Photo credit: Ⓒ David Dillon for Download Festival
So, right up front I have to note going into this headline review, that the arena is stunningly under-filled already. You can basically walk to the front in a couple of minutes from either side. This shouldn’t happen for headliners.
Scot-rock stalwarts Biffy Clyro are no strangers to Download Festival, having headlined here in 2017. Given the fact that we’ve been in Covid central for a couple of years, this actually feels more recent than the five years it has actually been. There’s no doubt that the band are musically brilliant, and the stage set up is impressive in its own way, but perhaps overshadowed by the previous two nights of high production headline sets.
The hometown crowd is representing at the front with giant Scottish flags flying, and ‘Wolves of Winter’ is a soaring masterpiece which absolutely deserves a place here. Yelling “We’ve waited three years for this, I know you have too. It’s wonderful to be back together again” frontman Simon Neil is clearly having an excellent time up there, but I can’t help but see the crowd is thinning even further. I wonder if they can see this from up there, and feel a little sad for them.
‘Space’ and ‘Bubbles’ come before an encore of ‘The Captain’, ‘Cop Syrup’ and ‘Many of Horror’ – all of which are performed beautifully and confidently, but it obviously isn’t hitting with a huge proportion of the Download crowd who are opting to be elsewhere. The band finish up with a set of stage top fireworks, but it’s not the crowning finale it should have been for this, the triumphant return of Download festival. If Download wants to sell enough tickets next year, those headliners had better be closer aligned to the main formula than Biffy were this weekend.
Photo credit: Ⓒ James Bridle for Download Festival
Looking at the arena tonight, it’s pretty clear there are a lot of day-ticket holders here specifically for this. It’s twice as packed as last night, people shoulder to shoulder right to the back of the hill and spilling out both sides around the sound tent. To say Iron Maiden are an institution at Donington would be putting it mildly. We’ve been waiting three years for this, let’s go.
As the traditional UFO ‘Doctor Doctor’ heralds them onto the stage, we take our first look at the set up for this ‘Legacy of The Beast’ tour, which centres on Japanese/Shinobi imagery due to their newest released ‘Senjutsu’. The stage is all green-roofed pagodas, Nikko’s brand new drum set is covered in the beautiful album artwork, and as the band take the stage we note that Bruce has gone full top-knot presumably in a nod to the theme. Rocking some almost spray-on leather pants (he does it better than Ross Geller though) Bruce is immediately and unwaveringly as brilliant as ever. If you think there’s a more iconic vocalist in metal I can’t hear you over the sound of Bruce belting the living shit out of ‘The Writing On The Wall’. You’d think after 34 years playing here, and the 7th inning as headliners, that something would eventually dip… the speed, the sound quality, the theatricality, the energy. No. Not our Iron Maiden. They are the lifeblood of this festival and all those before it on this hallowed ground, and they truly sound better than ever.
Eddie makes a surprisingly early appearance dressed as a Samurai, in order to go about executing the band members with a giant katana, and Bruce quips “You alright? That was bit fucking casual… you alright?” as the crowd warms up a bit from their viewing stupor. If you haven’t seen Maiden before, it’s a lot to take in. If you have, it’s a lot to take in.
Multiple set changes are expected with Maiden for sure, but wow is it slick tonight. Using curtain structures to create background sets means they basically drop away in seconds to be replaced by another – something that really just adds to the magic of their show. This next one is a full on church, replete with stained glass windows and flaming chandeliers.
Calling out “The last three years of all our lives, has been largely fucking shit. In this field is where it fucking stops. We’re one big family, the Maiden family. We don’t care what colour, size or anything you are… you are our Blood Brothers” they drop headfirst into the anthem. Not to get too corny, but there is something so uplifting, so uniting about hearing this after the hard couple of years we’ve just been through.
Now, Bruce has always been known to be a bit… extra. But tonight he really doubles down, in a floaty veiled cape, he capers about the stage brandishing a giant disco cross for ‘The Sign of The Cross’ and then in a bonkers turn of events, trying to brandish a Ghostbusters style dual flamethrower, AND his mic beneath an enormous winged angel for ‘Flight of Icarus’.
Fear of The Dark has always been my favourite, since I saw Maiden for the very first time at the very first Download festival in 2003. My friend lifted me up from our spot 10 or so rows from the front, so that I could look across the crowd at the sea of lights. At that time it was proper lighters, not blue phone screens, and it is one of my most magical memories. Tonight, I was watching from the side, much further back, with my 2 year old daughter – doing a small cry, thinking about how grateful I am to be back here, after everything, and it was perfect.
‘Hallowed Be They Name’, ‘The Number of The Beast’ and the eponymous ‘Iron Maiden’ are just beyond reproach, it’s ridiculous how Iron Maiden manage to gut punch us every time, they just get into your bones. There’s a giant inflatable beast Eddie… everyone is singing, everyone is headbanging, everyone thinks they’re in the band too… “Scream for me Donington!” elicits the monumental roar of thousands of metal fans in their element.
The stage lights dip, but no-one moves an inch. The encore is spectacular, with Bruce admitting “Wish I was down there with you, it’s fucking cold up here” into the amazingly clear moonlight night, before donning the signature Redcoat and flag for ‘The Trooper’, and the return of Eddie for a duel.
‘The Clansman’ (another chance to yell FREEDOM into the sky) and ‘Run To The Hills’ are magnificent, but there’s nothing quite like the closing gem ‘Aces High’ complete with a fucking massive Spitfire flying, in my opinion, terrifyingly close to their heads, on stage. Bruce gives it his full force, rocking a flying cap and goggles as the band wheel around the stage delivering the most powerful, energetic performance you can imagine. They are just such pros, I genuinely don’t know what we’ll do when they finally call time. With their outro of Monty Python’s ‘Always Look on the bright side of life’, there is a collective sigh and we all begin to leave the arena. The hour plus queue to leave the car-park tells you that everyone stayed for this, what a bloody amazing night.
The stage is draped with an enormous KISS banner, the sides flanked with KISS ARMY insignias, and the roof a hive of ring shaped lighting like something from sci-fi. Giant inflatable metallic effigies of the band members stand either side of the stage, blowing in the wind threatening to squash the puny worshippers below. As a tape begins to roll on the screens, of the band making their way through dressing rooms and corridors to get to the stage, I can’t help but giggle. We’re in a field, miles from anything solid, with only tents and tour buses back there. It’s all part of the KISS schtick though isn’t it.
“You wanted the best, you got the best!” yells Paul Stanley, aka The Starchild as a rain of sparkly pyro falls from the centre of the stage and the banner is dropped. As usual, they are dressed to the nines in, well, quite possibly bigger than nine-inch platform shoes and their signature shiny glam get-up – and there’s a part of me watching this, that is just a bit sad that nothing comes after this. We won’t witness this level of ridiculousness again, it’s an ending era. KISS are known for keeping it strictly performance. They have a script and they rarely step outside of it, which is professional I guess, if a little wooden sometimes. “This song is about putting something in your mouth…” comes before they drop into ‘Lick It Up’ but it’s the same sentence we heard last time we saw them here. I’m not sure whether I enjoy this from a nostalgia perspective – like re-watching your favourite movie when you feel down – or if I wish they’d break character just once, for this one final time.
‘Calling Dr Love’ is followed by ‘Tears Are Falling’ and then the more recent ‘Psycho Circus’ pulls up to a long drum solo from The Cat, who is raised up onto a giant platform. Presumably giving the other band members a much needed breather. I don’t hate it, it isn’t obscenely long… but the following instrumental really is. The solo is another thing from an older time, new bands don’t do it, or it’s a few seconds while someone grabs a drink. Another nail in the coffin of what it meant to be a headliner.
Luckily the band put on a great show regardless, Gene Simmons bleeding from the mouth whilst flapping his monumentally long tongue is an image burned into the rock retina for life. Jamming his iconic axe shaped bass whilst high up on a platform amongst the mysterons covered in images of his own face… you can’t get more Gene than that really.
“It’s the last time we’re gonna be together… and because it’s the last time, I’m gonna come out there and be with you. But you have to invite me… count to three and say my name…” calls Stanley, despite the fact that this is precisely the same way it went down the last time they played here, which obviously many of the fans remember all to well. Regardless, it is really fun to see him whizz from the stage to the sound tent on a circus ring zip wire to play ‘Love Gun’, and the epic ‘I Was Made For Lovin’ You’, amongst the sparkly light of a giant projected disco ball.
Closing out with three song encore, the end finally comes with ‘Rock and Roll All Nite’. Big inflatable KISS branded beach balls are thrown into the crowd, ticker tape explosions go off, and fireworks erupt from the top of the stage as they lament “We’re gonna miss you so much, we bow to you. It’s so special every time we come here”. Now, plenty of bands have said it’s their ‘final show’ before (cough, Aerosmith, cough Black Sabbath). KISS have been one of them… over 19 times according to Steve Tyler. This time though, it really does seem like they’re done. Some of the vibrancy was missing, it was too rehearsed.
It’s testimony to their skill as musicians and performers that the show was still great, and I will be forever sad that my child won’t get to remember seeing one of, if not the most iconic bands in the world, but maybe it is time to open the gates for new things. KISS have done thousands of gigs, sold millions of records and have the weirdest and most diverse collection of merch on this earth (KISS condoms anyone?) so… fair play to them. I’m glad I was here for the last show… probably.
Download Festival, the world’s premier rock event, has announced 20 new bands for 2022, including the mighty A Day To Remember, Shinedown, Black Veil Brides, Mastodon, Code Orange, Ice Nine Kills, Creeper and more. They join the already stellar line up, headlined by KISS, Iron Maiden and Biffy Clyro. The three-day festival takes place on 10-12 June 2022 at the spiritual home of rock in Donington Park, Leicestershire. September is the last chance fans will be able to purchase Early bird tickets – with prices increasing from October 1st – fans are encouraged to secure their weekend and instalment plan tickets now and join the celebratory return of the full scale Download Festival they know and love. downloadfestival.co.uk/tickets
Announced for Friday are Floridian fan favourites A Day To Remember fresh off the back of seventh album ‘You’re Welcome’ and having flipped the script multiple times over their career, they remain at the top of their game. With a bottomless trickbag of scene anthems from “I’m Made Of Wax, Larry, What Are You Made Of?,” “The Downfall of Us All,” through to their trap pop punk meldings they are set to receive a hero’s welcome.
Joining them are Californian glam stalwarts Black Veil Brides to deliver a visceral set of arena ready rock led by Andy Beirsack alongside MYLES KENNEDY & Company, whose stratospheric vocals and powerhouse guitar playing has seen him lauded as one of rock’s finest frontmen. Bury Tomorrow have cemented their spot as one of the UK’s finest metalcore exports and U.S. newcomers Meet Me @ The Altar promise a buoyant frenzy of pop punk bangers in their UK festival debut. Also announced are Swedish alt-metal act Normandie and Brighton’s brightest indie punks and purveyors of grunge tinged riffs Gender Roles.
Saturday has got even more exciting with the addition of the world beating Shinedown. The immaculate showmen and Download veterans have been a dominant force in rock music since their inception and their ascension shows no signs of slowing down. They are joined by progressive metal goliaths and metal icons Mastodon are onboard to showcase the true mastery of their craft.
The Game-changing Code Orange are also set to join Saturday’s line-up and promise to engulf the crowd the throws of their industrial laced hardcore and goth-punks Creeper will step up as as the ‘Sex, Death and the Infinite Void’ era resumes in full swing. Horrorcore icons Ice Nine Kills are set for a gore-drenched metalcore assault, Sheffield quintet Malevolence will bring burly riffs by the bucketful and the living embodiment of death metal’s gruesome spirit Obituary make their grand return.
Also announced is rising metal-pop provocateur Cassyette who is ready to take her place as a breakout star as well as raucous Seattle punk five piece Dragged Under and Liverpool hardcore outfit Death Blooms who return after a triumphant set at Download Pilot where they historically became the first band to play a UK festival in 15 months.
Sunday additions include Danish rabble-rousers Volbeat, with their unmistakable chugging metal-meets-rockabilly as well as the fearless Grammy award winning Baroness. The Fourth Stage is set for a very special headline set from Myles Kennedy on double duty with an acoustic set not to be missed and future feminist punk icons THICK join the bill all the way from Brooklyn, New York with the raw defiance of punk in tow.
ANNOUNCED TODAY A Day To Remember Baroness Black Veil Brides Bury Tomorrow Cassyette Code Orange Creeper Death Blooms Dragged under Gender Roles Ice Nine Kills Malevolence Mastodon Meet Me @ The Altar MYLES KENNEDY & Company Myles Kennedy (Acoustic) Normandie Obiturary Shinedown THICK Volbeat
Download 2022 Line up so far
Friday 10 June 2022 KISS, A Day To Remember, AA Williams, Airbourne, Ayron Jones, Black Veil Brides, Blues Pills, Bokassa, British Lion, Bury Tomorrow, Cellar Door, Dead Poets Society, Electric Wizard, Gender Roles, JJ Wilde, Lacuna Coil, Meet Me @ The Altar, Moon Crow, MYLES KENNEDY & Company, Normandie, Press Club, Sleep Token, Tempt, The Distillers, The Ghost Inside, The Scratch, Theory, Wayward Son.
Saturday 11 June 2022 Iron Maiden, Black Label Society, Blackout Problems, Bleed From Within, Bush, Cassyette, Code Orange, Creeper, Daughtry, Dead Label, Death Blooms, Deftones, Dragged Under, Dying Fetus, Funeral For A Friend, Grandson, Higher Power, Holding Absence, Ice Nine Kills, Joyous Wolf, Loathe, Malevolence, Mastodon, Megadeth, Monster Truck, Obituary, Salem, Sepultura, Shinedown, Temples On Mars, The Faim, The Pretty Reckless, The Raven Age, Those Damn Crows, Venom Prison.
Sunday 12 June Biffy Clyro, Alestorm, Anchor Lane, As Everything Unfolds, Boston Manor, Cemetary Son, Dead Posey, Fire From The Gods, Gloryhammer, Jamie Lenman, Kill The Lights, Korn, Marianas Trench, Modern Error, Myles Kennedy, Phoxjaw, Powerwolf, Rise Against, Spiritbox, Static Dress, Steel Panther The Darkness Skillet Baroness Of Mice & Men Wednesday 13 Massive Wagons The Last Internationale Control The Storm, The Descendants, The Hara, The Injester, THICK, Trash Boat, Twin Temple, Volbeat, Wargasm.
Ahh, it’s that time of year again. The last stand of the big bands. With Black Sabbath, Aerosmith and countless others over the last couple of years doing their ‘final’ tours and including Donington as a must-do stop, we seem to have these epic/ sad endings coming thick and fast. Honestly though, given I’m about half a generation behind the curve of these bands, I’m pretty glad I’ve had the opportunity to see them at all. Tonight it is the turn of the mighty thrash merchants Slayer to bid us farewell, in their last ever UK show, and the Zippo Encore stage area is awash with black tshirts as far as the eye can see. This is hands down the fullest this arena has ever been in the whole of Download history, and I can see half a dozen kids-on-shoulders who have yet no idea how insanely lucky they are to be at this show, given that these guys have been playing for almost 40 years.
The stage is set with all the trappings you’d expect of metal royalty, pentacles, skulls, chains, fire… and the crowd are already chanting ‘Slayer’ in unison. Walking onto the stage with all the clear purpose and confidence of a band who have made performing live their home, it’s a sobering moment to think that we are about to see this for the very last time, that this is our metal history we’re saying goodbye to. We can’t wallow for long though, ‘Repentless’ is wild and immediately gathers a hot and chaotic mosh pit, before the band break into early track ‘Evil Has No Boundaries’. It’s certain that tonight we’re getting a history lesson.
We’re spoilt with a list of raw, furious shredding from ‘Disciple’ to ‘Seasons in the Abyss’ as pyro cannons shoot flames across the inside of the stage and inverted crosses burn in the darkening night. Rocking a ‘Kill the Kardashians’ tshirt, guitarist Gary Holt is ripping Donington a new one alongside Tom Arya and Kerry King in his signature belt chains, and as the first ominous notes of ‘South of Heaven’ shimmer across the arena, I feel actual chills. Slayer played at the first festival I ever went to – here at Donington for Ozzfest 2002 and those notes, that moment will be forever etched into my memory – now, alongside this one. As the band scream into the iconic ‘Raining Blood’, thousands of people are windmilling their hair and headbanging like their necks aren’t over 30 and going to be immobile by work on Monday, it’s a sight to behold.
Shutting Donington down with ‘Dead Skin Mask’ and ‘Angel of Death’ is exactly the fire fueled, gut-punch of an ending I expected of Slayer, they are masters of their craft and Gods of the genre, that much is undeniable. With a final “Thank you for being here” and Tom Arya reluctantly leaving the stage, with what looks to be tears in his eyes, we in the crowd can only chant their name in appreciation and thanks. I think it’s testimony to their legacy that everyone is just still standing, still throwing horns into the air – instead of legging it straight to the main stage. This night is too important to so many, and I hope we gave Slayer the farewell they deserved.
Ok. Confession time. I’m not a Slipknot fan. I am standing in a field full of Slipknot fans eagerly awaiting this much anticipated show. Flanked by overall-clad bodies, every face a grotesque mask (some quite obviously homemade), a through-the-ages tour of Slipknot’s style back catalogue, the excitement is palpable. Of course, this UK debut of the bands’ new masks is just a part of it, but the forums and news stories have been filled with ire towards the new choices – with many describing them as boring or thoroughly non-theatrical compared to previous iterations.
Indeed as the giant stage banner drops and the majesty of the stage set up is revealed – all industrial turbines and Mad Max-esque landscaping – frontman Corey Taylor appears in a black trenchcoat in place of a jumpsuit, and gives off a distinctly corpse dragged-from-the-river vibes in his bloated mask. Instantly I am reminded of the terrible ‘dream machine’ mask from the ultimate cheese-fest Bond movie ‘Die Another Day’, which levels on funny rather than creepy for me.
Sporting a more traditional Slipknot look, the rest of the band hit the stage in black boiler suits and their own new masks for an undeniably powerful opening trio of ‘People = Shit’, ‘(Sic)’ and ‘Get This’ with Corey yelling “This is where you fucking scream for me”. New release ‘Unsainted’ is a strong introduction to what we can expect from Slipknot going forward, as Corey screams “…are you happy to see Slipknot back in your beautiful fucking land? It’s amazing to be back HOME” to an almighty roar back from the Download crowd.
I’ll admit, they bring a great show – the pyrotechnics, the crazy percussion podium made of steel industrial hazard drums, the mysterious extra member who still hasn’t been revealed… and it’s clear the crowd are absolutely loving Slipknot’s return to Donington. Growling “…bunch of crazy motherfuckers over here. You feel good?” we head into a brutal assault of ‘Psychosocial’ and ‘The Devil in I’ while Corey muses “…this is the kind of Download I wanna see right”.
‘Duality’ comes with a side of the clown smashing up some of the stage set with a bat, and we’re treated to “something fucking special” which turns out to be a bit of a mishmash of ‘555 to the 666’ and ‘If Rain is What You Want’ at possibly the only time this weekend it isn’t actually raining. It’s kind of a shame to be honest, if there’s any band that the rain would have benefited in terms of atmosphere – it’s Slipknot. Regardless, the entire crowd is singing along in a rowdy chorus before going headlong into ‘Spit it Out’ for an arena-wide bounce… on the floor… before the song breaks and everyone goes absolutely berserk.
Corey leads out with a heartfelt speech on Download/the fans being family and making the statement “We are not their kind”, before heading into closer ‘Surfacing’, and a quick message to ‘take care of each other’ as they exit the stage. There may be thousands of raised horns in the arena, there may be a mass chant of ‘one more song’ but it’s clear as the house lights come up that the band are done for the night. Despite a bit of initial disappointment in the crowd, as the black video screens change to display ‘SLIPKNOT LIVE 2020’ a guttural roar of appreciation begins to ripple. Slipknot are coming back, and the sweaty hordes are abated as they head out into the night.
Forced once again to choose between the Zippo Encore and the Main stage for tonight’s grand entertainments – we have opted for Rob Zombie, master of the macabre and fringed outfits. Immediately upon turning the corner to the Zippo Encore stage it is clear that mistakes have been made. When Rob last played Download in 2017 the area was pretty jam packed but this year the arena is so ridiculously full that some people are actually almost standing in the shops at the back to watch. As much as I applaud Download for the booking – why oh why can’t we just have him on the main stage? He’s got the back catalogue, the energy and the showmanship to fill the main arena, never mind the sardine-can Zippo.
Anyway, aside from the spacing rant, Rob Zombie was an absolute highlight of the weekend, as expected. Rocking up with his signature screen boxes/dance podiums and immediately storming through ‘Meet The Creeper’ and ‘Superbeast’, Rob is resplendent leaping from box to box in as much fringed clothing as I’ve ever seen on a person. His style is sort of… the creature from the Black Lagoon, meets deep South in the 70’s, and I’m here for it. Anyone who can pull off such spritely moves in tight ass flares gets my respect to be honest.
Down the rabbithole we go with Rob for the iconic ‘Living Dead Girl’, as he yells “Good evening everybody, welcome to the Zombie show! Download, you ready to fuckin go?”. People are shrieking the lyrics all around us and throwing down some good old fashioned cyber goth moves for good measure. If you were gonna put a soundtrack to Vampire porn, this would be it – and Rob Zombie would have probably directed it to be honest.
Calling out “Everyone down here in the front, in your muddy shoes… jump jump” he rolls into the epic White Zombie track ‘More Human than Human’ and the crowd goes absolutely berserk. There’s nothing like a festival arena full of sweaty writhing bodies just dancing with wild abandon, it’s not something us Brits are usually especially practiced at but we’ll give it a damn good go, even in the rain and mud. Rob quips “Well we travel all around the world, and I must tell you… you win the award for the muddiest place on earth. I’m sure its cosy in those tents after the show… I’m sure when you’re sitting in those tents freezing you go… do I really wanna see these bands that fucking bad? And you guys just say fuck it, let’s get high and do this shit” as a set up to ‘In The Age of the Consecrated Vampire We All Get High’.
Manson clip backdrops herald Beatles cover ‘Helter Skelter’ and Rob turns stage side to ask “Can we keep playing? Do we have time?” eliciting a roar from a crowd who simply aren’t ready to end the night there. Rob muses “I was thinking the other day about Stone Henge. I believe I’ve solved the mystery. It’s one big landing pad for ufo’s” and calls us all to wave at an aeroplane passing overhead during ‘Well, Everybody’s Fucking in a U.F.O.’ whilst his guitarist rocks a flashing rainbow grille to grin at the crowd.
White Zombie (and Guitar Hero) classic ‘Thunder Kiss ‘65’ is punctuated with a little Ramones’ ‘Blitzkreig Bop’ for the “…punk rockers in tonight” and Rob heads down to the pit to meet his front row fans. Finishing up with the gut-busting ‘Dragula’ to strobing images from Rob’s ‘House of 1000 Corpses’ is unreal, there’s something undeniably visceral and sort of tribal about a Rob Zombie show. It makes you want to move, be part of the throng, takes you right into that horror movie realm. Honestly we could have gone another ten rounds with Rob Zombie and it still wouldn’t have been enough – so my message to you Download Festival: please book him for the main stage so we can headbang without the fear of breaking our faces on the person in front of us next time. Rob Zombie is undeniably rock royalty and deserves the throne.
DOWNLOAD FESTIVAL DEBUTS MINDFULNESS PROGRAMME – MIND THE DOG
ON SITE IMPROVEMENTS FOR 2019 INCLUDING NEW DAY ENTRANCE, CAR PARKS, AND MORE!
FIVE CONTINENTS OF ROCK TALENT TO DESCEND ON THE HALLOWED GROUNDS OF DONINGTON PARK
Download Festival, the world’s premiere rock event, has announced that a full mindfulness programme will be implemented in 2019 for the first time. Announced ahead of Mental Health Awareness week next month, the Mind The Dog initiative will run morning, afternoon, and evening sessions where rockers can share a fully immersive, live music and mindfulness experience, from Thursday 13 – Sunday 16 June. Day and weekend festival tickets available at www.downloadfestival.co.uk
One in six people in England report experiencing common mental health issues including anxiety and depression in any given week (1) and by 2030, it’s estimated that two million more adults in the UK will experience mental health problems than there were in 2013 (2). The recent loss of music legends including Keith Flint (Prodigy), Chester Bennington (Linkin Park), Chris Cornell (Soundgarden), and Scott Hutchinson (Frightened Rabbit), calls for action to open up the conversation surrounding mental health, something Download organisers are committed to.
Festival Republic’s Melvin Benn said: “Download Festival has gone from strength to strength in its sustainability and accessibility offerings. We have been awarded 4 star Creative Green Result by Julie’s Bicycle for the second year running, and level gold from Access Is For Everything last year, which is highest possible award for accessibility, so it only made sense to offer an on site programme for mental health, as well as physical. By introducing Mind The Dog this year, we are hoping to provide a mindfulness haven in The Doghouse across the weekend, with meditation, sound baths, and more. I couldn’t be prouder of how much Download Festival has accomplished already.”
Fans can channel their zen under ambient lighting and atop woven tapestries, before immersing themselves in hour long classes under the roof of The Doghouse which will transform into Mind The Dog by day, offering FREE mindfulness gatherings. Morning meditation will host curated live music sessions, designed to ready campers for the day, whilst the afternoon offers a healing sound bath, encouraging fans to pause, connect, and tune into themselves, and the evening class brings a calming focus to elevate fans state of consciousness. Designed with conscious breath work sessions, the programme aims to bring fans together in the now, becoming closer to themselves, the music, and each other. Full schedule details can be found in notes to editors.
Recent studies show music can prevent feelings of loneliness and provide social connection (3), whilst the global heavy metal community provides a strong sense of “belonging and acceptance”(4). In line with the success and return of on-site DO.OM Yoga (yoga to Doom Metal music), and the thriving return of Camp Loner, (the campsite dedicated to welcoming individuals attending the festival solo), organisers are now excited to bring their elevated mindful offerings for Download fans in synergy with the festival spirit.
In support of the programme, Rou Reynolds from Enter Shikari, who headline The Avalanche Stage at this year’s festival said: “We often go through life on autopilot, getting caught up in the stressors, the anxieties, the intensity of it all. We’re rarely consciously in control of our turbulent mind. Mindfulness allows us to regain control as we learn to observe our thoughts instead of getting caught up in them. It has been an incredible help to me and I couldn’t recommend it more. Not only does it help with anxiety and depression, but it also improves focus, emotional intelligence, compassion, tolerance and objectivity and has even been proven to help boost your immune system. Big up Download for introducing this programme to the festival”
Improved changes for 2019 include a new devoted entrance for day visitors and non-camping weekend ticket holders, weekend campers will also have their own dedicated car park, plus The Village is moving close to The Arena meaning festivalgoers can go from mosh to party with ease. The NXT Arena moves closer to the guest area, where NXT UK will be live taping to broadcast as part of a weekly show on the WWE Network, and the introduction of Metal Movies, a new open-air cinema with hammocks and lounge areas, will allow fans to kick back and watch music documentaries including being a metal band from Nepal with Underside along with a Q&A with the band afterwards, and Pursuit Of The Vikings with Amon Amarth.
Download continues its commitment to provide the best experience for fans, with accessibility improvements implemented in 2018, resulting in the awarding of Gold Level status by Access is Everything ahead of this year’s festival.
Sustainability remains a priority for Download Festival. Car parking donations last year via Energy Revolution raised £15,811 for Solar to Schools, a project which funds schools with solar roofing panels across the UK, and the festival continues its zero waste to landfill policy, as recycling points in the campsites will double in 2019. Last year saw the recycling and composting rate increase to 46% from 2017’s 41%, and single use cups were reduced by a million with reusable alternatives. The Eco Campsite opened in 2018 which saw zero tents left behind and returns this year with an increased capacity for a total of 2000 campers, a 33% increase from last year.
Additional water points for 2019 will be introduced across the arena, refillable Download Festival metal water bottles will be available for purchase the first time, and Co-op are excited to continue their Deposit and Return Scheme with their reverse vending machine returning to Download, which proved popular last year with festivalgoers who want to recycle plastic bottles, in return for a coupon to spend in the on site Co-op shop. Since 2016, all single use plastic cutlery, containers, and straws have been banned from traders, caterers and bars.
Donnington Park, the spiritual home of rock, has always called for international talent to grace its stages, with 2019 as no exception. With over 100 bands performing across the weekend, hailing from 18 countries including Australia, Canada, England, France, Finland, Japan, Mongolia, Nepal, Netherlands, New Zealand, Norway, Poland, Scotland, South Africa, Sweden, Ukraine, United States and Wales, Download Festival remains the King of rock festivals.
(1) Mind (2) NHS Mental Health Network
(3) Reachout.com (4) Journal of Community Psychology
Download Festival the UK’s premier rock event has today announced the winner of Kerrang! Radio’s Finding Fresh Blood competition as grime-punks PENGSHUi. Crowned by Download Festival promoters and a panel of Kerrang! Radio presenters, the London trio triumphed over thousands of entries to come out as champions of the hottest new talent search for the festival. The band are now set to open The Avalanche Stage and guarantee to bring their unrelenting, raw mix of rap and riffs to the crowds for an utterly unmissable Download debut.
Download Festival’s Andy Copping said: “A big thanks to everyone that applied, and to the Fresh Blood team who had to narrow down thousands of bands to the shortlist we were given, but PENGSHUi have something special with their effortless blend of metal and grime, they are the perfect opener for The Avalanche Stage this year. Get yourselves down on Friday afternoon, and watch history being made as I can see big things for them!”
Hailing from London and made up of Illaman on vocals, Fatty on Bass and Pravvy Prav on drums, the trio have made already made huge waves with their unique sound.
Kerrang! Radio’s Alex Baker said: “Pengshui are without a doubt one of the most exciting bands on planet earth today and their win is a testament to their unbelievable, powerful, innovative sound! Ultimate vibes. They are going to light The Avalanche Stage UP!!”
Would it even be a Download weekend if there wasn’t at least the threat of rain? It’s grey but holding off as we head into the arena for a day of pure rock and metal shenanigans. The first notable difference is the somewhat extreme, and numerous bag checks. We’d been warned via the site and social media that only A4 sized backpacks and smaller would be allowed into the arena, but didn’t realise that there would also be multiple check-points between the car-park and actually getting in to see the bands. Not to worry though, the checks are pretty quick and efficient, and soon we are cresting that hill for the first amazing sight of the arena.
I’d also like to do a quick shout-out at this point to Download’s ever evolving experience enhancements. Big plastic tracks have been installed around the second stage area making both walking in general and getting to the Accessibility platform via scooter or wheelchair easier than ever, and they have employed professional BSL music performance interpreters for the Main and Zippo Encore stages, giving even more fans access to this incredible event. They have also increased accessibility shuttles from the campsites, provided a wheelchair charging station and increased their accessible portaloos by 50% on last year. This continual thought and attention to feedback is impressive, and Download is one of the few festivals out there who seem to be really improving access year on year, in all kinds of different ways. Bravo.
So, the Arena. If you’re a rock or metal fan and you haven’t been to Download before, all I can say is, it’s like coming home. All the beautiful freaks are right here with their astral hair, their pleather and fishnets, jackets covered in patches and piercings in every available inch of spare skin, tattoos blooming from black tshirts and ripped jeans. Oh and at this point in the day, approximately half of them are jammed in a never-ending queue to buy merch. Bah. Tips for next year DL – employ at least twice as many staff for this please, it was obnoxious.
Extortionately priced t-shirts in hand, we stride down the hill to catch up with the mighty Dragonforce who have gathered a massive crowd for ‘Cry Thunder’, prophetically as the rain begins to spit. Thankfully that’s where the correlation ends, but it is still pretty ridiculous when they yell “We are Dragonforce… we come from right here in sunny England…”. Frontman Marc Hudson also lets us know that they “…are filming every single song of this set… so the rest of the world sees how fucking crazy the UK is” which obviously sparks a frenzy for the next song, only to fall foul of technical difficulties. If sod wrote a law, the page would be titled ‘Dragonforce’ today. Laughing “It’s so great when your mic cuts out in front of thousands of people…” they deal with it gracefully and end on a high with ‘Through the Fire and Flames’. Oh and no, I’m still not over Herman Li’s majestic hair swishing. Werk.
Yorkshire band Marmozets fronted by enigmatic Becca Macintyre are straddling the line of hipster rock, almost too current-cool for Download but they certainly know what they’re doing. Yelling out “Last year I was camping with you lot” Becca hops around in bright pink trousers whilst a Darth Maul in the crowd is going absolutely mental with his inflatable lightsaber.
Over on the Zippo Encore stage, self-professed king of the party Andrew WK has amassed an army of bemused onlookers, if not actual fans. Yes he’s kitschy, yes he rocks up in pre-dirtied white jeans and yes he pulls faces like a more demonic Jim Carrey, but well, he’s our weirdo. The rock community is strangely proud of him. Fan fave ‘She is Beautiful’ is silly and fun and I really rate a dude who can build anticipation with the line “…and now it is time… for me to play a guitar shaped like a slice of pizza”. No really, damn I love that pizza guitar. As if he wasn’t margarita-cheesy enough he calls “It’s not Andrew UK… it’s Andrew DOUBLE UK, double the power!” and then proceeds to do an actual 100-1 countdown for anthem ‘Party Hard’. It is frankly ridiculous that everyone likes this terrible track so very much. I of course am bouncing around with them.
Now for something completely different, in the form of Danish metalheads Volbeat. Now Volbeat are no strangers to DL but they never seem to be hyped up either, someone you know but wouldn’t flock to. Not so today my friends, Volbeat are here to slay. The enormous crowd that has surrounded the main stage is singing along to ‘Lola Montez’ and frontman Michael Poulson’s Elvis-esque lilt is refreshingly different to your standard screamer vs. power vocal camps. As if to highlight the difference in fact, Barney of Napalm Death fame (who have a set later on) is brought in for a quick collab on ‘Evelyn’ with his distinctly unintelligible shrieking, but oh we do love a bit of Barney don’t we. ‘Still Counting’ goes down a storm for their last song and honestly, I think they are arguably the band of the day for me.
On the zippo stage, Hell is for Heroes have about 30 people down the front watching them, which is kinda sad actually as they were by no means awful at all, and their cover of The Cure’s ‘Boys Don’t Cry’ was decent. However, I think they definitely fell foul of their timeslot – everyone seems to be getting their food and booze situation sorted before tonight’s headliners.
That’s something we should really mention actually, the food. It’s been getting steadily better every year at DL but this year was off-the-charts excellent. An incredible variety but also quality, gone of the days of rat-burgers and CMOT-Dibbler style saugages-inna-bun. Truth be told, you can still buy a box of suspect noodles if you want the real Doningtons-past experience but why would you? We instead grabbed ourselves a stack of butter-milk chicken in a brioche bun and a side of poutine. Effing decadent.
In the Avalanche tent Bad Religion are shutting it down, rocking on to an intro of ‘My Sharona’ and looking decidedly less punk than they used to. No worries though, they sound exactly as good as they ever have with the likes of ‘Recipe for Hate’ and Tony Hawk Pro Skater hit ‘You’. Yelling “Everyone gearing up for a big weekend huh? I got some bad news… we can’t stay for the whole weekend… there was a backstage clause, Axl kicked us out…” the band head into the excellent ‘Anesthesia’. ‘Infected’ is the sound of the 90’s and the packed out crowd is straight up loving it.
As we head back out to the main arena for Avenged Sevenfold, as huge crowd has already gathered and though we are donning toastier clothing for the chilly night, we’re still damn thankful for the minimal rain today. To read what we thought of A7X’s headline show, click the link below!
Weather report: still holding, patches of sun spotted but we’re keeping quiet because we don’t want to jinx it. Still packed a poncho.
Monster Truck are providing the heavy rock sounds as we head into the afternoon, already drunk people are taking enormous risks with their phones on the high-flying sky-swing (do it for the ‘gram y’all) and lunchtime calls for another foray into the plethora of nourishment offerings. Seriously, vegan sushi, paella, duck fat roasted potatoes, a bowl of crumble and ice cream, wings, burritos, tapas, full roast chicken dinner? You want it, they have it. Oh and the now famous Motley Brew are serving up an array of hot beverages in real mugs, and they even have seats. You can take your Coachella VIP champagne and caviar and shove it up yer arse, we’re British. We like a CUPPA and a GOOD SIT DOWN.
One very notable thing on walking/squeezing around the arena today – it is RAMMED. Day sales for G’n’R must have been good this year because it is truly packed. Local lads The Struts give it big on the main stage shouting “You know we used to live in Derby just down the road… and we used to come to this festival and stand where you’re standing now… it’s incredible to be up on this stage” to a roar from the crowd. We love a hometown hero, but I’m less convinced on their actual show. I mean, they’re not bad as such, just a bit wet compared to everything else I’ve seen this weekend. The Temperance Movement however, muster all the southern soul a grey afternoon needs to get with the programme, and indeed they seem to bring out the sun a little. ‘Trouble’ and ‘Midnight Black’ are phenomenal and it’s more than a little hard to believe boho frontman Phil Campbell, with his maracas and tambourine, swaying in a lace shirt – is actually Glaswegian.
Thunder step on stage to AC/DC track, er, Thunderstruck. Well, why wouldn’t you. ‘Wonder Days’ and ‘River of Pain’ are pretty epic, it’s so great to see a band who are just absolute pro’s at what they do. Joking “Hands up who wasn’t even born in the 90’s” makes for disturbing viewing (thanks for that, Thunder, so kind) but they are absolutely killing it so I’ll let them off.
Over at Zippo Encore, there is no longer any visible section of floor. This is the busiest I’ve ever witnessed this arena without it being a headliner for sure. It seems like Babymetal’s fan base is a lot larger than anticipated and to be honest, sheer fascination seems to be driving a large portion of people in rather than actual fandom. Podium platforms for dance showcase the three firecracker leads who are sporting gold and black Xena-warrior-princess style outfits. Yeah it’s super kawaii nonsense but the music is actually decent and hit ‘Chocolate’ is both ridiculous and annoyingly catchy. I sort of love them.
Onto something we can pretty much all agree on. Kentucky kings Black Stone Cherry are Download’s biggest love story. A band championed by fans ever since their first showing here back in 2008, a decade of repeat requests for their billing, and it’s no wonder why. They are honestly flawless, vocalist Chris Robertson is arguably one of the best rock and roll singers going, he soars through ‘Blind Man’ in the now blazing sunshine, and everyone around us is singing their hearts out alongside him. Thankfully this time ‘Rain Wizard’ doesn’t coincide with a hideous downpour, as it did a few years ago, and ‘Me and Mary Jane’ has the entire crowd bouncing. A cover of Hendrix’s ‘Foxy Lady’ is made for this Wayne’s World worshipping crowd – yes, we did dance like Garth, yes it was magical. ‘Like I Roll’ and ‘Blame it on the Boom Boom’ see crowd-surfers flailing towards the front and ‘Lonely Train’ is just, incredible. Closing up with ‘Family Tree’ from the new album, this has been yet another epic showing from BSC and we hope to see them back again soon.
With a huge chunk of time before Guns’n’Roses we lope off in search of sustenance, beer and portaloos as the evening draws in. It’s been an incredible day here at Donington and we are suitably amped up for the closest we’ve ever been to a full G’N’R lineup…
WOAH. It is HOT today. Not England hot, like equatorial hot. Everyone either has the sheen of well slathered sunblock or is already burnt to a crisp and the whole place after three days of booze and no showers, smells like an armpit. A rowdy afternoon starts with the likes of Turbonegro and Kreator on the Zippo Encore stage and Hatebreed are throwing down on the main stage, yelling “This is for Dimebag, Lemmy, Chris Cornell, Chester (Bennington)… I wanna see every fist in the sky” for ‘Perseverance’. It is at this moment that a small bi-plane flies overhead with a banner reading “Jesus loves every 1 of U” and the fists become horns. Hard to tell whether it’s a joke or we’re actually the subject of some local zealot’s fear, but either way everyone is laughing and trying to take poor phone photos of it.
In This Moment bring the strange and unusual next, with everything from priestess costumes, skulls and pentagrams to choral music and interpretive dance. I don’t really know what to make of them if I’m honest. They sound like metal-Bjork. Is it a good thing? I mean I do like the toilet-paper costume, but their mini cover of Metallica’s ‘For Whom the Bell Tolls’ is a little upsetting. I did laugh at the Game of Thrones Cersei-style ‘Shame’ poster situation, but there is a nice sentiment behind it all; “…this is what I was told when I was just a girl, that I would amount to absolute shit, that I would become nothing at all… this last song is about rising above other people’s perceptions” – for ‘Whore’, accompanied by huge white balloons being batted around the crowd.
Black Veil Brides sport pyrotechnics and screaming, standard. It’s decent but they are eclipsed by next up: Shinedown. Super appropriately it is scorching hot right now and they are smashing their way through some straight up great rock and roll. Motivational as ever, frontman Brent Smith invites everyone to shake hands with a stranger next to them, and hit ‘State of my Head’ goes down a storm. “Take a look at the history you’re making this afternoon… ladies and gentlemen you look absolutely spectacular today” yells Smith, and I must sincerely disagree, we look fried, tired, sweaty and smashed. But I do appreciate the love.
Over in Avalanche, happy pop punk legends A are playing to a packed out tent, which is suspiciously full of pale people avoiding the sun-monster. Riffing on their age “hands up if you’re over the age of 30… hands up if you’ve got 2 properties… you know when bands re-form and they’re like 20 years older and you’re like why are they bothering? We just really fucking enjoy this” the band speaks to a place in all of us, who are genuinely here for the same reason – even if we’re sort of proper grown ups now. Oh and they start an over-30’s circle pit, cause it’s funny to go home to your office job with two black eyes, right?
Now, was anyone else truly alarmed by the sight of Marilyn Manson in daylight? I was. I thought he was going to spontaneously combust, burst aflame, incinerated by the power of sunlight. I mean he’s so pale as to be almost translucent – at one point he turned sideways and I swear I could see a passing plane through his face. However, it’s an absolute treat to have the master of the macabre here at Donington and he does not disappoint, rolling in with ‘Irresponsible Hate Anthem’ backed by a giant inverted monochrome crossed American flag.
Sporting a knuckle-duster mic and a long black trench, it takes all of about two minutes before he looks as though he’s sweating his ass off and has to ditch the look, pogo-ing down the runway he calls “Thank you for coming out in daylight… it’s like the opposite of our lives… do you like daytime? I don’t… we’re kind of stuck here together with daytime… let’s deal with it” perhaps displaying a little animosity towards the scheduling. It’s true, his show and music both lend themselves to a dark and brooding atmosphere, it’s a little hard to get caught up in the bloodlust when the big tattooed bloke standing next to you is eating a 99 with a flake.
‘Disposable Teens’ is obviously solid gold but it’s more than a little amusing that due to there being no option to control the lighting, we get to see people rush on an off stage during the show to dress Manson in various different outfits. More amusing still is that it is genuinely too hot for any of it and he keeps having to peel it all off himself within minutes. He’s clearly frustrated about it too “It’s very difficult, but together we can accomplish it… like having sex with the lights on”.
‘mOBSCENE’ comes with a vampiric Manson backdrop and during ‘Kill4Me’ he drags a crowd-surfing mega-fan on stage with him. She’s head to-toe Manson-merch and is sporting an “I’d Kill 4 you” flag, obviously ecstatic to hug him as he slaps her ass and sends her on her way, before togging up in an enormous Howl-like (of Moving Castle fame) black feathered trench-coat. Think, demonic Big Bird.
Talking to us as he emerges from a corner of the stage “I was just having a moment with my personal physician, with my eyesight and the sun…” it’s not clear whether that’s a joke or he’s ahem, getting medicated, but it seems extremely apt that we head into ‘The Dope Show’. ‘Sweet Dreams’ is breathy and brilliant, there’s some writhing around a smoking podium which looks rather uncomfortable, and a little bit of using drum sticks to hit a bass guitar. It’s a bit off, and I can’t put my finger on why. Dani Filth joins the action for ‘The Beautiful People’ and unfortunately he finishes up a little slow with ‘Cry Little Sister’. I’ll be honest – Download have definitely seen him better, and I hope next time we can at least give him the night.
Closing up the Avalanche for the weekend are Sweden’s mischievous mayhem peddlars – The Hives. We’ve seen them in white suits, we’ve seen them in black suits, and today – they’ve sown them together for half and half suits. Aesthetic on point. Yelling “Did you miss us? It’s good to see again isn’t it? Did you miss this face?” it’s clear they are here for fun, and they have lost absolutely none of their famous energy and life. ‘Die, Alright’ is awesome and ‘Hate To Say I Told you So’ brings back a wave of college memories, of afternoons in dingy pubs and cover bands. “We have come to the part of the show where we expect way more applause than we are getting…” garners a massive roar from the absolutely packed tent, and “…this is reparations for all the shit we stole from you in Viking times… we’re giving it back in the form of musical treasure!” makes everyone laugh. They are an unstoppable force, jumping from amps and swinging mic stands around their heads with wild abandon, they just look like they’re having the absolute best time, and so are we.
As the sun begins to set we head back to find a spot in the main arena, cover up our burnt bods and grab a beer before our final headliner – Ozzy Osbourne. It has been yet again an incredible weekend and if you’ve never experienced Download before, I can scarcely describe it to you without gushing. It’s a well-oiled machine and you don’t get this kind of bang for your buck anywhere else, I have witnessed a host of the best in rock and metal, in a field with my friends. Does it get better than that?
