SPIRITBOX/Jinjer/Dying Wish; Motorpoint Arena, Nottingham; 14/09/26

Five years is a long time in music. Trends change quickly, genres grow and develop, bands rise and fall in popularity. Metal is no exception to this but, even so, the rapid ascent of Canadian alt-metallers Spiritbox over the last half decade has been nothing short of remarkable. Given that they've got just the two full length albums and a smattering of EPs and standalone singles to their name, it's nothing short of astonishing how quickly their star has risen. From relative obscurity, they're now forcing their way towards the top of festival lineups, all before they'd even headlined a tour in their own right. Cue the Tsunami Sea Tour, named for their most recent, and critically acclaimed, second album. Having blazed a trail across the States, they've finally brought a tour of their own to the UK and the EU. Not only is said tour much anticipated, and arguably long overdue, but it's also their chance to establish themselves as the next Avengers-level threat to trouble the existing status quo. As well as an opportunity to flex their own significant sonic muscle, they've brought a positively stacked undercard to Nottingham's biggest venue, on a Monday night no less, and the East Midlands has certainly got the memo.

Portland's DYING WISH kick things off with big meaty slabs of melodic hardcore. Fearsomely loud from second one, they waste no time in getting the crowd riled up. Ten years into their career and they're now old hands as an opening act. Their brief set is raucous, thunderously heavy and boasts cacophonous percussion, alongside rampaging guitar lines. Frontwoman Emma Boster isn't big on crowd interaction but she doesn't need to be. Her presence and the sheer intensity of the band's performance win over many in the crowd, including more than a few in Dying Wish merch. They don't let up for the duration and it proves to be a suitably punishing way to start the evening. JINJER need no introduction, especially to any present who attended their own headline tour earlier this year. You'd be forgiven for thinking they might dial it back a bit and not be quite as brilliant as they were on that occasion. You'd have been proven wrong. They're absolutely phenomenal right out of the gate. Somehow, they're heavier, louder, more efficient and more an absolute pleasure to behold. Tatiana Shmayluk, resplendent in green, is a powerhouse and the complete definition of a modern metal frontwoman. Even with a shorter set, Jinjer threaten to steal the limelight from the headliners. Their twisted, technical, djent-edged prog metal is an assault on the senses and Tatiana's vocals are powerful enough to strip paint. Even in their slower moments, such as the intro to Green Serpent, there's a feeling of unbridled power and, when the heavier moments explode, it's like a sledgehammer to the solar plexus. They really are that good on the night that you occasionally forget that they're not topping the bill. This is a colossal tour de force of a support set. Next time they're in these parts, they definitely won't be below anyone on the lineup. 

By the time SPIRITBOX are due, there's a palpable sense of adrenaline and anticipation in the air. The crowd on the floor has swelled almost to bursting, so it's a bit of a peculiarity that there are so many empty seats throughout the arena. Perhaps it's the relative lack of material that the band have to draw from or maybe it's simply the day of the week, but you would expect a band with such a burgeoning live reputation to have sold the place out. Still, those who aren't in attendance will miss a hell of a performance and one that solidifies why Spiritbox are so highly regarded and seem destined to be huge. We begin with a curtain obscuring the stage and then the lights go down, a familiar silhouette appears and we're off and running. And what a way to open. A one two punch of the opening two tracks from the Tsunami Sea album, the chugging, menacing Fata Morgana and a frantic, and frankly brutal sounding Black Rainbow, played back to back, that hit the audience like a shockwave. It's a blistering start to proceedings. The band's USP is their ability to meld textures between crushingly heavy breakdowns and ethereal, almost dancey tempos, all whilst pouring out meaningful lyrics that range from the heartfelt and searching to raging and vitriolic. The fact that this can all happen within the same song, or even the same verse, speaks to the strength of their ambition. Throughout the set, the band will showcase this range, as well as the diversity of the sound and the influences from which it has been constructed. Tsunami Sea will be the crux of the setlist but there will also be tracks from debut album Eternal Blue, as well as earlier EPs. Following such a brutal opening salvo, the band change tack almost immediately and the first singalong of the night comes in the form of Perfect Soul, with its multi-layered percussion, clean vocals and haunting chorus. 

It's clear that Spiritbox are rapidly adapting to bigger venues and exponentially larger crowds. There's a definite feeling of adoration, like the faithful have gathered for an unholy sermon. Given the content of some of the lyrics, that's not an unreasonable comparison. Grammy-nominated rager Soft Spine is a bonafide monster of a track, dripping with righteous anger and resentment. The big hitters keep on coming too. Circle With Me opens with the instantly recognisable call to 'Cut down the altar!', before becoming an aching ode to self-doubt and anxiety. Holy Roller is a modern metal classic that bemoans religious oppression and control. Ride the Wave somehow manages to make melancholy almost danceable. Some bands might make such songs sound awkward but Spiritbox are keenly aware of the importance of writing a good song and more than have the proficiency and guile to carry them off live. At the centre of it all, Courtney LaPlante is a restless ball of energy. Sultry and menacing in turn, her vocal firepower is something to behold. Soaring, effortless clean vocals give way to full-throated cavernous growls. On stage, she's a magnetic presence, ably assisted by the pristine skill of her bandmates. Guitarist, and Courtney's husband, Mike Stringer hammers out intricate licks that flit between gorgeous technicality and crushing riffing. Drummer Zev Rosenberg changes tempo on a sixpence and produces an endless series of luscious, looming fills that feel expansive and immersive. Josh Gilbert's tumultuous, thudding bass drives their sound forward. Courtney is a superstar with a clear emotional connection to both the songs and the band but also a strong link to the fans. Her words, her lyrics, mean something to people. They're a cathartic release and a powerful catalyst for innermost feelings. Here, under the bright lights, the confetti and the lasers of their stage show, it's a wholly transformative experience. 

As modern as Spiritbox's sound is, there are hints within at the depth of their influences. The opening riff of Cellar Door calls to mind a hornet's nest being thrown down a staircase before its almighty cataclysm of a chorus, which is as close as the band get to outright death metal. There's a distinct whiff of nu-metal in the intro to The Void. Both Keep Sweet and Tsunami Sea owe much to the atmospherics of Deftones. However, whilst this tour is effectively a summary of Spiritbox's journey so far, there are glimpses of what the next chapter might bring. New single Mourning, released a few days prior, brings things to a close, under a shower of confetti. As well as a hefty riff, it packs lyrics that drip with sorrow and regret. Five years might be a long time, and this is still early days, but this has been a consummate, professional performance and, ultimately, the mark of a band who are more than comfortable in their own skin. Musically, they are fantastic. Vocally, they're exquisite. The sheer breadth of their sound and the emotions it conjures, is like nothing else in metal right now. We already know Spiritbox are going places but there seems to be no limit to the heights that they will likely conquer. They were more than just good tonight. This was an exceptional headline show. Just imagine how good they might be in 5 years time........

Spiritbox Setlist

Fata Morgana

Black Rainbow

Perfect Soul

Keep Sweet

Soft Spine

Cellar Door

Jaded

The Void

Tsunami Sea

Circle With Me

Holy Roller

Sew Me Up

No Love, No Loss

Crystal Roses

Ride the Wave

Mourning

BLOODSTOCK FESTIVAL 2026; Catton Hall, Derbyshire; 09/08/26

Somehow it's already been a year since I started this gig review blog so it's fitting that we recently returned to the location which kickstarted me into giving it a go in the first place: Bloodstock Festival. The 2026 edition was a milestone in the festival's history, marking the 25th anniversary since it began. To celebrate, the festival pulled out all the stops, including the first ever day of main stage music on the Thursday. There was no shortage of excellent bands on the bill either. The Ronnie James Dio stage featured headliners from across the history of heavy metal. Saxon, Bloodstock's first ever headliners, returned to grace the main stage as the first ever Thursday headliners. Groove metal titans Lamb of God closed out Friday. Slaughter to Prevail, the newest, and arguably most controversial, of the headliners brought their punishing deathcore to the Saturday night. Sunday's closing slot was given over to heavy metal royalty, in the shape of Judas Priest. Once again, we had opted for a day ticket and this year Sunday was our chosen day. In the grip of a UK heatwave, we would join thousands of metal fans braving the sun, the dust and the threat of dehydration to embrace our love of music's heavier genres. 

The limits of metal have expanded and evolved considerably over the decades, leading to much genre-melding, boundary-pushing and experimentation. Indeed, the face of modern metal incorporates many different artists with many different influences and an amalgam of new styles. What metal has never been is boring. As it continues to develop, it continues to surprise. With influences as diverse as Dolly Parton and Bring Me the Horizon, and hailing from the deep south (of Basingstoke), cowboy metallers BOOTYARD BANDITS have been given the job of opening the Ronnie James Dio stage on the Sunday. With a square dancing lead singer and stage outfits befitting their Wild West inspired chic, they manage to meld southern fried hard rock rhythms with big riffs, suggestive lyrics and faux American accents. It's very much in the vein of Black Stone Cherry covering Steel Panther, particularly on the distinctly unsubtle Shirt Potatoes. Either way, it's accomplished very well and they draw a big crowd. Over on the New Blood Stage, Cyprus based KA'APER battle through some early sound problems to bring their melodic death metal to a new and very appreciative audience. They certainly seem thrilled by the turnout and they've packed pulverizing guitar riffs and thunderous percussion that sounds absolutely enormous in such a small space. Potentially a band to keep an eye on. 

GRAPHIC NATURE are playing their last show of the year before they take a break to record their new album. The Kent crew play metalcore with a nu-metal influence and their very 90s sounding songs certainly dial into the feeling of nostalgia, whilst addressing serious topics at the same time. Killing Floor and Fractured in particular are big slabs of Korn and Deftones inspired metal, with crushing breakdowns interplaying with technically astute melodies. From its earliest inception, metal has been renowned for its theatricality and its world building and you can't say that CASTLE RAT didn't get the memo. They've accumulated a huge crowd for their set of medieval fantasy doom and those in attendance have certainly bought into the mythology created by frontwoman Riley Pinkerton in her alias as the Rat Queen. She lays the 'story' of the band out on stage as they unleash their Sabbathian sermon. Musically it's brilliant. Old school heavy metal played loud, low and slow, just as their vaunted forebears intended it. Downtuned riffs and swirling atmospherics showcase their influences. At one point you'd be forgiven for thinking that they'd wholesale lifted the intro to Black Sabbath, such is the insistent familiarity of their work. They've dialled things up a notch with the stage show, which ends with the death and resurrection of Riley's character following a sword and scythe fight against the Rat Reaperess. Even if you don't buy into the backstory, it's hard to deny that Castle Rat are going places, like the proverbial rat up a drainpipe. 

When they first emerged in the late 90s, KITTIE exploded onto the scene with their grunge-driven nu-metal sound. Despite releasing belting albums and singles that put nu-metal on the map before it was cool, music industry misogyny heavily impacted the Canadian quartet's success. Times have changed. Not only are Kittie back but they're here for the crown that should rightfully have been theirs to begin with. 30 years since their formation, they're about to pummel the Dio Stage with 45 minutes of blistering, soaring metal that puts any remaining naysayers firmly in their place. They sound phenomenal from the get-go, the clear sign of a band that aren't about to be told what to do by anyone and aren't about to stand on ceremony. 

Morgan Lander's vocals sound ferocious, flitting between monstrous growls and hypnotic cleans. Sister Mercedes on drums is a woman possessed, even appearing to be under demonic influence when she contributes unclean vocals. A storming Fire opens proceedings and, from there, no prisoners are taken. There is minimal crowd interaction, which allows for the songs to move along with a near unstoppable momentum. They sound positively furious as they rightly should. Kittie should have been much bigger first time around and they're not about to let anybody slow their ascent this time. The set mixes newer cuts with older material. The older stuff still packs a hell of a punch. Spit is a monster, We Are Shadows hits like an uppercut and Brackish still opens with one of the best nu-metal riffs every written, instantly recognisable and greeted like the return of an old friend. Whilst the Lander sisters are the only remaining original members, they are complimented perfectly by the rest of the line-up. Tara McLeod is an absolute guitar maestro and Ivy Jenkins on bass is a force to be reckoned with. Clearly they've got the crowd on side too. In and amongst the day one fans who are glad to see Kittie back, there are people witnessing them for the first time. And what an impression they've made. These aren't just metal songs. They are metal songs with important things to say about the treatment of women, both inside and out of the music industry, as well as being rallying cries for tolerance and acceptance. The fact that these songs are still relevant , and somehow more so, almost 30 years after they were written, speaks to the urgency of the message. There are other lessons here too. A few tracks from sixth album I've Failed You make an appearance, including the title track. As well as leaning into death metal stylings, the album was an important meditation on grief and loss. Both We are The Lamb and Empires, Pt. 2 are bruising, devastating songs that hit like a boot to the stomach. Eyes Wide Open ends the set and what a set it's been. Kittie are back, better than they're ever been. They have nothing to prove to anyone. Their time is now. They need bigger stages and the metal world wholeheartedly needs them. Bow down. 

Kittie Setlist

Fire

I've Failed You

Cut Throat

Oracle

Spit

Ugly

Empires Pt. 2

We Are Shadows

We Are The Lamb

Vultures

Mouthful of Poison

Brackish

Eyes Wide Open

The oppressive heat leads to a lot of people sheltering under the protection of the tented stages. Those doing so on the Sophie Lancaster Stage during the middle part of the day are witness, whether they want to be or not, to the sounds of NOISEPICKER. The doom/thrash/blues/jazz avant-garde duo certainly make a hell of a racket and even incorporate a thrashy mash-up of Edwin Starr's War and Huey Lewis and The News's The Power of Love into their raucous, riotous performance. It's baffling, slightly odd and very Bloodstock. Back on the Dio Stage and TESTAMENT earn extra points for being the loudest band of the day and for having the best backdrop. A giant, inflatable demon skeleton looms over the drum riser whilst scenes of increasingly dystopian devastation are played on the screen behind it. Their heavyweight thrash is relentless as they showcase cuts from across their extensive career, as well as material from recent album Para Bellum. Throughout, vocalist Chuck Billy's barbed wire vocals carry an urgency, equal parts James Hetfield and malevolent chaos goblin. The whole set is conducted at breakneck speed, with lashings of pyro and aggression. It might be Sunday afternoon but nobody is lying down for a nap after this. 

A sizeable crowd has gathered for BLACK LABEL SOCIETY, which is hardly surprising given Zakk Wylde and Co.'s penchant for some down and dirty Southern rock. Fiendishly loud from the start, their big bluesy riffs and Zakk's gruff crooning vocals are the perfect fit for this time of the afternoon. Guitar theatrics are on full display as a bekilted Mr. Wylde does things with his instrument that would get you chased out of several conservative states. The Black Sabbath influence is on full display, with rumbling harmonics and pulsing fretwork. It should come as no surprise when they launch into a cover of No More Tears, which has several in the crowd welling up, belying the song's title, but it's still a nice touch to honour a man whose legacy still hangs over this festival and the wider metal scene as a whole. This might have started as a side project but BLS have some belting songs of their own. Fire It Up gets the singalong it deserves and a closing Stillborn is a fitting ending but you are left wishing they'd played In This River. Even for a festival as established as Bloodstock, booking BODY COUNT is nothing less than a coup. After ten years of failed attempts, the festival finally welcomes Ice T and his band of metal misfits to Catton Park's parched turf. They're in imperious form from minute one, coming straight out of the gate with a fiery cover of Slayer's seminal Raining Blood. Anyone even questioning the concept of Ice T fronting a metal band will soon have their doubts put firmly to rest. Even at 68 years of age, he is a consummate performer, and still righteously pissed off with the state of things in the world, in particular back home in the States. Not only that, but he's backed by a band of fantastic musicians who once again prove that our world, and the metal world, is for everyone. Discrimination be damned. Body Count's politically charged rap metal has never been more relevant. Throughout the set, they cover racism (There Goes the Neighbourhood), emasculation (Manslaughter), gang violence (Drive By), inequality (No Lives Matter), poverty (Born Dead) and police brutality (Cop Killer). Despite the serious subject matter, it's done with a purpose: to unite against those who seek to divide us. There's a final call for unity with a closing This Is Why We Ride and they even slip in an Exploited cover. Ice himself, as well as being world weary, is still a voice to be listened to and respected. He laughs and jokes with the crowd between songs and encourages chanting during a 'virtual encore' where he turns his back instead of physically leaving the stage. Not only have Body Count endeared themselves to the Bloodstock crowd, they've shown that they're welcome and needed within the metal scene. Music has always been political and it won't stop having an impact. This has been a triumphant Bloodstock debut. 

'Bloodstock, your Priest has returned!', intones Rob Halford, two songs into JUDAS PRIEST's headline slot. Few in the crowd would disagree with the Metal God himself. Five years since their last appearance, Priest are back to close out Bloodstock 2026 with a set of decades-spanning proper heavy metal. This show forms part of their Faithkeepers Tour which, as it says on the tin, is the band continuing to fly the flag for good old British heavy metal after more than 5 decades.

Despite rapidly approaching his 75th birthday, Rob shows no signs of slowing down and the band aren't about to let him, or us, down either. Opening with a one-two of a storming You've Got Another Thing Coming and the stompy, chugging Metal Gods, with Rob clothed in a battle jacket that features the flag of his native Black Country, what follows is a career-hopping masterclass that encompasses everything that's ever made Priest brilliant. Throughout they're polished and in frankly outrageous form. Breaking the Law seems faster and more insistent and generates the first of many singalongs from the massive crowd. So too, the sultry, innuendo-baiting Turbo Lover, which sounds even more devilish than usual. When you've been around as long as Judas Priest and have a 52 year, 19 album back catalogue to draw from, you can basically do what you like. And we are in for a treat. You don't become so revered and long in the tooth by repeating the same tricks over and over again. Not only do Priest showcase their own influences, they've always been savvy enough to take influence from whatever is going on in the metal scene in any given era. The Ripper is a glam-rock serial killer homage that hints at where Ice Nine Kills got the idea in the first place. The creeping psychedelia of The Doors oozes through Desert Plains. Victim of Changes is a tear-jerking examination of the perils of aging, that experiments with prog, especially with its near 8 minute length, whilst Lightning Strike is an exercise in perfectly executed power metal. They can bring things up to date too, even leaning into Viking metal. Halls of Valhalla is a rampaging tour de force that even features a full on death metal growl from Rob. Panic Attack is an urgent and insistent tirade against Internet trolls. Delivering the Goods becomes almost a meta reference to how good they sound tonight. Not only do they deliver the goods but they do so with the nuance and subtlety of a brick through a plate glass window. 

With so much material to pick from, you wonder how they make it all sound so fresh. It helps when you're backed by seasoned musicians of the calibre that Priest can call upon. The triple threat guitar and bass work of Andy Sneap, Richie Faulkner and Ian Hill creates a veritable wall of noise that distinguishes Priest's sound and allows Rob's vocals to flourish. Scott Travis is a machine. His drumming is superb. He moves across the kit smoothly, almost like running water, but still carries the intensity required to fit the songs. It goes without saying that he's almost incomparable amongst traditional heavy metal drummers. The standout is on Painkiller, which is already a full-on heavy metal assault as well as being equipped with the best drum intro to a metal song, quite possibly since the Earth was formed. Rob Halford's vocals sound superb. For a man well into his 8th decade, the range and clarity are outstanding. The falsetto is ear-shatteringly impressive, with the lower register a full-throated roar. Every song, every note is struck flawlessly. This is the sound and vision of a band who know how to put on a show and have become accustomed to these occasions. Away from the songs, there's no shortage of spectacle. Rob changes jackets numerous times, the giant screen at the back of the stage shows song-specific animations and graphics. Whilst there's a shortage of pyro or sparks, Priest don't need them, instead opting for red, white and blue lasers, shooting across the crowd and into the darkening sky. We even get a proper disco ball during The Sentinel. Rob's motorcycle makes the obligatory appearance, as he roars onto the stage before Hell Bent for Leather, with Rob himself leather clad, holding a riding crop and with tongue firmly in cheek. A rambunctious rendition of Living After Midnight brings things to an end. Only on this night mind you. You would be forgiven for thinking advanced age and the longing to settle down would make this likely to be the last time that Priest are on this stage. Don't be so sure. They're currently working on album 20 so it would be no surprise if Rob is prowling stages well into his 80s. When they're as good as this, as proficient, as smooth, and as bloody legendary as they'd been tonight, why should they retire? This has been an absolute statement. Lots of bands have headlined festivals and lots of bands have had long, storied careers. Few have done either as well as Judas Priest. There's a reason they're the Metal Gods. What a way to bring Bloodstock's 25th year to a close. By knocking it out of the park. 

Judas Priest setlist

You've Got Another Thing Coming

Metal Gods

Breaking The Law

The Ripper

The Sentinel

Desert Plains

Lightning Strike

Turbo Lover

Steeler

Delivering the Goods

Panic Attack

Victim of Changes

Halls of Valhalla

Painkiller

Electric Eye

Hell Bent For Leather

Living After Midnight

Bloodstock Festival returns in 2027, taking place from 5th-8th August. The headliners have been confirmed as Danish heavy metal legends Mercyful Fate, German techno-metal lunatics Electric Callboy and Pennsylvania's industrial metal showstoppers Motionless in White. Other bands on next year's bill include reunited sludge metallers Acid Bath, stoner doom folklore obsessives Green Lung, resurrected Finnish melodic death metal stars Children of Bodom, and animated death metal heroes Dethklok. See you there? 

STIFF LITTLE FINGERS/The Meffs; Rock City, Nottingham; 07/08/26

Stiff Little Fingers can rightfully be considered pioneers of the Northern Irish punk scene. Now in the 49^th year since their formation, they show no signs of slowing down or of dampening the enthusiasm they have for their craft. Tonight, on a balmy Friday in the East Midlands, they’re bringing the aptly named Raise Your Voice Tour to an adoring crowd.

First, it’s the turn of THE MEFFS, who have been given half an hour to get everybody in the mood for the main event. For the most part, they largely succeed. The Essex duo of Lily Hopkins and Lewis Copsey, on guitar/vocals and drums/vocals respectively, play their own riotously loud ‘Britpunk’. In a nutshell, this is punk stripped back to its purest form but it also has elements of more complex things too. Slower, chugging riffs at times suggest an edge of sludge metal and there are doomier touches. There’s even the slightest flourish of death metal vocals as they draw to a close. Razor sharp guitar work, with a distinct EDM flavour, calls to mind their Essex forebears Prodigy and that’s even before they slip in a cover of Breathe halfway through the set. This is an accomplished performance from an act who are clearly going places.

The crowd has grown throughout the opening act and the room is positively packed when STIFF LITTLE FINGERS take to the stage. They immediately rip into Tin Soldiers, with the crowd more than prepared to sing along. Nobody’s Hero follows, with no real room to breathe between songs. This sort of thing is bread and butter to a band of SLF’s quality and their experience and expertise is on show from the get-go. They sound as urgent and as righteously pissed off at the state of the world as they did when they emerged in 1977, at the height of The Troubles. Punk’s ethos has always been to be a voice of rebellion against oppression alongside being a clarion call for unity, qualities that it shares, in no small part, with reggae. SLF use this to their advantage and belt out punked up covers of Bunny Wailer’s Roots, Radics, Rockers, Reggae and Bob Marley’s Johnny Was, the latter reserved for the encore. Ska too embraces similar stylings, as evidenced by their version of Doesn’t Make It Alright, originally released by The Specials.

The messaging throughout is clear. The world is a dark place right now and we need to stick together and stand up to tyranny and discrimination if we’re going to survive this. Whilst punk is, and has always been, political, there are personal stories on show too. Walkin Dynamite is an homage to the boxer Sonny Liston.  Bits of Kids is a portrait of child poverty seen through the lens of the band’s native Belfast. Indeed, the members upbringing during such a turbulent point in history informs much of their earlier work. State of Emergency and Suspect Device still hit with the same force whilst painting an image of a period of upheaval that still leaves long shadows across their part of the world. Frontman Jake Burns, the sole member to have been with the band since their formation leads proceedings with consummate aplomb, joking with the crowd at points and taking time to explain the meanings behind some songs. The fact that they’re still so relevant in 2026 is testament to how things definitely haven’t changed for the better in recent years. In particular, Raise Your Heart is a defiant swipe at the divisive politics of the Trump administration, specifically as they pertain to immigration. Amongst the aggression, there are deeper feelings on display. Just Fade Away is an ode to lost love. Silver Lining bemoans wealth and social disparity. Written in the 80s, it still carries weight in our current decade.

Throughout the set, Stiff Little Fingers remind everyone of why they’re so important to this scene. They play songs about their roots and their history but everything still sounds bang up to date, helped by the fact that they’re all fantastic musicians. Jake’s gruff delivery brings the songs to life, with his guitar flourishes entwining through everything as well as firing out belting solos. On drums, Steve Grantley is never still, a veritable dervish of percussion. Ian McCallum on rhythm guitar locks in perfectly between Jake’s fearsome lead riffs. Bassist Ali McMordie supplies the rumbling, tumultuous heartbeat underneath. They’re a close-knit unit and also clearly enjoying themselves. They’ve certainly got the crowd in the palms of their hands. In the quieter moments, when there are any, people are enraptured. The appeal of Stiff Little Fingers has yet to lessen and, in these most uncertain of times, the spirit of punk certainly never will. Music like this is a necessity. It all ends with a final urgent blast, as  Alternative Ulster brings the curtain down and sends everyone out into the August night with their ears ringing, hearts pumping and heads held high. We’ve witnessed a masterclass in punk rock. Here’s to the next 49 years.

 

Stiff Little Fingers Setlist

Tin Soldiers

Nobody’s Hero

Roots, Radics, Rockers, Reggae (Bunny Wailer cover)

Raise Your Voice

Back to Front

State of Emergency

Walkin’ Dynamite

Silver Lining

At the Edge

Bits of Kids

Listen

Doesn’t Make It Alright (The Specials cover)

Just Fade Away

Wasted Life

Gotta Getaway

Suspect Device

Johnny Was (Bob Marley & The Wailers cover)

Alternative Ulster

BAT SABBATH/Froglord/Black Mastiff; Rock City Beta, Nottingham; 12/07/26

 As a band, it often helps to branch out from the norm. In some cases, this can quite often lead to certain acts developing successful side hustles alongside whatever helped them rise to prominence in the first place. In the case of Canadian hardcore punk crew Cancer Bats, this particular side hustle is out-and-out Black Sabbath worship, in the form of their alter egos, Bat Sabbath. As part of a UK and EU tour, they've brought their salute to Birmingham's finest to Rock City's smaller stage on a warm Sunday night in July, with some more than suitable support in tow. What follows will be an evening of big riffs that pays deference to those without whom heavy metal would not exist and whose legacy speaks for itself.

Fellow Canadians BLACK MASTIFF get things underway with a heady mix of desert rock, stoner doom and post-metal. Searching vocals and stabbing riffs echo Kyuss and Red Fang but there are also moments of swirling instrumentals that call to mind the work of Isis. It's all accomplished well, to a relatively modest crowd, but they certainly set the tone for the evening, gain some appreciative fans in the process, and are very polite about the whole thing. Sometimes, the metal scene creates a niche that you never knew existed. On paper 'amphibian swamp doom' sounds like some kind of fever dream. In practice, this is the domain of Bristol quartet FROGLORD. Things are about to get swampy. Whilst this might seem like eccentricity for the sake of it, their frog-themed, downtuned slabs of lore are executed with both pristine skill and unbridled enthusiasm. Make no mistake, behind the gimmick are riffs so thick you could use them to pave roads, and driving percussion that makes you fear for the structural integrity of your insides. Commanding this mud-caked sermon, frontman Benjamin 'Froglord' Grey sways and swoons as he peels back the layers of the band's mythology, conducting a ritual that intones all and sundry to give themselves over to the swamp life. From the opening sludgy grind of Croak to the closing doomified space-rock dirge of They Came from Saturn, there will be many new converts by the end of their set. As their suitably presented mascot is held aloft, the band finish with a flourish. Whatever you make of what we've just witnessed, Froglord have spawned something unique.

The legacy of Sabbath will remain for many a decade and the sheer expanse of their influence across all corners of the metal world is truly something to behold. It stands to reason then, that bands would want to wear this appreciation on their sleeves and do whatever they can to uphold it. So, then, BAT SABBATH intend to do just that. Eschewing the usual punk-driven hardcore you'd expect from their normal day job as Cancer Bats, Liam Cormier and co. are about to take us on a journey through straight-up Sabbath worship. Rest assured, this isn't just a band covering Birmingham's finest purely for the sake of it, or paying lip service to the classics. This is a band demonstrating their respect for, and intense reverence of, the original material, whilst still adding their own spikier, more aggressive edge. 

Things kick off with a swirling, almost cartoonishly loud Children of the Grave and from then on, there's no let up. The hardcore stylings lend an extra dimension to the classic fayre, with excellent results. The already hefty riff that opens Supernaut is given an extra shot in the arm, whilst Paranoid is dispensed at breakneck speed. An absolutely filthy sounding Symptom of the Universe opens the first of many pint-threatening pits. Even the traditionally longer and slower sections get a good old going over. The ominous, slow-burn intro of Black Sabbath is still deeply unsettling, whereas N.I.B. sounds even more fiendish than the original, both tracks suitably impacted by Liam's glass chewing vocals. In the hands of a less determined and less talented act, this whole performance could come across as trite. But not here, not tonight, not in these circumstances. The added urgency provides an extra lens through which to view these songs. Fairies Wear Boots somehow sounds even more like an acid trip gone sideways. This is a masterclass in heavy metal hero worship. Front and centre of it all, Liam stares wide-eyed into the crowd, baiting people into pits and, in one of the standout moments, leaving the entire opening verse of War Pigs to be sung by the throng.  Earlier, during the first moment of audience interaction, he declares that he cares not for the day of the week or the English inability to deal with the Sun. He's here for one reason and one reason only. Worship, in its simplest and purest form. The band then launch into a crushing version of Iron Man. This is a scene of utter adoration and unrepentant adulation.  There's a reason Ozzy, Bill, Tony and Geezer are so loved and so revered. They didn't just invent a genre. They birthed a scene. The fact that such a diverse group of acts have spun directly off of what they created is testament enough. The rest of the band on stage deserve massive credit too. Jackson Landry is a demon on guitar, replicating Iommi riffs like he's been playing them all his life. Drummer Mike Peters channels Bill Ward's intense proficiency, with bass player Jaye Schwarzer providing the churning, roiling low-end. The packed room is a blur of bodies, crushed beer cans, head banging, sweat and, quite likely, tears too. 

There's even time for the band to showcase the impact Sabbath have had on their own catalogue. The closing Lucifer's Rocking Chair comes complete with the kind of oozing, meaty riff that Tony Iommi himself could have conjured in one of his moments of fretboard wizardry. By the time it's all over, ears are ringing, and what remains is a scene of elation and unbridled joy. This has been an evening to remember, and a reminder that Black Sabbath will always be a band who deserve to be worshipped. Whoever plays their songs, these are songs that mean something. Not just to fans, or the bands that continue to play them. These songs are the heart of metal. They belong to the universe. We should feel honoured and privileged to be able to witness them.   

Bat Sabbath Setlist

(All Black Sabbath covers unless otherwise stated)

Children of the Grave

Supernaut

Paranoid

Iron Man 

N.I.B.

Electric Funeral

Symptom of the Universe

Fairies Wear Boots

Black Sabbath

War Pigs

Lucifer's Rocking Chair (Cancer Bats)

TYPAN/Speeder; The Metal Monocle, Leicester; 27/06/26

Seeing live music should never just be about seeing the arena-filling, stadium-headlining, festival-topping bands. All music starts off at a grassroots level. Every band was once a local band, playing local venues and every band is always somebody's mate's band. So, when your best mate tells you that their band are playing at a venue less than an hour's drive from you, you make damn sure that you make the effort to go. In this case, the band are Typan and the venue was The Metal Monocle, a steampunk-themed rock and metal bar on Braunstone Gate in Leicester, a short distance outside the city centre. It's the perfect setting to showcase bands who are bringing their own unique flavour to the alternative scene by dishing out great big slabs of proper heavy metal on a Saturday night, and providing a welcome distraction from the football as a useful aside. The billing on this occasion featured three bands, although we'd only stay for two, with the objects of our interest filling the second slot of the evening. One corner of Leicester is about to be given a lesson in rock and roll, whether they like it or not. 

Beginning proceedings are SPEEDER, a quartet from Newcastle, who open things up with a short set of prog-tinged thrash. It's heavily indebted to the work of Megadeth and early Metallica, with big expansive riffs that almost feel like they belong on Ride the Lightning. They're not afraid to show off their doomier credentials either, slipping in a well-executed cover of Ozzy's classic Mr. Crowley to an appreciative showing from the crowd. Much of their work focuses on longer, heavier sections with prolonged breakdowns, allowing them to display their technicality, alongside urgent, stabbing vocals. Clattering, thunderously loud drums and buzzsaw riffing get the crowd in the mood for what's to come. Before too long, they screech to a halt to a smattering of applause. They've done a good job and, despite their short run time, the journey down from the north-east has definitely been worth it. 

Bristol-based five-piece TYPAN have been plugging away for a while now, with three albums under their belts and numerous lineup changes since their formation. This current incarnation certainly seems best placed to drive them on to further success. Original members Kenny Guppy (vocals) and Matt Smithers (drums and admin) have added further technical prowess up-front, beefed up the rhythm section and, as a result, significantly added to the amount of hair on stage at any one time. Their sound is very much steeped in NWOBHM and old school rock and roll, with the energy, charisma and, most importantly, the songs to live up to their various influences. And what influences they are. Maiden-coded opener Keeper of the Gate kicks things off with aplomb, rampaging closer Midnight Man channels the speed and heft of Saxon, whilst Chariot of the Gods boasts the sort of power metal chorus you'd expect from Manowar and opens with a monstrous guitar riff that would make Muse fans weak at the knees. It's a rollicking good time from start to finish but, beside all the fun and games, Typan aren't afraid to get political. Demagogue shakes an angry fist at tyranny and division and Harp from Hell comes complete with a gang-vocal style, bile-flecked chorus that hints at barely repressed rage regarding the state of, well, everything. They're also not frightened of showing off their proggier chops. Mid-paced stomper Strike Back has several changes of tempo that hint at more grandiose possibilities. 

Power and fury aside, there is time and space for emotional weight. Not to be outdone by their predecessors on this stage, a really rather good cover of Bark at the Moon gives way to Blade in the Dark, written on the same evening that the Prince of Darkness himself shuffled from this mortal realm. There's a deeply personal touch too. Fight for your Life, was written by, and is dedicated to, former guitarist Adam, who tragically died in 2025. Its inclusion in the setlist carries an extra poignancy and is a really nice touch that the band should be commended for. Throughout the set, the songs explore a gamut of emotions. But it's all very well having the songs if you don't have the ambition and ability to pull them off. Thankfully, Typan have both, in absolute bucketloads. Lead guitarist Joe 'Showstopping' Topping is a real force to be reckoned with, peeling off one blistering solo after another and then spending his down time pointing his guitar into the crowd like an AK47 with a hair trigger. Behind him, Matt covers his drum kit like a mechanised spider, propelling everything along like a heartbeat, whilst carrying a face that simultaneously radiates calm and looks a bit like he can't be sure whether he locked the front door on his way to the show. The rhythm section are locked in seamlessly. Guitarist Dan's riffs and licks are underpinned by Steve Mercy's rumbling basslines. In and amongst all of that, frontman Kenny is never still, making the most of every inch of the, admittedly small, stage space afforded to him. Vocally, it's a stellar performance too, with an impressive range. His low notes are reminiscent of Messrs Halford and Dickinson, whilst his higher register lands well in the vicinity of Robert Plant and Rush's Geddy Lee. The heft and passion behind the lyrics is conveyed with a real heartfelt enthusiasm. And the same is true throughout the band. They're clearly having the time of their lives. This is by no means the biggest venue, or the largest crowd, that they have played, or will play to but they're clearly enjoying sharing the fruits of their labour with a select few on a balmy night in the East Midlands. By the time their 40 minute stint is over, they've absolutely garnered more than a few new fans from amongst the watching throng. Typan have been doing this for a long time and deserve to be much, much bigger. Gigs like this are the perfect opportunity for bands to shine and do what they do best, as well as supporting grassroots music venues and giving potential new fans the chance to find their new favourite band. Big riffs, cracking songs and genuinely strong performances, alongside the fact that they happen to be a belting bunch of lads, should be more than enough to see Typan filling much bigger rooms than this and, much like the snake for which they are named, getting their teeth right in. Catch them whenever you can. I promise you that you won't regret it. If nothing else, make the effort to see your mates bands, and support them in any way that you see fit. They'll appreciate it and so will you. 

Typan Setlist

Keeper of the Gate

Demagogue

Harp From Hell

Strike Back 

Bark at the Moon (Ozzy Osbourne cover)

Blade in the Dark

Fight For Your Life

Chariot of the Gods

Midnight Man

DOWNLOAD FESTIVAL 2026; Donington Park, Leicestershire; 14/06/26

It's been that time of year again. Download Festival seems to come around more quickly every year and this year's edition, the 23rd, came stacked with a bill to generate a considerable amount of nostalgia amongst alternative millenials whilst still finding plenty of room to showcase the next generation of rock and metal. Headlined by nu-metal standard bearers Limp Bizkit and Linkin Park, with returning legends Guns N Roses sandwiched in between across the weekend, there was a lot to take in for those in attendance, many of whom would be setting foot on Donington's sacred turf for the first time. This year, our attentions would be turned firmly to the Sunday, primarily down to misgivings with the overall lineup and having seen a lot of the bands relatively recently. The general feel of the weekend seemed geared more towards attracting new attendees but there was a lot to draw in returning fans. Despite some questionable forecasts, and an outright deluge on the Thursday, the weather settled down nicely just in time for the bands, although there were some strong winds on both Friday and Saturday. By Sunday though, this had died down too. The weather was dry, not too warm, not too cold and, in the end, sunnier than predicted. All in all, a perfect day for a festival. 

To start proceedings, here's a question: what do you get if you take the crunching riffs of Don Broco, the symphonic layering of The Flaming Lips, the manic energy of The Hives and the grunge sensibilities of Hole, mash them all together and animate what's left? The answer, it seems, is UNPEOPLE, who have been given the unenviable task of waking everyone up for the last day by opening the Apex Stage. Despite the early start, they've attracted a decent crowd with their mish-mash of alternative metal, post-grunge and shoegaze-inflected post-rock. They certainly take the plaudits for the loudest opening of the day and, by the time it's all over, a few of the crowd look considerably more alive than they did when things got underway. Anybody still lingering under the influence of a hangover will soon be cured or made much worse by KUBLAI KHAN TX. Their blend of crossover thrash and straight-up, knuckle-dragging hardcore gets heads banging and pits swirling. Frontman Matt Honeycutt is clearly enjoying himself and even throws in some dog barks for good measure as the Texas collective take no prisoners and, one imagines, leave quite a few bruises in their wake. 

RORY's rise from YouTube to festival stages may have been a long one but nobody present can say that she hasn't deserved it. She's clearly simultaneously thrilled and overwhelmed to be here, and almost can't believe her luck at finding herself on a stage of the scale of Download's new and improved, and bloody massive, main stage. Her 45 minute set is a testament to the hard work and determination it's taken her to get here. Whilst the crowd is modest given what's come before, she has more than earned this billing. Her heartfelt and sincere lyrics, inspired by genuine heartache and loss, coupled with her energetic and magnetic stage presence, have not only attracted the curious alongside pre-existing fans, but also provide real moments of tear-jerking grief and release. The topic of her deceased mother, and the ensuing grief spiral, comes up more than once, no less so on Sorry I'm Late, and ensures that there isn't a dry eye in the field. Alongside the vulnerability, there are levels of toughness as befits someone who has seen rock bottom and then tunnelled their way through it. There's even a chance to address music industry misogyny too as Rory makes a point of saying that she is one of the oldest female performers to grace this particular stage, despite being only 41. In the end, this short snippet of a set is a triumph and wins over a few new fans along the way. This won't be the last time you see Rory in this environment so you better get used to it. 

To those in the know, BLOODYWOOD need no introduction. The New Delhi crew have built an ever-growing fanbase off the back of their nu-metal-meets-traditional-Indian-instrumentation schtick. Whilst it may once have seemed like a niche concept, the emergence of bands using traditional folk instruments and musical styles alongside more recognisable metal tricks proves that this is more than just a flash in the pan. Folk metal is very much in these days and Bloodywood are one of its finest proponents. Not only have they summoned a sizable crowd, but they've brought the party, and the mid-afternoon sunshine to go with it. From the opening Dana Dan, right through to the closing, and aptly titled, Machi Basad (Expect a Riot), it's an absolute joy from start to finish. The combo of rap-metal, heavy metal growls and bhangra rhythms, in conjunction with the sheer chaotic energy on show ensures that this is one of the most fun, immersive and exciting sets of the day. Whilst on paper, the whole thing sounds bonkers, it's carried out with significant aplomb and shows that Bloodywood are not a gimmick. What they are is unashamedly flying the flag for the Indian metal scene, their culture, their home and the fact that metal is universal. Regardless of creed, colour, religion, sexuality or any other characteristic, metal is a brilliant, uniting force. They are also unashamedly and undoubtedly brilliant. The party has well and truly started. It's just a shame that the set wasn't longer but they will be back again.

Time now for something a little bit more straightforward and accessible. It's been a while since THE PRETTY RECKLESS have graced Donington's hallowed ground but they're not here to make a big deal about it. Taylor Momsen and co. are back and they've brought riffs by the shedload. Death by Rock n Roll does what it says on the tin without coming across as too on the nose. What follows is an accomplished set of hard rock bangers. Make Me Wanna Die and Heaven Knows generate the biggest singalongs, the latter with its big chugging bassline and the former with its soaring chorus. Throughout, Taylor channels Stevie Nicks and Courtney Love, her impressive pipes adding a grungy attitude to go alongside her significant stage presence. Such is the length of the band's back catalogue that it's easy to forget that she didn't start out doing this, but it's clear that she has made the correct decision and can now be considered one of rock's most talented and recognisable frontwomen. In contrast to The Pretty Reckless not having played Download for a while, this is very much not the first rodeo for ICE NINE KILLS. This is approximately their third appearance in the last 5 years and, two bands down from the headliners, higher than they've ever been in the running order. It's certainly not without merit or reputation. Their horror-themed, movie-inspired metalcore brings a massive crowd, who are ready to lap up not just the songs but the graphic theatricality that comes with the stage show. Off the back of a phenomenally successful UK arena run, they've got every right to come out with a swagger. Beginning with Meat and Greet, inspired by Silence of the Lambs, we're in a for a treat as the next hour brings mock decapitations, disembowelments, blood, gore and the premature demise of Download Dog in a short-lived climactic scrap with Art the Clown. Beyond the stage show, the performance is exceptional. Spencer Charnas's vocals are on point and the band showcase every one of their influences, from the ska-tinged Ex-Mortis, through the Huey Lewis and the News aping Hip to Be Scared, to the straight-up gruesome metalcore of Funeral Derangements and Welcome to Horrorwood, it's one hell of a show from start to finish, pun very much intended. There's even time for some surprises across the 60 minutes. Matt and John from ska-punk legends Reel Big Fish add their trumpet and saxophone to Ex-Mortis before, a few songs later, we're indulged with a storming cover of NOFX's Linoleum, a throwback to INK's origins as a ska band. Later still, Hannah Greenwood from Creeper, herself pulling triple duty with her usual band over the weekend, shows up to fill in on the female vocals on Twisting the Knife and A Work of Art. In short, it's a gloriously over-the-top hour that is equal parts brilliant and not for the faint-hearted. Still, this is a magnificent showing from a band very much in the ascendancy. With so much debate about which up and coming bands are positioning themselves for future headline status, Ice Nine Kills have bludgeoned, hacked and slashed their way to the front of the queue. Band of the day by quite some margin. 

Given that their last scheduled performance, in 2024, saw them withdraw so that frontman Noah Sebastian could focus on his mental health and recover from exhaustion, BAD OMENS have a point to prove, with this year's sub-headliner appearance set to be a determined swing for top billing. It's just a shame then that a massive but surprisingly non-committal crowd don't really seem to be into it. Rest assured, Noah's voice sounds immaculate and the band are impressive but the nature of their songs doesn't seem to translate as they should. They do have a solid collection of tracks, many of which are capable of inciting mass singalongs, amongst them early highlight Limits but the chop and change between melancholic, yearning anguish and blistering rage means that the flow seems to struggle. There's no doubt that they are big and will get bigger and will likely find themselves at the top of the poster in years to come but perhaps the setlist structure needs work in future. It also can't help that the sun hasn't even touched the horizon when they come onstage. You can't help think that darkness may have helped carry the message further. As much as things at Download, be that the weather or the toilets or the queues, are hard to predict, some things are never in doubt. Amongst life's certainties is that you will always have a good time with A DAY TO REMEMBER, who are closing the Opus Stage on the Sunday night. Despite being relegated to the smaller stage and being scheduled during Bad Omens and before Linkin Park, they show no sign of sour grapes as they emerge to an appreciative crowd and the familiar strains of long-time opener The Downfall of us All. Barring some flecks of grey in his beard, frontman Jeremy McKinnon shows no evidence of ring rust and still seems to be having a fantastic time as he leads band through a set of bonafide anthems. They do well to keep the energy up throughout, choosing to eschew their slower numbers, with the exception of If It Means a Lot to You, a classic, in favour of the big hitters, pyro and breakdowns. All I Want has the crowd singing every word back in force. So too 2nd Sucks with it's 'get the fuck over it' rallying cry and a decidedly raucous The Plot to Bomb the Panhandle. Even newer songs, like party anthem in waiting All My Friends, get a big response and then it all comes to a close with a suitably cathartic All Signs Point to Lauderdale. It's good to have ADTR back. You forget how good they are live and how many strong cuts they can call upon but they've aged like a fine wine. 

To state that LINKIN PARK have been through the mill doesn't come close to covering the extent of what they've had to deal with. Almost 26 years on from the release of genre-birthing debut album Hybrid Theory, and 12 years on from their last headline appearance on this ground, they're back, closing out proceedings. The path to this point hasn't been an easy one, far from it. The tragic suicide of much-loved frontman Chester Bennington in 2017 sent the band into a hiatus which it seemed unlikely they would ever return from. Then, in 2024, like the proverbial phoenix, the band re-emerged seemingly from nowhere, having recruited former Dead Sara vocalist Emily Armstrong to carry on Chester's weighty legacy. To say the level of expectation is unprecedented seems like a gross understatement. By virtue of this headline appearance, Linkin Park become the first female fronted band to headline Download's main stage, a fact which, in and of itself has become a bone of contention and led to discussions as to whether that honour should have belonged to somebody else. Regardless of the noise, Linkin Park are back! Great news for fans, especially those who may have never seen them live in their original incarnation, and also for a younger generation who finally get to witness the phenomenon that soundtracked the angst of a generation. 

Things start promisingly enough. Following the trailer for their upcoming reunion film Unshatter and then a brief countdown, the band launch straight into The Emptiness Machine, the massive hit single from comeback album From Zero. Straight off the bat, the chemistry between Emily and Mike Shinoda is obvious and the interplay between their distinctive vocal styles reflects the strength of the newer material. Two things become clear very quickly: Linkin Park are clearly relishing being back together, performing and bringing their anthems to audiences old and new, and Emily is a very different proposition to Chester. It's hard not to make the comparison. Whoever took over the reins when the band returned would find themselves under scrutiny, both professionally and personally. To Emily's credit, she has faced the criticism head-on and the band have backed her to the hilt. There are both highs and lows throughout this performance. A surging, angst-ridden rendition of Crawling features the crowd at full volume for the first time. Time and again, thousands of voices will be heard singing every word in unison. Emily allows them to do so, perhaps too often on occasion. It's in these moments when the vulnerability shows. Whilst there's nothing wrong in the slightest in letting the crowd sing when occasion calls for it, it sometimes comes across that this is compensating for a lack of involvement in the older songs. It does feel weird hearing someone else singing what are, effectively, Chester's words. Make no mistake though, Emily is a very powerful and accomplished vocalist, not least when demonstrating her prowess on the 27 second long held note in Heavy is the Crown. In general, the whole showpiece feels a bit disjointed. Longish spells of inactivity between sections of the set interrupt the opportunity to build momentum, especially after what is a strong start. A cover of Where'd You Go by Mike's other band, Fort Minor, feels oddly out of place, even though the song is about their much-missed friend and colleague. One Step Closer starts off with the familiar dread-inducing riff and explodes to life before having to stop and start again, although quite rightly, due to an emergency in the crowd. Musically the band sound fantastic and are very much locked in. It's in the overall spectacle that shortcomings occur. Several songs are altered or played differently. Numb, which is still one of the best songs ever written about how it feels to be an outcast, starts off in a different key, which somewhat lessens the impact. Bleed it Out, by contrast still sounds positively ferocious and What I've Done conjures many a mid-2000s Transformers flashback. Somewhere I Belong and Breaking the Habit still carry significant emotional heft. Wisely, In the End and Faint are held over to the encore, ensuring that the bigger tracks get their spot in the limelight too. 

In a nutshell, this is show of two halves. First time and new fans will be absolutely blown away by the spectacle and the strength of the performance. For the older generation, who can't help but cling to the memory of the Linkin Park of old and the one-of -a-kind individual that was Chester Bennington, the shadow of the past hangs long. This isn't a bad performance, just one shaped by tragedy and fate. Linkin Park are still very much finding their feet again and reassessing their place in a music scene that has changed a lot since they first rose to prominence. They will recover from this and it will be intriguing to see where this lineup is able to take the band moving forward. An act of this calibre, with the influence and impact they have had, can never be written off completely. 

Linkin Park Setlist

The Emptiness Machine

Lying From You

Crawling

Up From The Bottom

Somewhere I Belong

The Catalyst

Burn It Down

Where'd You Go (Fort Minor cover)

Waiting For The End

Two Faced

A Place for My Head

IGYEIH

One Step Closer

Lost 

Breaking the Habit

Overflow

What I've Done

Numb

Heavy is the Crown

Bleed It Out

Papercut

In The End 

Faint

And so, another Download Festival draws to a close. It had been a good one. Every year seems to throw up something a bit different and it will always be good to see a homegrown festival doing whatever it can to champion the next generation and ensure that the alternative scene not just thrives but is spoiled for choice. Whatever people's opinions are on the lineups and everything else, and there are a LOT of opinions, there will always be a place for Download Festival. Next year's event takes place from 9th-13th June. Headliners have yet to be announced at the time of writing. 

BLEED FROM WITHIN/Disembodied Tyrant/Baest; Rock City, Nottingham; 08/03/26

Bleed from Within are having a bit of a moment. More than 20 years into their careers, the Glasgow metalcore crew have suddenly found themselves very much in the ascendancy after substantial time plugging away in the underground. Such has been the strength of their determination to not be left behind, that they've supported some true heavyweights, such as Trivium and Slipknot, manifested stellar performances at Download and have a sub-headline slot lined up at this summer's Bloodstock. All of which means that it's about damn time that they headlined a tour of their own. This is what has brought them back to Rock City's hallowed hall on a Sunday night in early March, and they've recruited some strong support acts as accompaniment. 

BAEST (pronounced to rhyme with 'paste' and taken from the Danish word for 'beast' or 'brute') get proceedings underway in front of a crowd that are more than up for an evening of heavy metal to distract from the Sunday scaries. Their mix of old school death metal and contemporary metalcore goes down a storm, with the first pits of the night opening almost immediately. By the time vocalist Simon Olsen is in the middle of the floor with a circle pit swirling around him, they have the crowd in the palms of their hands. They even take the bold step of asking people to sit down for a song intro, which leads to the obligatory floor rowing. Throughout their set, it's pretty clear that the band are having the time of their lives. One perma-smiling guitarist is clothed in a Van Halen T-shirt, which seems appropriate when he blazes out a solo that the late, legendary Eddie Van Halen would have been more than chuffed with. The songs are tight, with buzzsaw riffs, chugging percussion and genuine, lighters aloft, singalong choruses. They close on a stompy slice of quasi-industrial thrash that would not seem out of place on an Amon Amarth album. The band's genuine enthusiasm for their craft and the strength of the songs, alongside what seem to be their all-around friendliness and approachability, earn them many a new supporter on the night. 

If you were asked to list the US states that have produced bands who've had a profound influence on the alternative music scene you'd likely list California, Florida and Washington for starters, and then maybe Georgia, Massachusetts and Louisiana if you're a bit further initiated. You'd probably be highly unlikely to mention Missouri. DISEMBODIED TYRANT are certainly looking to change that, with their expansive technical death metal. From the get-go, they fire out some truly ferocious sounds, with guttural vocals from frontman Blake Mullens backed by thunderous blastbeats and furiously picked guitars. Amongst the brutality, there are softer moments with symphonic edges and almost classical time signatures that call to mind Lorna Shore, with whom the similarities are clear. All-in-all, they're certainly a gnarly proposition and aren't just here to make up the numbers. There are some genuinely atmospheric sequences which point to much more grandiose ambitions. For the most part, they seek to bludgeon. Crowd interaction calls primarily to make the pits bigger and faster. This does slightly backfire as the band are forced to pause twice due to people getting slightly too carried away. Despite their relatively young career thus far, they've proven that their gameplan extends beyond just making as much noise as possible. Guitarist Dominic Petrocelli, with staring eyes and shit-eating grin, is presumably hoping they get big enough to employ a merch person so he no longer has to pull double duty.

By the time BLEED FROM WITHIN take to the stage, the atmosphere inside Rock City has risen to fever pitch. It's been pandemonium amongst the crowd for both support bands and the anticipation seems to hang in the air as the backing tape plays a selection of  classic rock, nu-metal anthems and, presumably in a nod to their home turf, Baccara's 70s party classic 'Yes Sir, I Can Boogie'. Just as the guitar riff for 'Livin' on a Prayer' is about to kick in, the lights go down and the band emerge, firing straight into the title track from last year's magnificent Zenith album. What follows is an hour and a quarter of exceptional metalcore from a band who genuinely can't seem to believe that they're here. 

This tour, dubbed the Dying Sun Tour, is their first proper headline tour in decent sized venues. In fact, this show was upgraded from neighbouring Rescue Rooms after tickets sold out in 24 hours, making it the biggest venue that the band will visit during this leg. It's clear from the outset that they are genuinely humbled and affected by both the size of the crowd and the strength of the reception. Wave after wave of crowdsurfers pass over the barrier and don't let up, including the same banana attired gentleman from last month's Avatar show. To say that Bleed from Within are in fine form doesn't quite do justice to the quality of the performance and the proficiency on display. It helps that the songs sound positively monumental. The End of All We Know is an absolute banger and generates the first proper singalong, despite being dropped very early in the set. More big hitters are to come. The soaring chorus of Levitate sounds absolutely mighty, especially when backed by thousands of extra voices. Violent Nature showcases the range of the band's influences, with the kind of sludgy riff-driven breakdown that Mastodon have been building on for years. They have the audacity to replicate Slipknot's penchant for asking people to kneel down and jump up during I Am Damnation. The knees of every 30+ year old in the room will be screaming for mercy on Monday morning. God Complex is a monster of a song in its own right and they bring back Simon from Baest for this version. He ends up stranded mid crowdsurf and eventually steered back to the front of the room. Bleed from Within are clearly relishing the opportunity to headline in these sorts of venues. Scott Kennedy could not be more pleased with the turnout and gushes between songs about how the loyalty and support of their fans has gotten them this far. In tribute to the strength of this bond, the band have chosen a setlist that reflects their longevity. Whilst around half the set is populated with songs from Zenith, they've thrown in some deep cuts for this tour. That means Leech from 2013's Uprising makes an appearance. Scott admits that the band don't play songs from this particular album much as they 'think it's shite' so this is a privilege indeed. It definitely goes down well, with a surging riff and barrelling rhythm. So too, Lamb of God indebted Fracture track A Depth That No One Dares, which features Scott doing his best Randy Blythe impression, sounds positively monstrous. 

To explain Bleed from Within's sudden rise to this level, you have to look beyond the songs and at the close relationship between the band members. Beyond the well-oiled heavy metal machine, there's a genuine camaraderie that shines through, particularly when things don't go according to plan. At one point Scott accidentally flicks his microphone off the stage whilst the rest of the band carry on like nothing has happened. Drummer Ali, a bonafide force of nature, winds Scott up by starting a drum fill when he tries to talk to the crowd. The bonds between the band have helped them forge what they've created. What they've created is a band destined for greatness. Metalcore seems to be having a bit of a purple patch and Bleed from Within are certainly at the front of the queue. The musicianship is impeccable. Davie Provan's rumbling bass underpins everything whilst guitarists Craig and Steven are finely tuned magicians of their art. The latter's clean vocals are the perfect counterpoint to Scott's unclean growl. Throughout the set, the crowd are completely hooked. Not one song goes unappreciated, which speaks volumes about the quality of the offering. By the time things come to a close, on a pummelling In Place of Your Halo, Scott is simultaneously kneeling whilst being held aloft by the crowd. It's just a shame that the live piper they've used for outdoor performances of the bagpipe breakdown isn't present. However, make no mistake, this is an utter triumph. No streamers, no confetti, and none of the pyro that they've gotten accustomed to using in larger arenas. Just 5 lads from Glasgow levelling a medium sized room in the East Midlands. Get used to seeing Bleed from Within topping bills and in front of exponentially bigger crowds. This is more than just a moment. This is their time. 

Bleed From Within Setlist

Zenith

The End of All We Know

Pathfinder

Alive

Violent Nature

A Hope in Hell

Invisible Enemy

Dying Sun

Levitate

Leech

God Complex

A Depth That No One Dares

I Am Damnation

In Place of Your Halo