Intro
Going into Download this year was a minefield of weather checking… do we need wellies or suncream? Reports of boggy campsites and wind-destroyed gazebos somehow turned into a weekend of rough sunburn and self-inflicted dehydration. On arrival, it seems like a lot of organisational work has been done to keep car queues to a minimum around the Donington site as well – a real improvement on last year.
We fight our way into the merch Megastore at the bottom end of The Village, only to find that some of the special collaboration products have already been stripped bare by campers. The Jolie Beauty set is completely cleared out – but we did manage to get our hands on it later on at the Press booth, and holy moly is it good. The lanyard palette is such a cool design, and the colours are so pigmented and perfectly matched to this year’s colourway. As a person who is constantly running around this festival, I can confirm that the ‘Mosh-proof setting spray’ that I used on Saturday and Sunday is the GOAT. Fingers crossed they’re back again next year with at least double the stock.
Issues abound with the much-anticipated Mary Wyatt collection, which once again features some of the best designs we have ever seen on festival merchandise – but just like last year, it’s basically sold out when we arrive early doors on Friday. The main wishlist items, like the Jersey, were gone on Wednesday according to staff, with no restocks. Please hear this as my plea for an additional arena-based Megastore, so that weekenders have a chance of getting their hands on some of this amazing stuff without paying hundreds of pounds (no really, the jersey was going for over £200 on Vinted on Monday…) to shithead resellers. I also could have spent a fortune on the stunning special edition jewellery from The Great Frog, but as you can imagine – they were sold out too!
Anyway, getting into the arena itself was also a bit of a wait – not an improvement despite last year’s complaints about missing early bands due to not having enough staff on the gates. I do think Download would benefit from having a secondary main entry point (maybe along the Opus side?), but I’m not sure how they’d make that work logistically. We’re looking forward to exploring the new set-up around the Avalanche stage area, though – we haven’t had a site restructure this big for a long time.
Friday
Opening the Apex stage is metalcore princess Scene Queen, wearing metallic pink cowboy boots, matching fringed arm cuffs, and sparkly daisy dukes. The final song is ‘18+’, with absolutely damning lyrics about underage girls on bands’ tour buses. It feels like the perfect opening commentary on a weekend where Axl Rose is headlining… she’s a force to be reckoned with. It’s a really strong start to the weekend, and she’s pulled a pretty big crowd.
P.O.D are giving us those early noughties nu-metal memories, but there aren’t enough oversized jorts and white tanks around yet for my liking. Guitarist Marcos Curiel welcomed his newborn daughter (born last night!) and the final song is dedicated to her.
Hollywood Undead have spawned a humungous crowd, and rightly so. With samples ranging from Ozzy Osbourne to Slayer mixed into their rowdy rap metal, there’s no debating their right to grace this stage – but I am surprised to hear everything slightly faster and more amped up than recorded. As a mosh pit tactic, it’s working; there are a LOT of people crashing around down there. ‘Everywhere I Go’ is definitely the one everyone knows; they’re even singing it way up the hill.
If you showed me a line-up and said one of these bands is from Berlin, I absolutely would have picked the one with the guy who looks like a Wes Anderson movie protagonist. Over in the Dogtooth tent are Vianova – dark, brooding metalcore with an electronic edge. They’d play in the club I would get turned away from after waiting hours in a plain black T-shirt, trying to pretend I’m cool. The entire crowd is singing along, it’s clear they already have a lot of fans here – and I had an absolutely fantastic time. They’re going straight onto my playlist.
Pendulum might not be the first band someone thinks of when they imagine Download Festival, but after that first booking in 2009 (when the stage was on hard-standing tarmac… honestly, whose bright idea was that? Oh, the head injuries…), they’ve become a solid Download favourite. They amp up the guitars and beats, giving everything a heavier edge than when they play elsewhere, and the arena is absolutely rammed. Despite the joy of having them on the main stage so more people can watch them, it’s sunny and it’s hot – their graphics and lights are getting lost, and this music deserves a shitload of lasers.
“We have a little surprise for you, Download…” they shout, as Rou Reynolds of Enter Shikari fame bounces onto the stage for a truly epic drum and bass remix of ‘Sorry You’re Not A Winner’. This is a collaboration universe I would very much like to see expanded in the future.
Next, we catch another fast and furious set from Electric Callboy, finally back after their unfortunate cancellation in 2024 due to illness – and the fans have really turned out for them. There are so many shell suits in this crowd that if an errant sunbeam hits, the whole place could go up in flames. ‘Tanzneid’ is a solid opener, and I loved the Sum 41 ‘Still Waiting’ cover. I’m always after those special crossover moments at festivals, and I’d really hoped that with Babymetal on the same bill this weekend, we might have seen them do ‘Ratatata’, but I guess the scheduling just didn’t work. I also thought they might do something with German techno legends Scooter (set to play later this weekend), since ‘Hypa Hypa’ is basically a tribute to them. Regardless, it was a scorching set.
Over in the Dogtooth tent, The Primals – Final Fantasy’s in-house band, created especially for the game series (which has its own very fancy arcade area over near The Village for people to play the newest instalment) – have amassed quite the crowd. Despite looking very much like The Blues Brothers, and with quite a number of the crowd waving K-pop-esque light sticks, they actually go hard — I really like them. They’re joined by long-time collaborator Jason Charles Miller (of Godhead fame) for a few songs.
On the Opus stage, Daughtry are bringing that classic rock sound that we haven’t had much of so far today. Lots of pyrotechnics, beautiful sunshine, and the first time this weekend we hear the lyrics “Heavy is the crown”. Definitely up there for band of the weekend – it’s such a good set.
Cypress Hill, another rap crossover choice from the organisers – turns out to be truly legendary. If you aren’t here to have fun, you’re in the wrong place. We are all leaping about like lunatics for ‘Insane in the Brain’ and ‘Jump Around’. You have to remember that, for a lot of us, these are the songs of our childhoods.
I’m fairly sure I will never have anything negative to say about Halestorm. They absolutely crush it once again. Lizzy Hale’s voice is second to none – hell, she could probably do the whole set without a microphone. There’s a lot of fire, she’s rocking a fringed leather jacket, and the ticker tape they spray across the crowd is even marked with their own little logos, very cool. ‘I Miss The Misery’ promotes every single person in this crowd to karaoke legend (to be clear… none of us are doing it well), and it’s one of those really fun moments where you know the notes are hitting everyone’s internal joy trigger at the same time. Their cover of Lady Gaga’s ‘Bad Romance’ is so great too – that would be a live collab I would LOVE to see.
Another nostalgia bump today comes in the form of Wales’ own Feeder. It’s a packed-out Avalanche stage tent, and they really deliver. Those Echo Park hits are the hot-button moments today – ‘Buck Rogers’ and ‘7 Days In The Sun’ have the whole tent singing.
Tonight’s headliner, Limp Bizkit, is where we really see the full force of how many people are at Download this weekend. The arena is rammed – almost impassable. Going to the loos or getting sustenance from one of the vendors might as well require multiple camps along the way, like Everest. Despite the numbers technically being lower than some previous years, something has definitely gone awry in the arena planning (it does all feel a little more cramped, right? Possibly due to the behemoth size of the new Apex stage?). There are already a lot of rumbling complaints about chairs being set up near the front, even past the sound tent.
Bloodstock Festival has had to implement a no-chair zone in the last couple of years, and that’s a much smaller festival. Either way, someone probably needs to take a look at how walkways and paths are set up around the arena, because it was a bit of a nightmare.
Putting on a brave face, the band pay tribute to bassist and founding member Sam Rivers, who sadly died last year, and also to Dougie Millers – a long-time member of Limp Bizkit’s stage truck crew, who tragically died on his way to Download, the truck then crashing into a house local to Donington. A photo of the band and the words “We will love you forever” crosses the screen, and it’s hard to imagine what it must take to get on that stage and perform while mourning your friends.
It’s a bit of a strange set overall. Fred Durst is inexplicably wearing a wig that makes him look like the bastard son of Bob Ross and Richard Simmons, paired with a Babe Ruth Yankees jersey. There are singalong lyrics on screen throughout the entire show (despite the relative catchment age of this festival being people who couldn’t avoid knowing the lyrics to all these songs even if they tried). ‘My Generation’ is great – they’re joined on stage by Lauren Sanderson (who actually looks more like Fred Durst than Fred Durst does today) for ‘Hot Dog’, and some red-hatted fans are invited up for ‘Full Nelson’.
Although I do wish he’d just do us a solid and pop on the signature red cap for ‘Rollin’ – it probably doesn’t matter, as the crowd is absolutely full of them (well, you know, it’s not Pitbull levels of commitment, but a good turnout). It’s a great one to watch the crowd on, because there are a lot of little kids who have clearly been primed for the dance moves before coming – 10/10, jolly good fun.
Unfortunately, ‘My Way’ is cut significantly short due to what seems like a fairly serious accident in the crowd, delaying the show by a good 15 to 20 minutes. It’s unsurprising that LP take such a serious stance on stopping the show, especially knowing exactly what can happen with crowd crushes. Fred kneels on stage with the white lights up to illuminate the crowd as a medical team stretcher the injured person out. The back of the arena has thinned considerably at this point, with a lot of people bowing out early to head back to camp or over to District X.
“I feel like right now we either just say goodnight or we try and rip it one more time?” shouts Fred, to cheers. Closing with another go at ‘Break Stuff’ is a good move, but I can’t help feeling the magic has dissipated (through no fault of the band). I don’t think this is going to go down as one of Limp Bizkit’s most triumphant Download shows, sadly – in fact, I think 2024’s set was probably the stronger one, and why they had so much hype going into tonight’s performance. We can’t win all the time, though – and I love them for still pushing through, even though they must have been feeling horrendous.
Saturday
Ginger Wildheart is gadding about in the press area with his adorable dog this morning, following their main stage opening slot. We head out to catch California band Snot (what a great name), who are bringing early, punky rowdiness to a slightly more overcast day. There’s nothing quite like screaming along to “one two fuck you” to get you going again after not many hours of sleep.
Homegrown rockers South Arcade have one of the best stage setups of the weekend. Giant spray paint cans flank the drum riser, and bright 90s graffiti backdrops create the perfect setting for a strobe-lit romp through their bouncy pop-punk set. There are more women on the main stage this year, and they are absolutely bringing the energy.
I also really rate how many British bands are on the bill this year. Over on the Opus stage, As Everything Unfolds are on at the same time as Drowning Pool, swapping places – and absolutely holding their own. Another female-fronted band slaying it: heavy, doomy, with that hard-edged rock screaming alongside soaring vocals. They’re really, really good. “We are grateful, even if you didn’t expect us, thanks for being here.” They actually retained most of the crowd who had clearly come for Drowning Pool — which doesn’t happen very often at all, and is a real testament to how good they sounded.
Landmvrks are shouty, shouty… very, very shouty – and fully deserving of their extremely smashy mosh pits. We Came As Romans pull a stonking big crowd, but their set is somewhat marred by a noticeable drop in sound quality from the stage. “Download bang your fucking heads let’s go!” would probably have more of the desired effect if we could actually hear it properly.
Those Damn Crows bring in a round of chuggy classic rock, and I think vocalist Shane Greenhall has a genuinely fantastic voice. If you’re a Black Stone Cherry fan, I’m pretty convinced you’ll like them. Big up Wales.
Over on the Apex stage, Babymetal get a second shot at the show, having been biblically shooed off stage in 2024 by thunder and lightning after only a couple of songs. This time, they return with rainbow dragonscale skirts, golden plate armour, signature dance moves, and a clear mission to make their mark. You can argue all you want about the ‘gimmick’ of a J-pop/metal crossover, but there is no denying the talent here. I am absolutely living for all the metal girlies with dual personalities (you know the ones) giving it their best kawaii headbang in the crowd. Once again though… just saying – how cool would it have been to get that ‘Ratatata’ Electric Callboy real-life moment?
Now, I love a bit o’ Bush (juvenile giggle), because at heart I am still a teenage grunge grebo. BUT COME ON. No ‘Glycerine’? Internal screaming. It was a bloody stellar set otherwise though — they really deserve their flowers.
Trivium obviously smash up the Apex stage to an absolutely huge crowd, but the wind is doing strange things to the sound further up the hill. We also really enjoyed the grannies grooving in the middle of the mosh pit – kudos, because those outfits must have been fucking hot to wear all day.
Over on the Avalanche stage, another British band is out here crushing it this weekend. Hot Milk have rows of people spilling out the sides of the tent, screaming “I wanna see so many fucking people across this barrier.” It really feels like British bands and women are at the centre of Download this year, and I love to see it. Closing with ‘Party On My Deathbed’ is a masterstroke in pure adrenaline. “Don’t do anything I wouldn’t do, thank you Download!” they casually shout on the way out, after presiding over absolute carnage in there.
And now for something to soothe my pop-punk soul – The All-American Rejects headline set. Barefoot frontman Tyson Ritter, with his signature uncanny dancing (it’s giving Nathan Elsewhere), somehow looking like he hasn’t aged, or dressed a day different since 2002. Hits like ‘Dirty Little Secret’ and ‘Swing Swing’ are screamed by absolutely everyone, but nothing hits quite like pouring your teenage angst into ‘Gives You Hell’. What an anthem.
At the same time (annoyingly), Architects are ripping up the Opus stage to a crowd so dense it’s basically impossible to move through. We give it our best shot but end up stuck on the fringe before heading off to find a spot in the chaos for tonight’s headliner.
OH and we definitely will not comment on the Ferris wheel shenanigans that occurred directly before GN’R… no, we won’t. Except to say that the forums suggesting it be renamed ‘The Nosh Pit’ did make me snort laugh.
Now, Guns N’ Roses or more specifically Axl Rose – have a bit of a chequered history at Download. There was that one time with bottles of piss being thrown at the stage and the falling over… the fact they’re always bloody late… endless rumours about ridiculous riders, including requests for pre-show roast dinners…
But you can’t deny they’re a classic headline choice. Decades of music, some of the most iconic songs of all time, and a band that’s finally reunited in – at the very least – amicable co-worker status. I do need to caveat this performance with one big, glaring issue before I get into it: the sound up the hill is absolute garbage tonight. Anyone watching from the midway point upwards is probably going to report this as a properly shit show. Despite the enormous stage, towers, and swinging stack amps, the sound just doesn’t carry far enough for the size of the crowd.
If you creep around the outside and come in from the right of the stage, though, it’s a completely different story; the sound is phenomenal. Well… apart from the fact that the fucking waltzers are still allowed to blast their own music during the set. Year after year people complain about this, and yet somehow they remain.
Anyway, predictably, we are treated to an array of interesting outfits from Axl – apparently multiple bedazzled lumberjack shirts are the mark of a seasoned pro. Slash riffing at Donington in the setting sun is undeniably one of those lifetime memories. I spot loads of kids in the crowd who’ll always remember seeing this iconic band in real life – and as we’ve learned with the loss of heroes like Dio, Lemmy, and most recently Ozzy, more shows are never guaranteed.
GNR pay tribute to Ozzy with a giant commemorative backdrop and a cover of ‘Sabbath Bloody Sabbath’, which they also played last year at his final show, ‘Back To The Beginning’ at Villa Park.
Other highlights include opener ‘Welcome to the Jungle’ and ‘Rocket Queen’. And despite the pitch on ‘Knockin’ on Heaven’s Door’ being enough to summon every fox in Leicester, there’s something very endearing about a field full of crusty rockers trying their best to sing along.
Axl changes into a bejewelled black jacket and takes a seat at the piano for his Elton John moment, as the screens fill with a watery deluge for ‘November Rain’. I think we’re all collectively thinking: thank fuck we escaped the real rain this year, and only have to deal with the digital kind.
Laughing, “I dunno… it feels a little weird for us, for it to still be light out,” the band finish up with ‘Nightrain’ and ‘Paradise City’, Axl now in a studded leather jacket. You know what? It is early. There aren’t any fireworks either, and I do feel a bit salty about it, considering we’ve already had two slightly weird endings this weekend.
Also, the dirty rocker-to-glam pipeline for men needs to be studied. This man used to wear a kilt and a wife-beater that looked like it had never been washed, jeans that could stand up on their own, held together purely by the void between the rips — haunted by the ghosts of months-long tour legs. Meanwhile, the rest of them basically look the same as they ever did… just with slightly less enormous hair.
Sunday
Today we went for a wander around the shopping/activities area, now situated where the Avalanche stage used to be. It’s actually a really nice addition – loads of tables for sitting down, plenty of shade, food outlets, and another great new feature in the Hellfire Stage. We caught a brilliant grill demo, then watched a blacksmith making bracelets next door. The fossil and gem shop had a very cool rock trough where you could fill a little jar with shiny bits (honestly, bring your neurodivergent friends here if they need some calm-down time – ideal), and it was also pretty cool that Linkin Park had their own pop-up merch van.
Right. Let’s address something important. I DO NOT WANT THE BOOKTOK GIRLIES TO COME FOR ME. The Rebecca Yarros ‘Fourth Wing’ x Download hype was… not small. From the Download side it was just a small Instagram post about a pop-up, so I went to check it out – and let me tell you… a 45+ minute queue for that was brave. A low army tent with some hastily printed quotes hung up and a small photo setup where you could pose at a desk with a dragon on a screen in the background felt wildly underwhelming. The free commemorative patch was very cool, but this could have been so much better – especially because the fans were absolutely there. If they run something similar again, it has the potential to be a really nice extra… but lads, let me plan it. I can definitely do more.
We also got chatting to some OG indie vendors, including the amazing Scarlet in Chains, who make incredible body harnesses and jewellery. They’d also worked with The Sophie Lancaster Foundation this year on some really fun boot clips. They were metalworking on site, and we had a great chat about how much they love Download too.
On the Apex stage, Unpeople opened the day with a spectacular set, while over in the Dogtooth tent Private School got extremely wild – frontman Khaki diving into the crowd for a proper mosh with everyone.
Kublai Khan TX were also excellent, I’d love to see them back again. “Open that motherfucker up, I need a pit!” says it all. Over on the Opus stage, Mammoth — fronted by Wolfgang Van Halen (yes, that Van Halen) — absolutely killed it. I really love their sound, and he’s a genuinely fantastic vocalist. ‘The End’ is a truly epic track, and I’m so glad I got to hear it live.
I took a trip up the Budweiser tower for a look across the site – notably without the risk of sitting in something questionable on the Ferris wheel, and without the price tag. While up there, I witnessed one of the bar staff remember two people’s previous drink orders before they even asked – legendary behaviour. I did briefly consider stealing one of their denim Levi’s/Bud jackets on the way out… elite branding.
Big shoutout as well to the SwappieFest crew, who were handing out little trinkets throughout the crowd after hosting swap meets all weekend. Someone gave me a shiny sticker that matched my hair, and someone else was giving out 3D-printed Download logo keyrings – so, so cool.
The award for biggest Opus stage turnout of the weekend probably goes to Dogstar. To be fair, they’d deserve it anyway; very solid dad-rock/grunge vibes for your pre-emo era – but let’s be honest, a lot of the draw is Keanu Reeves on bass. Everyone wanted to see him with their own actual eyes. Including me. They were great – if a little stiff, but I did spot one of the coolest things of the weekend: a woman crowdsurfing in a wheelchair while holding up a custom Dogstar skateboard. I later found out it was one of Grandad Skateboards’ custom builds, gifted to the band backstage. They make headliner-specific boards every year, and they’re incredible.
Other bands I caught bits of today that I loved included Bloodywood, metal from New Delhi with one of the most unique sounds on the scene right now.
Once the Dogtooth secret set was revealed to be Skindred, it was obvious that tent was going to be absolutely rammed. While waiting, there was loads of singing, inflatable beach balls flying around – it felt like a full-on party. They’ve been a Download staple forever but haven’t played for a couple of years, so this felt like a proper triumphant return. Announced by F1 commentator Crofty in a Dreadload T-shirt, iconic. “There’s a race on, and I’m here instead!”
Benji appears in a fluffy white horned hat, full white outfit, and matching sunglasses – never disappointing on the outfit front. From the very start, there are waves of crowd surfers, and ‘Nobody’ is pure, riotous fun. They close with ‘Warning’, triggering the legendary Newport Helicopter – rows upon rows of spinning T-shirts stretching outside the tent. This really is their home turf.
The Pretty Reckless, fronted by Taylor Momsen in a white slip dress and stompy black boots, are another example of women absolutely owning the main stage this weekend. Despite her Cindy Lou roots, there’s nothing kitschy here; it’s emotive, confident, and genuinely captivating. ‘Heaven Knows’ is a standout moment.
Spanish band Ankor are another one-to-watch – I’m so glad I caught them. Pure fun, and impossible not to get swept up in their energy, dancing and headbanging along with them.
On the main stage, Ice Nine Kills bring their full cinematic horror experience, complete with an array of bloody props to match their catalogue. Highlights include Hannah Hermione from Creeper joining them for ‘A Work of Art’ (formerly ‘Twisting the Knife’), only to be promptly slaughtered, and Art the Clown making an appearance to decapitate the Download Dog. A cover of NOFX’s ‘Linoleum’ was an unexpected treat, and ‘The American Nightmare’ is still my personal favourite.
Tom Morello on the Opus stage is one of the highlights of the entire weekend. Not only is he incredible in his own right, he’s joined by his son Roman Morello, who actually wrote the riff for ‘Hold the Line’ – which is just ridiculously cool. Imagine touring with your dad at 15.
They also pay tribute to Ozzy with a cover of ‘Mr Crowley’, referencing Roman’s performance with Jack Black at last year’s ‘Back to the Beginning’ show. Huge cheers erupt when Tom flips his guitar to reveal a sign reading “Fuck Tommy Robinson”, before announcing, “…we learned a special English folk song just for today” and launching into Rage Against the Machine’s ‘Killing in the Name’. Honestly, Rage are probably the band I’d most love to see back at Download.
Mastodon take to the stage in the sunshine for a beautifully heavy set, though they do suffer from sound bleed thanks to clashing with Bad Omens. “Thanks for bringing us back to one of the most magical places on earth,” they say, dedicating ‘More Than I Could Chew’ to their “fallen brother” Brent Hinds.
Spineshank in Dogtooth are a magnet for constant crowd surfers, while Bad Omens’ set seems to suffer from a bit too much stop-start energy.
Creeper return once again – their fourth appearance of the weekend (a lot, even for vampires). Emily Strange presents Will Gould’s severed head following the previous show’s guillotine theatrics, casually stating, “I have some sewing to do.” It’s theatrical, chaotic, and brilliant – with gorgeous lighting and a crowd full of painted faces.
Linkin Park headlining Download brings back a flood of memories for me. I was there in 2004, crushed at the front, desperate to see the band whose CD I’d completely worn out. Coming back now, this time as the first female-fronted headliner – feels genuinely significant. For the band, for the festival, and for music more broadly. It really does feel like the start of a new chapter.
That said… the Windows 95-style visuals on the screens are making me laugh – that is exactly what my computer looked like when I was blasting that album back in the early 2000s.
The blend of old and new material is seamless, and the energy is constant. Emily Armstrong’s vocals are absolutely stunning. No, she’s not Chester Bennington – and she’s not trying to be. She even steps back during ‘Crawling’ to let the crowd carry it, acknowledging the weight that song still holds.
Another standout moment: “I wanna see ladies only in the pit right now! Guys, open it up – help them out!” Emily beams, “This makes me so happy,” before launching into ‘Two Faced’. Unfortunately, there are a couple more stoppages due to injuries — dealt with quickly, but there have definitely been more interruptions this year than usual.
‘Numb’ and ‘Heavy Is the Crown’ are absolutely breathtaking live, and the encore of ‘Papercut’ and ‘In the End’ is a perfect, emotional close. For me, this is the best headliner of the weekend and a genuine history-book moment to go with it.
Final Thoughts
To close out the weekend, and to touch on a few things I haven’t mentioned yet – I’ve been keeping an eye on the forums since getting home, and there’s been a lot of discussion around the site layout. A common theme is that it felt overcrowded at times, particularly with the number of chairs and the lack of clearly defined walkways, which made moving between stages more difficult than it should be. There were also repeated comments about there not being enough toilets in the arena, leading to consistently long queues.
One much more serious concern that seems to have been raised far more this year is the issue of sexual assault – particularly towards women. There have been multiple posts and even photos circulating of men in the crowd, with some alleged to be repeat offenders over the course of the weekend. It’s deeply concerning, and something that absolutely needs addressing to ensure Download remains a safe space for everyone.
On a more positive note, I spoke with one of the campsite managers, who mentioned that this year attendees were largely very good about taking their tents and rubbish home with them – which is genuinely great to hear. That said, getting out of the car parks on Monday proved to be a challenge for many, with some people reporting waits of over three hours.
I also want to highlight again how appreciated it was to have more seating areas and shaded spaces this year – it made a real difference across the weekend. However, additional water points would be a very welcome improvement. As always, the BSL interpreters and the sensory tent staff continue to be incredible; the effort and care that goes into making Download more accessible does not go unnoticed, and it’s fantastic to see these provisions in place.
One final shoutout goes to the Lemmy Kilmister tribute ceremony, led by Duff McKagan. The idea of placing some of Lemmy’s ashes inside a fruit machine at Download is so perfectly fitting, a brilliant and heartfelt way to honour him. There’s something really special about knowing a part of him will remain in the places he loved, alongside the music.
All things considered, this may well have been one of my favourite Download festivals to date. The lineup feels thoughtful and forward-looking, pointing towards a new era of rock and metal that feels genuinely exciting. Can’t wait to see what the 2027 picks are…
