of the few moments that the band stops for a breath and takes in the show. The other is when Wylde introduces everyone by saying which British classic they hate, leading to football like chants for fish and chips. The crowd was a huge mix of ages, showcasing that the band has created timeless music that transcends generations to unite them in a BLACK LABEL SOCIETY chapter. Each song has a blend of classic rock, metal, and southern roots that truly allow each band member to showcase their own talents in a cohesive way. Utilising the piano in In This River and playing insane riffs to Ozzy’s Song allow the band to showcase their emotions and show their softer side to the hard metal exterior. With the audience transfixed from the first chord to the closing bars, the band gave them 90 minutes of pure insane energy and non-stop music met with rapturous applause. Ending with the behemoth of Stillborn, BLACK LABEL SOCIETY showed the audience that they are not slowing down with this massive crushing finale and cemented themselves as a legacy in the rock world. Words and photos: Laura Davies

Bearded Theory is a festival built upon the collective love of music. A true celebration of everything that makes festivals so magical. Everyone who attends seems to be there for the same reason: to see some great acts with a great crowd. Every hour you’re there, you will have another insightful conversation with a stranger. You can attend without knowing a single act on the bill, but you’ll end up with a list of people to see, recommended to you by anyone you run into. The site is small, but the joy of having a 10-minute walk from the car park to the campsite makes everything feel relaxed. Even from the campsite, you are only 5 minutes away from the arena. The festival has this sense of calmness that does not seem to exist anywhere else. Each stage is vastly different, with the Pallet stage, the main stage, being very large for the capacity of the festival and the Woodland stage being one of the most picturesque small stages at any festival. The crowd does skew somewhat older, but that does not mean that it is a festival for an older crowd. The lineup features acts that everyone will love, with legends celebrated by all generations and artists just at the start of their careers. It’s truly a festival for everyone, no matter what genre you like, where you come from, and however you identify. Everyone is welcome to become one under music at Bearded Theory. Words: Will Freeman (WF) and Chloe Sodeau (CS) EMF EMF are one hit wonders, and they know it. Their set to close the warmup day at Bearded Theory was the perfect way to start. A set of high-energy dance songs moves into their monster hit Unbelievable. The band built a lot of the fun of their set through a wave of quick covers in the middle, helping bring a lot of old-school raver energy to the field. The Wednesday crowd is some of the most dedicated fans of the festival, and they love everything presented to them. The pinnacle of the set happens as the band brings on a town crier to the stage to introduce Unbelievable to a massive sing-along. The band know they are one-hit wonders, but they put everything into their live performance to bring joy to a crowd. WF NATIVE JAMES Late-afternoon on Thursday, NATIVE JAMES made a bang on the Woodland Stage. Despite the serenity of the surroundings, the crowd thoroughly embraced this modern, grime-infused take on nu-metal. NATIVE JAMES simply said the word, and the first pit of the festival manifested, creating an unmatched atmosphere that drew in even the sceptics. Before diving into BLOCK - RR, an explosive collaboration with PROFESSOR GREEN, he declared that the rap artist will be appearing with him at Download later this summer, alongside grime legend FRISCO. The energy was electric, and it was clear that by the end, he had an onslaught of new fans who were ready for more. CS BIG SPECIAL A duo creating some powerful songs with a combination of punk, soul, pop and hip hop. A lot of fans on Thursday were looking forward to seeing BIG SPECIAL. They are the typical modern band for Bearded Theory, a band on the rise with an already dedicated fanbase. Their set has this unwavering positivity that even appears in the mosh pit, where everyone is hugging each other as the band plays their tracks. The drummer of the band called his then fiancé now wife, towards the end of the set, as it turned out they were getting married the next day. The set was built upon a collective joy that can only exist through live music. WF LAMBRINI GIRLS LAMBRINI GIRLS’ rise in not only punk but also the mainstream in the past year has been explosive, but to headline The Pallet on the first official day of the festival is still no easy task. Packed with energy, opportunities to mosh, and vital messages, Pheobe Lunny gave us a whiplash tour of their most iconic and politically relevant hits. Prior to Body of Mine, drummer Misha Phillips took a moment to address the EHRC’s new anti-trans proposals. A trans flag glowed bright behind them with a clear statement for both the crowd and the government: Trans Lives Matter. Ending with a powerful detonation of Cuntology 101 and Big Dick Energy, this set was powerful, important and full of the political rage we love from the genre. CS WESTSIDE COWBOY One of the bands making some of the biggest waves in the alternative music community is WESTSIDE COWBOY. Their sound is very modern post-punk and has a simple charm that can only be seen live. For a band so young, their sound is so complete. As of the time of writing, they have not released their debut album, but it seems like it may be one of the most important releases of the year. The band are tight on stage with every instrument playing off each other. Even after they had to stop a track halfway through due to an issue, they started playing in unison from the point they stopped. They are one of the bands to watch this year. WF FEROCIOUS DOG FEROCIOUS DOG t-shirts always dominated the crowd at Bearded Theory, and this is the last time the band will play the festival. The band are set to play their final gigs this year, and the crowd was emotional to see the folk punk legends come to an end. From the moment they took the stage, the crowd erupted with a cathartic love. It felt like a victory lap for the band to play to such a dedicated, large crowd. Up front, people had each other in arms and were dancing as much as they could to spend this one final moment with the band. Even when the band officially end at the end of the year, they will still see their t-shirts worn across the festival; they are favourites for a reason, as their music brings pure joy to a crowd, and it’s a shame this is their last time here. WF POP WILL EAT ITSELF POP WILL EAT ITSELF are musically hard to truly define; they rap, they have guitar riffs, they have sing-along choruses and a lot of samples. They are an unusual act, but to those who have become fans, there is nothing that exactly hits in the same way. Their duel frontman setup makes the band truly feel like a group of friends playing the music they always wanted to hear. The dance moves on stage aren’t those of a pop band but people truly living in the moment of what they created. A lot of the band's lyrics can be a little silly in the best way possible, but in moments like Ich bin ein Ausländer their anti-fascist message becomes all the more powerful. The band aren’t there to simply have fun, they stand tall for everything they believe politically and musically. WF THE DAMNED Punk rock legends, goth legends and general musical titans THE DAMNED brought their 50th anniversary tour to Bearded Theory, and they still bring energy live. For a band so late in their career, they haven’t played it safe with live performances. The setlist covers a lot of ground for the band with a lot of fan favourites, anthems and a few surprises. Opening with the sing-along track of Love Song got the crowd already chanting the lyrics back at the band. For a punk band, they don’t take themselves seriously as the band perform a quick rendition of CAPTAIN SENSIBLE’s smash hit Happy Talk, which then sees frontman David Vanian playing along on kazoo. The biggest surprise of the set is a cover of JEFFERSON AIRPLANE’s psychedelic masterpiece White Rabbit, which the band perform with true gothic grandeur. The set ends with the all-time mosh pit filler Smash It Up which sees every generation at the festival coming together to pay tribute to one of the most legendary British bands of all time. For a 50-year-old band, they play with the energy that made them famous when they first started. The Damned are one of those bands that every music fan should make the pilgrimage to see just once, not because of influence alone, but because they are just that good. WF SKUNK ANANSIE If this headline set proved anything, it was that SKUNK ANANSIE remain as fierce, uncompromising, and vital as ever before. The stage was transformed into a labyrinth of towering, inflatable spikes that encased drummer Mark Richardson, creating a visual centrepiece that seemed to pull the audience into the band's world. Vocallist Skin exploded into the maze with a level of self-assurance and confidence that can only be honed through decades in the industry, instantly tearing into This Means War. Skin’s stage presence is utterly unmatched. Commanding thousands with ease, she combines boundless energy with a formidable vocal power that isn’t easily replicated. A striking moment occurred during I Can Dream when Skin plunged directly into the pit that had been steadily growing throughout the evening, personally singing to members of the audience to create small moments of connection. As the beat dropped, she embraced the chaos, and the pit closed around her, impressively remaining pitch-perfect the entire time. Musically, the set was a delightful concoction of their modern material alongside the older songs that have cemented their legacy. It leaned on the nostalgic heavy-hitters such as Yes It’s Fucking Political and Hedonism (Just Because You Feel Good) to appeal to the older crowd. By the time they left the stage, SKUNK ANANSIE had delivered a performance of overwhelming intensity and sheer conviction. It left an undeniable mark on everyone in attendance and set an exceptionally high bar for the rest of the weekend. CS JASMINE 4.T Opening The Pallet stage on Saturday afternoon was dreamy indie-rock artist JASMINE 4.T, whose emotive and politically crucial performance provided a powerful start to the day. Between songs, she spoke candidly about topics such as the rise in transphobia, the EHRC’s new anti-trans proposals and the struggle for Palestinian liberation amid the ongoing genocide, giving the relatively slow set a sense of urgency that extended beyond the music itself. Before diving into Find Your People, Jasmine took a moment to dedicate the song to her “chosen mother”, Yulia, one of the Filton 25, adding a deeply personal layer to an already poignant set. Throughout the performance, moments of calmness were underscored by a quiet but unmistakable sense of rage, making for a show that was emotionally resonant and politically vital. CS HENGE HENGE may be the only band from out of space to make music that reflects their origins. The band’s sound is controlled danceable chaos that will bring a smile to even the most sceptical member of the audience. Seeing Henge live is a true theatrical otherworldly experience. What other band will bring dancing mushroom people onto the stage? Front alien of the band Zpor brings his trademark charm to the stage and tells tales of other planets. It’s the closest most of the audience will come to space travel, even if they claim they have already been there. The use of synths and unorthodox melody defines the band’s sound; despite how alien everything sounds, it still remains catchy. WF BAD NERVES East London punk five-piece BAD NERVES stepped onto The Meadow to a crowd that was already primed for them. There was little movement at first, before the bassist from previous Convoy Cabaret performers BE N!CE exploded into the audience like a meteor, instantly igniting a lively moshpit. From there, they tore through an extensive setlist, with their short and punchy tracks keeping the crowd guessing as to what could come next. They had a relentless energy that was infectious, and while the pit grew increasingly more intense as the set progressed, the rapidfire nature of their tracks meant that just as the crowd were finding their rhythm, another song was already underway. CS KATE NASH KATE NASH seems like she has accidentally become punk at this stage of her career. Taking bolder political stances than most other artists around and pushing her own sound into vastly different areas. Being 19 years since her massive debut album Made of Bricks, she has not rested on her legacy. Recent tracks, such as Germ see her at her most political as she stands up for trans rights very vocally and promotes her trans inclusive brand of intersectional feminism. The track live is a truly intense experience, watching her with intensity sing the lyrics which make one of the most powerful statements of the festival. This is then followed by a cover of Sinéad O'Connor’s Famine which still retains its political punch. As the set goes towards the end, there’s a wave of sing-along favourites ending on Foundations, which still gets everyone singing ‘Bitter’ in that accent even now. WF CMAT CMAT is the superstar of tomorrow. She has done the rare feat of even getting parents on side with her music. A true set of storytelling and stage craft sees CMAT play her trademarked country sound, which seems to take the genre into somewhere truly special. Her intensity and charisma on stage are truly unmatched as the audience becomes hooked on everything she does. She manages to get the crowd dancing in unison with her own version of a two-step and keeps everyone’s attention. The way she and the very sexy Cmat band approach the set makes them feel like headliners. Cmat seems to be on a massive career trajectory and is simply delightful to see live. She appeals to everyone, and everyone will take something special away with them. WF PIXIES Pixies are alternative music icons; they have soundtracked many people’s lives, and on record, those songs still pack a punch, but live, it feels like something gets lost in the mix. In an hour and a half set the band get through around 25 songs; most of their songs are shorter, but there’s no crowd interaction that breaks up the set. The songs musically sound great live, but there seems to be something that gets lost in the mix live. The simple, naive charm of albums like Surfer Rosa and Doolittle seems to get lost when those tracks are being performed every night and 40 years on. Pixies aren’t the same band they used to be. They have aged; they aren’t playing a rough and ready small venue; they are playing to tens of thousands of people every night, and they haven’t scaled anything up. It also seems that the fanbase that first fell in love with them has to contend with the fact that they have a different audience now, as when Where is my mind starts to play, waves of teenage boys scream that they love Fight Club. Their big songs are still big. Monkey Gone to Heaven is still as powerful as ever, but it seems like seeing them live with these types of crowds in larger venues is not the best place to experience them. WF LAWNMOWER DETH Bearded Theory isn’t exactly renowned for its heavier acts, but LAWNMOWER DETH, the gardening-themed thrash-metal unit’s Sunday lunchtime set, radiated nothing short of the pure joy and community spirit that the festival IS known for. Playing a quickfire anthology of unserious tracks with ferocious riffs, such as their 15-second Weebles Wobble But They Don’t Fall Down, and Did You Spill My Pint?, the energy was explosive and unmatched right from the word go. Even rogue toddlers got involved, with the crowd calmly leading them through the world's slowest circle-pit. By the end, frontman Pete Lee seemed genuinely humbled and overjoyed at the turnout and the reception, creating a wholesome end to a wonderful set. CS THE BAR STEWARD SONS OF VAL DOONICAN THE BAR STEWARD SONS OF VAL DOONICAN are Bearded Theory regulars by now. They bring their parody folk songs to the stage, which always manage to get a few guttural chuckles from the audience. They are silly, fun live, and they manage to make someone with a Gary Barlow mask on being dragged across the stage make sense in the world they create. Dressed in wonderfully inappropriate jumpers, they give the crowd the right attitude to have on Sunday: just have fun and make the most of everything. At the end of their set, two of the band members take to the audience in dinghies and manage to crowd surf through the audience. They already got everyone going when it’s only 12:30. It’s not Bearded Theory without seeing THE BAR STEWARD SONS OF VAL DOONICAN. WF LYNKS It’s a wonder that LYNKS didn’t overheat in that mask on stage whilst doing that level of choreography. LYNKS is very fun, taking danceable beats and writing some wonderful satirical lyrics whilst presenting them with the energy of the best club night you will ever have and being unapologetically queer. Songs that touch on everything from toxic masculinity, pretentious nights out and béchamel sauce, it’s an experience like no other. The crowd is a true cross-section of Bearded Theory, with most being people who would never normally listen to this kind of music, yet it somehow manages to become one of the most collective experiences of the weekend, with everyone throwing a few dance moves despite being tired on Sunday. WF WALPURGIS Every year, Bearded Theory invites a musical legend to perform a covers set, and today we see Ben Griffiths, Joe Lazarus and Mike Vennart take on BLACK SABBATH. Introduced on stage by comedy legend Stewart Lee, they open with the timeless War Pigs. The band doesn’t come across as a quickly put-together tribute act, but a love letter to the fathers of metal. Each track showcases the power the songs still have. The band is musically tight, each member is a legend in their own right, and they get the chance to have fun on stage. The audience sees many people in CARDIACS shirts due to Mike Vennart now fronting the band; the shirts are a feature of any alternative festival, but they all seem to have arrived for this set. It’s a sing-along affair as these songs have become part of everyone’s musical DNA, and it’s a chance to remember how great Sabbath can be. WF THE WILDHEARTS THE WILDHEARTS fanbase has long been dedicated, but after the cancer diagnosis of frontman Ginger, this seems to have taken on a new meaning. This set feels like it’s one of the last times many here will get to see the band, and that makes every little riff so much more powerful. The band are chaotic and noisy, but always serves the song. It’s loud amps and an even louder spirit. Ginger puts everything he can into the performance, and the band still retain everything that helped them become cult heroes. They don’t hold anything back musically and showcase how well-written their songs are. It’s bittersweet as the performance is so life-affirming, yet the reality of Ginger’s situation still haunts the set. When faced with adversity, the best way to get through is loud music and passion. WF GARBAGE Shirley Manson is an icon; she pushed through many boundaries in music and has carved her place as one of the most legendary people to front a band. She is arguably the second reason to see GARBAGE behind their iconic hits. She commands the stage, and when she plays the hits, she still retains that energy she had when they first came out, even if she is proudly older; nothing has aged her charisma. The issue is that behind the massive hits, the rest of their discography does not have the same level of relevance to the audience, so it feels like the set is waiting for those big moments to happen. They are carried by the band playing every song well, but it still feels like they need to have something else to keep the audience fully on side. Their stage production is the most low-key out of the headliners, being the band on stage with some visuals and lighting behind; the lighting and visuals can work, but other times, it becomes another aspect of boredom. The set is worth it as the highs of the anthems, like I’m Only Happy When It Rains are hard to beat, but you have to be prepared to get through lesser tracks. The band play everything well, but beyond their big songs, they don’t hit as hard. CS FAT DOG Midway through GARBAGE’s set, revellers began filtering away from the headliners to The Meadow to catch a glimpse of the eccentric festival favourites FAT DOG. Energetic, outrageous and delightfully confusing, this set was an undeniable standout of the weekend. Having a relatively short discography, they managed to tear through almost all of it, with much of the crowd screaming every word. The moshpit never let up and expanded steadily as the set progressed into a swirling nebula of excitement that could be felt across the tent and drew in even more curious onlookers on their way back to the campsite. By the time they reached tracks such as King of the Slugs, crowdsurfers began surging overhead, and during Running, the pit took the song's instruction seriously, launching into one of the most frantic circle pits of the festival. While unexpected, the set was a surefire way to end the weekend on a high. CS Words: Chloe Sodeau and Will Freeman Photos: Tyler Whiting

HAGGARD CAT are a band that are consistently pushing the boundaries of what it means to be creative. Having released their third album The Pain That Orbits Life, the Nottingham duo are on tour to celebrate not only the new release, but the fantastic work they have created up until now. Taking to the stage first was ARID WAVE, a Southampton based grunge metal three piece that had the prospect of warming up a crowd on one of the hottest weeks of the year. The band managed to set the tone of the show as they exploded onto stage with frantic noise that seemed both chaotic yet perfectly harmoniously placed at the same time. With the confidence on stage that they too could headline a show, their set was full of preciseness and cohesive chaos as they bounded around the stage engaging the audience. Giving elements of Royal Blood and early Gallows, you truly felt like their niche was somewhere beyond the mainstream. Their song Life is Combat allowed their on track collaboration to come to life with HAGGARD CAT’s Matt Reynolds joining them on stage to a rapturous applause and really got the audience ready for what else was to come of the night. Next to grace the Joiners stage were EVERY HELL. Putting themselves into a genre of something altogether unique, they have a sound like no other and were ready to continue the wave of energy that was running throughout the evening. A perfect blend of keys, screams, and razor sharp riffs galore meant that each song stood alone as certified tune whilst the band appeared to be having as much fun as the audience were. Vocalist Will Gardner gave us singing that was akin to Matt Bellamy from MUSE and was able to showcase his range alongside his incredible saxophone playing weaved throughout the set. The versatility on show from all was second to none and the audience seemed to be constantly wishing for more from this band. EVERY HELL were a tight fusion of so many different genres, and for a band that only released their first EP in 2024, it’s testament to how dedicated they are to creating something that justifies a chef’s kiss for every ounce of their originality. After two incredible support acts, you could feel the energy vibrating in the room in anticipation of the headliners HAGGARD CAT. The hardcore punk-metal duo from Nottingham originated HAGGARD CAT as a side project, however when their previous band HECK split, it naturally turned into their main project and they subsequently have grown into a successful act in their own right. Opening the set with I Hate It Here from their new album The Pain That Orbits Life, it shows an audience that a lot of sound can come from just two people. Despite the album only releasing at the start of May, there seemed to be a really fantastic response from the audience to these songs being played throughout the evening. Even though this was an album heavy tour, the songs weaved seamlessly from one to another and there were enough throwbacks for fans to get stuck into. Drawing similarities to ROYAL BLOOD and other explosive acts, the duo have created a set comprised of constant energy and noise that when you thought it couldn’t get any bigger and louder, it did. Throwing it back to an early single American Graffiti part way through the set, vocalist Matt Reynolds had the audience screaming back at him in a moment that seemed to be truly special for both band and audience. Reynolds even saying later in the evening that everyone came as fans, but left as friends, lending to the magic of an intimate gig. Throughout the show the energy never wavered, giving the audience songs that they could reminisce with and dance the night away too. The duo giving it their all from the first song until the last, showcasing the true range of diverse skills and abilities to everyone in the room. Merging genres and noise, HAGGARD CAT are truly a spectacle and a blueprint for organised chaos on stage. Ending the show with a mix of old and new in Quit Your Job and eight minute track Apnoea truly allowed the band to showcase what they could truly do with their instruments. With crowdsurfers going ahead of the audience and mosh pits forming, the band showed skill and perfection making you feel that there was an army on stage as the guitars of Reynolds and the drums of Tom Marsh truly rattled your bones and left you wishing that there could be just one more song. HAGGARD CAT are a band like no other, and this tour has proven that genre bending music can lift your spirits and engage an audience from the first beat to the last. Words: Laura Davies Photos: Luke Storey

DEAD PONY didn’t arrive so much as evolve into the scene. What began as a scrappy Glasgow project, found its shape in cramped rehearsal rooms and late‑night arguments about riffs, identity, and how heavy was “too heavy.” By the time they re‑emerged under their new name, the edges had sharpened: Anna Shields’ vocals carried more bite, the guitars more swagger, the rhythms more intent. Their sound became a kind of forward motion, restless, adrenalised, impossible to pin down. On a humid Tuesday night in Nottingham, the heat hung in the room like an extra body before DEAD PONY even plugged in. On the hottest day of the year, the crowd packed in shoulder‑to‑shoulder, sweat already gathering on the forehead, everyone resigned to the fact that this show will feel less like a gig and more like an endurance sport. AIRPORT DAD opened the night with the kind of unforced charm that makes a small room feel instantly on their side. The Nottingham outfit lean into an alt‑shoegaze haze, but there’s a clear DIY heartbeat running through everything they do — cosy, self‑made, quietly magnetic. Jessie Hodges’ vocals carry that slightly awkward, wholly endearing charisma that anchors the set, while the other band members move around her with an ease that feels instinctive. In a space as intimate as Rock City Beta, their songs land like quiet revelations, with Sunflowers, Acatalepsy, new track Evergreen and the politically charged How to Swim standing out as the moments that drew the room in closest. Scottish four piece OVERGROWN followed, with a heavier vibe than matched what the crowd would come to expect from the evening. Their set moved like a slow‑building summer storm, anchored by a run of songs with With Me, Give Up, and Breathe being standout tracks. The lead vocalist’s clean delivery carried most of the emotional weight, while the bassist’s quiet screams threaded a raw undercurrent through the set. Give Up hit as easily the heaviest moment of the night but even when they urged the room to headbang, the crowd stayed oddly still, as if caught in the charged air before the downpour. Still, their dynamic push‑and‑pull made the performance feel intimate, even when the crowd seemed unsure how to meet them. When DEAD PONY stepped out onto the stage, there was no theatrics, no slow build, just a sharp, collective jolt as the first riff slices through the humidity. It’s a reminder of why they’re here: to turn a stifling room into something volatile, kinetic, alive. DEAD PONY don’t fight the heat; they weaponise it, pushing the atmosphere from oppressive to electric in a matter of seconds. Heading straight into getting the crowd in a circle pit, vocalist Anna Shields launched into Eat My Dust! from their new EP of the same name. With a steady thread of new songs; Boom!, Freak Like Me, Lost Inside of Me and old favourites; COBRA, IGNORE THIS, MANA and RAINBOWS, the band wasted absolutely no time in front of the eclectic crowd. With Glaswegian Shields proclaiming that Nottingham is always one of her favourite crowds, it seems poetic that they chose here to open up their tour, especially after only just performing at Slam Dunk Festival over the weekend. Mid set, we were treated to an incredible rendition of ALANIS MORISETTE’s You Oughta Know, which had even more energy and rage than the original. The band also debuted new track Fury, which was met with more circle pits and even more clapping along, alongside a story of almost catastrophe where Anna had spent the week before the show hitting a keg with a metal baseball bat to get the ‘cling’ sound of the track, only to find out it was depressurised and therefore was super dangerous! Following a slightly awkward mix up between whether Nottingham is in the North or the Midlands, which was met with much laughter from the crowd, the time came for DEAD PONY to play their final song. Asking what the audience wanted to hear, they launched into a second performance of Eat My Dust! which was met with just as much vigour and enthusiasm as the first time round. DEAD PONY feel like a band mid‑transformation, constantly levelling up, chasing the version of themselves that’s just out of reach and their live show is just a taste of what they have to offer the scene. If this is how they’re starting the tour, the rest of the UK should brace itself. Words: Lou Viner-Flood Photos: Emily Champion