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!
The electricity of teenage fandom is buzzing in the air today at Hyde Park, this is by far the youngest crowd I’ve seen at a BST event, and almost everyone is wearing the obvious colours for K-Pop international superstars BlackPink. As we head into the arena it’s clear there are a lot less people around early today, compared to the previous BST events, perhaps in part due to the overcast weather, but it’s actually quite pleasant being able to walk around the arena with ease.
Checking out the merchandise options you can only imagine my abject horror at finding bucket hats with tiny BP embroidery on for an eye-watering £40 each. Tote bags were also £40 (compare to £20 for Take That, which I still thought was steep), zip up printed tour hoodies for BlackPink are an astonishing £120. Despite my wish to own all the merch from everything I attend, I really couldn’t justify these prices, but there were plenty of people queuing up to catch some exclusive (and hard to find in the UK) items.
The most popular seems to be the BlackPink official lightstick – which, if you aren’t in the know, looks like a miniature mallet with squishy pink hearts on either side, that you can connect to an app which lights up along with the music at the show you’re attending. Well… it would, if anyone on Hyde Park could get any signal at all.
Shuffling off to the Rainbow stage we catch a bit of the completely adorable Annika Benett, who has a gorgeous voice and is singing breakup songs “…I built my life around someone, and it’s awful when that ends”.
Caity Baser hits the main stage wearing a tartan bodysuit that gives Attack on Titan vibes, and the wind begins to pick up around the arena as she too chooses the topic of breakups for her set – “How many of you have been cheated on before?”. Honestly, looking around at the average age of the fans here and I’d say that quite a large portion probably can’t relate Caity. Nevertheless she’s upbeat and fun, and despite the smaller crowd today she’s managing to get them jumping around.
Taking a turn around the arena to see what’s cracking, we take a few minutes up on the Whiteclaw balcony to sit on some comfortable beanbags and drink a fancy drink or two. It’s a lovely view but any stage sounds are impossible to entertain from there, due to the absolute chaos that is the Carousel Swing fairground ride next to us, which is flying at a brutally horizontal angle and making the riders SCREAM.
We catch at bit of self-proclaimed manic dream pixie – Peach PRC, who is sporting her unique iridescent fairy wings and pink wavy hair, jumping around the stage. I like her, she’s good energy and song ‘Blondes’ is a perfect pop appetizer. Speaking of energy though, we need to eat and the options are bountiful, and therefore hard to choose from. Heading over to the Peroni bar we spy The Cheese Wheel, who are preparing fresh pasta inside, well, a giant wheel of cheese. Deciding to go boujie today we order the truffle cheese pasta and then sat in pure silence while we indulged. This may be the most decadent festival food I’ve ever eaten, highly recommend.
Waddling over to the main stage for Korean rock band The Rose, we are greeted with a cacophony of screaming girls. It’s true, they are *very* pretty, but honestly – they’re a great band and I really enjoyed their song ‘Yes’, even if it came with the slightly odd warning “Er, don’t say yes to everything though!”. It’s not hard to like them when they are a very wholesome mix of funny and humble “Our first gig was to twenty people in Korea, seven years ago… and fifteen of them were our friends!”.
The Cuban Brothers are bringing the Funky Nassau to the Garage stage, and Miguel quickly decides to “…change [his] material” for the clearly younger crowd who have gathered in front. Encouraging the kids to yell “Kenny The Pasta” instead of the other thing, has those of us who’ve seen them before, laughing. Yelling “Where the Blinks at?” they immediately have all the young girls along the front row screaming at ear-bleeding levels, and I think some first crushes have well and truly been established today in the form of Young Domenico.
Rebecca Black, no longer the gawky teenager in possibly one of the worst/most iconic music videos of all time, steps out on stage in a very Goth-loli red tartan outfit with all the confidence of a seasoned performer. Not gonna lie, she’s had some solid follow up bops over the years, but it’s fairly obvious everyone is waiting to hear her sing about her car seat dilemmas in ‘Friday’.
Sabrina Carpenter hits the main stage in stacked gogo boots and a metallic pink slip dress, but the crowd is very very thin on the ground, despite her saying “Hyde Park what’s poppin? There’s so many of you god damn!”. She goes on to say “I’ve been to London a few times… your relationship dramas are so wild, I watch Love Island. Who here has been in a situationship?” is met with rapturous… crickets. These kids are like 13 Sabrina… what’s your angle. Her voice is lovely but she ends up being a bit like one of those Pinterest recipes, where I’ve now heard enough of her life story and would like very much to just make the pie (her cats are named Benny and Bjorn, she covers Abba’s ‘Lay All Your Love On Me’).
At this point we are fully stalking the fancy AmEx guest areas to try and catch a glimpse of Hugh Grant whowas somewhere about, bringing his daughter and her friends to see BlackPink tonight. Alas, we failed our mission, he was nowhere to be seen so we shuffled off in favour of getting ourselves ready for the headline slot.
Now, this is not just another headliner it has to be noted, this is the first time a Korean band has ever headlined a major UK festival in history – and a sold out show no less. The crowd is getting fretful now, as the band are a few minutes late in starting, but the ominous “Blaaaack Pink” chant they’re all doing is some horror movie level shit.
Coming in hard with ‘Pink Venom’, Jisoo, Jennie, Rosé and Lisa take their absolutely earned place in the spotlight to the deafening screams of thousands of fans. Having been mostly a fan of rock and metal, this type of fanatic behaviour is somewhat new to me, and it’s kinda hard not to get swept up in the thrall. Why didn’t I buy a lightstick, damn. Dressed all in white, but different variations on the Leeloo-fifth-element theme, they’ve got quite an industrial gothic look about them – offset heavily by the occasional pink pyrotechnics and sparkles around them.
“London what’s UUUUP” they yell, before dropping the absolutely epic ‘How You Like That’, which was my first introduction to the band a few years ago. It doesn’t matter what musical background you come from, you’ve got to agree that song slaps. The crowd is going absolutely berserk at this point, and there’s a girl next to us who knows every dance move and seemingly every word.
‘Pretty Savage’ includes a saucy chair routine at the end of the runway, and their house dancers are absolutely incredible during their costume change break at the end of ‘Whistle’ as well. It’s such a full on performance, there’s always something happening. The second ‘act’ of the night is each performer’s chance to showcase their solo material, which is truly a genius way of incorporating personal work into your band schedule without breaking the lot or having to split. Why haven’t more bands thought of this?!
Jennie does ‘You & Me’ in a gorgeous lacy tiered coat, followed by Jisoo with ‘Flower’ in sparkly and floral reds with blooming flower choreography to boot, and then a huge explosion of petals across the crowd. I really rate this level of production detail, it’s making everything so magical and special for the audience.
Rosé enters wearing the absolute coolest outfit of the whole night, she is draped in gold chains and looks like pirate treasure, for ‘Gone/On The Ground’. Obviously, there’s a heap of floorwork in the choreo to reflect the ‘ground’ sentiment too, but a ticker tape streamer explosion backfires quite spectacularly, covering the stage lights and a poor unsuspecting security guard due to a turn of the wind. Hey future kids, if there’s a second fire of London, it probably started here m’kay?
Lisa rocks a red bustier and knee high biker boots for ‘Money’ which is one of my favourites of the night, it makes me wish I could actually dance. I kinda wish they’d done money ticker tape here, but you can’t have everything. Coming round into act 3 the whole band is back together for the incredible ‘Boombayah’ in some excellently mad-max style black outfits. Wielding sparkly mics which look quite a lot like the lightsticks is another little touch I think is very well thought out, as they head into the most visually pleasing part of the night yet.
Male dancers with huge burlesque white feather fans head to the top of the stage, as BlackPink emerge on stage on a lift/riser. The fan dance hides each member while another sings, and thes moves fluidly with them as they descend the stairs, it is so well choreographed that it looks amazing from all angles.
‘Shutdown’ has everyone dancing and singing along with them, exclaiming “Wow wow wow, I did not expect this much energy” and “This is a dream come true!”. Now, I absolutely LOVE the feminist message of ‘Tally’, but there’s no doubt that this well and truly moves them out of the ‘wholesome kpop band’ zone. They’ve always been harder edged as a band, but this song deals with sexuality, confidence and equality in a way that I think other female fronted bands haven’t been able to in the genre. Even their video backdrops say ‘Fuck It’, go on gals. I did have to stifle my laughter when the Mum of the girl next to us heard the line “Getting mine like the fuckboys do” and yelled “WHAT”.
For an encore we get the awesome ‘DDU-DU, DDU-DU’ before they head back down the runway and into a cage which is lifted into the crowd on a platform during ‘Forever Young’. The crowd simply cannot be contained at this point, it is decibel curfew shattering levels of screaming all around me. I can’t blame them, you can call me a Blink now too – that was a sensational show. BlackPink are welcome in our area, anytime. Someone send me a lightstick please.
Back to Hyde Park again this sunny Saturday for some true British treasure in the form of Take That – the band that broke the nation’s heart when they broke up, and then came back as the ultimate zaddies of pop to woo all the mums again.
Before we all get too hot under the collar, Will Young is giving everyone at the main stage a huge wholesome hug. Not my usual fayre by any means but his voice is excellent, the vibes are funky, and I really like his frilly shirt and braces. Though he’s battled through extreme anxiety and more than his fair share of difficult times, Will is possibly one of the nicest men in pop music today. It’s hard not to smile through this performance, particularly when he goes over to hug the Great Oak stage tree, and then says “Hope you’re all hydrating yourselves, it’s hot today!”. Yes Will Young, I will do as you say because I think you’re darling.
Doors cover ‘Light My Fire’ has the whole arena singing along (and I must say it’s a very respectable crowd for this time of day) but ‘Leave Right Now’ and ‘Evergreen’ are the hits everyone came for, and he delivers.
Over on the Cuban Garage stage we witness the joyful beats of South London Samba, and some frankly incredible rainbow feathered moves from the carnival dancers (two of whom can jump drop into a split, amazing) before we grab some much needed dinner. There are a ridiculous amount of options here for a festival this size, but we try out a Buffalo chicken bowl (way spicier than I’d anticipated) and some ginger tofu Bao (faaaancy) – both great.
Sugababes hit the main stage with a set that surprised me, for the simple reason that I had no idea I knew *that* many of their songs. Starting strong with Adina Howard cover ‘Freak Like Me’ they come out looking every bit the pop princesses they always did, and are absolutely owning the stage for ‘Red Dress’. ‘Hole in the Head’ is fantastic, but if you’re a certain kind of person – even hearing the intro to ‘Too Lost In You’ will both make you think of Christmas AND make you irrationally angry… if you know you know.
“It’s an absolute honour to be here! Look at the weather, the sun is coming out!” they yell, before hitting us with classic trio ‘Push The Button’, ‘Round Round’ and ‘About You Now’. It’s a very clean and precise set, I think I’d like to see them loosen up a little but musically – it’s great, and I appreciate their long battle to reclaim their name and their lost music, to get here.
Ireland’s The Script are fun, and there’s a nice roundness to the fact that they used to tour with Take That back in the day too, but I can’t get by the cringeworthy bit that took a full ten minutes out of their set time to orchestrate. “I wanna call someone’s ex! Who right now is crazy enough to give me their phone?” yells frontman Danny O’Donoghue before grabbing one passed up by security. He proceeds to phone someone’s unsuspecting ex-boyfriend, tells them who he is and lets the crowd scream at them before singing ‘Before The Worst’ at him. Following the serenade, he has the whole arena yell “Goodbye Asshole” at the phone, which is just… not that funny and kinda gauche. ‘If You Could See Me Now’ is dedicated to the memory of their guitarist Mark Sheehan, it’s a great song, but they’ve kinda lost me with the stunt if I’m honest.
Heading into the final event, the arena has now swelled with people to the point of bursting. The toilet queues are out of control and stretch halfway around the arena, the bars are all loaded and the merch stalls are still going strong. We catch The Cuban Brothers doing another brilliant set on the Cuban Garage stage, but when heading over to grab a tshirt we find that the BST have racked the price up by a tenner since yesterday. Price gouging isn’t a good look for an event – especially when The Cubans themselves just said the tees were £20 on stage and would be when they hit the online shop. Not cool.
Heading down to the Golden Circle area to find a good place to watch Take That, we are immediately pulled into the throng alongside an excited lady wielding a giant face cut out of Gary Barlow (a little disconcerting) and we can see another woman in a Take That patch jacket down the front. This particular person was spotted last night, camping out in Hyde Park ready to be right there today, the dedication is on point.
As intros go, this one is pretty epic. A hoarde of dancers enter the stage seemingly from everywhere, and set themselves up all over the giant lighted staircase that runs from the backdrop right down to the main floor, in front of which a giant runway ending in a second smaller stage area has been set. The band emerge to ear-bleeding levels of frenetic fan screams all around us. The cacophony of the mums knows no bounds. Include me in that, because I cannot get enough of their fashion ensembles tonight. Howard is wearing something that I can only describe as… Newscaster-school-football-kit-in-the-seventies. It is ochre, striped and flared, and I want it. Gary has decided to come as Morgan Freeman in Bruce Almighty, and Mark is… well Mark is wearing an ostrich. A whole one.
There might only be three of them now (no sign of Robbie despite him also being on tour… boooo) but right out of the gates ‘The Flood’ sounds absolutely brilliant, seems like they’re going to be on top form tonight. Yelling “Good evening Hyde Paaaaaark!” the trio head down the long runway to the middle of the pulsing crowd, “…this is gonna be an amazing night tonight, we want you to sing along and dance along!” and huge blasts of ticker-tape confetti erupt from around them as fireworks go off along the front of the stage. It’s pretty clear they’ve come here to party and I’m instantly all-in.
‘Could It Be Magic’ brings glittery screens and their OG boyband dance moves, and I am shooketh to my core as I myself (ten years their junior) have injured myself getting out of bed, why only this morning. Special guest Calum Scott of Britain’s Got Talent fame, joins the band for ‘Greatest Day’ as he had been part of the reworked song for their film which was released last month, before taking the stage to himself for his cover of Robyn’s ‘Dancing On My Own’.
BeeGees cover ‘How Deep is Your Love’ and ‘A Million Love Songs’ are the catalyst for a whole lot of overwhelmed fangirl sobbing, and my sister who had nipped to the loos at an opportune moment belted back to us to sing “AND HERE I AAAAAAM” in our faces. ‘Shine’ heralds a delightful outfit change, including a fancy white top-hat (which is later thrown out into the crowd, what an excellent bit of memorabilia for some lucky person) for Mark, a green velvet biker jacket for Gary (I would also like to own this) and a tux jacket with golden-winged lapels for Howard. They are taking this photo opportunity very seriously and I love it. Despite the air of professionalism, they joke “We might miss a few of our cues tonight, the runway is way longer than we thought… it takes ages to get back up there” and then mention how appreciative they are of everyone coming back to gigs after some weird years during the pandemic.
Stopping for a quick break to read some of the signs being held up in the front rows, we are treated to the truest representation of the British wit… “This song is older than us” Gary reads as two kids scream holding the sign, and another “I think of you when I shag my husband” with (presumably) the husband standing alongside the woman laughing. “I left my husband in hospital to be here” has the entire crowd in agreement on the state of her morals, but the best one by far was “Today is MY Greatest Day – I made it! F U Cancer!”. Having an arena full of thousands of people cheer you on and celebrate with you must be phenomenal in itself, but when the band dedicate the next song to Laura, holder of the sign, she looks absolutely beside herself with joy. It’s a lovely heartfelt moment.
Telling everyone this is the “Song that brought us back”, we are treated to a little acoustic guitar for ‘Patience’ before a huge singalong for ‘Pray’ and the most incredible original video dance moves, an absolute highlight. ‘Back For Good’ is also brilliant, and I can’t help but dance to Sigma cover ‘Cry’ under an obscene amount of ticker-tape spewing into the air above us.
Another quick outfit change into the most ridiculous giant white furry coats and it’s time for ‘Relight My Fire’ with the actual for-real LuLu, who is sporting some excellent sparkly flared trousers. ‘Hold Up A Light’ sees the crowd holding up phone torches across the arena, but ‘Never Forget’ is the true epitome of Take That-ness and every single person has their hands up for it. “You know the choreography, join in!” hardly needs to be said because we are all totally invested at this point of the proceedings.
Going out in style with ‘Rule The World’ leaves me in no doubt that Take That are making yet another triumphant return, following their performance at the Corrie-Nache earlier this year. Looking over to see my sister and her sister-in-law doing a little cry and singing along, I reckon they’ve gained another confirmed fan in me tonight, it was a bloody brilliant show, so Take That.
Friday in London town, slightly overcast, a bit windy, a bit drizzly. On our way here we witness about fifty variations on the Appetite for Destruction tshirt and a lot of red bandanas… it’s time for the momentous occasion of Guns ‘N Roses at BST Hyde Park.
Making our way through the arena gates, we are met with the sight of thousands of black tshirts – such a contrast to last weekend’s extremely P!nk crowd. Taking a stroll over to the merchandise stall, we find a decent selection of fun stuff up for grabs (I really wish I’d bought the Appetite trucker hat) but the prices are pretty eye-watering in most cases. It seems we aren’t the only ones who think so, as a guy yells to his friend “Seventy notes for a hoodie? Nah, I could have knitted you one mate”. I do also find it a little funny that the BST tshirts clearly haven’t been signed off for using the G’n’R fonts or logo, making their event tshirt kinda flat for £40. I get that prices are rising everywhere but, this seems extraordinary – doesn’t it?
Heading over to the Great Oak stage we witness Justin Hawkins of The Darkness jokingly calling out a fan down the front for hoarding keepsakes… “How many plectrums you got, you cheeky bastard?” before launching into ‘Japanese Prisoner of Love’. It’s a short 9 song set ending up with the customary ‘I Believe In A Thing Called Love’, and there’s some stage pyro going on sure, but I’m not convinced this is them at their best – the crowd response is notably flat.
Taking a turn around the arena to look at a few things, we come up to the House of Peroni – a giant beer garden deck designed to look as if you’re on holiday in Italy of course. White shuttered faux houses above the bars are tipped with royal blue accents, the tables are full of people enjoying cold beers and watching the chaotic chair swing fairground ride off to the side.
Around the back of the stadium, you can get a full face of glitter done at the Aperol lounge, or ‘festival hair’ braiding next to one of the AmEx trucks. If you’re an AmEx customer you can claim all sorts of things at this event, like free water bottles and access to a special balcony overlooking the festival. Even British Airways are getting in on the action, with a very cute lounge area where you can grab a drink and sit in birdcage style seating areas, but the best bit is obviously their GlamCam moving camera photobooth. A little leafy-walled backdrop gives you the perfect space to do whatever weird thing you can think of in 3 seconds of a camera flying at your face, then you can email the monstrosity to yourself to upload onto socials.
Over at the Rainbow Stage we soak up some classic rock; “We are a band from sunny South Wales calledJames and The Cold Gun” (named from a Kate Bush song) who are dressed in a joyful array of flared trousers and velvet shirts. They are quick to note that their bassist’s Dad had a heart attack yesterday and was in hospital “…she had the courage to come and do this despite all that going on” and thanked her for being there with them to the huge applause of the rather big crowd they’ve gathered. It’s a solid set and I’ll be adding some of their tracks to my playlist after this.
Over on the Garage stage BST house band The Cuban Brothers, are up to their usual antics – inciting the crowd to lewd behaviour. If you don’t love it, you’re wrong. “They say you are what you eat, but I don’t remember eating a fucking legend today” yells frontman Miguel (aka Mike) dressed as a camp Axl Rose. The Cubans are joined on stage today by DJ duo Shaka Music “on the ones and two’s” as Miguel puts it, and they’re all sporting new Cuban merch featuring ‘The Swan’. If you know you know, and yes it is rude. Shouting out in a cockney accent that the tshirts can be bought at the Flat Iron for twenty quid, before a small rendition of Welcome to the Jungle, Miguel cheekily says “Ladies and gents, I’m gonna be honest. We are definitely going to be infinitely more entertaining than anything else you see tonight…” and tells us he’s been ‘hanging with Duff last night’.
After their set we head over to take a look at the Flat Iron, which has a cool looking private balcony on the front of it (who gets to go up there?) and buy ourselves a tshirt. Next up on the main stage are The Pretenders, as the rain begins to fall in earnest. It’s a solid rock and roll set but, I can’t pretend I don’t find it a weird booking choice as the set up for G’n’R. Chrissie Hynde is a legend, and the set is technically good, I just want something more upbeat to set us up for tonight and this feels a little too niche and out of the zone. “This one is called ‘I’ll Stand By You’, there you go Axl” Chrissie calls out, and don’t get me wrong – it’s iconic, it’s just not pushing my buttons.
As if to prove themselves entirely correct, The Cuban Brothers return to the stage and are in fact, much more entertaining, with Dominic providing breakdancing and flips and Kenny on rollerskates or doing a hauntingly beautiful dance to Whitney Houston’s ‘I Wanna Dance With Somebody’. They note that they’ve been doing this for 10 years, and that this was their 56th Hyde Park show – living legends indeed.
Onto the main event, and billed at a very early 7.30pm start time, we ready ourselves for Guns ‘N Roses. Just off the back of their Glastonbury pyramid stage headline set, and some fairly unfavourable reviews, will this be the redemption arc or confirmation that this is the end of the road? As a lifelong fan (thanks to my sister acquiescing to playing me ‘Paradise City’ on repeat as a toddler) I’m hoping for something special tonight.
Opening with Axl Rose’s patented “You know where you are?” high pitched scream, and some Stranger Things-esque graphics on the screens (don’t tell Metallica), they explode onto the stage with all the force and energy I had wished fore. Slash is rocking leather pants and a denim shirt, along with his signature tophat and Axl has some very shiny trousers on as he runs across the stage for ‘It’s So Easy’. Lo and behold, he sounds good. Not just ok, really good.
“Look at all these people! God bless you!” Axl yells, before taking a tumble on the slippery rain covered stage. Now, in previous iterations of Guns ‘n Roses shows that I’ve been to, this honestly could have spelled the end of the set. I once watched Axl throw a full fit and leave the stage after a fall at Download festival – he didn’t return for the best part of 45 minutes. This time he jumps up, grins and keeps on spinning and singing. It feels playful and fun, a return to the style of chaotic show they were known for in the old days; “I don’t wanna jinx it but hopefully I got all that slip sliding out of the way” he laughs.
Velvet Revolver track ‘Slither’ followed by ‘Mr Brownstone’ really showcase Slash’s skills as a master guitarist – I will never not be humbled getting to hear something like that live and in person, the man is a true icon.
Now dressed in a croc-textured biker jacket, the band let us have ‘Welcome To The Jungle’ to which all 65k people here are positively YELLING along with. I particularly love to note that when Axl sings “my serpentine” and winds his body in that well known snake-like motion, we are in fact in the land of The Serpentine – Hyde Park’s lake which is around the corner from here.
Briefly looking into the crowd, Axl says “She’s holding a sign that says we saved her life, but I don’t know about that” before neon ‘G’N’R Was Here’ neon graffiti lights up the stage side screens for ‘Reckless Life’. In a cheekily clipped British accent Axl jokes “What a lovely gathering, all the best people are here” as they roll into “…the 50th anniversary of a little ditty by one of your fellow countrymen….” Wings cover ‘Live and Let Die’.
Other highlights of this epic 29 song set included ‘Rocket Queen’, UK Subs cover ‘Down on the Farm’ (albeit with graphics clearly designed for Glasto) and a super high energy ‘Anything Goes’. Axl’s voice may not hit those high notes quite as strongly occasionally but damn does he still sound good.
‘Civil War’ sees the screens plastered with the Ukrainian flag, as Axl sports one on his tshirt underneath a camouflage biker jacket, and Slash swaps to a double necked guitar. This will put them at around the same number of tshirt to guitar changes so far. ‘Sweet Child o’Mine’ is absolutely perfect, and again – Axl’s voice is wildly better than last time I saw them perform. Unfortunately as the screens turn to grey for ‘November Rain’ in a cruel twist of fate – it is actually beginning to rain for real, which doesn’t seem to bother Axl who is now gussied up in a sparkly metallic leopard print tux jacket, sitting at the piano.
After yet another outfit change (white studded leather jacket) we get ‘Patience’, “I think I could have got a couple more yayas in there, dug a little deeper” Axl jokes at the end, which seems a little bit like a ‘fuck you’ to everyone bashing his Glasto vocal performance the week before. ‘Knockin on Heaven’s Door’ has the whole arena singing along and waving phone torches, but ‘Nightrain’ is just bloody epic and the standout highlight of the whole set.
“We’re not gonna do that leaving the stage showbiz stuff, we’re just gonna do songs so we don’t get cut off” he says pulling his thumb across his neck and making a ‘crrrrkk’ sound “It’s like an insurance policy so we’re playing them now”. Honestly, having watched Bruce Springsteen get cut off here once before, and the whole Lana Del Rey saga at Glasto – we’re appreciative, and we get to see ‘Don’t Cry’ and closer ‘Paradise City’ in unhurried completion finishing bang on the dot of curfew. Oh, and I’d really like to own Axl’s Union Jack tophat.
For me, this was without a doubt the best showing of Guns ‘N Roses I’ve ever seen, being too young to have hit up their original peak gigs. Hyde Park is an epic setting and they absolutely lived up to their status as the OG kings of rock and fucking roll tonight. Long live the G’N’F’N’R Jungle.
Due to excessive traffic issues and poor time management, we are entering BST Hyde Park much later than planned this fine sunny Sunday afternoon. Luckily we grab our wristbands and a drink just in time to get a good spot in front of the Great Oak stage for my 90’s manic-pixie-dream-girl crush Gwen Stefani (pretty sure she was everyone’s 90’s celeb crush actually).
Were you even a 90’s kid if you didn’t have that one No Doubt centre-magazine poster on your wall? You know which one I mean. It just occurred to me that kids now probably don’t buy physical magazines… what are they decorating their rooms with…
Anyway, Gwen bounces onto the stage resplendent in a disco ball inspired outfit for opener ‘The Sweet Escape’ right into No Doubt classic ‘Sunday Morning’, like there hasn’t been a single minute between the day she wrote it and now. Yelling “I don’t think you guys understand the love I have for London Town… let me pinch myself, THIS IS MY LIFE!” before busting out another classic – ‘It’s My Life’ (Talk Talk cover).
In a curious revelation about the inner workings of her mind, she blurts out “I was thinking about my life. Most of the time when I’m singing the songs, I’m thinking – what am I gonna have to eat later? Thank you for listening to my music all this time” which comes across a little odd, a little nonchalant, given her previous emphatic affectations about her work.
Nevertheless, ‘Underneath It All’ brings the groove back, admittedly with a small side of cringe these days – the ska/reggae overlap has always been part of Stefani’s music but it is one of those things that we’ve gradually distanced ourselves from since the early noughties. It would be remiss of me to write about Gwen Stefani without joining the chequered commentary about cultural appropriation vs. appreciation over her recording history, and the inclusion of controversial ‘Harajuku Girls’ and iconic ‘Rich Girl’ give me awkward pause for thought. Bringing on stage rapper Eve for a duet/cover of her song ‘Let Me Blow Ya Mind’ was extremely welcome though, being immediately transported back to 2001 in the opening notes.
After what looks like a slight bra malfunction, Gwen returns in yet another skirt/trouser combo that also smacks of very firmly Y2K vibes, but that ska checkerboard pattern will never not appeal to me – even the dancers are rocking matching jumpsuits. Oh and she’s being wheeled around on a giant throne, also fun.
‘Don’t Speak’ is where this set truly comes alive for me again, from there it’s a hit parade of core memory songs, with ‘Wind It Up’, and ‘What You Waiting For’ into ‘Spiderwebs’ which I screamed at the top of my extremely limited vocal range for.
‘Just A Girl’ is everything I want, remember and enjoy about Gwen Stefani. Her unique vocal sound seems unchanged by time, and it feels like such a treat for teenage-me to finally end up here, hearing it the way I did dancing with my friends in the living room to MTV. To cap it off, the slightly ridiculous ‘Hollaback Girl’ features dancers wielding giant bananas while she gads about in a sparkly cape – big Gwen energy.
(C) Dave Hogan / Hogan Media
There’s a pretty decent time gap before tonight’s main act, due in part to the absolutely insane stage set up being hastily squashed into view, so we have a little reprieve to check out some of the food options here at BST. For a relatively small festival footprint, you can pretty much find cuisine from most corners of the earth – but still settle for basic bitch buffalo loaded fries if you want to (and I did) but you better believe I’ll be sampling my way through as many outlets as possible over the coming weeks of BST gigs. They were delicious anyway. Though I didn’t make it around the rest of the site today due to time constraints, it’s nice to note that the site has lost none of its vibrancy from last year – there is colour, decoration and things to pique your interest everywhere you look. More exploration required.
With the sun beginning to dip over Hyde Park, it’s time to settle into our spots for tonight’s headliner, the incomparable wonder woman that is P!NK. Every single person I’ve met who has been to one of her shows assures me that she is incredible and possibly superhuman, so I’ve got a lot of hype and anticipation for this one – and it seems I am not alone. It’s a huge crowd tonight (and yes, a good percentage of that is potentially people who did not get Glasto tickets this weekend but we won’t dwell on that) but it is also a very female centric crowd too with a wide and enviable age range. I think if you’re the kind of performer who can appeal to three generations of women at the same time – you’ve kind of hit the jackpot, and that’s what I’m seeing here.
So when the stage screens light up with Pink’s AI avatar to introduce her Summer Carnival, I am understandably already enthralled to see the bottom of her sparkly silver boots hiding away up in the canopy of the stage, behind a giant Rocky Horror style mouth. The mouth opens to reveal Pink herself wearing a gemstone-encrusted leotard, who then plummets to the stage on a bungee cord before styling it out into something between circus and x-games. I have no desire to do such a thing personally, but I truly could watch her do an entire set up there, she is SO FUN.
(C) Dave Hogan / Hogan Media
Obviously the opening line is “I’m coming out” from ‘Get The Party Started’ because that is quite literally the perfect point to hurtle towards the audience with the sheer glee of someone with seemingly zero inhibitions or fear. Iconic.
‘Raise Your Glass’ will forever hit the spot with lyrics that celebrate the ‘underdog’, I think this is why the entire crowd tonight bar absolutely no-one, is singing along with wild abandon. It’s true that P!NK sits apart from other artists of her time, unlike the polished teen aesthetic of Britney and Christina, Pink had tattoos and short hair, swore and leaned into a grittier rock vocal sound. The genre-straddling appeal teamed with often inspirational and introspective lyrical content, has firmly rooted Pink in a place where we are appreciating her work throughout her career instead of just waiting for those early-days hits.
Oh and her wardrobe is beyond enviable honestly. I would 1000% try and steal that studded and glittery leather jacket if I saw it in a dressing room, watch out Alecia. Taking a quick pause to chat to those in the front rows Golden Circle area, she addresses a young fan “Happy birthday you’re 10, double digits, you’re gonna save the world… can’t wait!” and jokes “So many kids here.. oh god I’m such a mom now” before busting out classic ‘Who Knew’.
During ‘Just Like A Pill’ Pink is presented with an unenviably awkward situation, that I really feel she handles with incredible grace. Over the last few months we have witnessed Harry Styles being asked to do gender reveals on stage, Elton John’s farewell Glasto set the same night had cameras diverted to a couple getting engaged in the crowd… all sorts of interesting fan interactions. This though, feels like an absolute violation.
As Pink takes a small mid-song reprieve and walks down the runway, she is showered with gifts like flowers and soft-toys – cute right? Less cute is the Ziploc bag of ashes that is next to be hurled into her path. “Wait, is this your mom? I don’t know how I feel about this…” a clearly stunned Pink exclaims whilst gingerly picking it up and placing it carefully by one of the speakers. She then returns to singing but there’s an obvious wobble in her voice for those first few notes, and upon ending she quips “Well… that was a first” whilst looking uncomfortable. I get the sentiment of wanting to symbolically take your loved and missed person to something important to you, but truly this is intrusively unhinged behaviour, to actually throw human remains onto a stage. This moment will undoubtedly be filed in the same zone as Ozzy-biting-the-head-off-a-bat in rock’n’roll history I’m sure, but it speaks to the ever closing space celebrities are able to hold between themselves, and what fans think they’re entitled to.
Consummate performer that she is, Pink returns in a sparkly checked shirt and joined by a beautiful male duo dance performance for ‘What About Us’, followed by an aerial performance of her own – but not without a technical hitch. “Stop. Can we re-set? It’s too low. We just need six inches…” has the entire crowd giggling. “I’ll just do an Interpretive dance if this doesn’t work, I’ll tell jokes! Ok, go back into the sexy serious thing we were trying to do…” before performing ‘Turbulence’ whilst spinning around on a rope swing. I have no clue how she is managing to sound this good, doing that.
Back on solid ground once more, Pink heads to the piano saying “There are so many songs I wish I wrote… oh look at the sunset! I wish I wrote ‘Spiderwebs’… ‘Just A Girl’… ‘Don’t Speak’. My absolute She-ro Gwen Stefani is over there, you don’t get cooler than that” pointing stage side where Gwen is watching the show. “I also wish I wrote Baby Shark. I could buy everyone here a yacht” she laughs before performing a gorgeous cover of Bob Dylan’s ‘Make You Feel My Love’.
In another big moment, someone in the front decides to propose to their partner during this, which she notices “Did someone just pass out or propose? Was it a yes? Wooo! The first 20 years are the hardest” before going into the beautifully soulful ‘Just Give Me A Reason’.
‘F**kin’ Perfect’ sees Pink in yet another extremely steal-able studded biker jacket, this time in eponymous baby pink, before she changes into the early noughties revival outfit that we are now seeing on ASOS (RIP my youth). More rip-than-material crystal studded jeans and a leopard print corset were the lifeblood of Y2K teens. Add a diamante-butterfly backed g-string and you’ve hit peak Paris and Nicole.
With barely a break, we head into the third stage of this this epic show, with an acoustic ‘Please Don’t Leave Me’ and bringing her daughter Willow on stage to join her for the adorable ‘Cover Me in Sunshine’ in front of a glowing sun stage set, mirrored by the setting sun behind us.
“You know them right, First Aid Kit? These beautiful sisters… they were nice enough to write me this song” Pink leads in for ‘Kids In Love’ which is unmistakably First Aid Kit in composition. It’s a deliciously sweet twilight song, the kind you’d use as a backing track for a campfire scene, it’s going on my summer playlist.
The phone torch lights are out in force for ‘When I Get There’, she signs stuff for front row fans during ‘I Am Here’ before diving into protest anthem ‘Irrelevant’ “When I sing this song, you all have permission to lose your last marble”. In a post-Roe world we need more voices, and yelling “girls just wanna have rights” everywhere she goes is positive platform action.
“Yall ready to dance?” she yells, as the dancers whip off their velco trousers to reveal classic 80’s bodysuit-and-legwarmers gym wear, as she arrives back on stage in a silver bomber jacket doing fitness-video moves for ‘Runaway’.
Album namesake ‘Trustfall’ is highlighted by an amazing stairs/trampoline show where acrobats fell and popped back up in time to the music, before ‘Blow Me One Last Kiss’ in contrast featured dancers dressed in kinda creepy lips costumes and we dance our socks off to ‘Never Gonna Not Dance Again’. Finally, yelling “I’m coming to see you guys at the back” we get to see what the four giant cranes flanking the stadium are there for, as Pink is hoisted up into the air over the crowd during ‘So What’. I don’t know how she sings like she does while flying around above thousands of people but it truly cements her line “I’m still a rockstar” for me. What a bloody legend, please come back soon.
With just 46 days to go to BLOODSTOCK, the countdown is ON!
Tonight, Tuesday 27th June, sees festival directors Adam Gregory and Vicky Hungerford doing a Live Q&A via the festival’s Facebook and Instagram channels, answering punters’ questions about this year’s event. Tune in at 7pm to get all the latest updates and maybe even win some prizes!
The Metal 2 The Masses finals are nearly complete and another nine bands, the cream of the crop in each region, win a slot on 2023’s New Blood stage. Grabbing a Friday slot are Essex’s winners ARMS TO OBLIVION. Check out ‘Tequila Blues’ from the Ipswich groove metallers’ latest EP, ‘Defciylion’. Also appearing Friday are Bristol’s MOON REAPER UK, whose blackened death/doom sound is showcased via ‘Overlord’, which was shot live at their M2TM semi final.
Saturday’s bill will feature County Durham’s SWARMS whose fat riffs and heavy breakdowns won over the Newcastle heat’s masses. Watch for yourself via ‘Copperhead’ shot during their Trillians set. Also winning a Saturday slot are Kent’s BROKEN CALLING, who blend hardcore, metalcore and nu metal and have picked up airplay from BBC Radio 1’s Alyx Holcombe. Check out their video for ‘S.I.C.K’ and find out why.
Five bands land themselves slots on Sunday’s New Blood stage. London’s SANGUINEM will be bringing their melodic death sounds, including ‘Hate Transfusion’, Birmingham’s NAMELESS will be showcasing their mix of nu metal and hardcore. Watch them play ‘Circus Of Freaks’ live, shot earlier this year.
Deathcore squad DYSTOPIAN SUN grab a slot too, via the North Wales final. Watch an online slaythrough of their track ‘Shadow Of Dread’ from 2021. Also joining Sunday are Hitchin’s tech metal outfit, SENTIENT. The 4-piece serve up a mix of noodly riffs and beefy breakdowns; heavy spaghetti indeed!
Check out ‘Gaslighter’ from their ‘Sentient Is Dead’ EP. On Sunday, the winners of the Poland heat of M2TM, bHP will bring their nu metal sounds to Catton Park. Watch them unleash the mayhem via their video for ‘Crownless’.
Unfortunately, STRIKER have had to pull out of this year’s event, but Birmingham metal squad, FURY slide into a slot on the Sophie Lancaster stage instead.
BLOODSTOCK is also excited to announce a game-changing addition to this year’s event. In collaboration with event technology provider Preo, BLOODSTOCK is introducing a dedicated one-stop-shop featuring an array of festival essentials. From those all important cold beers to exclusive merchandise through to camping equipment and much more, festival go-ers can secure all their must-have items in advance from one online shop, eradicating the need for last-minute scrambles, long queues or searching in multiple online stores for different items. For more info and to explore the online shop, please visit the official Bloodstock Festival Preo store.
Each year BLOODSTOCK has various dress themes for those who want to participate. In 2023, we see the return of the very successful ‘Pink For Sylvia’ theme on both Thursday and Friday, in memory of Sophie Lancaster’s mother, the founder of the Sophie Lancaster Foundation. Pink was Sylvia’s favourite colour. Corpsepaint Saturday does what it says on the tin! If you don’t want to do your own make up, stop by the Sophie Lancaster charity stall in the main arena and they’ll paint your face for a small donation, with all proceeds going to the Foundation. On Sunday, it’ll be Helloween Pumpkins day, so bust out your best pumpkin-themed attire to welcome the mighty HELLOWEEN!
With just 8 weeks to go before the metal brethren thunder through the gates of Catton Park, BLOODSTOCK is excited to reveal some of the hotly tipped talent who’ll be ripping up the Jagermeister stage this year. So on festival weekend, why not grab a cold one and investigate some fresh talent that could become your new favourite band.
Friday brings fuzzed-up Brummie rock duo, THIS SUMMIT FEVER, whose heavy riffage is showcased on ‘Messiah’, taken from their ‘Distraction Rituals’ EP. Belfast’s high energy rock squad WILD HEAT, will also be bringing their ‘Hustle’ to Catton Park, plus expect to see Birmingham’s sludgy death metal trio, DEATHFIEND, whose brand new video for ‘Beyond Life’ is giving us life!
Also joining Friday’s line up are Newcastle trio DUNES. Check out their desert-soaked sound via the video for ‘Heart of the Sun’. Wrapping up proceedings with a headline slot on Friday’s Jager stage are Aussie thrash brutes, HIDDEN INTENT. The three-piece have established a solid following around the globe, with influences taken from the classic Bay Area and Teutonic thrash movements. Check out their riff-tastic video for ‘Breaking Point’.
Opening up the Jager Stage on Saturday are DAYBREAKER, who hail from the North West of England. Check out their chunky, driving riffage via the track, ‘M.O.A.B’. Also appearing on Saturday are Cumbrian old school death metal squad, REPULSIVE VISION. The four piece have become mainstays of the extreme metal circuit across the US and EU, so check out what the fuss is all about via the video for ‘Other Than Divine’, taken from their second album, ‘Necrovictology’.
Expect to also see Kent heavy rockers PRYMA, bring their sticky tunes like ‘Freaky Fright Night’, driven by singer Gabrielle’s powerful vocals to the Jager stage. Grunge/alt trio, MUDDIBROOKE may be a familiar name, having picked up radio airplay on Kerrang!, Planet Rock and BBC and support slots with Nick Oliveri and Reef. Check out their statement take on ‘You Don’t Own Me’. And headlining the Jager stage on Saturday evening are Yorkshire metalcore squad, WATERLINES, who’ll undoubtedly be starting a massive pit with their single, ‘KÖNIG’.
Sunday’s proceedings kick off with Nottingham’s THOSE ONCE LOYAL, who’ve been described as the bastard child of Killswitch Engage and Hatebreed! Decide for yourself by checking out their single, ‘Relentless Cycle’. South London power trio DEAD AIR also join the fray, bringing their multi-influenced sound to Catton Park. Watch their video for ‘Teeth Grinder’, a track taken from their 2022 debut EP, ‘City Sins’. BLOODSTOCK’s power metal fans will be pleased to see SKIES TURN BLACK play on Sunday, showcasing their impressive musicianship on tracks like ‘This Too Shall Pass’, taken from their ‘No Place Like Home’ debut album.
Also appearing are PAST THE FALL, whose modern metal demonstrates elements of prog flair and refined classicism. Check out their official video for ‘Beholden’. Closing out the stage on Sunday will be Scottish riff beasts, IRON ALTAR. The band have just completed work on their second album, ‘Promethean’, which is set for release soon. In the interim, get up to speed via their video for 2020’s single, ‘Cruor’.
BLOODSTOCK is also excited to announce a very special collaboration with Black Feather Design on an exclusive capsule collection of solid 925 sterling silver jewellery. You can take your pick between both small and large statement versions of BLOODSTOCK’s iconic S’tan mascot, hewn in silver and tailored to your finger of choice, or alternatively plump for the more understated, yet equally epic, BOA shield signet design. There’s also two choices of earring; S’tan studs or S’tan Drops (11mm sleeper hoops). The three rings and two earring designs will be available to pre-order for two weeks from today (Thursday 15th June until 30th June 2023), or as soon as the 200 pieces of each design have sold out (whichever comes first). Your pre-orders will ship to you in time for this year’s festival.
For more information and to pre-order your own piece of unique heavy metal, click here.
It’s June, we are out of the grey days and on the cusp of summer, there is hope in the breeze. Donington Park, home to superbikes and souped up engines is about to be clad in all black everything – for the unstoppable force that is Download Festival. In it’s 20th Anniversary year, hitting a sold out 100k audience is the cherry on the cake of Donington history. Praise be to the old guard of Monsters of Rock for handing down these fields of joy, so we can continue to celebrate.
WEDNESDAY
As part of the bigger/better anniversary wealth, Download has this year included an additional full day of music to the line-up – meaning that campers can arrive from Wednesday instead. In previous years, there seemed to be a greater split of arrival times and days for those camping but this year… it’s like the Pied Piper of metal suddenly called every alt kid in the UK at once, and everything in a five mile area is a fucking mess.
Now we know the road infrastructure around Donington Park isn’t the best, and we know it’s also competing with East Midlands Airport along one side, but this is another level of shithousery – the abject worst queues in the festival’s history. Reports coming in of people queuing for over seven hours in hot cars and buses, carparks being full and closed early on, signage being scrubbed out instead of redirected… the list goes on.
Many people took to Instagram to contact the festival directly and voice their complaints; @morrighan writes “Please sort out whatever the heck is holding up the J24 exit! We followed advice to follow signs for the fastest route. Taken us 3 hours to move less than a mile!” with @not_my_pubs_name replying “same, got on m1 exit slip road j23a and been sat here 3 hrs so far, and I’m camping in quiet camp, but now West carpark is full, so double fucked off. Utter joke”.
Essex tattoo artist @lucyharmless was also caught in the melee “wanna tell me why I’ve been sat in the same spot for the last 5+ hours, I know it’s a sold out festival but we’re not even moving here”
The festival has made no response about why things were this bad, instead posting the same information about which junctions to enter the festival by for the following days. Though the problem wasn’t as pronounced over the rest of the weekend, there were still significant delays with no real explanation.
As a 20 year fan of this festival (yes, I’ve been to them all) I would love to only sing it’s praises, but this is something that surely must be addressed for next year’s event. There has to be a way to separate and space out arrivals, maybe something in booked time slots for coming in (whilst this may sound a little prescriptive, but both Bestival and the IOW festival essentially had this work with ferry bookings splitting up the entry) or linking booked parking to campsite locations so that you can only go to one specific area. Hopefully better brains than mine are considering the future implications of the festival’s size.
THURSDAY
For ourselves, entering on Thursday was indeed an unfortunate three hour queue situation to hit the West car park which is closest to the box office we needed to be at for our wristbands. Luckily we had packed drinks and snacks knowing the stakes from the day before. Though we missed a few choice early bands due to this, entering the arena again felt like coming home. There is something undeniable about the feeling of stepping through the portal of Download. One minute you’re in the regular world where people look at you funny, and the next you’re side by side with every other person who knows exactly what it’s like to be fringe, or other.
The arena itself has had an overhaul, and I really think it is (mostly) for the better. The fairground rides have been summarily booted to the Avalanche stage area, which is a brilliant move. Their ridiculously loud playlists are no longer sullying the Apex stage sound, and they don’t hinder Avalanche at all because it’s a closed in tent – perfect. Gone too is the traditional line of food outlets that broke up that area, and the accessible viewing platform has had a move too. The result is an absolutely gargantuan main stage area with incredible views from all angles, further helped by the enormous screen towers and stack amps that are supposedly only in place for Metallica. Honestly – I wish they would keep them, the sound and views have been bloody incredible due to this set up.
I will pause to note though, that the accessible platform has been moved to the other side of the arena, presumably to facilitate quicker movement between the stages, especially Opus and Apex. Whilst this is in theory a great idea – the route between the platforms has been sandwiched in probably the most notorious bottleneck of the whole festival, rendering it completely unpassable during high crowd sets, simply because people are stopping in those areas to watch too. I’m not sure what could be done about this, it makes the most sense to have moved the platform there, but some kind of access run-through between them perhaps?
Anyway, onto the music. Having performed an incredible set last year at Bloodstock, it is so good to see Ukrainian band Jinjer absolutely smashing their way onto the Download main stage to a very respectable crowd. Lead vocalist Tatiana Shmayluk is an absolute powerhouse, song ‘Teacher Teacher’ hits hard even in the baking sun. It’s clear the crowd is on side as the band talk about what is happening in their country, by beginning a “Fuck Putin” chant, under the screened Ukrainian flags. I’d call their set a complete triumph, especially for a band that has jumped from performing in The Dogtooth at Download 2019 to the main stage in 2023.
Hundred Reasons ‘I’ll Find You’ will forever be one of my favourite jams, but it is beyond horrendous trying to move around the Opus stage at this point – there are simply too many people for comfort, so we stand off to the side for it and then scarper in search of space to sit down.
Over on The Avalanche stage we caught Punk Rock Factory, a Welsh four-piece doing what absolutely everyone wants to hear – theme songs and Disney covers. I’m not even slightly joking, the tent is packed and there are crowd surfers galore. No-one is pretending to be too cool to sing along with the likes of Go Go Power Rangers (replete with actual Power Rangers standing ominously still at the front of the stage), the Pokemon theme tune is excellent, as is Under The Sea from The Little Mermaid. Truly this band are a highlight, if only for the nostalgia button they press in all of us.
Halestorm are predictably awesome, and I mean that in the full sense of the word. Lzzy Hale belts out notes like she doesn’t even need a mic, an absolute rock icon. ‘I Miss The Misery’ is always going to be the big fan fave but truly the whole set was just good clean rock and roll in the sunshine. There’s something to be said for a band that sits so comfortably in this classic sound and owns it – there’s actually not a lot of it on the bill this weekend.
After grabbing a horrendously overpriced slushie (cozzie livs is really showing up in the food and beverage prices this weekend, let me tell you) we thought we’d check out the merchandise selections, but immediately turned on our heels when we discovered that they were over an hour long wait. No thanks.
I’m fairly sure that every single year I’ve complained about merch queues but, this festival is so big now it’s really time to add another one to the main arena. Way back in the Opus corner maybe? Heck stick one in VIP so that an entire population of people can grab their stuff outside of the arena as well? The addition of one to the West carpark exit/village entrance was great, but there were a few teething problems with the new ‘Megastore’ too.
Now, I love an obscure item as much as the next person (I do really want the Download bedsheets) and think this was a great idea… but I don’t know if sticking the Megastore out of reach for day/weekend ticketholders was necessarily fair. Particularly when it contained special tshirts not on sale in the arena stores – nor indeed the ENTIRE Mary Wyatt collection which been so hyped on social media prior to the event. More than a few disgruntled fans flocked to the Mary Wyatt Instagram to express their disappointment at not being able to grab something. The merch itself was interesting this year, I especially enjoyed the retro 03-23 logo tee and the back patch 20 jacket, but ooft the prices really do keep on rising.
Over on Apex, Alter Bridge bring us another dose of classic rock with Myles Kennedy’s signature vocal sound soaring over the sun-soaked crowd, while New York pop punk quartet State Champs light up the Avalanche stage for a rowdy but fun show – the whole tent is dancing.
There is one band that I categorically want to see playing somewhere EVERY year please-thanks, and that is our Welsh pals, Skindred. As far as I’m concerned they are the sound of the summer, and my season isn’t over if I don’t do the Newport Helicopter at least once. Pulled in to fill the 5FDP void, there could be no more perfect choice than having Benji & co. headline the Opus stage – and what a rowdy good time it was. Every damn song they do is catchy, upbeat and just generally inspires movement… so you can imagine how intensely difficult it was to acquiesce to this innate demand when ALL 100K FESTIVAL GOERS were also trying to occupy that space. Coming off the back of a Heavy Music Award win there’s absolutely no doubting they’re fully at the top of their game, and are beloved at Download.
I’m going to attempt to keep this brief, since the greedy barstewards are playing twice this weekend, but it’s time for the first Metallica roundup.
As the sound of AC/DC’s ‘It’s A Long Way To The Top’ starts up by way of intro, old photos of the band surrounded by neon yellow frames (the official colour scheme of this tour ‘72 Seasons’) splash over the backdrops and the new cylindrical screen towers, including two monster cylinders actually on the stage itself. It’s an undeniably massive set-up, but there is a bit of me that is wondering if it’s going to be all style over substance.
On a personal note, Metallica have been there from the very beginning for me. I was there at the first Download, squished into a tent for their not-so-secret set… I was there when Joey Jordison filled in for Lars… I was there when they played the whole of The Black Album… they’re woven into the fabric of this festival and my festival history. One particular memory I carry from all of these times, is seeing hundreds of lights glowing in the dark of the night for ‘Nothing Else Matters’. The only difference is, the first time I saw them it was a warm orange glow from thousands of flame lighters – tonight, the cool white of phone torches. It’s strange to think how the next generation’s memories of live music will be formed.
Highlights of course included ‘Fade to Black’ in which Lars actually savaged a snare drum which had to be quickly replaced, ‘Sad but True’ and ‘Seek and Destroy’ (have we noticed how much Metallica love 3 word names for their songs?).
That said, this isn’t by any means my favourite set I’ve seen from Metallica. Yes the sound quality is excellent, and I’m never not going to enjoy ‘Master of Puppets’ and ‘Fuel’ but it feels a bit like they’re conserving energy for Saturday if I’m honest. Lars predictably spends some time at the end waxing lyrical about their Donington origins in 1985 “…you guys have that saying, ‘home turf’… I think this might be Metallica’s home turf” but, I think it would have been a bit nicer and more topical to have talked about their Download history in particular… it’s only the bloody anniversary event isn’t it.
Today we’re already fearing the heat and slathering ourselves in sun-cream, but off we merrily pop to the Opus stage for The Warning. “We are 3 sisters from Mexico” they yell, before absolutely crushing their punchy hard rock set. From humble beginnings as kids on YouTube covering Enter Sandman, to a huge audience at Download is pretty damn impressive if you ask me.
In a swift change of pace, we catch up with our friends-from-another-field – Elvana. Usually seen in glitter and sequins at the likes of Camp Bestival, they’ve chameleon morphed into… well, something else. Resplendent in black skeleton Elvis-style jumpsuit and suits, the band (and their doom cheerleaders aka backup vocalists) bring something a little silly but ultimately very enjoyable to the Download palette. Who doesn’t want an unhinged circle pit to Blue Suede Shoes, and have lil mosh to Smells Like Teen Spirit? Jokes aside, they’re actually excellent as well as fun, what’s not to love.
Heading across site we spot a lot of little Battle Jackets this year. Seems that a few more people have braved bringing their kids along and it feels like a nice shift for the festival. Yeah you can whinge on about it being ‘for adults’ but, there’s something to be said for passing on the spirit of metal to the next gen in a way that feels genuine and community led, and metal Mums and Dads just wanna see live music too, so bore off.
Witch fever over on the Dogtooth stage are another example of excellent up-and-coming bands we’ve been treated to this weekend. It’s been really fun to have some new blood turnover in the smaller stages and they certainly came seeking violence with their heady mix of post-punk power over gloomy basslines. Riot grrl era is back on the menu, and they are leading the call in all the ways we want – including jumping into the crowd and getting rowdy. If they started a zine I would buy it. Top song for my choosing: ‘Bully Boy’, oh and did I mention – they’re all hot.
Heading down the hill to the Apex, we are greeted by the incredible Nova twins, a punk/grime influenced duo from London. Now this for me is a truly excellent booking, their sound is unique and interesting, they absolutely wail and have that unmistakable star quality that we need for the main stage. Next up, Hot Milk are in danger of becoming Curdled Milk (snickers uncontrollably) and suffer a bit from the crowd being well… too hot. I have no idea how they survived on-stage pyro in this heat but more power to them, because I am melting.
Epica are first up in the melodic/symphonic metal stakes today and lead vocalist Simone Simons has one of those voices that has the power to skewer you right through the soul. It’s a decent crowd already, and I fear for being able to get round there later on.
Neck deep aren’t usually my scene but they’re doing a good job of hyping up the crowd, and it’s nice to see what Wrexham has to offer besides football and American celebrities. However, they do indeed sound extremely American when they sing – such is the power of the pop-punk cadence. “Everyone who’s from a shithole town, yell if you’re proud of where you came from!” elicits a huge roar, but the thing is, everyone in the UK thinks they’re from a shithole town until someone else bags on it, then the gloves are off. Aaanyway, Brutus are another new-to-me band who absolutely ripped up the Dogtooth stage, I am always floored by drummers who are also vocalists, the level of coordination is baffling to me.
As expected Pendulum are fucking incredible and have wisely chosen to beef up the heaviness of their set – as they did last time they played Download. It’s a welcome return and everyone is up dancing about for it, despite the heat. “Front to the back, I need to see you crazy fuckers” is the call to arms for ‘Propane Nightmares’, and it’s quite cool that they’re joined by Matthew Tuck (of Bullet fame) for ‘Halo’, but ‘Witchcraft’ is the ultimate Pendulum masterpiece in my opinion.
Unfortunately due to some costumes not arriving in time, Gwar have to pull out of todays performance, which is met with a huge groan from the crowd inside the Dogtooth. So we head over to Within Temptation to be summarily met by a wall of people right up to the pathway. There is no chance of getting through, so we catch a bit of Sharon Den Adel’s deep and spooky vocals, as the second symphonic band to hit the stage today. Sometimes I forget how much ‘Stand My Ground’ slaps live – do these women even need microphones really? It feels like she could go without and still be heard at the Apex stage.
Architects are inducting newbies to the fray “…how many of you have crowd surfed before? Now’s your chance, get over this fucking barrier!” via some rather nice blokes who are giving people boosts into the waiting arms of obliging pallbearer types. But we’re hanging back to see Evanescence complete the trifecta of big vox, gothic female fronted bands today. As suspected – we can’t get anywhere near and the sound is totally borked from the side to the point of not really being able to hear. Sad times but I think the Opus field just no longer has the capacity.
Luckily the beyond brilliant Carpenter Brut who I’ve been listening to on repeat for the last 2 months, is giving the packed out Dogtooth something resembling a rave but considerably wilder. Apparently we’re calling this darksynth, but all I know is it’s fucking FUN. Sadly there are no tshirts to be found at the merch tents, otherwise I’d have snapped one up, call me a new fan – especially of his cover of Michael Sembello’s Flashdance hit ‘Maniac’– I command you to listen to it immediately.
Bringing Friday to a close are the much anticipated Bring Me The Horizon with an incredible stage set comprising of lots of bridge levels wrapped across a giant screen backdrop, like something out of a musical. Hitting the stage in a crop top with bondage straps and a shaggy haircut, Oli Sykes hasn’t morphed too far from the early scene kid days, but he definitely looks like a headliner now. It’s hard to describe but from minute one I was absolutely convinced they were meant to be there, and I genuinely felt excited to be seeing Download making a clear choice for the future of the festival here.
The band unceremoniously rip through the likes of ‘Teardrops’ and ‘Mantra’, before introducing “…one of [their] favourite bands in the fucking world…” Nova Twins, to head up ‘1×1’ with them. There is no denying the set is special, it’s got pizazz, the band sound incredible and they’re doing things that make it a unique show. This is what I wanted Metallica to do yesterday, to be honest.
Yes they’re a funny mix of genres at times, but this does actually allow them to be more flexible in their set too, something not a lot of bands can bring to the big stage – but there’s nothing that will keep a classic emo down is there… “Sometimes you get sad, but it’s about realising it and sharing it. If I’ve gotta be lost, I’m glad I’m lost with you people”. Oh Oli, wipe your tears babe, here comes Amy Lee (of Evanescence) – joining them for hands down the MOST emo named song in the history of songs ‘One Day the Only Butterflies Left Will Be in Your Chest as You March Towards Your Death’. It’s pretty great actually, and at least I can finally hear Amy Lee.
I could live without the face melting pyrotechnics to be honest, it’s still so hot tonight – and we were two speaker sets back so you know the people in front were basically cooked like turkeys. There’s a bit of me that wishes the tired suicidal ideation bit (‘DiE4u’) didn’t have to start with spoken word that sounds mystically beautiful to morose teenagers but ah, that’s the therapist in me speaking I suppose. Many have sung worse things I know, but it isn’t my favourite. Despite this, and the sort of strange cyber-attack/AI bit they keep playing on the screens, the band absolutely smash the shit out of this headline show. Yelling “I don’t care what you do, but if you stand still you are… a very special kind of knobhead” actually does appeal to my wish to not be seen as a knobhead, so I join in with everyone else because he told me to. If that isn’t the power of a headline act I don’t know what is.
‘Follow You’ is a lovely musical interlude, in which Oli requests people get on each others’ shoulders and hold up their lighters/phones “I’ll take owt”, and then runs down to hug the front row of fans. It’s a little cultish, but aren’t all the best bands?
With a giant explosion of pink ticker-tape and a nod “I will never forget this moment” they go out on the impeccable trio of ‘Drown’, ‘Throne’ and ‘Can You Feel My Heart’. Sign me up, I’m part of the cult now.
SATURDAY
Up and at ‘em for Polaris, who are very shouty and loud. I’m surprised at how many people are already going hard at midday considering we’re already edging on Satan’s armpit level heat.
I’m off to buy an overpriced slushie and head towards Avalanche for Lake Malice, who are going down as one of my favourite hits of the weekend. Vocalist Alice Guala looks like she’s jumped right off The Grid, wearing some kind of lycra Tron onesie and guitarist Blake Cornwall is rocking the coolest leopard print guitar I’ve ever seen. They’ve got an almost nu-metal edge, which appeals to my younger self, incredible energy and their crowd is responding with sending heaps of surfers across the barrier, despite the fact that the tent is stiflingly hot at this point. It sort of grieves me to know that this band started over Facebook during lockdown, and now they’re here. I was just out there making banana bread and doing my silly little zoom quizzes… how ‘bout you?
First hype pick of the day for me are the deliciously kitschy Ice Nine Kills. I’d say the Venn diagram of metal fans and horror fans is probably almost a circle, and I cannot pretend that I’m not a basic bitch. With all their songs themed to horror movies, a good dose of on-stage theatricals (knives, axes, Patrick Bateman getup, you know – the full Alice Cooper style schtick) and catchy lyrics, I don’t think I’m alone in thoroughly loving this set. ‘The American Nightmare’ has been one of my most played songs since their second stage performance at Download last year – get on it.
In a whiplash change of pace, it’s time for the mighty Clutch. They are the antithesis of the previous band, no frills… no stuff… no theatrics. They just do what they always do – play solid funky rock and roll, brilliantly. The blazing sunshine with a cold beer is in my opinion, the most appropriate setting to see the likes of ‘X-Ray Visions’ and ‘Electric Worry’. Neil Fallon quips “hey shall we take our shirts off and pretend we’re in Red Hot Chilli Peppers?” as the heat gets to him, and they go out on the excellent ‘Pure Rock Fury’. I could stand a couple more hours of Clutch in the sunshine to be honest, let the music play.
A quick trip into the Dogtooth for the weird and wonderful Bambie Thug does not disappoint. They are dressed in some sort of Alien-meets-Hela demonic playsuit thing which is very fun, and are flanked by two gyrating dancers wearing only boxers – who later water gun the crowd (which is actually rather thoughtful of them in this heat). ‘Kawasaki (I Love It)’ is very singable, and ‘Headbang’ with special guest Mimi Barks feels a bit on the nose but ultimately is just really enjoyable. Bambie is going straight on the summer playlist.
Alexisonfire are yelling about something “Fuck racism, fuck misogyny, fuck you” but I’m too hot to do anything from my position on the ground under a sun-brella. They’re not usually my jam but it is frankly not in the cards for me to move right now so I accept a bit of shouty ‘Accept Crime’ and ‘Boiled Frogs’ under an oppressively cloudless sky.
Dragging myself into the Avalanche for Gwar’s rescheduled set is a feat in itself, but I am rewarded with the sight of a half naked King Charles, Kim Jong Un getting scalped and Putin with no hands. Unfortunately this also means I joined the masses of [fake]blood-soaked bodies in an already sweaty tent, and let me tell you that stuff does not easily wash off. You can’t not like Gwar, they’re so silly, it’s the law.
After attempting to clean myself up, it’s over to see Disturbed’s inevitable but iconic rendition of ‘The Sound of Silence’, which to my amusement – a group of guys in front of us all had a tearful cuddle afterwards, adorable.
The Opus area is of course way overfull once again, but there is nothing stopping Placebo being just fucking incredible from wherever you were standing. ‘Nancy Boy’ and ‘Bitter End’ are the sounds of my angry youth and I am transported back to a point where I actually had time to sit and listen to songs without it just being in the back of housework or my job. Their cover of ‘Running Up That Hill’ might be a lot of people’s introduction to Placebo, via Stranger Things, but for me they are tickling my nostalgia navel and I am gutted they weren’t put on the main stage instead.
Metallica, night two. This is the set I was waiting for. Yes we had the exact same intro but the band absolutely enter the stage with more presence and purpose tonight than they did on Thursday. The crowd tonight is absolutely wild to look out on. This is the most open the arena has ever been, without all the foot outlets and such chopping the area up it looks incredible, an absolute sea of bodies bathed under the stage lights. There’s something quite eerie about being in the company of 100k people like this, and the deafening roar of those people singing along to ‘For Whom The Bell Tolls’ immediately goes into the core memory bank.
“Let’s see if you guys know this song… wait let’s see if we know this song” jokes James Hetfield (Papa Het? Is that what we’re calling him these days? Bit weird but ok) as they drop into ‘Until It Sleeps’, but ‘Welcome Home (Sanitarium)’ is just gorgeously melodic and dramatic in the darkness.
Then there’s a weird interlude where Lars Ulrich seems to try and bring an extremely terrified child on stage from the Snakepit, who absolutely has zero interest in being there and therefore cries his eyes out. Luckily Hetfield is on hand to diffuse the situation “Here’s my dad joke… the fans at download are in-tents. You give me a microphone and I don’t know what to do!”. ‘The Unforgiven’ is wildly good, like seared-into-my-minds-eye good – it truly is one of the best performances I’ve seen Metallica give, and I enjoy the mild ribbing they’re giving Lars to boot. “This is night 10 for us here at Download or Monsters of Rock, that’s fabulous. Well, it’s Lars’ 9th show, you gonna catch up with us one day? He’ll be here tomorrow playing with all the other bands” Hetfield jokes, as people around us shout back “please no” and “don’t encourage him”.
‘Whiskey In The Jar’ never fails to get everyone singing along, the on-stage pyro and offset flame canons are massive, closing out with ‘One’ and ‘Enter Sandman’ and shitload of fireworks – this is the epic headline set we needed.
SUNDAY
Day four of blistering heat is a struggle, not gonna lie. We are done in but soldier on into the arena once more for Bloodywood – now with quite the following, the unique New Delhi bhangra heavy metal sound is exactly the kind of newness I love to see, being played to a pretty huge audience. Graphic Nature in the dogtooth are somehow, and for no discernible reason, doing their entire set wearing hood-up raincoats in this heat – but they do look like they’re having fun.
Lorna Shore probably don’t quite get the reception they deserve as the order of the afternoon seems to be Lorna Snore, as many people appear to tapped out taking a nap in the field. Next up Mongolian metalheads The Hu are plying us with more tasty unique sounds, very enjoyable but I do wish that their stringed instruments had been been levelled up a bit, as that aspect which is prevalent in their online catalogue was kinda missing. Their cover of Metallica’s ‘Sad But True’ with half Mongolian lyrics, is fantastic though.
We head over to the Opus stage for a bit of Avatar who I can only think must be boiling alive in all their leather, especially with all their coordinated circular headbanging segments. ‘The Dirt I’m Buried In’ and ‘Hail The Apocalypse’ are highlights but honestly they’re just so entertaining start to finish – I wish they’d been a main stage band too.
Behemoth look as uncomfortably hot as they did last year at the burning inferno that was Bloodstock Open Air, asking “We need your energy, we need you to jump” to a day 4 crowd who are dead on their feet and basically crisp. It’s a no from me friends, but there are plenty of people down there having their time of their lives still so it’s all good.
I prevail are doing a lot of screaming and yelling fuck, in an angry teenage way, and whilst it isn’t really my vibe, their cover of SOAD’s ‘Chop Suey’ is actually great, and they do manage to provoke some very respectable and dusty circle pits.
On the Opus stage Bad Religion are playing an absolute blinder of a set, just solid good punk rock – the sound of my college years. The likes of ‘Anaesthesia’ and ‘You’ are required Tony Hawk’s Pro-Skater history of course, and ‘Infected’ results in a massive singalong. Over in Avalanche, German electronic wizards Electric Callboy are ripping Download a new one. This is the most packed and writhing I’ve seen the tent this weekend, the electric energy is undeniable. ‘Hypa Hypa’ is probably the most well known of theirs, but I also loved their cover of Darude’s ‘Sandstorm’ and The Frozen/Backstreet Boys ‘Let It Go’/‘I Want It That Way’ sweaty metalhead singalong was very funny to watch.
Scooting back through the gap to Opus we’re ready for some retro 80’s style metal from our favourite Swedish ghouls Ghost. This iteration of Papa Emeritus comes with much less pomp and ceremony, and I’m here for it. ‘Rats’ makes me giggle every time, it’s great used as a response to pretty much anything someone can ask you over the course of a weekend – but not if you want to keep your friends, let me tell you.
Dressed as a bat, Papa sings “I can feel the thunder that’s breaking in your heart” from ‘Cirice’ at almost the precise moment we start to witness lightning flashes in the sky above them. Very forward thinking of them to order the weather honestly. Luckily the festival skirts the zone between two massive thunderstorms in the Midlands, and is mercifully spared the Drownload moniker for another year.
Yelling “Do you want a goodnight kiss? How you doing Donington”, they launch forth into the epic and choral ‘Mary On A Cross’, a ticker tape and firework explosion, finishing up with ‘Dance Macabre’ and ‘Square Hammer’. This was truly the best Ghost performance I’ve seen, it looks like they’ve settled into their zone without some of the theatrical elements that I thought held them back a bit last time, and let the music speak.
Trying to get back to the main stage for our final headliner Slipknot, was like some kind of hideous cross country trek through sticky stinky bodies shoulder-to-shoulder. The traffic around the site this year has been noticeably worse due in part to numbers but also perhaps a few layout changes that have made routes through somewhat smaller. Slipknot arrive to giant bursts of smoke from all of the speaker towers in the crowds, and the cylindrical screens are focusing on up-close band members which is actually really effective. It’s also good to see the Clown return to the stage after a hiatus, atop one of the giant spiked drum tower flanking each side of the stage.
There’s no denying that it’s an impressive set up, and the band come in with a solid twenty minutes of pure heavy rage, eventually Corey yells “It’s good to be home” followed by “I’m a bit mad at you, you made me lose a bet. They bet me you would still go as mad without me running my mouth for the first twenty minutes. There were circle pits, I lost twenty quid you fuckin pricks” before admitting that he has been ill and that his voice isn’t up to par at the moment. Unfortunately it’s really obvious that he’s struggling through the set and it makes a marked difference in the power and delivery of the songs. “Well I always sound like shit, but I don’t always sound this cool” he jokes.
A collective ooooh emanates from the crowd as he shouts “Download! Our family. Here are some songs we haven’t played in a very fucking long time…” as they launch into a tour debut of ‘Left Behind’.
“This one goes out to Kerrang magazine… Let’s see what you do with this one folks…” is the precursor to another exciting inclusion ‘Snuff’ which again has Slipknot fans cooing.
The obvious run down towards the end of ‘People = Shit’ and ‘Surfacing’ followed by an encore of ‘Duality’, ‘Custer’ and ‘Spit It Out’ is a predictable but, what the people want. The execution is phenomenal and exactly what you expect of a headliner but… it’s still not the best we’ve seen them I fear. There’s something lacking in the vibrancy, and sure some of it is Corey’s voice – but I do wonder whether the passion is in it for them as a band anymore. It’s hard not to make a comparison to Friday’s Bring Me The Horizon headline set, where the air was absolutely electric, and I say this as a person who isn’t (or wasn’t) a particular fan of either band. The tides are a’changing at Download festival, and I’m excited to see where we are headed, but it might mean leaving some beloved people behind.
Download, you’ve been epic once again – may your next 20 years be as wild!
With just 73 days left between now and festival weekend, things are hotting up at BLOODSTOCK HQ, especially on the New Blood front! With the Metal 2 The Masses finals well underway around the country, the winning band in each region is locking in and BLOODSTOCK is excited to share nine more lucky developing bands who’ll be performing on the New Blood stage at Catton Park this August.
Winning the Leicester heat and grabbing a Friday slot are the progressive tech/death collective, VOIDWALKER. Familiarise yourself by checking out their 2022 track ‘Tar Stained Lips’ over at their Bandcamp page. The Manchester heat victors, the genre-twisting SQUARE WILD, won Prog Magazine’s ‘Best Unsigned Band’ poll last year. Watch their video for ‘Hounds’ and find out why. Also winning a Friday slot are the East Anglia final top dogs,URIDIUM. If you love your old school classic metal sound, these could be one for you. Check out ‘Fire & Lies’ taken from their debut EP, ‘In For The Kill’.
Saturday’s New Blood stage will feature Scotland’s winners, EXTORT. Check out the extreme metal squad’s live version of ‘Control Alt Deceased’ and go give their ‘Reset’ debut EP a listen. Also appearing Saturday will be Sheffield’s grunge rockers, DEAD BLONDE STARS. Get a handle on their sound via the lyric video for ‘Hernan’, taken from their 2020 debut album, ‘Metamorphosis’. And coming out on top in the Milton Keynes heat are DROWND. Get a feel for their brand of industrial rock via the video for ‘Sinner’, taken from last year’s ‘[An]Aesthetic’ album.
Landing a slot on Sunday and triumphing in Northern Ireland are power trio, ACID AGE. The band take their influences from across the board, but their thrash roots are on full display in the video for ‘Slave Girl’. Also playing Sunday will be Dublin hardcore squad, LAVEIN, who came out on top for the Republic of Ireland heat. Impressive for a band who are only a few months old! Check out their winning live set from the Fibber Magees M2TM final. Lastly, champions in the Leeds battle are local 5-piece, GODETH. Listen to their blend of groove, death and hardcore showcased on their new single, ‘Scour’.
The M2TM finals kicked off at the end of April and the remaining heats are detailed below, so be sure to get out and support the crucially important network of small venues and developing bands in your area. Sat 3rd Jun – LONDON The DomeSat 3rd Jun – NEWCASTLE TrilliansSat 10th Jun – CHORZOW (Poland) Lesniczowka Rock n’ Roll CafeFri 16th Jun – COLCHESTER CodaSat 17th Jun – GRAVESEND Leo’s, Red LionFri 23rd Jun – BIRMINGHAM Devils DogSat 24th Jun – HITCHIN Club 85Sat 24th Jun – WREXHAM XS @ The Penny BlackSat 24th Jun – BRISTOL The ExchangeFri 30th Jun – BOURNEMOUTH Bear CaveFri 30th Jun – CHELTENHAM Frog & FiddleSat 1st Jul – BURNLEY SanctuarySat 1st Jul – STOKE The UndergroundSat 1st Jul – NORTHAMPTON The Black PrinceSat 1st Jul – LIVERPOOL ZanzibarSat 1st Jul – CARDIFF FuelSat 8th Jul – NOTTINGHAM The Old Cold StoreSat 8th Jul – SALTASH LivewireSat 8th Jul – OXFORD Jericho Tavern
Tonight, the Heavy Music Awards2023 has announced the winners of their 2023 event, at the world’s biggest celebration of rock and metal music at OVO Arena Wembley.
In the seventh year of the awards, 17 artists, festivals, and icons collected their revered Heavy Music Award in recognition of their outstanding contribution to the heavy music scene. Taking place at the historic and iconic OVO Arena Wembley– following a huge venue upgrade – a landmark year for rock and metal music to an audience of 5,000 fans and industry guests. With awards presented by Kerrang! Radio’s Alex Baker and the red carpet hosted by BBC Radio 1’s Alyx Holcombe and Nels Hylton, the event saw some of the biggest names in heavy music grace the legendary stage.
Renowned for showcasing the diverse global icons of heavy music at the annual event, this year saw a huge range of artists pick up awards. The acclaimedBest Album award went to US breakthrough metal titans Bad Omens, for their album The Death Of Peace Of Mind. Meanwhile, Halestorm – who also performed an intimate unplugged set at the event with lauded guitarist Sophie Lloyd – accepted the award for Best International Artist, cementing their status as theband not to miss when they’re in the UK. Additional performances from Creeper, Loathe, Underoath and Boston Manor raised the roof, playing hit after hit for the packed arena.
The seminal Pioneer Award has been awarded to Biffy Clyro in honour of their trailblazing innovation in heavy music and outstanding contribution in delivering rock into the mainstream. Another legend recognised at the awards was broadcaster and BBC Radio 1 Rock Show DJ Daniel P Carter, receiving the Icon Award for his steadfast dedication in championing the scene throughout his storied career.
Gothic storytellers Motionless In White took home the award for Best Video for their visually striking Werewolf and its graphic depiction of a graveyard party. Yorkshire hardcore icons Malevolence were awarded Best Album Artwork for the artistically expansive sleeve of Malicious Intent, created by the iconic Eliran Kantor. Vukovi took the award for Best Production following the breakout success of 2022’s NULA and put on a fiery transatlantic performance with pink princess Scene Queen.
UK artists were also recognised by two awards, with the incendiary Skindred winning Best UK Live Artist whilst fast-rising anonymous collective Sleep Token topped the tables and won Best UK Artist. 2022’s Best Live Artist winners Enter Shikari took the prize for Best Single with The Void Stares Back ft. Wargasm. More Heavy Music Awards alumni sought out wins also, with Germany’s Electric Callboy taking home the win for Best International Live Artist this year, after taking home the Best Video for Pump It last year.
The breakthrough categories recognised the up-and-coming artists breathing fresh life into the scene. Winners of Best UK Breakthrough Artist were Nottingham pop-punkers As December Falls, whilst breakaway TikTok star Charlotte Sands won Best Breakthrough Album. Emo-crossover newcomers Static Dress took home the Best Breakthrough Live Artist whilst nu-metal provocateur Scene Queen took home Best International Breakthrough Artist.
Recognising not only the artists, but also the scene that facilities them, the Heavy Music Awards shared two awards acknowledging festivals, with Teddy Rocks being announced earlier this week as winners of the H Award, whilst the annual metalhead pilgrimageof Download Festival took the award forBest Festival.
The Heavy Music Awards was attended by celebrities includingsecret heavy music fans Ed Gamble, Joel Dommett, Dougie and Danny from McFly and guitarist Sophie Lloyd,
Since its inception back in 2017, the Heavy Music Awards has certified itself as a staple of the heavy music calendar, supporting bands from their seminal gigs all the way up to sold out, globe-trotting stadium tours. This year was no different, marked by an incredible venue upgrade, a record number of performances and a truly unforgettable event, setting the tone for years to come.
With only two weeks to go until the mighty Download Festival, the sold out 20th anniversary celebration has unleashed its District X line up, as well as announcing special collaborations for this year. Boasting secret band sets, live podcasts, late night DJ sets and a comedy line up on the Wednesday night, the special four-day edition is set to be jam-packed. Taking place on 8-11 June 2023 at the hallowed grounds of Donington Park, Download will be headlined by Bring Me The Horizon, Slipknot and Metallica, who will perform two headline sets with no repeat songs. All tickets are now sold out, but you can find out more info here: www.downloadfestival.co.uk.
This year District X will be better than ever, with a fantastic line-up of secret band sets (to be announced on the day), live podcasts and DJ sets from the likes of The Blackout, Wargasm, Zoe London, Nova Twins x On Wednesdays We Wear Black, Daniel P Carter, Alyx Holcombe and many more. Festivities will begin on the Wednesday night with Get Your Rocks Off, who are ready to immerse the crowd in the Rock & Roll Hall Of Fame, and from then on, UK clubnights Uprawr, Facedown, Girl Power and many more will take it in turns to get the party started.
Following the success of live podcasts in 2022, Sappenin Podcast, On Wednesdays We Wear Black and Life In The Stocks will be appearing at District X this year. Matt Stocks will be bringing special guest Matthew Pritchard of Dirty Sanchez onstage as his guest, which is sure to be entertaining. On top of this, the Sidesplitter will host an evening of comedy on Wednesday night, featuring members of The Comedy Store, Kunt & The Gang and more. And on top of this, there will be rock fitness classes, Drag Emo Karaoke and even Rock Kids for those with their very own mini moshers.
Elsewhere, Download Festival is delighted to announce onsite collaborations with Mary Wyatt, Download Lava (Lou’s Hot Sauce) and Parabellum, which you can check out onsite at the Download Megastore, along with the likes of Download garden gnomes and gaming chairs. There’s also a chill out space where people can hang out with their friends, play arcade games and soak up the atmosphere.
The District X additions continue to add to an incredible line-up for the very special 20th anniversary edition of Download Festival. More information at www.downloadfestival.co.uk.
