Anna has been a festival fanatic since her first ever outing to Download Festival back in 2001, she's got eclectic tastes and covers everything from metal to EDM and loves a chance to try out new festivals. Anna has covered a few European festivals like Snowbombing and Wacken Open Air, but mainly hits up her UK faves; Download, Bestival and Bloodstock!
How do you close an epic teniversary, four day festival extravaganza, in a field full of the happiest souls in the country? LIKE A SIR. That’s how. Sir Elton John to be precise, Great British rock royalty doesn’t get better than this. Elton’s coming is preceded by shoulder-to-shoulder, asscheek-to-asscheek, barely standing room only arena-fullness and an air of excitement you can practically inhale. Despite worries of cancellation due to appendicitis earlier in the summer, Elton practically bounces on stage with aplomb in a bejewelled jacket emblazoned with ‘Madman Across The Water’ for comically entertaining ‘The Bitch Is Back’.
Ballad-tastic ‘Tiny Dancer’ and ‘Candle in the Wind’ were clearly loved by Elton fans, but a yawn here and there betrayed more than a few people hanging out for the rockier hits like the truly epic ‘I’m Still Standing’ and ‘Crocodile Rock’ – complete with crowd participation (especially from the few people dressed in crocodile onesies that night, perfect). ‘Saturday Night’s Alright For Fighting’ prompts shadow boxing all over, and a few ill-timed jokes result in mates accidentally punching each other and then falling about laughing, and karaoke style lyrics on screen for new single ‘Home Again’ keep everyone singing along and engaged.
Calling out “You’ve been amazing, I’ll never forget this” Elton says exactly what’s on everyone’s minds, and there’s a kind of mutual community in that – something special to Bestival, a shared emotion between artist and fans experiencing something together, and this certainly is the kind of memory that lasts. Elton finishes up with a huge sing-along ‘Your Song’, with people opening their voices into the sky before the enormous closing firework display. It’s been a belter.
Has there ever been such a hotly anticipated, or completely bonkers act booked for Bestival than the D-o-double-G? With giant Rasta-flag stage projections emblazoned with his noggin, and a nonchalant slither onto the stage to ‘Here Comes The King’, it’s clear that Snoop Dogg has lost none of his cool and is determined to do things his way (otherwise affectionately known as Doggy-Style…). Wearing trademark baggy Adidas trackies, oversized tshirt and a leather jacket, with a confident swagger – Snoop looks like he rolled off a sofa somewhere and decided to do a show… to thousands of people, he just oozes ease. Calling “If you’re smoking weed, now’s the time to light that shit up… Snoop Liiiiooonnn”, Calvin Broadus Jr.’s newest alter-ego is a lot more reggae and a lot less rap, but that doesn’t appear to affect his having some scantily clad ladies join him on stage.
Asking the crowd to wave their hands from side to side, Snoop burns through ‘PIMP’ and ‘Gin and Juice’ before a sneaky Katy Perry ‘California Gurls’ cover, clips of Calvin Harris’ ‘Feel So Close’ and straight into his more controversial section of the show. Dressed in hungry-bum style leather hotpants (you know, the permanent wedgie kind worn by every other Rihanna-wannabe at festivals) the gyrating girls proceed to give Snoop a public lapdance, whilst he’s singing Akon track ‘I Wanna Fuck You’ to the amusement/bewilderment of the crowd.
The famous refrain of Dr. Dre/Snoop collaboration ‘Next Episode’ elicits a roar of excitement from the audience and hilarious dancing ensues for ‘Drop It Like It’s Hot’ (most funny was the extraordinarily tall skinny kid in front of us, dressed as a member of Team Zissou, trying to twerk). A quick acoustic rendition of ‘Lodi Dodi’ and an ultimate sing along of ‘Who Am I (What’s My Name)’ and the Doggfather closes out the show with the words “I’ll be back in England whenever you want me”. Yelling“I got some last words… SMOKE WEED MOTHERF**KERS!” and Bob Marley’s ‘Jammin’, he slinks casually off stage. It’s safe to say Snoop lived up to the hype, whilst staying effortlessly at ease – it’s all part of the charm and nostalgia, and Bestival definitely got a big Doggy-dose of it tonight.
Friday headliner, superstar mixmaster Fatboy Slim ascends the dizzying heights of Bestival’s main stage to the tune of Happy Birthday, for Bestival’s ten year anniversary spectacular. A ram-jam arena and deafening screams confirm that Rob Da Bank has made the right choice booking beat-tastic Norm for the job, as he drops into an aural assault accompanied by an awesome AV, laser and light show.
Remixing summer’s big hit from Daft Punk ‘Get Lucky’ has the crowd grooving along, and a little of Zombie Nation’s ‘Kernkraft 400’ goes down well with the 90’s kids, but it’s Fatboy hit ‘Right Here, Right Now’ that spins the arena into a frenzy of flailing limbs, especially when a host of white beach balls are released onto the dancing masses.
With somewhat disturbing images of Norman’s face in an array of facepaints, the hypnotic ‘Eat Sleep Rave Repeat’ encourages some proper old school rave moves like the sprinkler being busted out, and a quick blast of ‘Simply The Best’, complete with images showing ‘Simply the Bestival’ is met with guttural yells of agreement from the entire arena. Iconic ‘Praise You’ brings out the best of circular congas (if you haven’t seen the video, to be honest, you’ve failed at your generation.) and is accompanied both chorally and by Rob Da Bank himself on piano.
Bursting back on stage wearing a Titanic life vest to fireworks and glitter cannons, Fatboy Slim goes out with a bang, to the tune of anthemic ‘Rockafella Skank’ – and yes, we’re all doing the dance from She’s All That, shame on us.
A drier Sunday sees festival goers lounging on the hillside whilst watching the writhing madness that is the mosh pits at Five Finger Death Punch, and wassailing with Swedish melodic metallers – Amon Amarth, who play aboard their on stage Viking longship, to a sea of fans’ windmilling hair and guttural yells.
Stone Sour pull off a powerful set to a packed arena with the likes of ‘Say You’ll Haunt Me’ and ‘Mission Statement’. With the words “We are in England, the home of heavy metal. This is where it all started. There’s one band that we all owe our allegiance to… Black Sabbath. This is dedicated to them” they proceed to play a very Stone Sour cover of ‘Children of the Grave’ and frontman Corey Taylor goes on to perform second cover Alice In Chains’ ‘Nutshell’ as a solo. Yelling “I’m going to go on record and say this country is my favourite in the fucking world” Corey gains a roar of respect from the crowd, however he (and countless unfortunate others) cop an eyeful of the buck-naked dude standing atop his mate’s shoulders for much of the second half of the set.
Over on the second stage something odd is occurring, my first encounter with what I can only describe as Papal-Metal, comes at the hands of Swedish eccentrics Ghost. Dressed in cardinal’s robes and misfits style skeleton paint, frontman Papa Emeritus II has a much higher/softer rock vocal than you expect, and the ‘Nameless Ghouls’ (read: rest of the band, dressed in black robes) do a decent job with ‘Year Zero’ and ‘Ritual’ to a pretty large crowd.
Following them, the second stage sees a sudden influx of bodies in preparation for the return of Aussie icons Airbourne, a band who last time they performed were put in the naughty corner for frontman Joel O'Keefe’s rock and roll, rigging-scaling action. Smoke cannons, energetic hopping around and some proper good old windmilling are the mainstay of Airbourne’s performance, and a quick “You’re a fucking sight for sore eyes Donington, it’s great to be back in the U fucking K” puts everyone immediately on side. Joel foregoes the death-defying stunts this year and instead legs it into the crowd with his guitar, meeting fans, playing, and just generally having a nice time for ‘Raise The Flag’. After getting back on stage, the crowd is treated to ‘Live it Up’ and ‘Runnin’ Wild’ with a bit of good old synchronised headbanging.
A much anticipated 30 Seconds to Mars are giving the female festival population ovarian tingles, as frontman Jared Leto (widely enjoyed for purely shallow reasons) turns his wailing on the busy arena. Four guys in coloured balaclavas are for some unknown reason, employed to bang drums steadily behind the band a la Blue Man Group, but much less interesting, and Leto’s inane comments (particularly the weird “We are forty seconds to mars”… we all heard that right?!) are getting a bit hard to swallow. Calling out “You, you in the blue hat and the Cannibal Corpse tshirt, you’re just looking at your dick… This guy is gonna lead the jump for us” Leto continues to make an ass of himself. Dear Jared Leto, despite your penchant for odd outfits and your strange ideas about fan-prizes (see “win a night in my bed” no, really) I actually don’t *hate* the way you sound, but come on… if there’s a guy at your show in a Cannibal Corpse tshirt, he’s either just securing his spot for Rammstein later or appeasing a teenage girl. Take the hint. After arrogantly announcing a forthcoming UK tour (the entire list of dates and locations… *sigh*) and pulling a load of screaming hormonal girls on stage, they close out with ‘The Kill (Bury Me’, ‘Kings and Queens’ and ‘Up in the Air’, to the cheers of all those thoroughly annoyed at having witnessed it.
During the stage-setting break the last few brave souls hit the zipline to the terrifying sight of a crowd gearing up for their descent, with a host of bottles and other miscellaneous missiles to hurl at the unfortunate victims – it makes for interesting sport/entertainment as we wait.
Rammstein hit Donington with everything they’ve got, showcasing their heavy style amidst a plethora of flaming devices from ‘2, 3, 4, Links’ and ‘Du Hast’ to ‘Ich Will’ and ‘Sonne’. Fans are treated to a spectacular show, including flamethrowers, fireworks, bondage and S&M alongside anthemic hits, it’s the show Download Festival has been waiting years for and they certainly do it justice (see the full review for complete details). Closing the night and the festival with the comedic and fairly gross, ‘Pussy’ and a foam-spraying giant penis-cannon, flanked by ticker-tape explosions, it’s been a long time coming (excuse the pun…) but Rammstein know how to put on an epic performance, this has been one extraordinary night for Download Festival and for the history of Donington Park. Who knows what to expect next year…
Arriving in the arena to a sudden and torrential downpour, flapping around trying to get crap plastic ponchos on whilst simultaneously attempting to crouch over the tops of your wellies to avoid trench-foot, wasn’t exactly a joyful experience, but thankfully the rain abated as we queued for a bottle (and special edition cup) of Iron Maiden Trooper beer. Saturday is the day of unfortunate overlaps, a lineup of incredible acts spread across stages so wide that you can’t hope to catch them all, so we resign ourselves to the wishlist and hope to catch others another year.
Starting with classic Brit-rock UFO take to the mainstage for some shredding good fun, and Mastodon do a decent job of pepping up the squelchy audience with ‘Blood and Thunder’ and ‘Oblivion’, but it’s Alice In Chains who really power up, touting their signature grunge doom and gloom. ‘Down in a Hole’ and ‘Check My Brain’ stand out, but the whole set is superb and radiates a sort of nonchalant, effortless aura of cool. On the tiny Jagermeister stage, Buffalo Summer’s funked up southern rock ‘Typhoid Mary’ is getting the small but jolly crowd up and jigging about, and Download repeat offenders Motörhead are, well, EXACTLY the same as always. Despite Lemmy’s stuck record “We are Motörhead and we play rock and roll” lead in, and ‘Everything louder than everything else’ tshirts that have only had a colour update, it is a formula that works, and ‘Ace of Spades’ is as good a mosh-pit starter as it always has been.
Taiwanese metalcore kids Chthonic are as weird as ever, but lady bassist Doris Yeh is definitely gaining a LOT of new fans as the band ramp up the volume and she pulls a very metal pout… however, on the main stage Queens Of The Stone Age aren’t really living up to the hype. The sound is dead, the crowd looks bored and the quips just aren’t that funny – particularly the one about ‘No One Knows’ being a song to get laid to. I’m sure Barry White is turning in his grave. After their departure, the arena heads into instant turmoil as people rush to toilets, bars and food carts whilst the stage is set up for Iron Maiden’s prop heavy show. Bands we’d have liked to see today but missed due to there being TOO MUCH to see were, punk legends Lit, rock royalty Thunder, Norwegians Kvelertak and fellow headliners The Hives and Enter Shikari. *sigh* we just hope Download books them all again. Please.
Iron Maiden begin the evenings shenanigans with an actual Spitfire flyby. Yep, that’s right – they managed to get a Spitfire to thunder up from behind the main stage and fly over a stunned crowd. If you can tell me a band who’ve gone further for their fans, feel free to comment. A stunning set with hits ‘Fear of the Dark, ‘2 Minutes to Midnight’, ‘The Trooper’ and ‘Aces High’ as well as a raft of other Maiden classics and giant moving Eddies, makes for a spectacular night (read the complete Maiden review for more details) that will stick in our memories forever.
Avid weather watching and ultimate festival preparation was indeed necessary for this year’s Download Festival at the legendary Donington Racetrack, as the masses were simultaneously sunburnt and soaked, we thank the grand old British climate for a mostly acceptable atmosphere in which to rock. In it’s eleventh year, Download Festival draws in the metal hordes, clad in anything black, denim, ripped and studded, for a weekend of extraordinary music and warm beer.
Heading into the arena on Friday, the familiar sights and smells wash over us (portaloos, expensive burgers, eau de camping) with one particular very obvious addition – the zipline. Even at this time people are queuing up to spend fifteen smackers for thirty seconds of extreme wedgie, it’s baffling. I suppose the view is good from up there though. At the Zippo Encore Stage nearest the arena entrance, legendary hard-rocker heroes Uriah Heep draw an absolutely massive crowd and play a storming set that would have you think you’re at the ’82 heyday Monsters of Rock, not 2013 Download. Screaming “Where were you back in nineteen seventy seven?” frontman Mick Box smiles at the blank stares of all those who weren’t born yet, and pushes on with ‘Gypsy’ and some serious shredding. Despite the very recent and death of bassist Trevor Bolder, the band put on a great show and leave the stage with an outtro of ‘Land of Hope and Glory’ just to cement their homegrown status.
Over on the main stage, Yorkshire metalcore kids Asking Alexandria spin damp fans in the rain into a frenzy, whilst London based power metal heavyweights Dragonforce are beset with shoddy sound for the first few songs. Despite this they ride rambunctiously through ‘Through the Fire and Flames’ and new track ‘Cry Thunder’ is punchy enough (and almost ironic enough, in the current conditions) to gain instant earworm status. Herman Li’s frankly beautiful hair blows in the wind as he and Sam Totman shred harmoniously in their distinctive style and the crowd joins in for the chorus. Main stage emotions are running high as Papa Roach create circle-pits and drive the hits ‘… To Be Loved’ and ‘Last Resort’, and the second stage area is awash with Swedish flags for Stockholm rockers Europe. After a hugely entertaining and musically engaging set, the inevitable party-piece ‘The Final Countdown’ is final-ly rolled out, to which the crowd goes wild. It’s more comedy than it is song now, but boy do we Brits love a good cheesy anthem.
Korn, though intensely self-aware and at times quite comical, are actually rather good and manage to draw the largest crowd of the daytime. Head honcho Jonathan Davis’ looks like he’s having a fit whilst dancing/headbanging through ‘Blind’ and ‘Falling Away From Me’, but it’s ‘Coming Undone’ that really gets the audience thrashing. An unnecessary ten minute bagpipe interval (of which Davis really only plays a few notes, it’s like… if Deep Purple went highlander…) leaves a lot of confused faces, and more than a few people groan when the dubstep part hits, however, fan favourite ‘Freak On A Leash’ brings them back.
3 Doors Down do a sterling job making the afternoon light with their particular brand of American Rock, with a fun cover of Megadeth’s ‘Symphony of Destruction’ and Gypsy Punk crazies Gogol Bordello have everyone up and skanking to their weird and wonderful accordion packed sound, also rainbow stripes don’t really make a balaclava any less menacing, but we appreciate the oddity of it.
Second stage headliners Black Stone Cherry, here on merit of a forum-wide plea from fans, play an absolutely stunning set with favourites from the first three albums, and a first ever sneak peek at brand spanking new material from their studio work (see headline review for full details). Main stage masked-bandit headliners Slipknot have ditched the red boiler suits for white (much to the dismay of die hard fans who’ve spend the whole day perfecting their costumes) but other than that, not much is different from their 2009 Download appearance, except that this year they play without late bassist Paul Grey and play ‘Duality’ in tribute to him (the 2009 Download Festival show was his last appearance). Fans are fans though, and twice during the wild night, Corey Taylor called to stop the performance due to crowd surges, yelling “No-one is getting hurt on my watch, I'm not going to let that happen to my family”. Over the two hour set, hits ‘Wait and Bleed’ and ‘Psychosocial’ make for rowdy moshpits and after an extra long pause before the encore, ‘People = Shit’ and ‘Surfacing’ complete the show.
With a stage-wide curtain keeping the set secret, and Sunday’s sunshine dwindling into the night, the excitement in the air is almost palpable for final headliner Rammstein. The Berlin industrial metal heavyweights have been long awaited by Download-goers and tonight the arena is Ramm-packed with eager fans.
The screens turn to black, the curtain drops and Rammstein explode onto the stage, with frontman Till Lindemann being ceremoniously lowered on a firework wreathed platform from the ceiling. Whilst Lindemann’s menacing grin is enough to spark fear in the hearts of many, his pink fluffy jacket (which sort of looks like a bloody Wampa skin…) is just giggle-worthy, but the massive cobweb-like stage set and enormous drum-lights behind make for an impressive backdrop.
Without further ado the band get right down to business, ‘Keine Lust’ and ‘Sehnsucht’ get the crowd warmed up, with the enigmatic frontman maniacally wielding flaming poi, but it’s ‘Feuer Frei!’ that pushes the circle-pits into overdrive with raw firepower, quite literally as the stage lights up with fire cannons. Keyboard-jockey Christian "Flake" Lorenz, in a bejewelled suit, marches along on a rotating treadmill as he plays – which whilst mildly entertaining just doesn’t cut the mustard when you’ve seen *that* OKGO video, but the night is young…
Drawn from real-life events ‘Mein Teil’ (The Meiwes Case) and ‘Wiener Blut’ (The Fritzl case) are peppered with sadomasochistic overtones, and later ‘Buch Dich’ sees Lindemann don S&M gear to roleplay anal sex with an assless-chaps-wearing bondage Lorenze, on a rising platform. From the platform, Lindemann proceeds to spray the crowd with ‘ejaculate’ (clever/gross hose attached to inside of trousers, activated through the platform), screaming girls seen rubbing it into their hair and chests: shame on you – your mothers could see this on tv, *wink*.
A giant cauldron containing Lorenze, set alight by a bloodied-chef-costumed, flamethrower brandishing Lindemann, Bane-esque face cages which also shoot fire, guitars that shoot fire, fire cannons, flaming-spinning fire bow, a man on fire… it’s safe to say the German metallers just bloody love fire, and so do the crowd. ‘2, 3, 4 Links’ and ‘Du Hast’ are yelled simultaneously by the entire arena, with fireworks travelling along cables across the crowd to the sound tent and back to an explosive finale and the stage lighting up in a cloud of sparks. ‘Ich Will’ is the real show-stopper with every hand in the air and Lindemann’s trademark low-growl calling out “Thank you very very, very much. Danke schön, we are RAMMSTEIN” before leaving the stage.
After a brief break and a rather pretty acoustic ‘Mein Herz Brennt’ it’s back into heavy for the epic ‘Sonne’ and the band close out this extraordinary show with the comedic ‘Pussy’. As Lindemann rocks up with a giant penis-shaped foam cannon and sprays it into the crowd, completely covering the front facing security staff (who were doing a sterling job of looking like they weren’t at all bothered about being ceremoniously covered in fake spunk…) the ticker tape bombs detonate, covering the entire stage. Kneeling superman-style, the band show their appreciation for the rowdy Download crowd with a final “You are amazing, we love you, thank you very much”, and it’s over. Rammstein at Download 2013 were definitely a crowning moment in the festival’s history, and it has been more than worth the wait.
If you weren't previously assured of Iron Maiden's God status in the world of metal, there's absolutely no denying it now. Saturday night at Download, we're standing in a soggy field, shoulder to shoulder, shivering in anticipation… as a Spitfire – yes, a SPITFIRE, soars up from behind the main stage. As the metal horns are thrust up to the sky, the aircraft banks and continues the flyby over a stunned crowd, and the band burst on stage for 'Moonchild'. Now THAT's an entrance.
Their ice-berg styled gangways make for Bruce's personal runway as he races about during 'Can I Play With Madness', wearing a sparkly clockwork-covered tailcoat. It's definitely a step up from the swamp-thing outfit we witnessed last time. Despite a bit of wavering sound, 'The Prisoner' (complete with a clip from the 1967 tv series) warmed up for the arena-shaking '2 Minutes To Midnight', with extreme crowd participation.
The driving wind in the first half of the set was fairly irritating, and probably worse behind the sound tent, definitely nowhere near as unfortunate as befallen by Metallica in 2012 – but did pick up for 'Afraid To Shoot Strangers' and 'The Trooper' with Bruce donning his traditional red 'Light Brigade' uniform and giant Union Flag. Bruce jokes "Welcome to Monsters of Rock '88" to which the five guys standing next to us yell "We were there!!" and certainly, Maiden are a band that people come back time and time again for. Giggling "…back then we couldn't blow things up, or use fire… Or a Battle of Britain Memorial Spitfire…" Bruce thanks RAF Coningsby for the loan, and takes a swig of signature Trooper Beer.
'The Number of The Beast' (with giant fire canons and a flame-eyed Beast) and 'Run To The Hills' (including frontier Eddie wielding a sword at band-members) are screamed at deafening levels by the crowd around us… Ok ok, it was us too… and a giant grimacing Eddie looming over the stage is revealed for 'Seventh Son of a Seventh Son'.
After a huge instrumental and some well-timed fireworks, the iconic refrain of 'Fear of the Dark' is played out to a chorus of 'woooaaahhh-ing' fans. Yes it's traditional, Yes we've seen it before. Does it mean that hearing ninety thousand people locked in song with a single string of notes is any less impressive? No. Nothing makes your breath catch like looking back at the sea of lighters waving in the dark, it's the stuff ambitions are forged from, and as Bruce drops "a little anxious, in Donington Park" the young lad in front of us turns to his mum and says "This is the best thing I've ever heard" it brings me right back to the time I first saw Maiden.
An enormous Eddie holding a writhing heart-type-beast for 'Iron Maiden' has his head lit on fire before the band depart for a short break for the encore, where we finally get to hear 'Aces High', 'The Evil That Men Do' and 'Running Free', though Bruce was less 'running-free' than 'skipping-like-a-spring-lamb-free'…
The band thank everyone for a great night, and having tantalised us with the announcement of an O2 show later in the year, it's clear they're leaving everyone on a high. As the glassy eyes of people who've just witnessed something special, turn toward the exits, we are happily singing along with 'Always Look on the Bright Side of Life', as only British festival-goers – who've spent two days being sunburnt and rained on, can truly appreciate. Iron Maiden were everything they should be and more, gaining a whole new generation of fans in one night.
After a confused (yet bloody typical) day of showers, blazing sunshine, bare bodies, full waterproofs and teeth-chattering cold, the rain abated for the start of my choice of headliner – Zippo Encore stage's American rock'n'roll heroes, Black Stone Cherry.
As self-proclaimed Download Darlings, this is a fourth return but their first go at a headline slot here at Donington, as requested by the forum-going public. It's a proper Cinderella story, despite not having a new album out or any tours planned (prerequisites for booking festival slots generally) BSC are here on the back of some serious fan-fare. Hailing from the not-so-deep south (read: Kentucky) these good country boys are Lynyrd Skynyrd with better riffs, and less blue-collar/redneck jokes.
With three already stellar albums greedily devoured by UK fans over the last few years, it was inevitable that the bustling arena was going to be a good testing ground for new material and a fun soundboard for old, and as BSC drop right into 'Maybe Someday' the crowd yells right along as if the main stage (and Slipknot) don't even exist. The apt refrain "But for now I've got to rock and roll" sets the tone for the rest of the set, with fan favourite 'Blind Man' and brand-spanking-new (seriously, this is it's first ever outing from the studio) 'Me and Mary Jane' which is an immediate ear-worm.
The unfortunate opening line of 'Rain Wizard' "Here comes the rain" does indeed seem to open the heavens, but a heartfelt 'Things My Father Said', with the crowd singing the entire first verse back to homesick frontman Chris Robertson, who is for the first time away from his baby son, brings a tear to his eye.
'White Trash Millionaire' and 'Soul Creek' go down a storm, almost literally as by now it is widdling it down most ungraciously. Drummer John Fred Young's unruly mane is flapping wildly as he smashes about in a manner not unlike Animal of The Muppets, but his quick solo is a reminder that he's a technical whizz as well as a solid rock beat, and Robertson tells us how they may be four guys from Kentucky, but the heart of this band is in the UK, because "nowhere else in the world would people stand for an hour in the pissing rain to see [them]". No-one had the heart to tell him standing in the pissing rain is practically a national passtime of ours, but we certainly appreciated the compliment.
After a raucous 'Blame it on the Boom Boom', they close out with first album hit 'Lonely Train' and leave the crowd yelling for more. As the stage lights die, the sound of Slipknot on the main stage floods back into our ears but they could have been a million miles away during Black Stone Cherry's extraordinary set.
If there is an artist who embodies the Lovebox spirit like no other, then Kelis is surely top of the list. Well, Sunday just got even more exciting with the return of Kelis to Lovebox in a UK festival exclusive! The Harlem-bred 90's vocalist brings her euphoric dance, spacey electro pop and R&B beats to the main stage and we cannot wait. Pitch perfect Lianne La Havas is the extraordinary, old-school vibrato sensation, and the name on everybodies lips. London girl Lianne's melodic performances present creativity and soul through all her vocals inspired by the likes of Lauryn Hill and Erykah Badu. We are pround to announce Lianne will be gracing the main stage at Lovebox Sunday.
The Fly Presents
UK's most popular new music magazine is presenting the ultimate intimate session of music discovery at Saturday's Lovebox. Big night for the forward thinking music lovers that will catch Ghostpoet, Splashh, Big Deal, Rainy Milo, Bipolar Sunshine, Josef Salvat, Owlle and Roscious exclusively performing live in their very own Fly arena.
Performance, Sound, Style, Lights & Set Design
Lovebox brings you London's most prolific production of performance, sound, style, lights and set design. You can expect the spectacular and the surprising, and we will be revealing some of the plans in the run up to the festival. Such as…: 25 tonnes of 6 meter bamboo now on it's way from China ready to create a stunning residence for the Red Bull Music Academy at Lovebox; The Flaming Tornado "Burning Man's most impressive art installation"; Jose Cuervo's Margarita Garden, 'making a VIP out of everyone'; The legendary lovebox maypole returns 8 year's after the main stage at Victoria Park's first ever Lovebox taking place on the soon to be announced Terrazo arena; Lords of Lighting harnessing 4 million volts of raw electricity into a mystical flow of oscillating chaos; ….plus MUCH more to be announced, making Lovebox the most unique festival experience in town!
Lovebox Jukebox #31
DJ/producer duo Force of Nature, hailing from Tokyo Japan, are scheduled to play at Harvey's Discoteque (in association with Sarcastic) A tent curated by Harvey for Sunday at this years Lovebox Festival. F.O.N have put together a mix for the latest Lovebox Jukebox. Check it out this deep summertime housey mix exclusively for your listening pleasure courtesy of Force of Nature & Lovebox.
Crack Presents
Underground music and art must-have bible Crack magazine, present a massively diverse and seriously edgy collection of acts on Sunday's buzzing field. Featuring Jon Hopkins, Charli XCX, Fear Of Men, Chlöe Howl, Idles, Moko and The Portillo Moment. The collection of live electro to dream funk synths will be the perfect discovery for the creative heads looking for electronic tinged festival action.
