Search Results

Closing off the tour for their new EP Our World, ALT BLK ERA played a sold out home town show at Nottingham’s Rescue Rooms. Nottingham‑born sister duo Nyrobi and Chaya are reshaping the UK alternative landscape with a sound that fuses rock, drum’n’bass, rap, trap and dark pop into something unmistakably fresh. Rising from their DIY beginnings during lockdown, to winning MOBO awards, the band have built a world where they cause genre boundaries to cease existence and where identity, power and vulnerability collide. LUNA & THE LIME SLICES opened the night with a hazy, hypnotic confidence that instantly set them apart. The Nottingham outfit leant into their alternative shoegazey rock sounds, all swirling guitars, thick low‑end and a dream‑meets‑darkness atmosphere. Fronted by dual female voices that clash and lift each other in unexpected ways, their sound felt fluid and deliberately unboxed, where they shifted from soft‑focus delicacy to heavier, more urgent textures without warning. As a support act, they warm up the hometown crowd with ease, with tracks like Sober, Less They Hear and Caught Up, but still showed they are a force to be reckoned with. Goth‑adjacent London four‑piece SAINT AGNES hit the stage next, looking like they’d crawled straight out of the previous night, which, in fairness, they had. They’d dropped their new album Your God Fearing Days Are About To Begin the day before the show, celebrated accordingly, and arrived in Nottingham hungover, sleepless, and gloriously nonchalant . Introducing themselves with a deadpan “We are four‑piece SAINT AGNES and we are here for a bad time,” they tore straight into a set the crowd devoured from the first note. KITTY A. AUSTEN delivered a razor‑edged vocal performance, flanked by JON JAMES TUFNELL on guitar, ANDY HEAD on drums, and touring bassist MAXINE CAHILL, with highlights of the set being Bloodsuckers, Good Boy and The Beast. Sisters Nyrobi and Chaya of ALT BLK ERA walked onstage with that determination and self‑assurance that comes from knowing a hometown crowd is ready for you. They wasted no time with a slow build, launching straight into a set that fused rock, drum’n’bass, rap and theatrical flair into something volatile and magnetic. Within seconds, Rescue Rooms was moving, sweating, and fully immersed in their world. Opening the set with Our World, My Drummers Girlfriend and Silhouettes In The Mirror, before disappearing off stage and reappearing in the middle of the crowd to tease with a snippet of Run Rabbit, the band wasted no time in getting everyone moving. ALT BLK ERA gave arena level energy in a 450 capacity room. Moving through tracks from both their debut record Rave Immortal and tracks from their latest release, Our World, including crowd favourites Okay (Cyber Racing) and Upstairs Neighbours, which both prompted lots of crowd chants and furious clapping, Nyrobi and Chaya were engrossed in the reactions from the fans, but never lost the focus of their performance. The band dedicating I'm Normally Like This to a fan turning 16 in the crowd, was a highlight of the evening, with everyone reacting as if it was their birthday being celebrated. ALT BLK ERA closed off a triumphant sold out show in a strong display of resilience, closing the set with Tissues and the full version of Run Rabbit after the earlier snippet. ALT BLK ERA are a storm on stage; theatrical, magnetic and one of the most exciting new acts redefining what alternative can mean in 2026. What began as a hometown show became something closer to a statement: that their rise isn’t hype, it’s hard work paying off. Nyrobi and Chaya had the crowd fully converted to the meticulously crafted world they built in real time, matching their energy at full volume. Our World clearly marks a new chapter and on the closing night of their tour, ALT BLK ERA proved they’re already writing the next one onstage, louder and more unstoppable than ever. Words: Lou Viner-Flood Photos: Jynx Cosgrove

Storied on an isle along the coastline, a singular music festival continues to lure in approximately 55,000 continuous festival goers and first-timers. Since the revival of the modern in 2002, the Isle of Wight festival is returning in 2026 for its 23rd edition with a three-day weekend. What an impossible weekend to miss! Rooted in pop and rock but rarely confined by them, the lineup blends future favourites with artists who’ve already earned a permanent place in fans’ hearts. This brings the familiar dilemma of who to see, who to skip, and how to make every set count. Fear not, here are your top ten bands essential to see at the Isle of Wight Festival in 2026. CIRCA WAVES Liverpool’s indie rock band CIRCA WAVES have claimed a spot on Isle of Wight’s lineup. Bringing the feel good vibes to your festival season, this band makes sure that you can’t take your eyes off the stage. CIRCA WAVES’ seamless blend of their top hits and newer tracks, such as Hell on Earth and Do You Wanna Talk?, will keep your summer eventful. Get ready to enjoy the crowd’s joy and weather with their hit song T-shirt Weather. The melodic song with a summery feel is bound to bring a smile to your face. THE KAIROS Liverpool brings you another four-piece indie rock band, THE KAIROS. Known for their energetic stage presence, expect to catch a glimpse of their catchy hooks and dreamy riffs on the River Stage. Frontman TOM DEMPSEY’s ability to control the crowd with his vocals and insane energy is a sight to see. Expect incredible stage management and mosh pits to fan favourite songs such as Suspend and Lazy Lethargic, this will be a performance you wouldn't forget. PRONGHORN Are you craving some cow punk with the appearances from both a fiddle AND a banjo? PRONGHORN are the band for you. After 34 years, the band is still going strong and bringing good vibes to your stage. Rounding up a high-energy crowd to have a fun experience, PRONGHORN have previously performed at festivals such as Glastonbury and Camp Bestival. Link arms with your friends to their hits, such as Jed Jones. This band from Dorset will showcase the most infectious performance and a jolly crowd. VOILÀ The pop-rock duo, VOILÀ, are here to bring you another performance after debuting the main stage at Reading and Leeds festival in 2025. Come and feel like a magician yourself (a term used to describe their fanbase) and get ready to bounce to their melodic songs. VOILÀ have obtained the ability to captivate their audiences and keep their crowd pumped with energy. Be prepared to get songs such as Figure You Out and Something Blue to get stuck in your head. THE MOLOTOVS Come and rock out with London’s punk band, THE MOLOTOVS, featuring the sibling duo Issey and Mathew Cartlidge. The pair’s control of crowd movement leaves listeners with smiles meeting their eyes. By 2025, the band had performed for incredible names such as THE LIBERTINES, YUNGBLUD and BLONDIE. Be excited to hear their debut album, Wasted on Youth, on stage and dance along to “More, More, More” and "Rhythm Of Yourself”. THE MOLOTOVS are introducing punk styles to a new generation. THE KUT 90’s Grunge Rock influences are still performed today and the London solo artist, The Kut, is a clear example. Bringing a high energy performance to the River stage, be excited to see your winner of the UK Songwriting Contest in 2022. Check out songs such as I Want You Maniac and ANIMO. This band wants you to feel the energy that they are projecting and make it evident with their electrifying stage presence. If you are into high energy and good vibes, this is the band for you. SEX PISTOLS FEATURING FRANK CARTER Celebrating 50 years of punk, SEX PISTOLS return to the Isle of Wight Festival since their last performance in 2008. With Frank Carter replacing the vocals of Johnny Lydon, SEX PISTOLS songs have been performed with a dash of vibrancy. Since 2024, SEX PISTOL has been delivering nostalgia on a platter with a stronger, electrifying energy. Download Festival’s 2025 performance produced raving reviews and opinions despite the rain. There is proof that punk is still in demand. This would be a performance that you wouldn’t want to miss. THE KOOKS Summer is never complete without an appearance from a big indie rock band and the Isle of Wight festival has booked Brighton's THE KOOKS on their mainstage. Sing your heart out to an indie club classic “Naive” filled with high energy and nostalgia. Jump into a sea of arms and fans craving a mix of both the old and new tracks that have captured hearts. As years have passed, THE KOOKS have dominated the stage and delivered incredible performances that hype the crowd. TWO DOOR CINEMA CLUB Ready to jump into your summer with classic indie rock hits such as What You Know and Underground Martyn, Northern Ireland’s TWO DOOR CINEMA CLUB is performing on the main stage. You will never see a more passionate crowd singing every lyric to their hits. There is a contagious atmosphere that keeps your energy high and makes you feel joyous. With a mix of crowd favourites and their newer bangers, this would be a hard artist to miss. You might even find your new favourite song. THE CURE The Sunday Main stage is bringing on a gothic rock and post punk favourite with THE CURE, making Isle of Wight Festival one of five announced UK appearances for 2026. ROBERT SMITH’s appearance during OLIVIA RODRIGO’s 2025 Glastonbury performance has left fans excited to see a full set by THE CURE. Watch THE CURE touch the souls of the masses with an emotionally charged set featuring cult classics, Friday I’m in Love and Just Like Heaven. After over 48 years of performing together, the band are still able to produce a magical festival experience. This would be an incredible ending to your Isle of Wight experience. Words: Theviya R Karunaharan

Even in the bleakest scenarios, beautiful things can blossom - and it’s hard to imagine a bleaker circumstance than beginning your adulthood by being forced into isolation, whilst a deadly virus tears through the population. It’s even harder to imagine how a newly-formed band might survive such an occasion, but Norwegian noise-punk band HAMMOK did more than survive. They flourished. Originally formed by long-time friends Tobias Osland (guitar and vocals) and Ferdinand Aasheim (drums) in their early twenties, the trio was completed with the addition of Ole Benjamin (bass). Deciding to live together shortly before the Covid-19 pandemic began, they found themselves in a unique scenario where the only feedback they had when beginning their musical experimentation was from each other. There were no concerts, and so there was no incentive to create something purely for an audience frothing at the mouth for something to throw their bodies around to. Instead, they focused on producing a sound and a feeling unique to them. Now, six years later, HAMMOK have released their best work to date. Their second full length album When Does This Place Become Our Scene is a relentless burst of energy, as chaotic as something can be without having a single element feel out of place. Produced by Osland, it’s an album with teeth and a heart, delivering both a shock to the system and a welcoming hug. It feels like being picked up from the floor at a hardcore show; a firm, anchoring grip in a frantic environment, whilst knowing you’re seconds away from another stray fist to the face. And this album features a lot of fists. A highlight is the fifth track BANG, which opens with dense, chugging guitars fit for a MESHUGGAH album. The harsh vocals are abrasive and overlapping, running into each other and over each other until they culminate into a guttural scream that also serves as the chorus. The bassline drives everything forward, into duelling guitars that serve as a call and response to one another. It’s dark, brooding and expertly layered. Just two songs later, it feels like HAMMOK are pulling from entirely different influences, whilst still feeling cohesive with the rest of the sound. Tap Water is built on a foundation of indie guitars that wouldn’t have felt out of place on an ARCTIC MONKEYS album 20 years ago. It’s one of the only tracks to feature clean vocals, delivering a message of existentialism and dissociation. “How can I set myself on fire, when nothing is painful any more” is screamed over an explosive chorus, capturing a temporary outburst in an otherwise measured and steady-paced track. Blast Off (Blast Off) Blast Off explores yet another genre, with synth-like staccato guitars and distorted vocals reminiscent of early ENTER SHIKARI, whilst somehow managing to feel even more dance-y. At points like this, it’s hard to imagine that there was a time when HAMMOK were unable to play live shows. It feels almost criminal to keep their energy away from the stage. The only notable dip in the album comes on the eighth track CND, which sees a repetitive guitar line peppered over the track that borders on irritating. This is the only real negative though. The rest of the track is explosive, featuring an impeccable second post-chorus initiated by a violent scream and a breakbeat that will have you scrambling for the closest speaker to blow. When Does This Place Become Our Scene is an album so thoughtfully crafted that each new run through exposes more brilliance. Just when you think you’ve picked a favourite track, a new detail will highlight a song you previously overlooked. For fans of catharsis and loud music on the car ride home from the hardcore show, REFUSED and THE FALL OF TROY, attention to detail and car crash footage – this album is for you. Score: 9/10 When Does This Place Become Our Scene will be released on 5th June 2026 via Sargent House Records. Words: Ellen Lovell Photos: Fabian Fjekdvik

AUGUST BURNS RED. That’s it, that’s all we need to say to call to mind one of the most well-known, hard-grafting metalcore bands of the last 20 years, a band that have continued to expand the horizons of heavy metal and continuously see how much farther they can grow. They’ve returned to once again shatter their own limitations with their new album Season of Surrender, a ferocious onslaught of sound with instrumental intricacies and deep-rooted lyrics that awaken something inside. AUGUST BURNS RED refuse to let up throughout the album, even the quietest moments concealing something dark and powerful just beneath the surface, showcasing how they’ve evolved their sound to new levels. Legions attacks immediately, vocalist Jake Luhrs unleashing savage screams to open the album alongside guest singer Mike Hranica’s (THE DEVIL WEARS PRADA) visceral fry screams, over Matt Grenier’s thundering drums, JB Brubaker and Brent Rambler ripping through riffs and high noted solos as bass Dustin Davidson keeps pace with a complex riff - it’s an opener that tells you to wake the fuck up and strap in. If you were to introduce the uninitiated to AUGUST BURNS RED, The Nameless is the song to do this with, featuring their renowned intricate riffs, brutal vocals, and a white-hot intensity that’s the band’s brand of hardcore sound. Behemoth is metalcore at its finest, whip-fast drums and riffs over echoing unsettling sounds, as Luhrs screams relentlessly, briefly pulling back on the heavy screams to vulnerably proclaim “I had to suffocate to stop the suffering”, before firing back in with low guttural screams. Den of Thieves doesn’t let up on the ferocity of Season of Surrender, quickfire guitar work from Brubaker and Rambler working in tandem over a searing double-pedal rhythm, the pace and feel of the track changing on the breakdown but keeping its intensity sky-high over the cutting lyrics “there’s no forgiveness for you”. Sonic Salvation keeps the album consistency of shredding metalcore drums from Grenier and elaborate guitar solos and riffs, Luhrs’ screams paving the way for guest vocalist Jamie Hails (POLARIS) to harmonise the acidic screams, the entire track dropping momentarily to an unnerving quiet, a false sense of calm, before the duo vocalists cleave through the quiet once more. Distortion pierces through, quickly dominated by Davidson’s deliciously complex bassline, and we’re in the thick of Cerebral Malfunction and it’s frenzied instrumental strikes, guest band MAKE THEM SUFFER adding their alt-hardcore elements to it, the breakdown sinking into an unexpectedly pleasant different pace as vocalist Alex Reade sings clean lyrics over Sean Harmanis’ and Luhrs’ combined screams. Interlude - Tear of the Clouds offers a brief respite of melancholy guitar riffs and bass that reverb gently over a rising storm in the background, the pattering of rain becoming a deluge as it shifts into the rapid assault of Whispers Like Splinters, steamrolling through with blistering lyrics “nothing is sacred when you’re feeling forsaken, I’d trade it for love”, as the instruments roar in the background like a maelstrom. S.O.S. feels like the track most experimented on in terms of sound, the pace and effects changing intermittently but still maintaining the power of a freight train, suddenly gathering speed in the middle as a choir of voices echo in the background before Brubaker and Rambler deliver guitar solos worthy of classic metal legends, descending back into Grenier’s unrelenting, pounding drums over raw growls. New Horizons kicks down your door and your teeth in from the first fired up guitar riffs and drums, Davidson adding a bass bombardment underneath that rattles the teeth still left, Luhrs shifting from low guttural screams to fry screams as he surges in power singing “tomorrow is a new day, I don’t want to wake up”, his screams turning to frantic cries of “you’re not here”, before the track transforms into something that feels triumphant and entirely at odds with the lyrics. A distorted guitar riff edges us into final track Forged By Failure, raging yells quickly turning into incensed screams, the song switching up expectations from dramatically stripped back as Luhrs whispers “I can’t breathe”, before everything crashes together into a barrage of metalcore rhythms and emotionally charged lyrics, the song eventually fading out to a cinematic synth finish. An album for those that have to scream to feel, those that want to be cathartically thrown around a pit, and those that simply appreciate metalcore at its finest, AUGUST BURNS RED have delivered another shockwave in the form of Season of Surrender. Score: 9/10 Season of Surrender will be released on 5th June 2026 via Fearless Records. Words: Julia Stark Photos: Paxton Powell

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