rock

Highfield 2018 – Full Review!

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Highfield festival takes place yearly by the Strömthaler Lake near Leipzig, in East Germany. It’s small (35,000 guests) with two stages (Green and Blue). Most notably, Highfield has a beach that is open to guests throughout the day. There’s a DJ stage on the beach along with drinks stands, so the festival vibe is guaranteed

As with most German festivals, the area in front of the stage is divided into waves by barriers. Only a limited number of people can be in the first wave as a measure against injuries from overcrowding. There is a one-way system in place, in one side, out the other so that numbers can be monitored. While this can be frustrating if you miss out on a spot for your favourite band, it does make it easier to move within the crowd.

Another difference that sets this festival apart is the German culture of “Pfand” which is a deposit you pay on bottles, cans and, at festivals, cups. This means every plastic cup is worth 2 euros that you get back when you return the cup, which helps make Highfield a green festival.

Friday

Arriving on Friday, the weather was very hot and very dry. Across the campsite, heated matches of flunkyball (Germany’s second national sport) were in full swing. It’s a classic game of ‘do well, get drunk’. Two teams stand across from each other, each with cans of beer at their feet. A ball is thrown at a half full bottle of water in the centre. If you hit, your team drinks as long as it takes the opposing team to rectify the bottle. First team to finish their drinks, wins.

Once a camping spot was found there was only time for rudimentary peg work, just enough to mark our camping territory. Before we headed straight to the lake. A good swim provided a much needed cool down and relaxed us, ready for the weekend ahead.

The tent was fastened down properl, the “HighViech” – a fish-like creature – and festival mascot welcomed us to the main site.

Appearing for the third time at Highfield, Gogol Bordello kicked things off with their trademark gypsy punk. It was early evening and the crowd still small. However, what they lacked in volume they made up for in enthusiasm; dancing, jumping, jigging. Lead singer Eugene Hütz, sporting the classic punk look “shirtless with blazer”, directed the crowd with his energy. Mixing it up from the usual beer on stage, Hütz opted for a classier bottle of red wine. That didn’t stop him pouring it all over stage and crowd throughout his set.  As the set went on, the New Yorker band drew a bigger and bigger crowd with their infectious tunes that you couldn’t help but dance to.

Infectious but in a different, more hip-hop way, the 257ers took the blue stage by storm. The queue for the first wave was mounting as fans were eager to get up close and personal in the mosh pits. The band, named after their home postcode, started off with a three horror clowns accompanied by whimsical circus music, setting the tone for the one-hour set. Notorious for their costume changes, the duo dressed as pirates, Dutch football shirts and Hawaiian shirts, each outfit referencing a different song in the set. They were also accompanied by at least three extras on stage, dressed up and firing up the crowd. Costume changes take time, so to keep the crowd entertained the DJ played everything from nursery rhymes to crazy frog. At one point he got the whole crowd to crouch down but instead of the anticipated beat drop, Whitney Houston’s I will always love you rang out, much to the amusement of everyone. Refreshments were kindly provided in the form of a giant tube pouring beer into the crowd and several foam cannons. The set was light-hearted and fun, asking the important in Warum (Why) including “why can’t we ride bears to work?” and an entire song about the benefits and uses of wood, which in German is entirely free of innuendo. After their performance last year got cut short due to extreme weather, they vowed that this time we would party to the absolute limit. And we did.

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fri - 257ers - watermark-18

As we headed to the Green Stage we were greeted with the complete opposite of the 257ers,with Clueso on the stage. As a much-needed calm after 257ers, the mix of pop, hip-hop and reggae got crowds singing and swaying. His performance of Zusammen (Together) was a surprise as it appears on the new album by Die Fantastischen Vier featuring Clueso. Considering that the former are due to play on Sunday I would have expected it in the headliners set. But Clueso made it a loving tribute by including verses from some of their best songs, and the crowd loved it.

A weather warning for the approaching storm had been in place from the start of the set. As the first notes of the final song –Verlierer (Loosers) – sounded, the stage and crowds were bathed in blue light, and the heavens opened.

The crowd, undeterred, turned into a sea of complementary, red ponchos and carried on. The Ferris wheel and giant wooden Jägermeister Stag with flaming antlers made an impressive backdrop for the Dropkick Murphys, made even more dramatic by the lightning storm in the background. Much in the vein of Gogol Bordello, the bands Celtic punk moved to crowds to dance the rain away.

In an ambitious attempt to pull off a semi-acoustic set at 22:30, Alligatoah invited us down into the sewers with him via an impressive stage design. Sporting the appropriate blue overalls, flatcap and yellow wellies and accompanied by an electric organ he worked his way through funky versions of his discography. His songs dripping in irony about society including beauty standards (Du bist schön  (You are beautiful)), throw away culture (Lass liegen (Leave it)) and most ironic of all, the music industry Musik ist keine Lösung (Musik isn’t a solution). Being an acoustic set, he relied on the crowd to sing the electric guitar part of Willst du (Do you want to), and they were more than happy to comply. Help was again required for a verse of Trostpreis (Consolation Prize), sung by Timi Hendrix on the record, and the audience performed flawlessly.

fri - alligatoah - watermark-07

fri - alligatoah - watermark-07

Rounding off the first night, the Canadian Billy Talent took to the Green stage. A staple of the Festival circuit and currently touring their fifth studio album “Afraid of Heights”, the band returns to Highfield for a second year running as their set was cancelled due to heavy thunderstorms last year. Lead singer Benjamin Kowalewicz worked the crowd, who responded singing back at him. Finishing with Red Flag and Fallen leaves, the set was worth the one year wait for sure.

Saturday

The plan for Saturday morning was obvious. Get out of the boiling hot tent and go swim. By no means the first with the good idea, the beach was already filled at 9:30 in the morning. The air was a little cooler, but the water no less refreshing than yesterday. Some people were playing beach volleyball, some lying on beach towels playing cards. Crepes for breakfast (what else?) and we headed down to the main site.

We dipped into Swiss und die Anderen, heavy Antifa punk rap. Not our cup of tea, although the crowd was absolutely loving it. Mosh. Pits. Everywhere. Next up on our timetable was Sondaschule, the punk-ska band from the so called Ruhrgebiet, an area famous for its former coal industry. Whether it was the band itself or the following headliners was uncertain, but the crowd had definitely become more punk heavy. From colourful mohawks the leather jackets, the tone of the evening program of the Green stage was set. When the band dedicated a song to what they considered the most beautiful city in the world, the girls near the front holding a “Mühlheim Ruhr”, the home city of the band, sign got excited. But instead of the song of the same name, the chilled reggae beat of Amsterdam began to play. Showers of confetti exploded from the crowd. It’s quite common for German festival guests to bring bags of paper confetti. It makes for great atmosphere and is 100% biodegradable. A win – win. The band thanked everyone for the warm welcome for their first time here at Highfield. Towards the end of the set the band introduced a song from their new acoustic album, the song RIP Audio, which they recoded together with Ingo from the Donots, who had not arrived on site yet. Once again, the crowd stepped up and took over the guest vocals.

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sat - sondaschule - watermark-10

Lunchtime came around and it was finally time for the burger we had travelled over 700 miles for. The wild boar burger from the Hirsch&Eber stall. With onions cooked in port and a cranberry mayonnaise it is without a doubt one of the best burgers I have had to date. If you want to argue with me on that, you can come to Highfield next year and try one for yourself.

Bad Religion were meant to play Saturday afternoon but had to cancel at short notice due to a family emergency. Instead, German festival veterans the Donots stepped up and filled the slot. Undoubtedly leading to one of my personal highlights. The crowd welcomed them with open arms, chanting their name at every opportunity. Lead singer, Ingo Donot, told us they had struggled to get a bus in time and almost didn’t find a dog sitter in time leading to Wake the Dogs.

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sat - donots - watermark-11

Highfield festival had been working with Viva con Agua, a charity providing clean water across the world, for many years. Besides a stand where you can donate there are also people around the site with bins where you can donate your cups and corresponding Pfand. The band got circle pits forming around the bins encouraged everyone to donate their cups while playing Do what you want, a cover to console the Bad Religion fans in the crowd.

Ingo is everybody’s hype-man, excitedly announcing all their friends who were still to play this weekend. This included Flogging Molly whose bassist, Nathen Maxwell, joined them on stage for Kein Problem (No Problem). Finishing the set with So long, the crowds chanted the chorus long after the song had finished, moving the band to tears. It’s fair to say that no one regretted the substitution.

Later, the Swedish garage rock band The Hives took to the Green Stage. The most strikingly dressed of the weekend, everything was black and white. The suits, the guitars, the backdrop. They also had a crew of ninjas doing all the cable management and guitar swaps. The securities in the pit did their best to keep the crowds cool, throwing and handing out water. Lead singer, Howlin’ Pelle Almqvist, went straight into the crowd, wasting no time to get acquainted. The music was fantastic, raw guitar riffs and hoarse vocals. Everything between became a little tedious. Coming across somewhat arrogant, Howlin’ Pelle constantly demanded the crowds cheer, even starting his own encore chant. At some point the audience had had enough, not really responding anymore. A shame, since everyone still had a great time with the music.

This year’s Saturday headliners, the Broilers, can in many ways be considered the descendants of last year’s Saturday headliners Die Toten Hosen. They started out as their support act, being mentored by them and signed to the DTHs own record label. They had big boots to fill, with many people questioning if they were ready for the headline slot. But once they got started, all doubts subsided, and they stepped up flawlessly. Their horn section giving them their trademark ska-punk sound, the crowd was loving it from the get go. When you have a horn section, clearly the natural thing to do is cover the Ghostbuster theme tune. The Broilers are a band where dancing and moshing are equally valid ways to celebrate their music. Small moshpits here and there, but also a paramedic on a break dancing with his girlfriend. It felt like everyone was welcomed into the Broiler family that night. The mood then got more serious with the more recent song Keine Hymnen Heute (No hymns today), a song describing the prohibition of a lot of art during the second world war. The backdrop showed videos of Nazi soldiers burning books as a grim warning against populism and rising right wing sentiments. The pyrotechnics sounding like gunshots. What followed was undeniably one of the most emotional parts of the festival. During Ihr da oben (You up there) the screen showed a collage of photos the band had asked fans to send in for the music video. It showed loved ones that had passed away. The range of photos was particularly striking, as it included young children and babies alongside grandparents. It really drove home the momentous amount of loss and grief contained in all those images.

The tempo picked up again with Held in unserer Mitte (Hero in our midst), with circle pits forming around the bands handpicked audience members. The show finished with fireworks and I think everyone agreed, the Broilers are headliner material.

As is tradition at German festivals there was a general protest against the far right and populism. Whether its moshing against (and on) Nazis, the antifascist charity “Kein Bock auf Nazis” or anti-nazi chants. Many bands had banners saying “Refugees Welcome”. As people were chanting “Nazis out”, the Donots quite rightly pointed out that people needed to go shout these things at counter demonstrations, not just here, where there were no neo-nazis.

Sunday

Sunday started the way all festival Sundays start, the long arduous trek back to the car, laden with bags. The weather was even hotter than the past few days, making this by far the worst part of the experience. Oh the price you pay for camping close to the site and far away from the car park. Once that was over we could get back to the good bit.

Sunday afternoon was Brit indie-pop time on the Blue Stage. Maximo Park’s Paul Smith overdressed, as always, in a blue suit, hat and shades. Dancing enthusiastically through a set spanning all six studio albums, the band started on Girls who play guitar and finished with Apply some pressure. The crowd favourite was definitely Books from boxes. Throughout the set Smith addressed the crowd in broken but endearing German, making sure everyone drank enough water and were having a good time.

A black backdrop with a hypnotising wombat with rainbow eyes marked the next band. The Wombats started out with the lively Cheetah Tongue. The audience had a surprising knowledge of all the songs, singing along and dancing. The award for most crowd confetti thrown definitely goes to The Wombats, with the stuff flying left right and centre. We learnt intimate details, like the argument score between lead singer, Matthew Murphy, and his wife stands at roughly zero to three million. The band also introduced Steve, “The hardest working squirrel in Europe”, who was a plush sitting on the drum kit. Naturally met with chants of “STEVE, STEVE, STEVE”. The next album will be consisting of elevator music, the demo of which promptly turned into Moving to New York. The set peaked with Let’s Dance to Joy Division, causing the biggest explosion of crowd confetti yet. It was a perfect summer afternoon dance party.

By the time Madsen came onto the Green stage, everything was bathed in golden light from the setting sun. Their backdrop a space shuttle from their new album “Lichtjahre (Light years)”, the band celebrated the bassists birthday and started the first ever ladies only circle pit I’ve seen.

By the side of the first wave, two little girls in giant fluorescent headphones were dancing away when a security guard called them over to give them each a carton of water. They repaid him with a handful of confetti. A fair trade I’d say.

Halfway through the Madsen set on the Green stage, the Editors took to the Blue stage. Seeing the meager crowd they were about to go on stage for almost made you feel sorry for them. The backdrop, taken from the cover from their latest album “Violence”, was a dark picture of contorted bodies. Although mildly distressing, it does fit the general vibe of the band. They walked on in silence and started to play their first song. Afterwards the lead singer Tim Smith said a shy “dankeschön, guten abend” and carried on. As the set progressed he seemed to warm up to the crowd, addressing them more freely and encouraging them to put their hands up for songs. His motions across the stage were creeping and primal, almost mesmerising. The crowd had gathered as the set went on, so by the time Papillon started, there was enough of a crowd to properly welcome their favourite. Jumping, singing and waving hands in a butterfly like fashion as the sun set on the final festival day.

Which of the two stages hosted the true headliner is up for debate. The Blue Stage, pioneers of German rap, Die Fantastischen Vier were scheduled to play right up until the point that one of the biggest German rappers right now, Materia, was to take to the Green stage and give the festival the finale it deserves. It was clear the crowds were torn. Get a good spot for Materia and miss out on the band without which he wouldn’t even exist? See the undisputed bedrock of the genre and miss out on a spot in the midst of what promised to be the craziest party of the weekend?

Enough people decided on the latter, the first wave being packed like never before. A huge banner of the new album, “Captain Fantastic”, covered the stage. As the first beats of Tunnel boomed across the grounds, the banner came down to reveal the band, already hyping the crowd. The crowd were with them from the first song with more energy than I’d seen for anyone else this weekend. The backdrop was a rectangle of screens with a fabric banner in the middle, an unusual set up. The hype kept up for about ten songs, the group behind me insisting to express their excitement through five-man moshpit. The set slowed down in the middle with Tag am Meer (Day at the Seaside) which was a shame following the energetic start. Normally, a calm song or two gives to audience a chance to catch their breath. In this case, people started leaving to go to the other stage. As the show went on, the tempo picked up again. Zusammen (Together) was performed for the second time this weekend, this time with Clueso singing his part via video on the screens on stage.

The band left the stage before the three-song encore, at which point they started hemorrhaging audience members. At this point they were clearly going to run over and into the set time of Materia. The proximity of the sets split the audience and to me that was the biggest failure of the organisers. The remaining crowd went mental for the encore, more than making up for their decreased numbers with their energy. The set finished, and everyone rushed to the Green stage to hear the last lines of Materia’s Endboss.

 Even though only two songs had passed, the crowd was already warmed up and ready to riot. Bengalische Tiger (Bengal Tigers) caused red flares to erupt in the crowd and on stage, making for a spectacular view. The melancholic Tauchstation, which is an an idiom meaning secluding yourself, bringing everyone back down with its hypnotic, submarine-like sounds, followed by the ode to the Blue Marlin. The deep bass vibrating everything in reach.

At this point, Materia took a moment to thank Viva con Agua for their work and encouraged everyone to through their cups on stage on the count of three. This led to the bizzare spectacle of plastic cups flying through the crowd, rarely reaching the stage, instead being picked up and thrown further forwards. It looked like hundreds of tiny plastic dolphins, making their way to the stage. Given the value of 2 euros per cup it was likely 1000 euros worth of donations flying about. Talk about making it rain.

Materia is currently promoting his joint album with Casper, “1982”. Both were on site together earlier in the day giving autographs and taking selfies with fans. It therefore came as no surprise to suddenly see the two on stage together performing the first joint single Champion. None the less the crowd flipped, making it clear that this collaboration is hotly anticipated. The mood remained ecstatic as the duo performed their second single Supernova. As a crowning finale to the joint performance, they premiered their third song Adrenalin. On top of the first reveal, the two also announced they were filming the music video at the festival. Naturally, the crowd pulled out all the stops, no doubt providing a sensational backdrop.

From there on, the set escalated from song to song. One hit after another, culminating in Feuer – Fire, obvious pyrotechnics included. Materia’s alter ego Marsimoto made an appearance for a verse. Cloaked in bright green smoke and wearing his metallic green mask his arrival caused a brief change of pace before returning to the high-octane finale of Feuer.

Finally, Materia teased every last ounce of energy out of the crowd with his Letzte 20 Sekunden (Last 20 seconds). The audience jumped, waved and threw shirts, moshed and tore the place apart. At one point the show master himself descended from the stage to party with his fans, right in the centre of the first wave. It seemed neither crowd nor band wanted it to be over. Materia dancing with his band on stage, waving a Rostock football flag and hugging everyone. It was a night that no one wanted to end.

The Highfield festival is too small to draw an array of big international names, maybe getting one per year. Personally, I think the appeal lies in the atmosphere. The beach makes it feel more like a holiday and the line-up is one you can dip in and out of without the notorious fear of missing out that plagues big festivals. If you’re into German music then you’re guaranteed to find something, including high caliber performance. It’s a niche for international visitors, but definitely worth checking out if you fancy a chilled weekend by a lake with mostly great weather.

Deichbrand Festival 2018 – Full Review!

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Deichband festival is a festival with a bit of a twist. Located just a few km from the coast of the North Sea, Deichbrand has branded itself as the festival ‘on the North Sea’. And while this is not completely true, it does do hourly trips to the sea, where punters are offered the chance to try paddle boarding and surfing. In previous years there’ also been the opportunity to fly over the festival in a helicopter, though they’ve had to cancel it this year for various reasons. Though a lot of people were upset, most of the punters I spoke to say they were glad they weren’t going to have to deal with a helicopter over their campsite every twenty minutes.

There’s a huge variety of food a drink across the main site and throughout the fields with the smaller stages. The food ranges from typical German fast food dönner (similar to our donner kebabs) through to a Pakistani company serving tradition food, the noodle place and of course the German favourites of ‘pommes & wurst’ (sausage and chips), burgers (including wild boar and rib burgers) and ‘pommes am stiel’ – chips on a stick. There’s also vegetarian options, and what’s more, there’s variety in that as well. There’s your standard pasta – in this case gnocci – but there’s also vegetarian kebab wraps with halloumi or vegan ones with falafel.

As with every German festival, Deichbrand supports ¡Viva Con Auga! A charity that improves the drinking water and supply in developing counties such as Cuba, Kenya and Nepal. To help with this almost all German festivals have a ‘pfand’ (deposit) of €2 for all the cups bought at the bars onsite. You then have a choice to return the cups to the bar and get your ‘pfand’ back – in which case, well done on cutting down on waste – or, you can give it to one of the many volunteers onsite who will then recycle it for you and get the ‘pfand’ for their charity. So it’s really a win – win for the environment and the charity. It’s an excellent idea, and though I’ve said it before it’s worth mentioning again, it should be implemented at UK festival in order to cut down on the waste that festivals always cause.

As well as the music, Deichbrand offers a number of workshops, which though common in UK festivals isn’t something I’ve seen much of abroad. There’s the classics, masseuse training, morning yoga and circus school, as well as a few more unusual act ivies like  beer yoga (like normal yoga but you’ve got a cold beer in your hands and you can’t spill it) rock-climbing and parkour sessions.

Deichbrand is a small festival, with four stages, two big ones (fire and water). The first act of the afternoon is double act the 257ers. And when I say double act I mean it in the comedic sense. The band have produced five albums, which pretty solidly consist of comedy songs. Their last album ‘Mikrokosmos’ (Micro-cosmos) reach number one in the German charts, with songs such as ‘holz’ – an entire song dedicated to how much they love wood. Not the kind of wood you’re thinking off right now, just normal wood. From trees. I know, they are a bit weird. But that’s why we love them. Their performance is littered with costume changes, including going from their Adidas shirts into their captain kit for their Pirate song (a weird sea-shanty type song) and into orange (Dutch) football tops. The costume changes do take a minute or two, and while they get changed we were entertained by their DJ who played an interesting mix of songs, from Whitney Huston to Crazy Frog back to Papa Roach back through to Beyoncé. He then got out from behind his decks and gave one end of a massive tube to the crowd, while he poured beer down his end, creating a kind of oversized beer straw for the people in the crowd. During the next song, the 257ers got down from the stage and sprayed a foam cannon out to the crowd, who were going wild and feeding off the energy that was being thrown from the stage. During one of the mosh pits they’d encouraged the audience to create they spotted a man in a knitted octopus mask, and shouted ‘Zoidberg! Three years!’ – Apparently this guy always goes to festivals with this mask on, and it’s paid off. 257ers noticed him, and they’ve even made note of how many times they’ve seen him. I think it was pretty cool that not only did they notice him but they also made a point of pointing him out.  They’ve also got songs like ‘Holland’ which is an ode to the country of its namesake, with lines like ‘Nobody’s aggro, everyone’s tripping, Holland is the boss, I think windmills are cool’ which, I mean. They’re just such good fun, both to listen to and to watch up on stage.

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fri - 257ers - watermark-13_1

Friday evening was officially started by Scottish singer Amy Macdonald, who played a fantastic set. Though many of her songs are sung with an American accent, as soon as she spoke to the audience it was clear that she is Scottish through and through. The audience knew this, which was evident from the amount of St. Andrews’ crosses strewn across the crowd. Macdonald commented on the weather (and the dust) and how she couldn’t cope Scottish skin. During her set she tried to read a few signs in the audience, a classic ‘we love you’ sign that she comment on and thanked the people that wrote it, saying it ‘looked like it’d taken them ages to make’ and she saw a sign further back that she commented on but couldn’t read. Later in her set she spotted someone holding a sign and asked them ‘you’re asking to sing someone else’s song on stage? What would I get out of it? It’s not in my setlist’ – someone in the crowd had made a sign asking if they could sing Bruce Springsteen’s ‘Dancing in The Dark’. Macdonald then conceded, saying ‘alright then, get up here’ and this guy was brought up onto the stage. He was completely star struck, as you would be, Macdonald kept asking him his name and all he could do was gasp. Eventually, with some whispered encouragement from the guitarist, this guy manage to speak into the mic and tell us his name was Patrick. Macdonald then said they couldn’t do the whole song, but they could do a verse and a chorus. So, they started singing as Macdonald played along with her guitar, and it turned out that Patrick could sing. And I mean *sing*. He had an absolutely amazing voice, and what’s more is that it

harmonised perfectly with MacDonald’s. It’s not hard to imagine how WILD the crowd were going as soon they realised he could sing. It was evident he was still star struck, but the fact that he managed to not only sing, but sing well in front of an audience easily 5,000 strong. After they sang together Patrick was quickly ushered off the stage beaming and passed onto security backstage, where he was greeted with high-fives. Macdonald resumed the show and finished off her set with her chart topping single ‘This is the Life’.

 

Casper headlined on Friday night, and, unusually for him he came on stage full of colour. He was wearing a yellow jacket and seemed a bit livelier than in previous times. Whether this is a move away from his generally darker rap or just a blip, is still undecided. The amazing light show was the perfect ending for the energetic day that had been Friday.

Saturday

Saturday afternoon started off with London shanty punk band Skinny Lister jumping on to the stage and immediately energising everyone in the area. Skinny Lister have the ability to turn a gig, no matter the size, into a party where it feels like everyone’s been invited. A lot of the crowd clapped and swayed along in time to the music, but part of the crowd (arguably the better part) started dancing, jigging and stomping along to their hearts content. The jumping/dancing/jigging caused all the dust in on the ground (which I have decided is probably at least half of the entire world’s supply of dust) went up into the air, obscuring the band and pretty much everything else. They did comment on it, vocalist/guitarist/stomp-boxist Dan Heptinstall saying ‘we’re in the Deichbrand Dustbowl’ and vocalist Lorna Thomas later commented that they’ll be touring (though probably not until the new year when the next album is due to be released) and we could go and see them in a less dusty setting. As always, Skinny Lister provided the audience with refreshments in the form of a jug with a mysterious mixture of what one can only assume is just alcohol. The Jug (affectionately referred to as the 7th member of Skinny Lister) was passed around the audience as everyone took a sip on it, before being passed back up to the stage – now empty. The free alcohol is one of the bonuses of seeing Skinny Lister live, though the main draw is the amount of positive energy that comes pouring off the stage when the play. It’s also worth going just to watch double bassist Scott Milsom lift his double bass over his WHILE playing it. It’s a pretty amazing thing to watch.

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sat - skinny lister - watermark-10

The next act of the afternoon are indie pop band Von Wegen Lisbeth from Berlin. Von Wegen Lisbeth are a quirky pop act, using steel drums and xylophones in their music as well as the standard keyboards, guitars bass’ and drums. They had the stage covered in greenery, plastic leaves, vines and branches littered the set.  Behind them they had the letters ‘V’ ‘W’ and ‘L’ lit up on big squares – you’ve got to admit that’s a lot easier than spelling out their lengthy name.

As we wander towards the end of the evening the Fire Stage is hosting Brummie indie-rockers, The Editors. Their dark, synth-y sound and ambiguous lyrics do feel slightly out of place in the afternoon sun, it’s still 24℃. What’s more, is that they came on stage to Abba’s ‘gimme gimme gimme (a man after midnight)’ – again, a stark contrast from the broody and moody set they are known for. They opened their set with the first track of their new album ‘cold’. In fact, a lot of their set was taken from their new album, ‘violence’ as was the back-drop for the show, three naked and dirty people wrapped around each other. It’s very…Hannibal-esque, actually. But I guess that does fit with their image. They did of course play crowd favourites, including ‘Sugar’, ‘Munich’ and ‘Papillion’. They ended their set with Magazine, another one from their new album. It was a really good set, overall. It would have been nice to have a little bit more interaction with the crowd, but apart from that it was a nice, standard Editors show.

As the sun had finally set the crowd gathered around the fire stage for the final act of the night. The Killers. The band coming towards the end of their European tour – which this time around has included the festival circuit, playing at the Isle of Wight Festival as well as TRNSMT in Glasgow and Summer in the City in Dublin.

They opened with their newest track ‘The Man’ and the crowd due fully danced along, but once they’d finished, lead singer Brandon Flowers asked the audience if they were ready to party with the killers – all in German, which was pretty impressive. After the resounding ‘JA’ from the audience they went straight into ‘Somebody told me’ which had the entire crowd going absolutely mad. They followed it with ‘Space man’ and Flowers’ was dancing across the stage, in full glory with his gold and black shiny jacket. Clean shaven and boy-faced, he looks decades younger than his bandmates, all of whom are bearded and looking somewhat grizzled. As he danced around the stage the dust had been blown onto the stage and by the third song – – Midnight Show – (a throwback from the 2004 album Hot Fuss) Flowers’ had a facemask made entirely of dust and dirt. The set list was a good mix from all their albums, though after his attempt at German Flowers’ was lacking on the audience interaction. However, this was probably because he didn’t have much breath left what with all the singing and jumping and running the entire length of the stage for each song. Something should also be said for the visuals, the lights were great, as most big production shows are, with enough lasers and strobes to fill a boat. But what was really nice was the attention to detail. The confetti shot out of the cannons the second time round was in the German colours, which I thought was a nice touch. The first lot of confetti was pink, and I think it surprised everyone when it came out at the start of ‘somebody told me’. I don’t know what it is, but we in the crowd never seem to expect confetti at the start of a show. In the middle of the set they played ‘Runaways’ which bled seamlessly into ‘Read my mind’ which then again blended into ‘All these things that I’ve done’ which was not only incredibly interesting and pleasing to listen to, but also really quite impressive.

As well as the band on stage, they had three women doing the backing vocals, all of whom had absolutely stunning voices and really gave some depth to the whole show. They finished their set with ‘When you were young’ to 50,000 voices singing along, and fireworks coming down from the top of the stage. They thanked the audience as they walked off stage. No one left the arena, we all knew what we were waiting for. We couldn’t see The Killers and have them NOT play it. We waited, anticipation building, cries of ‘encore’ and ‘one more song’ erupting now and again from various pockets in the crowd. The screen on the stage went black. The large, orange words appeared on it. Three words. Are. We. Human? They came back on to cries and cheers and woops, as we knew they would. The first few notes were played, and though it wasn’t the song we’d waited for, the crowd still went mad, dancing and moshing and singing along. Once it was over there was barely a pause before Flowers’ started singing – with heavy auto-tune – ‘coming out of my cage and I’ve been doing just fine…’ and the this was it. This is what almost everyone there had come to see. The first verse was done with heavy auto-tune – it was a remix, what this effectively meant was that we got an extra verse. Once the auto-tune verse had finished, Flowers’ started singing without it, and ended the night in a spectacular way.  

Sunday

I wasn’t sure why Alligatoah was playing early on the Sunday morning. Well, early in the festival bubble, he was onstage at 12pm, and the first act of the day. I knew a couple of songs from him, and though he was performing an acoustic set, I still wasn’t convinced that he was the right person to start off Sunday afternoon. However, any doubts I had were quickly put to rest. He had an extensive set for an early afternoon act. The stage was set up like a building site and Alligatoah was wearing blue overalls and a builder’s hat. Throughout his set he clambered up and down the ladders and across his ‘building site’ and when he started singing ‘Willst Du’ – one of his more famous songs – he was singing it to a traffic cone in a very loving manner. His set was full of character in a very gentle way. He was friendly to the audience throughout his set, and the lazy Sunday morning vibe was helped by the fact the crowd in the first wave were all sitting on chairs that had been set up for them – presumably by the festival rather than the artist. Alligatoah also explained that he should have had a red balloon at the top of his building site set so it looked like something out of Stephen King’s IT, but it had blown away. Halfway through the set Alligatoah revealed that one of the bin bags that had been put on the stage around the building site set had been hiding a piano, which was actually a pretty cool reveal. I was impressed with the set and thought it was the perfect kick-off for the last day of the festival.

sun - alligatoah - watermark-27

sun - alligatoah - watermark-27

Not knowing any songs from Bosse, I was unsure what to expect from the singer. I’d heard that he was really good and was surprised at the range of people in the audience that came to see him. It seemed as if Bosse ws something that everyone was excited for. The crowd was a mixture of all ages and people from all walk of life. The sizable band came on stage, followed shortly by Axel Bosse, running onto stage. Wearing a ‘Refugee’s Welcome’ Shirt, he danced around on stage like a man possessed. He didn’t seem phased by the heat which I can only imagine was even more intense on the stage that it was off it, he ran from each side of the stage and onto the catwalk, all the time dancing and singing and not pausing to take a breath.     

SDP are a two-man band (not including the drummer and a dj of course) who have an astounding amount of energy on stage. The lyrics to the songs range from the heartfelt (Candlelight dönner) to the ridiculous (deine freundin) to the absurd (ne leiche). And of course no SDP set would be complete without stage antics, blow up sex dolls and fireworks and pyrotechnics. Honestly, it’s like giving over-grown children full control over their own birthday party.  Halfway through the set they brought out their sex doll (see what I mean) and tried (and failed) to perform CPR on it, before launching in to ‘Ne Leiche’ (literally – ‘a corpse’).  

Final act of the evening – and the weekend – were German super band – Die Toten Hosen. Everyone in Germany (and Argentina for some reason) knows about Die Toten Hosen. Toten Hosen have been around for over 36 years, one of the bands that started the punk movement in Germany in the 80s during the latter years of the cold war. The band have been prolific since their creation in Düsseldorf, releasing albums every few years which means their back catalogue is impressively huge. Their set included the best songs from their discography, including old favourites like ‘Bonnie & Clyde’, ‘Pushed Again’ and ‘Paradies’ as well as classics from their early, un-polished days, like the show opener ‘Opel Gang’ and of course songs from their new album. They also played a number of covers that are new for this tour, most notably ACDC’s ‘T.N.T’ as well as Iggy Pop’s ‘The Passenger’. Toten Hosen frontman Campino has boundless energy – especially for a man his age – and routinely got up close and personal with the crowd. As you would expect with a band that size there was of course two encores, and the night was ended with two classic Toten Hosen songs, ‘Tage wie deise’ (this is the day) and a cover of the Liverpool FC anthem ‘You’ll Never Walk Alone’, which might seem a bit odd to people not familiar with band, but there is a reason for this strange choice of song to finish off a weekend in Germany. Campino is and has always been a big fan of Liverpool FC, and they’ve been including it in their set for at least the last 20 years. It was a perfect ending to the festival, the entire crowd was singing along and we all got swept up in the moment as they finished the show and the festival.

Deichbrand is a great little festival that’s had a solid line up since it was founded in 2005, and this year didn’t disappoint. Everyone is so friendly during the festival and it is a festival that holds itself to an extremely high standard. I would recommend anyone that’s into rock, rap and pop should go and experience the only festival on the North Sea.

Bloodstock Open Air: PREVIEW – 3 WEEKS TO GO!

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The countdown is on, three weeks until Catton Park is overrun by a hoarde of the weird and wonderful, your punks, goths, metalheads, geeks and freaks. Yes, it’s almost time for Bloodstock Open Air – the UK’s premier Metal fest.

Let’s take a look at what BOA 2018 has to offer…

BANDS

Headlining Friday night at BOA are the mighty Judas Priest, tipped to be bringing some ahem, serious fire-power, alongside material from their new album… ‘Firepower’. It’s going to be a memorable show that’s for sure, but it’s not all about the headliners at Bloodstock – Friday offers up a plethora of bands we rarely get to see at other festivals in the UK, like Emperor and Suicidal Tendencies. We also can’t wait to walk with zombies Wednesday 13 and get our thrash on with Onslaught, we are coming fully prepared to leave this festival with RSI of the neck.

On the Sophie Lancaster stage we’ll be looking out for metal goddess Doro, and we’ll definitely be checking out the New Blood stage to fill our boots with brand new music to add to our playlists.

Gojira are back after a year off, but this time taking the Saturday headline slot to showcase their unique brand of metal and having seen them hit BOA in 2016, it’s pretty clear we’re in for an incredible night. Also on Saturday’s menu, the beautifully weird juxtaposition of Scotland’s own pirate power-band Alestorm, followed by New York death metallers Cannibal Corpse. I’m down for that sort of variation, it keeps things interesting. We’ll also be turning out for Combichrist, and Israeli band Orphaned Land over on the Sophie stage.

Sunday’s finale spot, perhaps somewhat controversially goes to Nightwish, a band who are no stranger to drama throughout their career. Indeed this will be the third time the band have headlined the festival, with yet another different vocalist – Floor Jansen. However Nightwish undeniably deserve the accolade of closing out Bloodstock, having topped the bill twice before and drawing from a massive eight studio albums worth of music, we’re catching them on the ‘Decades’ tour, which is bound to be celebratory. Also on Sunday, SFG are looking forward to At The Gates, Jamey Jasta of Hatebreed fame, and Evergrey but the biggest hype by far is for American rock crooners Mr. Big. We simply cannot wait to karaoke the hell out of ‘To Be With You’ in the cheesiest way possible. Might even slow dance. There’s something fantastic about Mr. Big featuring on the same bill as Watain – over on the Sophie stage, who we will also be sure to catch. If you’re heading there too, take a poncho for the gore and keep your phone in your pocket. Trust us. It’s gonna be a wild one.

ENTERTAINMENT

If the music isn’t enough to satiate your appetite over the weekend, or there’s a bit of a lull in your lineup, you’ll find plenty of other stuff to see and do at BOA this year. Take a stroll through the BOA RAM Gallery which features the incredible artwork of Paul Raymond Gregory, various photographers’ shots from previous years, and new this year – an entire Judas Priest wall.

Meet your heroes and get your stuff signed! Bloodstock has always had a great band-to-fan signing tent with loads of opportunities to meet and greet, so make sure you take along any special CD sleeves for your favourite band and check the signing times.

Muscles 2 the Masses – BOA’s very own Strongman/Strongwoman competition now has an amateur division for festival-goers (who have competed in qualifying heats already) to be crowned Bloodstock’s Strongest Man, in a series of events which centre on… well, you know, lifting stuff up, mainly. If that doesn’t take your fancy, we’ve heard Battle Reenactment is back on the menu – who doesn’t love armored dudes beating seven shades of hell out of each other?

Late night DJ’s and movie screenings after the bands are finished are also being laid on for the drunks and nosferatu among us, so if all your mates have crashed and burned for the evening, pull up a pew for Spinal Tap and make some new pals.

FOOD

There’s no slacking on the food front either, for a smaller festival the options are excellent whether you’re a straight up carnivore, a vegan or somewhere in between. Grab yourself a brisket sandwich between bands, pick a veggie paella or an entire Sunday dinner in a Yorkshire pud, but for my money – I’m making room for a crazy hot chili in a bread bowl also known as Bunnychow. Oh and you’ll find your morning hangover cure over at the famous Motley Brew, I particularly love their ‘Sweet Chai o’Mine’ mugs and the fact that you can also get a massage while you convalesce.

MERCH

BOA’s main arena boasts a massive array of shops in which you are sure to find anything and everything a metal fan needs – you’ve got your patches and pins, your leather chaps, extremely obscure black metal tees, jewellery emblazoned with skulls, studs on absolutely everything and of course, viking drinking horns. If you’re looking for rare vinyl or CD’s – Bloodstock has your back, particularly brilliant if you’re looking for something better than the programme to take into the signing tent (I once found a vinyl of The Final Countdown and got Europe to sign it, they were not thrilled to recall their hairstyles…).

As for official merch, you’ve got your straight up festival tees with the incredible Bloodstock artwork, and a heap of other stylish variations, but this year I’m after some of the new offerings, particularly the leggings, hip flask and leather cuff. It’s great to see BOA venturing into more merchandise variation, and we’ll definitely be getting hold of the branded reusable cups for our beers too.

So what are you waiting for? Tickets are on sale HERE

See you down the front! m/

 

 

DOWNLOAD 2018: The Big Review!

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FRIDAY

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!

Read our full Avenged Sevenfold review HERE

SATURDAY

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…

Read our full Guns’N’Roses review HERE

SUNDAY

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?

Read our full Ozzy Osbourne review HERE

© Image courtesy of Download Festival: Kyle McLoughlin

Ozzy Osbourne at DOWNLOAD 2018: Reviewed!

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It’s possibly the sunniest day of Download’s entire history and we’re collectively scorched after spending our Sunday rocking out to a wealth of amazing bands and artists. The swirling masse of black clothing is now contrasted by a beautiful tinge of red sunburn and vampiric-sorts are cowering under their parasols awaiting The Prince of Darkness himself… Ozzy Osbourne.

O Fortuna rings out heralding Ozzy’s return, both to Download – having performed last with Black Sabbath in 2016, and been a previous host of festivals at Donington with his own Ozzfest before – for this metal Brummie, it’s pretty much home. Two giant rectangular screens flank a cross-shaped one in the centre of the stage, which begin to scroll through a timeline of Ozzy-through-the-ages, including a school mugshot which elicits an ‘ahhh’ from the crowd. Like some kind of surreal supermarket of the damned, Ozzy’s unmistakable disembodied call comes across the tannoy “I can’t fuckin hear you… louder…”. Anyone who’s ever seen him before knows that this is pretty much all he’s going to say, for the next two and a half hours, no matter how much you yell back. He probably genuinely can’t hear us.

Anyway, finally legging it out in a black leather trench coat – and I do mean legging it, this is actually a pretty spritely Ozzy we’re getting tonight, and at 69 years old it’s no mean feat. Starting off with a site-wide howl we’re treated to ‘Bark at the Moon’ replete with moon and wolf visuals and Ozzy very literally throwing his head back for a howl. I was genuinely concerned he was going to tip over backwards at one point but was immediately distracted by guitarist Zakk Wylde’s indominable shredding on his signature swirl Les Paul. The man can honestly do no wrong.

As a crowd-surfing inflatable T-Rex bobs along the front row, Ozzy ditches his jacket revealing a sparkly bat top – it seems old tropes never die, and 1980 release ‘Mr Crowley’ harks back to a time where bat-munching was just, so on trend. Black Sabbath track ‘Fairies Wear Boots’ has the whole arena singing along but it’s not easy to forget the magic of seeing Iommi himself rocking this a mere two years ago. Truth be told, it doesn’t have the same gravitas.

‘No More Tears’ and ‘Road to Nowhere’ are both heavy hitters but it’s once again the Black Sabbath tracks that really get the stamp of approval with this crowd. The stage screens are aflame and air raid sirens wail in the night; ‘War Pigs’ is a wall of voices chiming in on a veritable metal anthem. If you don’t know the lyrics you’re basically desecrating Donington’s unholy ground, to be honest.

Ten minutes worth of Tommy Clufetos’ rumbling drum solo has everyone cheering, and gives Ozzy a bit of a break before heading into ‘I Don’t Want to Change the World’ and ‘Shot In The Dark’ which is accompanied by the most magnificent 80’s Tron-esque visuals. With a chant of “one more song” arena-wide, ‘Crazy Train’ is as massive as it ever was and Ozzy is doing a frankly stellar job considering he’s just shy of 70 and basically pickled with his history of drugs and alcohol. After a brief interlude, he’s back on for ‘Mama I’m Coming Home’ to the dismay of many (it is crap though isn’t it…) and as per the technology age we view a blanket of phone-lights in place of cigarette lighters thrust into the air. Anyway, it’s all quickly made up for with a rousing performance of ‘Paranoid’ to cap off the night in style.

Say what you will about Ozzy’s singing – he’s pretty much always sounded like that, I will always be appreciative of getting to witness one of heavy metal’s greats in the flesh, because there’s nothing in the world quite like live music, and this is history in the making.

© Image courtesy of Download Festival: Matt Eachus

Guns’N’Roses at DOWNLOAD 2018: Reviewed!

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Day two of Download and arguably the most anticipated revival in rock history topping the bill tonight. Yes yes, we’ve all seen some other iteration of Guns’N’Roses… the one where Axl turned up an hour late, got bottled and slipped over… the one where everyone hated Chinese Democracy… the one where Slash just came and did his own thing and everyone completely loved it and uh, Velvet Revolver. But this is it. As close as we’re ever gonna get to a feud-less, most-members, sort-of-real G’n’f’n’R. For those of us born too late to have worn snakeskin and chains in the heyday, when leather was acceptable for every item of clothing, it’s a chance to jump into a bit of history and live the 80’s Sunset strip for a couple of hours.

In an extraordinary turn of events (which I am led to believe is mainly due to extremely fierce contract rules) the band hit the stage BANG ON TIME. It’s so incredibly unlikely and unheard of, it appears to take the crowd by surprise and a frantic legging-it-back from portaloos and food stalls ensues as the first notes of ‘It’s So Easy’ ring out.

Emerging in jeans that are more rip than denim and the inevitable plaid shirt tied around his waist, Axl’s unmistakable nasal tones signal the start of something special. Massive runway steps around the stage promise great views for even those at the back of the main stage arena, which is helpful considering this is probably the most packed it has ever been here at Donington.

Blasting through ‘Mr. Brownstone’ with hilarious backing vocals by… everyone, we’re so happy that even ‘Chinese Democracy’ itself doesn’t upset us. This is undeniably what we came here for, I mean even if Axl isn’t rocking a kilt and wellington boots, Slash looks precisely the same as he ever did (have we ever seen his actual head before?), Duff is still rocking a Prince logo on his bass, visuals of the band logo are plastered over all available screens and they sound downright incredible.

A crowd-wide Guns-and-Roses chant arises as the epic intro for ‘Welcome to the Jungle’ begins, and of course Axl milks the “you know where you are?” part. I just wish, just a little bit, that he’d have customised it for “you’re in Donington baby!” but oh well, he’s donned a different leather jacket and a hat for this so I guess that’s, interesting.

Classic Wings cover ‘Live and Let Die’ is spectacular, but honestly they kinda ruined Velvet Revolver’s ‘Slither’. It’s just not made for Axl’s rasp. ‘Rocket Queen’ in the blazing sunshine is the stuff rock and roll dreams are made of, and Axl has swapped into a fetching white leather jacket with a Crocodile Dundee-esque hat. I’m not sure I totally understand the outfit swaps to be honest, are they just all his favourites? Like a kid taking too many soft-toys to bed? They don’t seem to bear relevance to the set list, I mean if he’d come back on stage dressed as a rocket, or for that matter a queen, I’d be considerably more impressed.

Now I won’t lie, there’s a bit of a lull here in the middle. It’s a 3 hour set which seems to have been set up to include Appetizer, Siesta, Dessert, as far as planning goes. There are some absolute highlights of course – Terminator track ‘You Could Be Mine’ with a host of tron-esque graphcs is amazing and obviously any time Slash is rocking a solo you just shut up and enjoy. The Godfather theme tune ‘Speak Softly Love’ isn’t exactly ripe for the sing-along, but it is pretty spectacular.

Now clearly ‘Sweet Child O Mine’ is going to be well received no matter what, but Axl-more-changes-than-RuPaul-Rose goes wild, with er, a red bandana and tan hat combo. It’s a dream to hear live and the entire crowd is air-guitaring along with Slash, as it should be. A beautifully soulful cover of ‘Witchita Lineman’ has the younger contingent scratching their heads a bit, and Pink Floyd’s ‘Wish You Were Here’ is top notch too, but it’s now dawning on us that at least half of this 3 hour behemoth of a set isn’t actually going to be Guns n Roses songs. Go figure.

‘November Rain’ sees a raft of on stage pyro simulating rain due to the unusually dry conditions this year, which we are all super thankful for by the way, and a giant black grand piano is wheeled out, with a teeny weeny motorbike stool for Axl to sit on. It’s more than a little bit comical. Sorry. Then again I’m sure he cares not a jot, seeing as we’re treated to some up-close shots of his hands tickling the ivories, and one of them is adorned by an obscenely huge rectangular sapphire ring that looks like it could knuckle-dust you into another dimension. Slash is now up on the top gangway wailing for all he’s worth, and the skies are turning pink and blue above us, it’s so perfect I want to puke. As if that wasn’t enough, we’re treated to (yes, another cover…) Soundgarden’s ‘Black Hole Sun’ with an intro suspiciously familiar to Westworld fans in the crowd, which honestly makes me wary that Axl has actually been replaced by a host. It’s the only explanation for his turning up on time.

Snapping back to the big guns we’re treated to ‘Knockin’ on Heaven’s Door’ with Axl in a fringed jacket, and then the absolute classic ‘Night Train’ before an extremely brief pause for the encore. The signature whistle signals the intro for ‘Patience’ and Axl quips “…we’re going to play an English folk tune” before launching into a cover of The Who’s ‘The Seeker’ whilst wearing a Union Jack emblazoned hat. Finishing up with a final change into a studded leather jacket we get the big one, ‘Paradise City’. It’s everything it should be, loud, large and classic. Fireworks top off what was an incredible, if slightly lengthier than it needed to be, show. There’s no denying Guns’n’Roses were meant for Download Festival, it’s been a long time coming.

© Photo courtesy of Download Festival: Sarah Koury

© Photo courtesy of Download Festival: Sarah Koury

Avenged Sevenfold at DOWNLOAD 2018: Reviewed!

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The rain has held off all day, we’ve weedled our way into the middle of the black sea of metal-tees – beer in hand, and it’s time for the first headliner of Download Festival 2018 – Avenged Sevenfold. Heading out onto the Donington stage for the first time in 2006, A7X have been firm favourites at the festival, returning in 2011 and then 2014 to headline, but this is something else entirely.

The stage is set with a raft of giant screens depicting stone murals and front-man Shadows appears in his now signature garb of a red and black plaid shirt and an Axl-style bandana strapped around his head, yelling something or other about Jesus, as the band scream straight into the entirely apt ‘The Stage’. ‘Afterlife’ is heralded by a bombardment of pyrotechnics in the form of massive flame cannons, which serve to singe the whiskers off anyone in the front five rows, and to the surprise of many around us – they’re absolutely nailing it. I suppose the problem with A7X has always been their willingness to explore so many different styles of rock and metal, from prog to hardcore and everything in-between. They’re not ‘that’ polarising band that you either love or hate, they’re just somewhere in the middle, where a song or two might chime with what you like. As such, it can be hard to accept their set as anything other than a mash-up of whatever they feel like that day, but honestly, today it’s more like an expert tour through metal as a genre.

Vengeance and Synyster are back to back, playing intricate harmonies and it’s clear that from a sheer musical perspective, they deserve their top of the bill spot here at Download. Yelling “It’s our favourite goddamn place in the world to play” is always guaranteed a roar from the crowd in the UK, whether it’s true or not, but the sheer force and power of ‘Hail to the King’ rings the sentiment true, and here’s where it gets interesting. Taking more than a small cue from metal legends Iron Maiden I’m sure, a giant zombified king is ushered in from the back of the stage to ‘crawl’ above the band and inexplicably, to sing along. This kind of production is usually the reserve of giants like Maiden or Viking Power-metal bands who just really believe in their storyline, but hey, maybe that’s what the current festival scene is lacking? The 90’s and noughties saw a phase of rock and metal where any kind of gimmick or even loud clothing was considered tacky and unprofessional, leaving a hole in big-scale shows which covered the entertainment factor, as well as musical prowess. Are we due a proper resurgence of pantomime metal? I’m not sure it’s a bad thing, it keeps things interesting in a long set at the end of a busy day of bands, and who doesn’t love an enormous skeletal king having a sing-song anyway?

With a sobering video tribute to former drummer James “The Rev” Sullivan who died in 2009, they head into ‘So Far Away’, followed by the massive ‘Nightmare’. Yelling out “…we’re taking it back to the beginning, none of that shit we’ve been playing all year, this one’s just for you” the band roll into a track from their second album – ‘Eternal Rest’. Just when you thought it couldn’t get weirder, yet another giant installation is floated out above them on stage… a humungous skeletal space-suited spectre, as grim as it is spectacular, and the screens change to dark starry skies as the night truly sets in over Donington Park as the band hit the ahem, high notes of ‘Higher’.

A cover of Pink Floyd’s ‘Wish You Were Here’ is dedicated to celebrity chef Anthony Bourdain, who was reported to have committed suicide in the early hours of the morning, and Shadows implores anyone who is struggling – to seek help; “…we lost Anthony Bourdain today. It may seem silly but he’s a guy that showed us all different cultures and different people… that we’re all equal… so reach out, we all feel the same way”.

Bringing things back to a safer, louder space ‘Shepherd of Fire’ inevitably sees the stage… well… on fire. Pretty much all of it in fact. You’ve got to wonder what their total carbon footprint is for this entire set. Joking “We’re gonna have some fun… all the people who hate us have gone back to their tents”, A7X finish up with ‘A little piece of Heaven’ a delightful song about murder and necrophilia, and then ‘Unholy Confessions’. No really, and the entire crowd is singing along as if it were as normal as a school assembly hymn. I mean, metal has always been known for hitting up risqué topics but there’s something undeniably jolly and therefore unnerving about this. If there’s one thing you can say about Avenged Sevenfold, it’s that they’re not afraid to go there. Well, anywhere really. Tonight was a triumph of their absolute willingness to do whatever the fuck they want. Bravo I say.

© Image courtesy of Download Festival: Matt Eachus

© Image courtesy of Download Festival: Matt Eachus

DOWNLOAD FESTIVAL ANNOUNCES NEXT ACTS FOR 2018

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Download Festival, the world’s premier rock event, has announced some of the biggest rock acts in the world including Marilyn Manson, Parkway Drive, Rise Against, BODY COUNT ft. ICE T and more. The three-day festival takes place 8-10 June 2018 at the spiritual home of rock in Donington Park, Leicestershire. Tickets are on sale now at downloadfestival.co.uk/tickets.

Download is proud to welcome back the Antichrist Superstar himself Marilyn Manson, fresh off the release of critically acclaimed new album Heaven Upside Down. The goth rock veteran is more energised than ever and set to bring his renowned live show to Donington next year.

Since 2003 Aussie rock titans Parkway Drive have gone from strength-to-strength, pushing boundaries with their epic live performances. Having ascended to the forefront of modern metal with their latest critically acclaimed album Ire, their ferocious crushing breakdowns and stadium-sized choruses have them high on people’s lists for future headliner contenders.

 

Parkway Drive said:

“Parkway Drive are super stoked to be returning to Download for 2018. It's always a highlight for us to play Download and this time around we're aiming to top it all. We can't wait!”

British modern metal institution Bullet for My Valentine have also been confirmed to perform at Download Festival next year. The Welsh powerhouse have conquered the heights of Wembley Arena along with fellow UK torchbearers Asking Alexandria who will be taking to the stage with a hero’s return of their original infamous vocalist Danny Worsnop.

 

Matt Tuck of Bullet For My Valentine said:

“We're so excited to be playing next year's Download Festival!! It's been 5 long years now since we last performed at Donington Park, so we're more than ready to get back on that legendary stage and do what we do best. See you there!”

 

Ben Bruce of Asking Alexandria said:

“We have been waiting for half a decade to say this again, “DOWNLOAD WE ARE COMING FOR YA!”. Download festival is hands down one of the most exciting festivals in the world to play and so we have decided to bring our biggest show to date over with us. We cannot wait to see you all there. In the words of this year’s legendary headliner, Mama I’m coming home”

Pivotal punk rock heroes Rise Against will have fists thrown in the air, with their ferocious socio-political rock. Expect a high energy, kinetic performance from one of the world’s biggest authentic punk bands, who’ve proved their lasting worth to the genre. Joining the line up are LA Glam Rockers Black Veil Brides, Swedish extreme tech-metal trail blazers Meshuggah, and post hardcore legends Alexisonfire whose performance will be a long-awaited return to Download Festival.

Mind-blowing “metal phenomenon on a mission” BABYMETAL are confirmed to make their second official Download performance. This UK exclusive appearance will see the return of their thunderous metal, mixed with infectious J-pop that’s taken the world by storm. With figurehead Ice T at the helm, Body Count’s mix of harsh political messages and powerful hard-core sensibilities have made the rap metal icons unmissable, as well as In This Moment who are led by the entrancing Maria Brink and ready to bring a gothic, industrial, metal spectacle to make Download proud.

 

BABYMETAL said:

“We are so happy to announce that we will be playing at Download UK!! We were last there in 2016 and it is an absolute honour to be returning to this prestigious festival next year. Can’t wait to go back and see everyone there!”

 

Purveyors of garage-punk noise The Hives are confirmed, with frontman Howlin' Pelle Almqvist guaranteed to leave no stone unturned with a set of frantic non-stop rock n’ roll. Making their Download Festival debut are pop punks scousers WSTR who have propelled themselves throughout the last year, as well as emo pop favourites Mayday Parade who are hot off the back of a successful ten-year anniversary tour.

Selling out Brixton Academy and making massive waves as the break out luminaries of UK pop-punk, Wrexham five-piece Neck Deep are returning to Download Festival along with Seattle’s The Pink Slips with their fusion of “synth-pop, punk, dance and vintage rock ‘n’ roll”, fronted by the ferocious GRAVE, daughter of Guns N’ Roses’ Duff McKagan. Last but no means least are rising stars Dream State with their no-nonsense, melodic emo rock which has earned them their debut Download appearance.

Download Festival is the home of rock music and takes place on the sacred grounds of Donington Park, which have been associated with rock since the eighties. The festival attracts icons of rock to its main stage, plus some of the best and hottest new acts in the world. AC/DC, KISS, Metallica, Black Sabbath, The Prodigy, Rage Against The Machine, Slipknot, Linkin Park and many more have all headlined its main stage.

 

DOWNLOAD 2017 – Sunday Review

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With the sun tentatively out again Downloaders can rejoice at the first dry festival in god knows how many years, no wellies required!

Rock supergroup The Dead Daisies, heavily promoted on Planet Rock over the last few months, are absolutely living up to the hype with their classic rock and roll vibes. Another band to note the recent terror attacks in the UK, vocalist John Corabi calls out “We heard about what’s going on in Manchester… London… it's only gonna get better with love… peace” to a roar of applause from the crowd before busting out ‘Main Line’.

Over on the main stage, Southern rockers The Cadillac Three are making the most of the sunshine with their unmistakable country twang and slide guitar. They are absolutely as redneck as you imagine, it’s awesome. Next up are Gothenburg gods, In Flames with an enormous circle pit and a lot of complaining out their miniature cooler of beer (okay, it really is ridiculously small.) “We are Swedish people and we love beer… and this is what we got… (tiny cool box) we are gonna be great anyway but this is a disgrace! I’m just gonna put it here to remind us of all the suffering and struggle we have to make this shit happen” Anders Friden jokes it’s their “Spinal tap moment”. ‘Take This Life’ is incredible and the arena atmosphere is wild, there’s even a Teletubby in the circle pit going mental.

Next up, Aussie rockers Airbourne are as topless and naughty as ever, but you can see that security are on edge in case Joel ‘deathwish’ O’Keeffe tries any of his mental rig-climbing shit again. On the Encore stage Ministry are going off, with frontman Al Jourgensen yelling “this is a new song… if you think it fucking sucks, throw shit at us. If you like it, go buy the record and our tshirts and shit. I’m a promosexual”. They’ve got a massive crowd in front of them and are giving it everything they’ve got, it’s one of the most storming sets of the weekend.

Despite the fact that the arena is packed for Steel Panther, I can’t see anything different to last time they played Donington. The same misogynistic garbage is being spouted, and yes I know it’s satire but it’s a bit dated now, don’t you think? It’s a shame because they’re obviously talented musicians, but it’s hard to get past all the shit Spinal Tap stuff to see it. As usual they’re pulling loads of girls from the crowd to join them on stage, but it’s clear the TV crew are steering clear of the boob shots, probably due to the fact that these girls are of indeterminate age.

Clutch however are pure rock and roll heroes. After an initial rocky start with the guitars not being right, Neil Fallon quips “we are Clutch… we are professional musicians” before heading into ‘Your Love Is Incarceration’ and the powerfully epic ‘X-Ray Visions’. Having been on the Download vetran list for a few years now, Fallon jokes “I think this is the most gorgeous day I’ve ever experienced here at Download, thanks for arranging that, Mr lighting director”. ‘Sucker for the Witch’ is amazing, and who doesn’t love a band who aren’t afraid to use a cowbell? On the other hand, they didn’t play ‘Electric Worry’…

Onward to Opeth, who honestly look like vampires about to combust in the late sun, they’re musically impressive don’t get me wrong, but much more of a band-of-the-brooding-night, am I right?

Big Four metal gods Slayer are up next, and Kerry King is sporting a blood-splattered axe while frontman Tom Araya let’s us know how tonight is going to go down “We’re all here for the same thing… smiling and getting hit and stuff. Its always nice to see happy people”. KK absolutely shreds like a beast, massive chains swinging from his leather trousers while his braided beard whips back and forth. The crowd is enormous and rafts of extra security have been drafted in to deal with the constant stream of crowd surfers coming over the barrier, including one particularly unfortunate gringo (he was wearing a poncho) who was bleeding profusely from the nose after recklessly going over on his stomach. He looked pretty proud about it to be honest. ‘South of Heaven’ and ‘Reign In Blood’ are obviously incredible, there’s something utterly spellbinding about hearing those metal anthems in real life.

An hour clear of everything else finishing, a cold night has come out of nowhere and underdressed metalheads are huddling together under the darkening sky. O Fortuna ominously blasts out of the huge array of speaker stacks flanked by giant screens offering up the Aerosmith Aero-Vederci logo and images of the bands’ past. As this is their departing tour, the tribute is expected but kind of lacks the oomph of last years’ farewell to Black Sabbath, maybe it’s because Black Sabbath were homegrown heroes, I don’t know. As Steve Tyler takes to the stage dressed in his usual hippy garb of sequins, frills and flouncy scarves, a massive roar goes up from the astonishingly large crowd.

Having seen Instagram posts earlier on from daughter Liv Tyler, of her and Steve riding the stage-side big wheel earlier on, looking out over the site, I wonder what it feels like to be playing these last shows. At nearly seventy years old I can imagine it’s relief and sadness all rolled into one. Throwing around the mic stand (also bedecked in a floaty scarf, obviously) Steve belts out the likes of ‘Young Lust’, ‘Cryin’ and ‘Living on the Edge’ and it’s like you’re right back at the beginning of their career with them. Well… apart from the incredibly shit fire graphics engulfing Tyler on the screens, it looks like they’ve grabbed them from the original Duke Nukem.

The band themselves are so practiced, so pro, that you wouldn’t know they’d aged a day. ‘Love in an Elevator’ powerfully resonates around the arena and Tyler leads on with a frank statement “I remember checking into rehab one time and hearing the abuse in the world people get… especially women… and thats why Janie’s got a gun”.

After a brief Joe Perry solo, alongside what appears to be a video of his holiday snaps… we get the awesome ‘Stop Messin Around’ and ‘Oh Well’ Fleetwood Mac covers as Tyler writhes around on the giant floor logo. We are treated to every bit of Aerosmith history, harmonicas, rattlesnake shakers and of course ‘Sweet Emotion’, though the wind has picked up and Tyler has to requisition a hat from the crowd to keep his hair out of his mouth. It happens to the best of us pal.

‘I Don’t Wanna Miss a Thing’ sees everyone in the arena grabbing hold of each other and swaying, while a million phone screens light up the sky. It might not have the prettiness of the 70’s lighters but hey, we’re living in the age of technology. ‘Rag Doll’ includes the use of the most ridiculous and majestic megaphone ever. It is bejewelled with rhinestones inside and out, and Beatles cover ‘Come Together’ is just phenomenal.

‘Dude (looks like a lady’ is hilarious fun with guys prancing around in front of us, but the encore sees a white grand piano brought down onto the gangway for Tyler to play the heartbreakingly beautiful ‘Dream On’ after a mention of the recent UK terror attacks “When you dream good dreams… good things can come true… Aerosmith is dreaming with you… Dream On”. Standing atop the piano, the band show us the true meaning of a ‘show’, something few modern bands really do anymore, it’s a picture I’ll never forget.

Saying goodbye with ‘Walk This Way’, ticker tape explosions and blasts from smoke cannons, it’s hard to comprehend that we’ll never get to see them again. That those bands we grew up listening to, our rock history, is becoming just that, a thing of legend. Aero-vederci to one of the greats.

System of a Down – Download Festival 2017: Reviewed!

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A miraculously dry day at Download sees droves of half-drunk, half-sunburnt red faces heading to the main arena for Friday night's headliner System of a Down. Having played at Download last in 2011, SOAD were definitely due a return to the main stage at Donington and thousands of people are already packed in to watch.

Starting strong with 'Suite-Pee' and 'Prison Song', blending seamlessly into 'Violent Pornography' (which I realise sounds rather rude…) SOAD make it known that they mean business. It's rare for  a band to be respected and liked across the board, but it really seems like System aren't the great divider that other headline acts seem to be. Droves of people are coming in from the second stage where Sum 41 are just finishing up, and the standing is packed all the way to the back of the arena.

With his now white-streaked beard, Serj Tankian holds the crowd in the palm of his hand and a giant screen behind shows clips of black and white movies and news stories during the bass heavy 'Aerials'. It's bone-shakingly heavy and there is a deafening chorus of people joining in around us, Download have got the main stage sound absolutely spot on this year, it's pitch perfect from way back into the arena.
Into the much loved 'Bounce' for some limb-flailingly chaotic pogoing, during which a man in an extraordinarily short tutu with "Twat" sharpied across his forehead, almost loses what's left of his dwindling dignity, followed shortly by the incredible 'Psycho' and 'Chop Suey' – absolute classics. The guy on the front row wearing a full tuxedo is going berserk and I know how he feels, this is shaping up to be one of the best headline sets Download has ever seen.

After a solid 45 minutes of play without so much as a pause, Serj yells out to the crowd "Download, how you fucking doing out there?" and that's our lot. SOAD truly came to just smash it up, not stop for a chat. For a band heavily invested in political topics and lyrics, I had sort of wished for a quip or two regarding yesterday's UK election results, maybe something about being well hung…

Closing out with the enormously enjoyable 'Toxicity' and 'Sugar' SOAD have pulled off a near perfect headline set, and despite the obviously lower numbers at the festival this year, everyone seems to have turned out to see them do it. Roll on day two!