BACK TO THE BEGINNING // VILLA PARK, BIRMINGHAM
VIEW REVIEW:
Back to the Beginning was a concert that fans will tell their children about – the night that the bat took its last flight home.
★★★★★ (5/5)
OZZY OSBOURNE PERFORMING AT BACK TO THE BEGINNING CONCERT
PHOTOCREDIT: ROSS HALFLIN
Villa Park in Birmingham is more than just a little suburban English city tonight – it is sacred ground, where history is about to be made not for the first but the second time. In 1968, four fellas from this area joined together to form a small band called Black Sabbath. In 2025, in a thunderous and emotional crescendo, the same four fellas brought the curtain down to one of the most influential careers in music history with a final concert: Back to the Beginning.
The concert is more than just a show: it is a generational spectacle, echoing the global unity and legacy of Live Aid, but for heavy metal. And in heavy metal’s birthplace, it feels extremely lucky to be one of the only 40,000 present to witness the end of an era that has defined generation upon generation, music genres, artists of all scale and calibre, and of course, has shaped the world of heavy metal to what it is today. And the scale of such a show was monumental: a sold out football stadium, a rotating mega-stage, a star-studded line-up and millions of people streaming globally – it felt like a celebration more than a farewell.
Inviting ‘a few friends from heavy metal camp’ to pay their tributes to The Prince of Darkness never felt more suitable, only this time the few friends were Metallica, Guns N’ Roses, Slayer, Tool, Pantera, Alice in Chains, Anthrax, Halestorm, Gojira, Lamb of God, Mastodon and Rival Sons. If that was not enough, surprise appearances included the iconic Steven Tyler, Slash, Jake E Lee, Fred Durst, Lzzy hale, Jonathan Davis, KK Downing, Yungblud and a pre-recorded video of Jack Black singing Mr Crowley with the next generation of shredders, as well as a few video tributes from Judas Priest, Korn, Elton John, AC/DC and Ricky Gervais among others. In a heartfelt moment, Randy Roads’ sister also got to pay tribute as a short video of Randy’s career was also played during one of the changeovers. Did we also say Brian May was watching from the audience? Yes, he was.
Before we get onto specifics, it is important to note that all these bands had very short sets, and they were mostly done to perform covers of Ozzy or Black Sabbath. In between, Slipknot’s Sid DJ’ed to keep the atmosphere. Incredibly, there was not a single delay in any set. Like clockwork, every band was on stage exactly when they needed to be, to the point were taking a break from the gig was next to impossible – unless you were prepared to miss a couple of sets. It was impressive to see how smoothly and well-run the whole day was, and it definitely made people not want to miss a beat. And every band acted as a torch-bearer, passing it on to the next until the peak of the night.
The setlist was a journey through times, with covers being performed by bands and supergroups as a celebration of how influential these songs have been to the bands themselves as well as the fans gathered. Some of the highlights were Anthrax performing ‘Into the Void’, Halestorm’s ‘Perry Mason’, Lamb of God’s ‘Children of the Grave’, Tom Morello’s all stars like Jake E Lee and Adam Wakeman joining various other artists to perform ‘Shot in the Dark’, whilst the ultimate performer of the first supergroup was definitely Yungblud with ‘Changes’. Given how difficult it is to stand out when you are performing alongside metal’s greatest legends, Yungblud’s voice was not only powerful enough to earn him new fans, but also brought a lot of people to absolute tears. That was definitely the first moment the whole gig felt very Live Aid, a moment in time that felt so commanding, it will definitely be remembered for decades to come.
The afternoon continued on with Alice in Chains’ ‘Fairies Wear Boots’, Gojira’s ‘Under The Sun’, an epic drum-off between Travis Barker, Chad Smith and Danny Carey joined by Tom Morello, Nuno Battencourt and Rudy Sarzo, and then Billy Corgan signing ‘Snowblind’ with KK Downing on the guitar, whilst later on Sammy Hagar performed ‘Flying High Again’, Papa V Perpetua absolutely turned it up a notch with ‘Bark at The Moon’, whilst Steven Tyler topped off the cake with an Aerosmith/Led Zeppelin medley for the books. Once again, when you gather so many icons together, it is difficult to single out a one of them, but Steven Tyler commanded the stage with his presence, that he was definitely one of the highlights of the gig himself.
We are now getting onto the final countdown, as the larger bands of the bill start hitting the stage, this time performing their own crowd-favourite songs alongside covers. Pantera had the crowd singing along to ‘Walk’ and ‘Planet Caravan’ alike, Tool’s ‘Hand of Doom’ has people’s eyes peeled, Slayer’s ‘Wicked World’ followed by ‘South of Heaven’ has moshpits opening up at various places in the standing area, exploding when ‘Raining Blood’ and ‘Angel of Death’ came on. As if that was not enough, Guns N’ Roses came on stage to perform four (!) Sabbath covers alongside a couple of their own songs, with Slash’s solos commanding the audience. And the final act before Ozzy himself were none other than Metallica, performing ‘Johnny Blade’ and a thunderous ‘Master of Puppets’ to close off the set.
Seated on a dark gothic throne, crowned by laser-lift fog and thunder, The Prince of Darkness himself, Ozzy Osbourne emerged from the stage. Though physically limited, his voice cut through the night air like a blade. He was obviously not only extremely happy to be there, but he gave it 110% to close off the final show of his career. His set with Ozzy was not just powered by force and emotion, it was a rollercoaster. Backed by Zakk Wylde, Blasko and Tommy Clufetos, they performed ‘Crazy Train’, ‘Mama, I’m Coming Home’ and ‘I Don’t Know’ with clarity that made time feel irrelevant. It was raw, defiant Ozzy, on his throne as he should be, looking down and smiling at the people who cried their eyes out or sang along like this was their last day on earth. And this became history.
But this was not the end. The original Black Sabbath lineup – Tommy Iommi, Geezer Butler and Bill Ward – took the stage at dusk beside Ozzy for their final, earth-shaking set. It marked their first complete reunion since 2005 and it was nothing short of incredible. Performing ‘War Pigs’, “N.I.B’, ‘Iron Man’ and finally, “Paranoid”, Ozzy’s final song ever, it felt like the emotion and legacy of this band cannot be put into words. Musicians in their wings raised their fists and the audience cheered under the fireworks – the final communion of a band that invented and defined a genre of music.
Much like Live Aid in 1985, Back to the Beginning was a cultural rite – raising millions for Cure Parkinson’s, Birmingham Childen’s Hospital and Acorns Hospice, amassing 5.8 million viewers globally, the concert offered a platform for cross-generational unity. It was not about chart positions or album sales, it was about legacy, impact and closure, a final bow to one of the most iconic frontmen in music history. Ozzy was very visibly moved, very visibly emotional as the final notes of Paranoid rang in the place where it all began and the place where it ends.
In a world that is increasingly ruled by fleeting trends, Ozzy Osbourne’s final show was a monument to longevity, rebellion and soul. Ozzy showed that nothing, absolutely nothing, can stop rock n roll – physical impairments, band rifts, distance, time difference, age gaps. There is nothing that can stop the greatest frontman of heavy metal from giving his all for a performance and showing that not only he still has it, but he never lost it. When fleeting rockstars rise and fall, Ozzy stands tall and above all of them – in a full circle celebration of the godfather of metal, performed in a place where legends are born and where they came back to say goodbye.
Back to the Beginning was a concert that fans will tell their children about – the night that the bat took its last flight home.
REVIEW + PHOTOS BY: CHARIS LYDIA BAGIOKI
RIVAL SONS // GLOBE THEATRE, STOCKTON-ON-TEES
VIEW REVIEW:
Electric, Raw, Unforgettable: Rival Sons in Stockton
★★★★ (4/5)
RIVAL SONS PERFORMING AT STOCKTON-ON-TEES GLOBE THEATRE
PHOTOCREDIT: JOHN HAYHURST
Rival Sons tore through The Globe Theatre in Stockton-on-Tees on July 3rd with the kind of ferocity that announces its presence. The old venue with its curved balconies and art deco cup cake design was shoulder to shoulder with fanatics who knew that they were in for something more than just a rock gig. And when the lights in the house descended and the opening riffs of End of Forever reached their ears, the reaction was immediate—cheering, whistling, fists in the air. No easing in gently, no build-up gradually. Straight to it.
Singer Jay Buchanan is looking hairier than I’ve ever seen him, wearing a brown suit he sauntered on barefoot and with a deadly stare, he can go from soulful blues to a wolf like howl in milliseconds. The opening song with its thudding rhythm and dark, rolling riff set the tone for a night built upon power, accuracy, and emotion.
Without hesitation, they ripped into Electric Man and the crowd erupted. A song that seems to have been built for the stage—swaggering, raucous, and gritty with attitude, even if we have no idea where the “sugar shack” is.
Guitarist Scott Holiday moved through the stage in classic cool attire and shades, he coaxed riffs from a balance at once of blues fury and space-age fuzz. Bassist Robin Everhart and drummer Mike Miller were firmly in lockstep with each other, giving every tune a hard-hitting thump behind it. But lead singer Jay Buchanan’s voice was the magnetic attraction—raw, soulful, and explosive. He sings like a man wringing revelations from deep within his own gut.
Halfway through the set, something shifted. The band retreated, and Jay was in center stage with an acoustic guitar. In silence, he played Shooting Stars No theatrics, no effects—just six strings and a voice. The crowd that had been raucous moments before was in quiet reverence. Phones lowered. Heads tilted downward. He had something vulnerable and open in the way he played it that took a crowded theatre and made it intimate and private. You felt the power in the silence in-between every line in the lyrics. This was one of those moments where time seemed to freeze.
The rest of the set grazed that emotional peak—bridging full-bore rockers and longer slower-burning songs. They sounded huge but never bulky. Each song earned its placement, every solo had something to say. The acoustics in the Globe helped, too—that’s a space that enhances presence and doesn’t swallow it whole. You had the bass thump in your body and still could hear every little nuance and tone from Scott’s guitar or every little sandpaper vocal in Jay’s top notes.
They concluded the set with a little surprise: Secret which segued into Young Love then suddenly careened into a snarling heavy tease of Black Sabbath’s Electric Funeral. The place completely erupted. Some in the crowd looked like they got the reference to their upcoming performance at the “Back To The Beginning” Sabbath tribute show in Birmingham in two days time. A cheeky ploy—an Easter egg for the fanatics, a buzz for the neophytes. And it paid off. By the end of the night, the energy in the space was sapped but electric. Everyone was held in the venue and did not want to leave. The night had everything: the roar and the quiet and the shock and the weight. Rival Sons came to Teesside and just for one evening left every single person in the venue with a memory that’s going to live under their skin for a long time.
REVIEW + PHOTOS BY: JOHH HAYHURST
TK. MAXX PRESENTS… LYTHAM FESTIVAL 2025 - STEVIE WONDER
VIEW REVIEW:
STEVIE WONDER OPENS TK. MAXX PRESENTS… LYTHAM FESTIVAL 2025
★★★★☆ (4/5)
STEVIE WONDER PERFORMING AT TK. MAXX PRESENTS… LYTHAM FESTIVAL 2025
PHOTOCREDIT: DAVE NELSON
Support for tonight’s show comes from Corrine Bailey Rae, whose association with Stevie Wonder goes back to her early success in the 2000’s. We’re treated to an hour of genre hopping sounds, all delivered tastefully with Corrine’s soulful voice to the fore. We get songs from her recent album, Black Rainbows, and a cover of Bob Marley’s, Is This Love that doesn’t quite capture the song’s reggae feel. Introducing The Blackest Lily, she asks, “Do you want to rock out?” The track has a decent guitar solo but this is rock sterilised with a huge dose of antiseptic. Towards the close an extended version of her hit Put Your Records On gets a good response but ultimately the performance leaves an impression of watching an hour of tastefully performed muzak.
CONNIE BAILEY RAE PERFORMING AT TK. MAXX PRESENTS.. LYTHAM FESTIVAL 2025
PHOTOCREDIT: DAVE NELSON
Stevie Wonder, dressed in bright red tunic adorned with bob Marley images, is brought on stage by his son and daughter. He begins with a slightly meandering speech criticising world leaders before apologising for having to begin with, Love’s in Need of Love Today. It’s the most underwhelming opening to a gig I’ve witnessed in a long time. Fortunately things improve. Master Blaster (Jammin’), Higher Ground, and You Are the Sunshine of My Life Follow in quick succession, with the audience responding to their familiarity.
Corrine Bailey Rae returns to duet on Sly and the Family Stone’s, Everybody is a Star in tribute to Sly Stone’s recent death. It’s dull, plodding and frankly boring. There are surely much better ways to remember just a vibrant musician! As the set rolls on Signed, Sealed, Delivered I’m Yours and My Cherie Amour are real high points between non-descript ballads before Stevie takes his leave.
In his absence we’re treated to around 15 minutes of Aretha Franklin and Rose Royce covers sung by backing singers before Mr Wonder returns to lead a rather strange audience singing competition that doesn’t really work. Thankfully, following this fairly lame false start Stevie and the band finally seem to hit their stride.
Sir Duke gets a great response and highlights the credentials of his backing band; a powerful unit comprising three drummers, five backing singers, a four piece brass section plus guitars and keys. These are quality musicians who across the night deliver as both an ensemble and individuals.
The impressive, I Wish, and Living For The City maintain the positive vibes before they cover The Beatles, Love Me Do. It proves a real high point, delivered over a reggae beat with Stevie adding simple but very effective harmonica to the mix.
For your reviewer Stevie Wonder’s rhythm based tracks have always worked best. Tonight’s crowd clearly have different tastes. For me, Isn’t She Lovely is mawkish, saccharine sweet and cringe worthy but the crowd love it. Arms sway, phones are held aloft and for the first time tonight they really come to life. It’s clearly this facet of the artist that most have come to hear. A little later, I just Called To Say I love You elicits a similar reaction.
Superstition inevitably goes down well before Corrine Bailey Rae returns and they bid us farewell with another dose of Sly Stone that thankfully reflects better on the late star.
Gigs by performers of Stevie Wonder’s generation and age inevitably come with a question. Have they still got it or are they beyond their sell by date? Some like Iggy Pop and Springsteen clearly have passion and energy to burn while others become embarrassing. So where does Stevie Wonder lie? Tonight, his voice is clearly in decent shape and he knows his limitations; taking a mid-set break and sharing vocal duties. The performance is polished and professional and his band is excellent but for someone regarded as an icon of soul, tonight has been oddly soulless.
STEVIE WONDER PERFORMING AT TK. MAXX PRESENTS… LYTHAM FESTIVAL 2025
PHOTOCREDIT: DAVE NELSON
REVIEW BY: TREV EALES
PHOTOS BY: DAVE NELSON
TK. MAXX PRESENTS… HALIFAX THE PIECE HALL 2025 - WEEZER
VIEW REVIEW:
WEEZER LIVE AT TK. MAXX PRESENTS…
THE PIECE HALL 2025 AT HALIFAX
★★★★☆ (4/5)
The last time I saw Weezer was at the Reading Festival back in 2002, so I was rather keen to catch them once again. Their appearance at the future legendary venue the Piece Hall in Halifax was off the back of their first Glastonbury appearance since 1995. How was their set in Yorkshire on a Monday night? You need to read on to find out, first I need to update you on the two support bands. First up was Washington DC’s Teen Mortgage, sadly we only caught the second half of their set. But what a blast it was! They are a brutal thrash punk two piece with a sharp refreshing take on the genre. To quote one of UK punks originators, “THEY MEAN IT MAAAN!” You need to check out their new album ‘Devil Ultrasonic Dream’
Next it was the turn of Bad Nerves all the way from Essex. I last encountered them supporting the Darkness in 2023. I had previously seen them at the Leeds Festival a couple of times. They do old school very upbeat poppy punk blended with classy power pop really well. Their harmonies evoke later period Ramones and sometimes their riffs reach upwards of 100 miles per hour. Their songs are staggeringly good with “Radio Punk” being a particular highlight.
Weezer are clearly a tight musical unit. We felt that they could have engaged more with the crowd, but the audience was highly partisan, so that probably didn’t matter much to most people at the Piece Hall that night. The huge video screen behind the band provided a constant supply of fabulous cartoon style alien and space stuff which was highly entertaining. Rivers Cuomo and his gang came into their own on the bigger songs, and these got a huge reaction from the punters. Especially “Beverly Hills” which included a nifty reference to Halifax, “Hash Pipe”, “Pork And Beans” and “Undone – The Sweater Song”. The latter was a huge singalong experience for all of us. Perhaps best of all was the encore of an emotionally charged “Say It Ain’t So” followed by a truly towering “Buddy Holly” which closed the show. Overall, it was a good set, but we maybe expected just a little more electricity. As a footnote I heard that Weezer played Radiohead’s “Creep” and Nirvana’s “Smells Like Teen Spirit” in their soundcheck. They would have added something special to the set!
REVIEW BY: BILL ADAMSON
PHOTOS BY: THE PIECE HALL HALIFAX
TK. MAXX PRESENTS… SOUTHAMPTON SUMMER SESSIONS 2025 - SIMPLE MINDS
VIEW REVIEW:
Simple Minds close off Southampton Summer Sessions with a masterclass in live performance
★★★★☆ (4.5/5)
The last Summer Sessions at Guildhall Square is a sea of nostalgia – people of all ages full of enthusiasm are coming down to the square to enjoy a band that brings back a lot of memories. Seeing as the series of open air sessions is coming full circle, it was only fair to have a hot and sunny evening full of people ready to enjoy a live band for the last time for a while.
China Crisis opened the set in bright sunlight, having confidence as they entered the stage – with their singer sporting a Simple Minds T-shirt too. There was no fanfare – just song after song full of synth-pop and dreamy melodies that invited the crowd to dance along, sing along, clap along and sway along. Whilst some of their songs were a bit more soft and sentimental, the energy still hit the right spot for the crowd, with their 40-minute sent setting the tone for the night and preparing the crowd for the sonic force that would follow.
Simple Minds emerged from backstage like a group with unfinished business. With big grins in their faces and with a look that said ‘you don’t know what’s coming’, they launched into ‘Waterfront’ with a stage presence that frontmen half the age would dream of. The band wasted no time in engaging the crowd, hitting the drums and carving out guitar lines that had every single person bouncing on the barricade. Their setlist was a feast for the ears – ‘Love Song’ bringing on a retro cool euphoria, ‘Let There Be Love’ being a cinematic summer anthem, ‘Someone Somewhere in Summertime’ which needs no words to describe how much of a fitting soundtrack it was to the glorious weather, and of course, fan favourite ‘Don’t You (Forget About Me)’ which seemed to pour out from every single person in the square.
The band even let the crowd take over some verses – stepping back and listening, the band shared moments with a crowd that felt more like a collective memory than a performance. Between the drum solos and interludes to introduce the band, there was some onstage banter which did not interrupt the flow of the show but complemented it. Simple Minds are one of the bands that show that songs can become bigger than their creators, and they very much performed to their best abilities full of energy and dynamism. It is to be noted that their female backing vocalist is incredible – and when she took the front of the stage for ‘Glittering Prize’ her voice lifted the track beyond the studio version. Nothing in the performance felt scripted despite the flirty winks and singalongs – it was just a band that very visibly enjoy what they do very much.
As the set closed with ‘Alive and Kicking’, there was a sense of disappointment that the night was ending. Fans of all ages – from lifelong followers to first-timers – seemed to thoroughly enjoy the set, becoming part of a great ending performance. Southampton was definitely treated to a band still writing their story in bold strokes.
Now on to wait until Summer Sessions 2026.
REVIEW + PHOTOS BY: CHARIS LYDIA BAGIOKI
GLASGOW SUMMER SESSIONS 2025 - STEREOPHONICS
VIEW REVIEW:
STEREOPHONICS BRING THEIR STADIUM ANTHEMS
SUMMER 25’ TOUR TO GLASGOW AS THEY CLOSE
GLASGOW SUMMER SESSIONS 2025
★★★★★ (5/5)
Well, it’s gigging season, and Glasgow’s Summer Sessions are in full, glorious swing. Under a bright sun, a parade of fans streamed merrily through Bellahouston Park, sunglasses on, ready for a day built around one name: Stereophonics.
The Welsh rockers remain true hit-makers—masters of crafting songs that feel like miniature worlds, each one a moment in time. And on this sun-drenched day, they delivered those moments in rapid succession to a crowd more than willing to sing every word back at them.
First things first, though: Blossoms opened the show with infectious indie-pop shimmer, serving up breezy tunes perfect for the warm-up slot. Their set sparkled with melodic hooks and synth textures, showing why they’ve steadily become festival favourites. By the time they closed with the crowd-pleasing “Charlemagne,” Bellahouston Park was well and truly buzzing.
Then came the main event. Stereophonics took to the stage with “The Bartender and the Thief,” a thunderous opener whose piercing riffs cut through the warm air like a knife. The crowd erupted, instantly transported into that familiar Stereophonics realm where gritty storytelling meets arena-sized choruses.
Kelly Jones, as ever, was a commanding presence. His gravelly vocals sounded pitch-perfect, equal parts grit and soul. There’s something endearingly unfussy about Stereophonics live; they’re tight as a band, but it’s clear they’re also just a bunch of old friends on stage. Kelly and guitarist Richard Jones, in fact, have known each other since they were three months old—a fact that seems to echo in the band’s seamless chemistry.
The setlist was a relentless parade of hits. “Vegas Two Times” pulsed with swagger, while “I Wanna Get Lost With You” shimmered with a romantic summer glow. “Have a Nice Day” felt tailor-made for the heatwave, its sunny vibe matched by a sea of waving arms.
Moments of pure singalong bliss came thick and fast: “Just Looking,” “Pick a Part That’s New,” and the hauntingly beautiful acoustic rendition of “Maybe Tomorrow” were particular highlights. Kelly even broke out the ukulele for “I Wouldn’t Believe Your Radio,” adding a playful twist that had the crowd grinning.
As the sun began to dip lower, the band powered through “Local Boy in the Photograph” and “C’est la Vie” before disappearing briefly—only to return for a stacked encore. “Step on My Old Size Nines,” “Handbags and Gladrags,” and the soaring “Traffic” kept the energy high, but of course, it was “Dakota” that blew the metaphorical roof off Bellahouston Park. From the first note, it became one giant mass karaoke session, the perfect euphoric end to the night.
All told, this was Stereophonics at their best—effortlessly cool, musically tight, and full of hits that still sound as fresh as ever. Under Glasgow’s summer sky, they reminded everyone exactly why they remain one of the UK’s most beloved live acts. And judging by the beaming faces filing out into the night, fans wouldn’t have had it any other way.
REVIEW BY: KATRIN LAMONT
TK. MAXX PRESENTS… DEPOT LIVE AT CARDIFF CASTLE 2025 - STING
VIEW REVIEW:
A Masterclass in Reinvention: Sting Returns to Cardiff as a Power Trio 3.0
★★★★★ (5/5)
STING BRINGS HIS 3.0 TOUR TO TK. MAXX PRESENTS… DEPOT LIVE AT CARDIFF CASTLE 2025
PHOTOCREDIT: CALUM BUCHAN
As clammy skies loomed over Cardiff Castle but luckily rain stayed away, the crowd didn’t flinch. Wearing summer outfits and spirits high, thousands gathered for what would be one of the most unique performances of Sting’s decades-long career at one of most beautiful venue backdrops at side of Cardiff Castle. No backing singers. No horns. No frills. Just a bass guitar, a drummer, a guitarist and a 71-year-old icon stepping boldly into a new era. This was Sting 3.0 a reimagining of his sound through the raw energy of a three-piece band. And it worked. Brilliantly.
The idea of a power trio might evoke images of Cream or The Police, and that’s exactly the point. With long-time collaborator Dominic Miller on guitar and Chris Maas (Mumford & Sons) on drums, Sting leaned into the tight, skeletal sound of his earliest days but gave it a modern sheen. The trio format gave each track a crisp focus, free of studio gloss or orchestral padding.
From the opening riff of “Message in a Bottle,” the tone was set. It wasn’t just nostalgia it was reinvention. Gone was the polished veneer of past tours; in its place was a muscular, bass-driven groove that felt immediate and alive. The crowd roared their approval, and Sting, clad in a simple black tee, returned the energy tenfold.
Sting’s catalogue is vast and varied jazz, reggae, folk, rock and this show pulled from all corners of it. But rather than trying to replicate the original arrangements, Sting and company reimagined them with an edge.
“Englishman in New York” was transformed into a crowd-chanting anthem, with the audience supplying the sax riff in unison. “Driven to Tears,” underscored by haunting visuals of war zones and climate disasters, became a powerful protest song once more its urgency renewed for a 2025 audience.
STING BRINGS HIS 3.0 TOUR TO TK. MAXX PRESENTS… DEPOT LIVE AT CARDIFF CASTLE 2025
PHOTOCREDIT: CALUM BUCHAN
There were intimate moments too. “Fields of Gold” offered a brief respite, its tenderness amplified by the trio’s restraint. “Fragile,” the evening’s final encore, was a quiet act of defiance gentle, aching, and perfectly placed after two hours of stripped-back fire.
Vocally, Sting continues to defy age. While the soaring falsetto of The Police days has mellowed, his voice retains its signature texture husky, lyrical, unmistakably his. More importantly, his delivery has grown more expressive. There’s weight behind every line, wisdom beneath the surface.
And then there’s his bass playing precise, melodic, often leading the charge. His interplay with Maas’s tight, groove-heavy drumming and Miller’s tasteful fills showed a musician still exploring, still challenging himself. This wasn’t a man running through old hits—it was an artist revisiting them with fresh ears.
Despite the rain and the relatively minimalist stage setup, the production was immaculate. Subtle lighting changes matched song moods perfectly, and side-screen closeups brought every string bend and vocal inflection up close for those further back.
Sting, ever the raconteur, was generous with the crowd offering a special intimate night.
Sting 3.0 is more than a concert it’s a night of artistic evolution. At a time when many artists coast on legacy, Sting is reworking his with care, grit, and bravery. This power trio format may seem like a limitation, but in his hands, it’s liberating. Every song becomes more immediate, more personal, more human.
In Cardiff, he didn’t just play the hits. He rebuilt them note by note, beat by beat, in real time, with a packed field of fans soaking up every moment. It wasn’t perfect. It was better than that. It was alive.
REVIEW + PHOTOS BY: CALUM BUCHAN
AMERICAN EXPRESS PRESENTS… BST HYDE PARK, LONDON 2025 - ZACH BRYAN
Country megastar strikes the right chord
★★★★★ (5/5)
ZACH BRYAN HEADLINING TWO NIGHTS AT AMERICAN EXPRESS PRESENTS… BST HYDE PARK 2025
PHOTOCREDIT: JRCMCCORD
A sun-drenched Saturday marked the BST festival debut of Country singer-songwriter Zach Bryan. Playing the first of two sold-out shows at Hyde Park served to underline the sheer scale of success that Bryan has achieved through his unique blend of masterful songwriting and powerful lyrics.
Before Bryan took to the stage, the over 65,000 fans in attendance were treated to a bill of amazing country, Americana and singer-songwriter performances which harkened back to the headline act.
Ole 60, the Kentucky-based band known for a gritty blend of Southern rock and modern country, lit up the Rainbow Stage with a firecracker of a set. Their performance of “smoke & a light” had the crowd stomping and hollering, setting the perfect tone for the evening ahead.
Irish singer-songwriter Dermot Kennedy performed as the penultimate act on the Great Oak Stage and captivated the thousands in attendance. As a powerhouse vocalist, Kennedy’s heartfelt lyrics were further elevated by the calibre of his vocal performance. Mega-hits such as “Outnumbered” and “Power Over Me” delighted the crowd, eliciting cheers, sing-alongs and tears. It was a reminder of Kennedy’s unique ability to bridge the worlds of folk, pop, and soul with effortless grace.
For the main event, from the second Bryan stepped on stage with his band the atmosphere was electric. Opening with the rousing “Overtime” and the triumphant “Open the Gate” Bryan set the tone for an evening which wove through love, loss and the American heartland.
Bryan’s earthy vocals delivered his poetic lyrics with gusto. Imbuing powerful emotion throughout, even as he deftly transitioned from the stomp of “Motorcycle Drive By” to the haunting heartbreak of “I Remember Everything”.
A deep-rooted passion was palpable from the audience, and the affection was returned by Bryan who seemed in awe of the warm welcome. The strength of the connection helped to make the vast expanse of Hyde Park feel like an intimate fireside performance, creating a special vulnerability as performers and fans shared an emotive moment. The opening notes of each song brought a fresh wave of cheers from the crowd, showing the depth of quality in Bryan’s catalogue. The set covered Bryan’s various albums and EPs, delivering hits and fan favourite deep cuts. This also included a performance of the new track “Streets of London”, set for release on Monday.
Aptly, the setting London sun provided an idyllic backdrop to the iconic “Something in the Orange”, where a wistful chorus was belted word for word by the crowd into the auburn sky.
A euphoric rendition of “Revival” saw the crowd in a frenzy as Bryan wrenched every last bit of energy out of his fans. A chorus of cowboy hats screamed the lyrics as the band turned Hyde Park into a country music cathedral. The crescendo of fireworks that lit up the night sky seared a memento of the evening into the minds of those in attendance, and those on stage.
As the thousands of fans left Hyde Park, there was unanimous praise for Bryan, his band, and the performers of the day. It was an exceptional day that showed a megastar at the height of his powers.
ZACH BRYAN HEADLINING TWO PERFORMANCES AT AMERICAN EXPRESS PRESENTS… BST HYDE PARK 2025
PHOTOCREDIT: ISHASAH PHOTOGRAPHY
REVIEW BY: SAM MCNAUGHTON
PHOTOS BY: JRCMCCORD & ISHASAH PHOTOGRAPHY
TK. MAXX PRESENTS… SOUTHAMPTON SUMMER SESSIONS 2025 - OCEAN COLOUR SCENE
VIEW REVIEW:
OCEAN COLOUR SCENE PERFORMING AT TK. MAXX PRESENTS
SOUTHAMPTON SUMMER SESSIONS AT GUILDHALL
WITH SUPPORT FROM CAST & ECHOBELLY.
★★★★☆ (4/5)
OCEAN COLOUR SCENE PERFORMING AT TK. MAXX PRESENTS… SOUTHAMPTON SUMMER SESSIONS 2025 AT GUILDHALL
PHOTOCREDIT: ALIA THOMAS
As the Sun slowly set on Southampton city centre on the final Friday in June, Guildhall Square came alive with another of the many TK Max Summer Sessions it hosts every year. This time, with a nostalgic lineup of British 90s rock/Britpop in the form of Ocean Colour Scene as stage headliners, with support from Liverpudlians finest, Cast, and Echobelly, hailing from London. The vibe of the show was a lovely one, with an audience of all ages, people bringing their kids and grandkids. It’s a lovely thing to witness music connecting so many generations together.
Echobelly kicked off the evening with their interesting sound of what could be described as pop-rock, perhaps? The soft vocals of lead singer Sonya Maden are nicely juxtaposed against the punchy music which almost makes their music a little hard to define, but whatever it is, it works. Unfortunately at this point the crowd was rather thin, but it didn’t seem to put off Echobelly continuing with a strong performance and helping the crowd to get into the zone ready for the rest of the evening.
Next up was Cast, a band from Liverpool headed by none other than John Power, father of Stone’s Fin Power. With some good old Britpop/Indie Rock, the band were total crowd-pleasers, and with that Scouse bravado and accent everyone loves, it’s clear why these guys are supporting Oasis on their upcoming tour. By this point the audience had filled out a little more and had really started to get going. With some of their older songs on the setlist such as Sandstorm, Walkaway and Fine Time, the energy from the crowd increased with a lot of singing back of the lyrics, but it wasn’t just the old ones that were welcomed with open arms. Playing a couple of songs from their latest album brought out last year on top of this posed for a very successful set, with Love is the Call being a clear winner.
To top off the night we had our headliners, Ocean Colour Scene. Over their career spanning 36 years, the band have achieved a hell of a lot including five top 10 albums with one hitting number 1 in the 90’s, along with seventeen top 40 singles and six top 10 singles to date. From this, they’ve built an impressive fanbase as you can imagine, however that unfortunately still didn’t lead to a sold out show this time. The fans that were there were seemingly long-term fans, with the majority of the audience likely being 50s and upwards, and the sea of mobile phones that you normally see taking videos of different parts of performances was interestingly almost non-existent. However, the band were on great form with Simon Fowler continuing to bring his brilliant vocals, and Steve Craddock giving an incredibly impressive performance as usual with his talent on guitar. With a set list comprising of all their Spotify top songs bar one, including The Circle, Travellers Tune, and Better Day, the reception from the crowd was very positive. Many were dancing, lots were singing, and plenty were doing both. Behind the band a large screen displayed an array of different visuals relating to each song as they played them. A particularly memorable song which seems incredibly relevant and poignant again for current times was Profit In Peace, with a compilation of visuals from old protests accompanying it. The crowd increased in volume each time as they sung “we don’t wanna fight no more”. The show ended with fan-favourite, The Day We Caught The Train, which rounded off a perfect evening rocking down memory lane. The general vibe was fun and familiar. It felt safe, and everyone seemed to be having a good time. For Ocean Colour Scene this was a good start to their run of shows throughout the Summer, and a successful beginning of the end of Southampton Summer Sessions for another year.
REVIEW + PHOTOS BY: ALIA THOMAS
AMERICAN EXPRESS PRESENTS… BST HYDE PARK, LONDON 2025 - OLIVIA RODRIGO
VIEW REVIEW:
OLIVIA RODRIGO KICKS OFF AMERICAN EXPRESS PRESENTS… BST HYDE PARK 2025! AHEAD OF HER HEADLINE PERFORMANCE AT GLASTONBURY FESTIVAL ON SUNDAY NIGHT.
★★★★★ (5/5)
OLIVIA RODRIGO OPENING UP AMERICAN EXPRESS PRESENTS… BST HYDE PARK 2025!
PHOTOCREDIT: SOPHIA J CAREY
65,000 people came to see Olivia Rodrigo, and she made every single one of them feel seen
BST has always been a magnet for unforgettable moments, but Olivia Rodrigo’s debut at this iconic London festival was something truly electric. From the very first step onto the grounds, there was no mistaking who the day belonged to. The sun was out, and under a golden sky, Hyde Park transformed into a lavender dreamscape for one unforgettable Friday.
Even hours before Olivia took the stage, it was clear that this wasn’t just another festival appearance. This was a milestone, an arrival. Fans poured in, draped in every shade of purple imaginable: lilac t-shirts, sequinned violet boots, and plum-tinted cowboy hats. From the entrance to the Great Oak Stage, the park pulsed with anticipation, and the atmosphere felt almost cinematic.
Before Olivia’s set, the day unfolded like a carefully written mixtape, each act setting the tone and raising the energy. First, I caught RUTI on the Rainbow Stage, her voice a stunning blend of soul and softness, captivating with quiet confidence. She floated through her set, creating a connection with the crowd and playing a lot of new music, which was so good.
Next, I made my way to the Birdcage Stage, where AZIYA brought the fire. Her raw guitar riffs and blistering stage presence crackled with intensity, making her one of the most electric performers of the day. She’s supported the likes of Griff, Florence + the Machine, and Nova Twins, and it shows. Standout tracks were “bbydoll” and “diamonds.” This is an artist you do not want to sleep on.
As the sun began to dip, Girl in Red ignited the crowd at the Great Oak Stage. Her mix of grunge-pop anthems and fearless honesty resonated through the crowd like a shared secret. When she launched into fan favourites like “We Fell in Love in October” and “Serotonin,” it felt like the entire park was singing with one voice. It was a beautiful build-up to the night’s centrepiece.
But it was Olivia Rodrigo’s entrance that turned the festival from vibrant to transcendent.
Her entrance was met with a roar so loud that it could have shaken the trees, and she was dressed like a Gen-Z rock star straight out of a dream: grungy, glamorous, and entirely herself. She shared that London is her favourite city and that she has had so many memorable moments in Hyde Park, and tonight was another chapter in that story.
ED SHEERAN JOINS OLIVIA RODRIGO AS SPECIAL GUEST AT AMERICAN EXPRESS PRESENTS… BST HYDE PARK 2025
PHOTOCREDIT: SOPHIA J CAREY
Olivia didn’t just perform, she connected. Sharing stories of special memories in Hyde Park, she made the massive setting feel intimate, like we were all in on a secret with her. And then came the moment that sent shockwaves through the crowd: a surprise duet with Ed Sheeran, joining her onstage to sing “The A Team.”
With no introduction, Ed joined Olivia for a stripped-down duet of his breakout hit “The A Team.” It was a moment of pure, unfiltered magic, as two of the biggest singer-songwriters of their generation stood side by side, their voices melting together in bittersweet harmony. There was something almost sacred about it; phones were raised, but so were hearts. It felt like being part of something historic
This wasn’t just a concert, it was a celebration of youth, vulnerability, rebellion, and girlhood in full bloom. Olivia Rodrigo made her BST debut not just memorable, but monumental. I saw people crying, hugging, swaying together like they were in a collective dream. And when she closed with “get him back!” a punchy, defiant anthem, the field transformed into one giant, screaming chorus of catharsis.
By the time the final confetti fell, and Olivia waved her final goodbye, Hyde Park was glowing not just from the lights but from the shared experience of something joyful, honest, and transformative.
London gave her love. She gave it right back
OLIVIA RODRIGO OPENING UP AMERICAN EXPRESS PRESENTS… BST HYDE PARK 2025!
PHOTOCREDIT: ISHASHAH PHOTOGRAPHY
REVIEW BY: DANIELLE VAN ACKER
PHOTOS BY: SOPHIA J CAREY & ISHASHAH PHOTOGRAPHY
DIANA ROSS // OVO HYDRO, GLASGOW
VIEW REVIEW:
Diana Ross Shines in Glasgow: An Evening of Timeless Hits and Heavenly Vocals
★★★★☆ (4/5)
At 81 years old, Diana Ross glided onto the Hydro Arena stage in Glasgow last night with the grace and presence of true royalty. Draped in a breathtaking, swan-like white ball gown that shimmered under the spotlights, she cut a figure both regal and radiant. Her skin glowed with an almost ethereal light, and her trademark luscious curls framed a beaming smile that instantly lit up the vast arena. If age has touched Ross, it has done nothing to dim her star power.
Opening with the infectious “I’m Coming Out,” Ross immediately brought the audience to their feet, setting the celebratory tone for a night steeped in nostalgia and joy. Backed by an incredible orchestra, the sound was lush, rich, and cinematic, transforming her greatest hits into grand, sweeping spectacles. Early in the set, Ross paused to politely request that some microphones be turned up and others turned down—a tiny glimpse of the professionalism and perfectionism that have kept her at the top of her game for more than six decades. The adjustment sharpened the audio mix, ensuring her heavenly voice soared above the instrumentation.
From there, Ross guided the audience on a journey through her storied career. Motown classics like “Baby Love,” “You Can’t Hurry Love,” and “Come See About Me” transported the crowd back to the golden age of The Supremes. Her voice, still angelic and velvety, caressed each melody with warmth and precision. When she launched into “Stop! In the Name of Love,” the entire arena joined in, palms outstretched in that iconic hand gesture—a moment that underscored her enduring connection with fans across generations.
Solo hits like “Touch Me in the Morning,” “I’m Still Waiting,” and “Chain Reaction” shimmered with fresh vitality, with Ross’s vocals maintaining both power and sweetness. One of the night’s most surprising highlights came with “He Lives in You,” from The Lion King’s stage production, performed with moving sincerity against a backdrop of glowing African imagery. Her rendition of Billie Holiday’s “Don’t Explain” was smoky and intimate, showcasing a jazz sensibility that few pop legends possess.
Later, Ross turned the arena into a dance floor with “Love Hangover,” “Upside Down,” and “The Boss,” each track rippling with irresistible grooves. Her orchestra matched her energy beat for beat, injecting these disco classics with new life. “Endless Love,” originally a duet with Lionel Richie, was delivered solo but no less tender, earning a wave of phone lights from the audience.
Throughout the evening, Ross proved herself a consummate entertainer, radiating warmth and gratitude between songs. She engaged the crowd in call-and-response during “Reach Out and Touch (Somebody’s Hand),” making the cavernous venue feel surprisingly intimate.
Her iconic covers, such as “Why Do Fools Fall in Love,” “Theme From Mahogany,” and “Ain’t No Mountain High Enough,” drew deafening cheers. In the encore, Ross returned with “The Best Years of My Life” and “Thank You,” closing the evening on a note of gratitude and reflective joy.
For two hours, Diana Ross reminded Glasgow why she remains one of the greatest performers of all time. Her voice—still angelic, still commanding—her elegance, and her profound connection with the audience turned a night of greatest hits into something deeply moving and utterly timeless. At 81, she continues not just to perform, but to reign supreme.
REVIEW BY: KATRIN LAMONT
SPARKS // ROYAL CONCERT HALL, GLASGOW
VIEW REVIEW:
Sparks Ignite Glasgow: Mael Brothers Deliver Theatrical Pop Perfection
at Royal Concert Hall
★★★★★ (5/5)
SPARKS PERFORMING AT GLASGOW’S ROYAL CONCERT HALL
PHOTOCREDIT: SPARKS (SOCIAL MEDIA)
After over fifty years of delighting devotees, Sparks rolled into Glasgow's Royal Concert Hall with the theatrical flair and musical mischief that has made Ron and Russell Mael one of pop music's most enduring enigmas. The duo's performance was a masterclass in how to age gracefully while maintaining the playful spark that first put them on the map.
The band took to the stage to the kind of applause most band receive as they leave. Opening with So May We Start, the brothers immediately established the evening's tone – part cabaret and part rock concert. Ron Mael, perched behind his keyboard with that familiar expression and meticulously groomed moustache, while Russell bounded across the stage with the enthusiasm of someone half his age.
The setlist was a career-spanning journey, both nostalgic and surprisingly current. Early highlights included Reinforcements and Academy Award Performance, where Russell's operatic vocals soared over Ron's precise, almost militaristic keyboard work. The Glasgow audience, a mix of longtime devotees and new fans, responded with the kind of warmth typically reserved for hometown heroes.
Russell made it clear that he was delighted to be in the city. ‘Glasgow, you were the first venue on tour to sell out and you put our album at number one in the Scottish chart – Thank you!’
Beat the Clock and Please Don't Fuck Up My World showcased the band's ability to blend pop with genuinely subversive lyrics, while All You Ever Think About Is Sex had the entire hall singing along to what might be the most cheerfully frank song about desire ever written.
The brothers were backed by four great musicians, Evan Weiss and Eli Pearl on Guitars, Max Whipple on bass and Darren Weiss on drums. They were high energy, razor sharp and clearly enjoyed the night.
The middle portion of the set proved that Sparks' recent renaissance hasn't dulled their edge. JanSport Backpack and Drowned in a Sea of Tears from their 28th Album MAD! demonstrated their knack for writing quirky pop songs, while When Do I Get to Sing 'My Way' was delivered with the kind of theatrical flourish that would make Sinatra proud.
The evening's peak came with the one-two punch of The Number One Song in Heaven and This Town Ain't Big Enough for Both of Us – songs separated by decades but united in their popularity with the passionate crowd. The former's disco-influenced groove had the staid Concert Hall audience on their feet, while the latter's glam-rock theatricality reminded everyone why Sparks influenced everyone from Queen to Björk. They were greeted with a stunning ovation, delighting Ron and Russell.
The encore proved the brothers still had surprises up their sleeves. The Girl Is Crying in Her Latte – a 2023 composition that could have been written yesterday or forty years ago – perfectly encapsulated Sparks' ability to find humour in heartbreak. They closed with All That, leaving the Glasgow crowd shouting out in their devotion for five minutes, wanting more but satisfied by their amazing experience.
What made this concert special was, of course, the music, but the love and fun that the brothers still get from sharing their music with their fans. The Mael brothers were exactly where they wanted to be.
Glasgow got a reminder that some sparks never fade; they just learn to burn brighter.
REVIEW BY: GRAEME WHITE
TK. MAXX PRESENTS… HALIFAX THE PIECE HALL 2025 - DEFTONES
VIEW REVIEW:
Ahead of their headline show at Crystal Palace Deftones
stop at Halifax Piece Hall.
★★★★★ (5/5)
DEFTONES PERFORMING AT TK. MAXX PRESENTS THE PIECE HALL 2025 AT HALIFAX
PHOTOCREDIT - THE PIECE HALL, HALIFAX (SOCIAL MEDIA)
Sacremento Nu-Metal icons Deftones haven’t been over to the UK in a few years and this time they’re at four very special shows. Halifax Piece Hall, Eden Sessions, Glastonbury and Crystal Palace.
Rain has been threatening on off all through the day and just as we thought we would avoid it all, as the stage went black and Chino and co walked out, the heavens opened up and the rain didn’t stop until the very last song of the night. But the rain wasn’t going to deter the crowd or the band who from the off were in fine form opening with “Be Quiet and Drive (Far Away)”
It wasn’t long before the mosh pits and crowd surfers arrived and absolutely soaked through, but that wasn’t going to stop the joys of the Halifax Crowd. “Diamond Eyes” seemed to hit a lot harder when you’re stood surrounded by thousands of strangers in the pouring rain, but it’s now also a memory I will carry for life.
This show was hands down one of those history book shows, one you tell your kids about and say “I remember that show”.
The production on stage and just the finesse of the band worked beautifully together, as they powered through their 19 song set which spanned their 30 year career. Although Moreno didn’t talk much between songs, he made sure to point out that this was “The best crowd in Euorpe” which was met with a massive roar from the crowd just to cement that point.
As we hit the end of the night we have the likes of “Minerva” “Bored” and “7 words” all three capture the crowd in different ways, but it made us all agree on one thing, this band should be headlining festivals next year.
This night has been a long time coming for me as a fan and even with the downpour of rain, I feel incredibly lucky it was this night I witnessed. The weather just made the night more perfect.
REVIEW + PHOTOS BY: ALEX BROWN
TK. MAXX PRESENTS… SOUTHAMPTON SUMMER SESSIONS 2025 - MCFLY
VIEW REVIEW:
MCFLY HEADLINE TK. MAXX PRESENTS SOUTHAMPTON SUMMER SESSIONS 2025 AT SOUTHAMPTON’S GUILDHALL WITH SPECIAL GUESTS… TWIN ATLANTIC AND DEVON
★★★★★ (5/5)
MCFLY HEADLINING TK. MAXX PRESENTS… SOUTHAMPTON SUMMER SESSIONS 2025 AT SOUTHAMPTON’S GUILDHALL
PHOTOCREDIT: CHARIS LYDIA BAGIOKI
The British sunshine is treating the South Coast lately and there is nothing better than an outdoors gig. The Southampton Summer Sessions series – which started in 2024 – came back to the heart of the city for the second year in a row. Whilst it started with Rag’n’Bone Man, The Stranglers and UB40, the event is back with weekend with none other than legendary band McFly.
Straight off their Download Festival stint and in between their tour with Busted, the band came to Southampton to deliver a hit-packed set; but more on that in a beat. First act on the bill was Devon, an alt-indie artist that kicked things off with a mellow yet energetic performance. Even though the crowd was not too familiar with the songs, Devon quickly won over the audience. In terms of sound, the joke stands – Benson Boone couldn’t make it, so they sent Devon instead. There was a lot of charisma on stage through the short set, and the crowd definitely seemed to enjoy the opening performance of the night.
Second up were Glasgow-hailing Twin Atlantic, a band that is playing every-single-festival in the UK this summer. This was my third (!) time catching them live in a space of three weeks and once again, they did not disappoint. The band is a great mix between Placebo and Kings of Leon with a Scottish accent, a lot of energy and great riffs. Their set started off with the crowd being a bit disengaged, but they quickly had the front rows jumping and screaming as the songs progressed. There was a lot of energy and a lot of crowd interaction, showing how a band that has been playing small venues is now able to work a festival crowd easily and gain a lot of interest.
McFly start their set before they even come on stage – they have the crowd sing along to Bohemian Rhapsody, Living on a Prayer and Y.M.C.A and the energy is high ahead of the performance. Jumping into the stage, the band delivered a setlist that covers their 20-year career, packed with hits, crowd favourites and a lot of banter. As darkness fell, the light of the stage made their performance seem even more captivating, with a full on rock production, and a lot of groove and synchronised moves between the band. On stage, they are restless, they lead interactive sing-alongs, they keep the energy high and they clearly deliver the best time to their audience.
The setlist was a treat for fans and newbies – ‘Where Did All the Guitars GO?’, ‘Land of the Bees’ and ‘Star Girl’ are the three openers that have the crowd dancing, ‘One for the Radio’ followed by a medley of covers and ‘All About You’ had everyone sing along, whilst the encore was where the energy of the audience peaked – ‘Forever’s Not Enough’, ‘Honey I’m Home’ and ‘5 Colours in Her Hair’. There was not a single person who was not smiling at the end of the set, as people walked back home having experienced a great night. McFly are simply showstopping – they know how to have fun on stage and how to convey their energy to the crowd. Put them on an open air stage and they can get the whole city going.
REVIEW + PHOTOS BY: CHARIS LYDIA BAGIOKI
GLASGOW SUMMER SESSIONS 2025 PRESENTS… PUNK ALL DAYER
VIEW REVIEW:
Glasgow Punk All Dayer at Bellahouston Park – Anarchy in the Sun
★★★★☆ (4/5)
PHOTOCREDIT: KATRIN LAMONT
In a city better known for its drizzle than sunshine, Glasgow turned on the charm with a glorious, cloudless sky for the Punk All Dayer at Bellahouston Park—part of the City’s Summer Sessions. And what better backdrop for a celebration of raw energy, defiant lyrics, and glorious noise? The turnout was nothing short of fantastic, the crowd a lively mix of punks old and new, with studded jackets, Mohicans, and vintage band tees adding to the electric atmosphere.
Kicking things off with unapologetic fun were The Rezillos, local heroes and cult favourites. Their set was a fizzy, high-energy blast that felt like a technicolour time warp. “Destination Venus” and “Flying Saucer Attack” set the tone early, while “(My Baby Does) Good Sculptures” and “Top of the Pops” got the crowd dancing in the sunshine. Their fabulous cover of “The Ballroom Blitz” sent a ripple of joy through the field. The band’s theatrical flair, driven by charismatic front duo Fay Fife and Eugene Reynolds, was the perfect start to the day.
The Skids followed with a tight, impassioned performance that blended nostalgia with raw energy. Highlights included the rousing “The Saints Are Coming” and a storming version of “Into the Valley” that had the crowd in full voice. Richard Jobson prowled the stage like a man on a mission, and their cover of The Clash’s “Complete Control” was a heartfelt tribute that landed perfectly. They proved punk can still sound urgent and vital, even decades on.
Next up, The Buzzcocks delivered a punchy set brimming with melody and bite. “What Do I Get?”, “Orgasm Addict” and the evergreen “Ever Fallen in Love” were met with massive cheers, but newer material like “Senses Out of Control” and “Manchester Rain” showed they’re not just a heritage act. The balance between pop hooks and punk bite was on full display. Though not the most dynamic performers on the day, their back catalogue speaks volumes.
The Undertones brought hit after hit with gleeful energy, but their overly long set stretched the patience of even the most die-hard fans. While “Teenage Kicks”, “Jimmy Jimmy”, and “Here Comes the Summer” were rapturously received, the set sagged under the weight of too many lesser-known tracks. Trimmed down, their performance could have been razor-sharp; instead, it meandered at times, losing momentum as the sun began to dip.
The Stranglers were the unsung highlight of the evening—tight, dark, and effortlessly cool. Opening with “Toiler on the Sea” and blasting through “Nice 'n' Sleazy”, “Peaches”, and “Golden Brown”, they reminded everyone of their unique place in punk history. “No More Heroes” closed the set with a bang, but their time slot felt criminally short. The crowd clearly wanted more, and this oversight in scheduling was one of the day’s few missteps.
Then came the grand finale. With Frank Carter fronting the Sex Pistols, anticipation was sky-high. It didn’t disappoint. Carter brought feral energy and genuine reverence to the role, snarling through “Anarchy in the U.K.” and “God Save the Queen” like he was born for it. The Pistols’ classics rang out with renewed fire, and their cover of “No Fun” was ironically the opposite. While purists may grumble, Carter’s take gave these songs fresh menace and charisma.
The Glasgow Punk All Dayer was a sun-soaked tribute to rebellion and resilience. While not perfect—The Undertones overstayed their welcome and The Stranglers deserved more time—the event captured the spirit of punk with heart and noise. The crowd, the weather, and the music aligned for a memorable day that proved punk is far from dead—it's just evolved.
REVIEW BY: KATRIN LAMONT
BLUDFEST 2025 // THE NATIONAL BOWL, MILTON KEYNES
VIEW REVIEW:
YUNGBLUD’S BLUDFEST RETURNS FOR SECOND YEAR AT MILTON KEYNES NATIONAL BOWL
★★★★★ (5/5)
YUNGBLUD HEADLINING BLUDFEST 2025 AT MILTON KEYNE’S NATIONAL BOWL
PHOTOCREDIT: ALANNA GEORGETTE
If Bludfest Year 1 was a glorious mess—small-scale, chaotic in a charming way—then Year 2 was the moment it fully levelled up. Without losing its identity, it somehow went bigger in all directions: a stage twice the size, an access platform three times as big, and a crowd that felt both more diverse and more emotionally locked-in. This wasn’t just a local festival anymore.
The second you stepped through the gate, it hit differently. The site has expanded—not just in space, but in energy. There were pubs, a skate halfpipe blasting music while teenagers launched themselves into the air, and a queue for Spud man that looked like a pilgrimage. The sun was out (mostly), the eyeliner was on, and the vibe was loud, slightly feral, and full of heart.
Masterpiece opened like he was born for it. His set was cool, stylish, and low-key cinematic. The field started to fill as people tuned into what was happening: slow-building vocals, clean production, pure control. One of those artists you stop and listen to properly, even if you only meant to pass by on the way to the loos.
Then came Luvcat, and the vibe flipped. It was synth-pop, heartbreak, glitter bombs, and a proper online-generation pop show. She came out swinging with full drama and humor—dancing like a music video and screaming like your group chat after a breakup. People were singing back lyrics word-for-word, which caused a full emotional meltdown in the crowd. Camp, chaotic, cathartic—Luvcat was born for festivals.
Nieve Ella followed, and her set felt like a deep breath. Proper indie sad-girl stuff, but with this loud energy behind it. Her voice has that slightly raspy edge that makes everything sound urgent and nostalgic at once.
Rachel Chinouriri was emotional gut-punching. She’s the kind of artist who walks on stage and instantly shifts the temperature in the field. He was magnetic—vulnerable without being soft; strong without overperforming it. Her hits hit so hard live it was like the whole crowd got slapped in the heart at once. She’s got that power—unshakeable and gentle, like she’s telling your story on stage.
Then Denzel Curry came on and blew the roof off the whole thing. His set was pure fire. No breaks, no filler, just absolute chaos. From the first drop, the mosh pits exploded. You could feel the bass in your chest. He made the ground shake nearly causing a riot, and it was glorious. People were climbing on each other’s shoulders, shirts flying, stewards high-fiving fans—a properly controlled apocalypse. That’s what Denzel does best.
YUNGBLUD HEADLINING BLUDFEST 2025 AT MILTON KEYNE’S NATIONAL BOWL
PHOTOCREDIT: ALANNA GEORGETTE
By the time Yungblud hit the stage, the crowd was sweaty, sunburnt, a little unhinged—and so was he. If there’s one artist who matches Bludfest’s chaotic soul, it’s Dom. He ran across the stage like it owed him money, jumped into the crowd twice, screamed about how much he loves this generation, and did about four impromptu speeches about “being weird and proud.” Classic.
Then he brought out Billy Idol.
Yes. Billy. Idol.
People actually screamed like it was a jump scare. There he was, bleach-blond and iconic, just casually strolling onstage to duet with Yungblud on “Rebel Yell.” The field lost its mind. Kids who didn’t even know who he was climbed over the barriers just to get closer. It was surreal, chaotic, brilliant—and it somehow worked.
There’s something about Bludfest that still feels intimate, even as it grows. The bigger stage gave every act the space they deserved, but the crowd stayed grounded sharing sun cream, rolling cigarettes, starting chants, and helping each other up in the pit. The access platform expansion meant more people could actually see and be part of it all. It’s still got that scruffy, homemade feeling, but the infrastructure this year actually matched my ambition.
The halfpipe kept going all day, and every time someone landed a trick, the crowd cheered like it was a headliner. You could grab a pint from the pub, sit on an old crate, and chat with strangers about the last act or how badly you need chips. It’s that kind of place—where strangers feel like friends, and the chaos feels safe.
Bludfest Year 2 was the kind of day that sticks to me. Not because everything was perfect—but because everything meant something. Every artist gave it their all. Every part of the festival was bigger, but not fake. It’s still full of soul—loud, warm, weird, honest.
YUNGBLUD HEADLINING BLUDFEST 2025 AT MILTON KEYNE’S NATIONAL BOWL WITH SPECIAL GUEST… BILLY IDOL
PHOTOCREDIT: ALANNA GEORGETTE
REVIEW BY: MILES HUMPHRIES
PHOTOS BY: ALANNA GEORGETTE
TK. MAXX PRESENTS… SCARBOROUGH OPEN AIR THEATRE 2025 - BASEMENT JAXX
VIEW REVIEW:
Bingo Bango on the Bay - Jaxx Attack: Scarborough Gets the Full Treatment
★★★★☆ (4/5)
BASEMENT JAXX PERFORMING TK. MAXX PRESENTS… SCARBOROUGH OPEN AIR THEATRE 2025
PHOTOCREDIT: JOHN HAYHURST
TK MAXX and Basement Jaxx, a marriage made in heaven. Under a warm midsummer sky, on the hottest day of the year at Scarborough Open Air Theatre, Basement Jaxx turned an already magical setting into a euphoric, full-body celebration. As waves from the nearby coast echoed softly in the distance, the duo—Felix Buxton and Simon Ratcliffe—emerged not behind turntables, but on a sloping stage and appeared to be in a hole in the centre. However they did have a full live band, dancers in neon and sequins, and enough joyful energy to power the whole Yorkshire Coast.
From the very first punch of Good Luck, the place was alive. The crowd surged with the beat, arms high, voices raised, feet moving instinctively. The heavy basslines rumbled through the amphitheatre, and when Bingo Bango dropped, it felt like every soul present had been transported straight into the heart of a carnival. The horns, the percussion, the cheeky swagger of the dancers—it was impossible not to grin.
Jump ‘n’ Shout kept the momentum going, its fierce vocals and bouncing rhythm sparking a wave of synchronised movement across the crowd. Then came a shift in mood—Raindrops slowed things down just enough to let the night settle around us. This incredibly beautiful dancer wearing what can only be described as a flower costume with iridescent petals floated on to the stage and began to mesmerise the crowd with swooping dance moves that shimmered the costume all over the stage. Felix stood out from the hole at the front, swaying gently, his voice carrying a touch of melancholy that somehow made the track even more powerful. The whole place shimmered with light and low, rolling synths as the tempo softened but the connection deepened.
BASEMENT JAXX PERFORMING TK. MAXX PRESENTS… SCARBOROUGH OPEN AIR THEATRE 2025
PHOTOCREDIT: JOHN HAYHURST
They kept the groove going with Do Your Thing, a brass-heavy burst of funk that felt both chaotic and perfectly in control. It was one of those songs where strangers danced together without hesitation, caught in the same spell. Then came Red Alert, and the energy shot back through the roof – err.. if it had one. That unmistakable siren-synth combo made the whole crowd erupt, a tidal wave of nostalgia and rhythm all at once.
The set kept spiraling upward—Escape offered a surprising emotional peak, a sweeping track laced with longing, while Romeo glided in on a breeze of tropical warmth, its chorus belted out by thousands. Then, in a brilliant theatrical moment, a distorted Baroque-techno mash-up flooded the stage: the bizarre, glorious Techno Pumperizadok. Dancers in LED crowns moved with surreal precision, somehow making this high-camp moment feel completely earned.
The final stretch was pure party. Oh My Gosh turned the whole place into a singalong playground, with everyone from toddlers to retirees yelling the lyrics with wild abandon. Jus 1 Kiss felt smoother, groovier, just as the sun fully disappeared behind the trees. Then Cish Cash dropped like thunder, pulsing and punchy and totally exhilarating.
And then, of course, came Where’s Your Head At. It was everything you’d hope for—loud, sweaty, unrelenting. People screamed the chorus into the night, dancing like the world might end when the beat stopped. Felix was everywhere, arms outstretched, while Simon delivered a storm of sound behind him.
They left us breathless, blinking under the lights, still half-dancing as we made our way out. For that hour and a half, it wasn’t just a show—it was a shared moment of joy, chaos, and catharsis. Basement Jaxx didn’t just perform. They gave us the dance night of the summer.
REVIEW + PHOTOS BY: JOHN HAYHURST
DOWNLOAD FESTIVAL 2025 - SUNDAY
VIEW REVIEW:
KORN HEADLINE AND CLOSE SUNDAY AT DOWNLOAD FESTIVAL 2025 SUMMING UP A GREAT WEEKEND AT DONINGTON PARK ONCE AGAIN
★★★★★ (5/5)
KORN CLOSE DOWNLOAD FESTIVAL 2025 AT DONINGTON PARK
PHOTOCREDIT: CHARIS LYDIA BAGIOKI
The final day of Download Festival is the most difficult – people are tired, sunburnt, dehydrated, hungover and want to go home, but does that stop them from bring the party to Donington? Absolutely not. The energy was once again higher than ever, with a different energy brought into the mix across all stages. Korn – the final headliner of the festival who have waited thirty years to be in this position – had brought another packed-out crowd to their set, but more on this after covering some highlights of the final day.
Amira Elfeky has been making headlines lately, with sold-out shows, venue upgrades and a surprise feature in Architect’s newest album. With high-energy theatrics and dynamic stage presence, Amira gathered a large crowd early on in the Avalanche tent, showcasing her compelling voice and punk energy. Urging people to put their hands up and engage with her music, the set was the perfect opener to an action-packed day.
A hardcore early afternoon is always a good idea, as The Ghost Inside took over the second stage and lifted spirits. Despite the band being involved in a very serious accident earlier in their career, they resumed activities and released new music that brought them back to the spotlight. Their cancelled tour in 2024 did not seem to stop their energy from peaking during their Download set, a testament to the loyal fanbase they have built over their career and their resilience as a band that still knows how to deliver.
Female energy was high on the final day of Download, as Jinjer took the main stage in the sun, delivering a jaw-dropping performance. Jinjer’s vocalist Tatiana Shmayluk has all eyes on her anywhere she goes – she in commanding the audience, showcasing incredible vocals backed by technical music, and a dramatic stage presence. Even though some people found the performance underwhelming in comparison to prior shows, it was still one that made waves, including this year’s best Download moment, a dad becoming a human surfboard for his daughter earning him the ‘Download Approved Dad’ (aka D.A.D.) title on father’s day.
This year’s most talked about female-fronted band took the main stage with ethereal vocals, djent and metalcore riffs and incredible on-stage energy. Courtney LaPlante’s energy is a masterclass in showmanship and command on stage, and her vocals echoed through the field as people headbanged and crowdsurfed through their set. Playing both fan favourite songs and songs off of their latest extremely successful album, the band not only know how to keep the crowd’s eyes peeled, but also how to make their set a highlight of any festival they attend. Spiritbox are definitely a future Download headliner – and it only remains to be seen which year they will finally claim their crowd as multiple festival headliners.
Watching the greatest djent band in the daylight feels wrong, but adds a different level of atmosphere to their performance. Swedish metal titans turned the Apex stage into a dust inferno, as circle moshpits brought a hurricane of dust into the signature riff-heavy set. Despite taking the stage at the same time as President, another mysterious masked band that had been the talk of town lately, they still kept the crowd engaged and the people admitting how much they enjoyed Meshuggah’s main stage performance. Saying that, I did not make it to President’s set. The tent was so packed with people intrigued by the new band that seemed to jump out of nowhere ahead of their ‘inaugural’ concert, the whole stage was barricaded by the time I got there. Fans reported that they enjoyed President’s set, but Meshuggah definitely left much more of an impression.
This year’s crowned ‘greatest metal concert’ band came on stage with vengeance, as Bullet For My Valentine took the stage. Teasing how much a ‘headline set’ was their dream, the band delivered a great set filled with fan-favourite hits that had people singing along to every lyric. Just for the nostalgia, Bullet For My Valentine are a band that delivers incredible sets to people who have been through their journey all along – and the video on the screens of the band’s journey was quite a heartfelt moment at the start of the set. Sadly, there was no perfectly timed rain for Bullet for My Valentine, whilst the clash of the set with Lorna Shore definitely made a lot of people try to pull running stints to catch both sets at the same time. Are Bullet For My Valentine a future Download headliner? Quite possibly so.
The Dogtooth stage hosted some of the greatest deathcore bands of the era, with Fit For An Autopsy filling the tent despite the imminent headliner set of Korn. Brutal, political and full of thunderous energy, the band reminded everyone why they are a major player in the deathcore scene. Their set was a fresh breath to a day filled with cheesy heavy metal and glam action as Airbourne and Steel Panther playing in Opus entertained a much less heavy audience, with people releasing the last of their weekend energy full on during FFAA’s set. They were definitely one of my favourites of the whole weekend.
Brining on their deathcore powerhouse to Dogtooth straight after Fit For An Autopsy, Whitechapel’s extremity cannot be overstated. Known for punishing breakdowns, pushing deathcore boundaries and very brutal vocals, Whitechapel had people moshing their hearts out at the end of the night before the final acts. The lights, smoke and stage presence were incredible during the set, with a lot of theatrics and heavy mosh pits leading the night. As they were one of the last sets of the day, Whitechapel definitely left a mark on me as the weekend was ending.
Capping Download with a monumental set, the talk of town this year were definitely Korn. Opening their set and igniting mosh-pits and crowdsurfing, there was chaos right from the start. Korn proved their festival headliner status in 2024 when they sold out Gunnersbury Park, but their set in Download was not only a step up, but also a new standard. Their setlist contained anthems like ‘Got The Life’ and ‘Freak On a Leash’, having the crowd shout out ‘Fuck that’ during ‘Y’All Want a Single’, and a stage presence that definitely made history – bagpipes, I am looking at you – Korn used kaleidoscopic lighting and raw energy to deliver their set. The crowd surfers were ‘never-ending’, whilst the bend claimed that they would be ‘shutting down Download Festival with more than just a bang’ – and they definitely did.
Sunday epitomised Download’s ethos: intensity, energy, inclusivity, good vibes and great headliners. The festival never fails to put smiles in people’s faces and make the experience unique. No matter who next year’s headliners will be, the event has once again made history this year – it is raw, emotional, thundering and unforgettable.
REVIEW + PHOTOS BY: CHARIS LYDIA BAGIOKI
LIDO FESTIVAL 2025 - LONDON GRAMMAR
VIEW REVIEW:
Sun-soaked pop brings the summer vibes
★★★★☆ (4/5)
LONDON GRAMMAR CLOSING LIDO FESTIVAL 2025 AT LONDON’S VICTORIA PARK
PHOTOCREDIT: ELLIE KOEPKE
Last Sunday, a blazing Victoria Park played host to thousands of concertgoers as they saw out the last day of the inaugural Lido Festival. The entire day had been a scorcher, adding to the idyllic summer festival vibe, and there could have been no better way to round things off than with the enigmatic London Grammar taking centre stage for the grand finale.
Before London Grammar performed their headline slot the crowd was treated to an exceptional lineup of support acts. The ever-electric Róisín Murphy delivered her unique avant-garde stylings, blending musical experimentation with bold theatrics as she commanded the stage and made various costume changes. Neo-soul singer Celeste proved utterly captivating as her earthy vocals took on an ethereal beauty in the summer sun. The penultimate act, Maverick Sabre, left the crowd's spirits high as his irresistible groove-laden soul balanced striking melodies with gritty lyricism.
Then, as the sun’s golden hues bathed the main stage, London Grammar emerged. With an aura of effortless cool, the band commanded attention from the first note, with emotive vocals and complex instrumentals cutting through the hazy evening air with undeniable power.
The setlist managed to span the band's lengthy career, featuring heavily from 2021’s “Californian Soil” and 2013’s “If I Wait.” Weaving through soaring anthems and introspective ballads, each song ignited sing-alongs and dancing from a crowd hungry for the cathartic release of live music under a summer sky.
Gratitude poured from the stage as the band stressed how honoured they felt by the audience's passion. This connection between artist and crowd elevated the experience. It felt personal, a shared moment where music helped people escape their troubles and make new memories.
Ending with the powerful “Metal & Dust” the band took a quick leave from the stage before retiring for an encore. The anthemic “Strong” served as a poignant moment of the evening. Embodying the themes the band had attempted to deliver. While the final song “Lose Your Head” acted as a euphoric release, which allowed the band and the audience to let loose and revel in the setting sun.
The day had been a rousing success, underlining the brilliant first year of the festival itself. Allowing for artist-driven days to delight thousands of fans.
LONDON GRAMMAR CLOSING LIDO FESTIVAL 2025 AT LONDON’S VICTORIA PARK
PHOTOCREDIT: BUFOLA
REVIEW BY: SAM MCNAUGHTON
DOWNLOAD FESTIVAL 2025 - SATURDAY
VIEW REVIEW:
SLEEP TOKEN MAKE HISTORIC HEADLINE PERFORMANCE ON DAY TWO OF DOWNLOAD FESTIVAL 2025
★★★★☆ (4.5/5)
CROWD SURFING ON SATURDAY AT DOWNLOAD FESTIVAL 2025
PHOTOCREDIT: CHARIS LYDIA BAGIOKI
Day 2 started off with sun, had a bit of rain, but ended on a blue sunset. This day – headlined by Sleep Token – was one of the most anticipated dates of the festival, as the headliner band had caused a lot of noise and polarised opinions. But before we get to that, here are some highlights from the day.
Storming the stage early in the afternoon with a lot of drama and energy, Kim Dracula brought theatrics and saxophones mixed with drag and metalcore to Donington. A unique sound, a commanding stage presence, a mix of clean and screamo vocals and changes in the sound going from heavy to mellow, Kim Dracula and the band caught everyone’s attention. It was an incredible set and one that definitely made an impact amongst the festival attendees.
Following their small and intimate UK tour ahead of their main stage performance, Don Broco took the stage with fire and fervour. The performance had everything the crowd needed to dance and have a great time – a blend of rock and alt-pop, pyro, energy, and hit songs that prompted a lot of sing-alongs, crowd-surfing and non-stop crowd interaction. The band was very excited to take on the main stage, and they thanked their audience for allowing them to deliver their high-octane performance on such a level. They were one of the hottest performances of the weekend, and one that will definitely earn them a festival-must-have spot in the future.
A band known for their sensual energy, theatrical swagger and tight musicianship, Palaye Royale had one of the largest crowds of the weekend. Having fans sing along to anthems such as ‘Lonely’ and ‘Nightmares’, Palaye Royale knew how to work their audience and get the crowd excited in the British summer. Armed with glam punk energy, restless running around the stage and rock n roll attitude, the band are not just a festival main-stage act, but a future headliner. Can we get a round two asap please?
Loathe’s mid-day Apex performance was a masterclass in ambience. Their set delivered atmosphere and metalcore aggression at the same time, whilst the on-stage dancing complemented the dust-filled moshpits in the crowd and the synchronised headbanding on the barricade. Loathe are a band that have been playing the same setlist for a while, yet they never fail to deliver – and the crowd cannot get enough. Their set flew by so quickly, leaving people wanting more despite how early they were on at the bill, they definitely left an impression. Following that set, they went on to do a secret set at Outbreak Festival, pleasing not only one but two different crowds on the same day.
A band that has been climbing the rock ladder slowly but steadily, the alt-rockers brought uplifting energy in the tent that features a set of fan favourites and rock anthems which earned a lot of cheers from their audience. For a band that has reached great numbers in the UK album charts and has recently reunited, they have reached new highs during the last two festival seasons so they were a great band to join the Download bill this year. They will definitely start playing larger venues very soon, because the crowd just can’t get enough of them.
Veteran rockers Shinedown delivered a pyro-filled and polished rock performance, filling their set with power ballads and adrenaline-filled anthems alike. Their sound was incredible, reminding the crowd of stadium-level performances, whilst also having a large audience watching their set ahead of the main headliner. Shinedown really know how to deliver a performance of a large scale – it was one of the day’s most talked about bands and one that should definitely make a Download comeback in the future.
Opening up the day in the small tent, Zetra are slowly gaining a very large following. Having people sport Zetra banners all weekend during the festival, they bring aggressive and intense metal energy coupled with intricate riffs and an even more mystical stage presence. Guitar breakdowns are complemented by tight instrumentation and keys, drawing a fervent response from the metalcore crowd. We are looking at a band that will slowly start making waves and attracting hardcore fans in the future, and their set was testament to how good their show was, even if short.
Rock n roll swagger, flamboyant glam, crowd-surfing by the lead singer and pyro on stage are only the start of how dazzling a Darkness performance is. Theatrics are not even enough to cover how great of a show the band can pull off, no matter what the venue is. Having completed their recent UK tour to promote their newest album, The Darkness know how to bring old-school rock n roll back and create a legacy that has been missing from the scene for too long. Their set is fun, playful, filled with banter, jokes, crowd interactions and sing-alongs of songs such as ‘I Believe in a Thing Called Love’ and ‘Rock n Roll Party Cowboy’. They were one of the greatest performances to watch on Saturday, and the band really knows how to entertain their audience. Whoever missed their set really missed out on a great act.
Not even leaving the Opus stage, Frank Carter took over from Justin Hawkins to make history. With raw power and punk energy, the band unleashed a fiery set of fan classics, sparking chaos and circle pits alongside crowd interactions. Bringing back iconic tracks, Frank Carter has resurrected the Sex Pistols and the punk scene with energy that has been missing for decades. And of course, there was no better place to do it than Download Festival. It was another must see performance of the day, and a band that should not be missed live.
FRANK CARTER & PAUL COOK, STEVE JONES & GLEN MATLOCK OF THE SEX PISTOLS PERFORMING ON SATURDAY AT DOWNLOAD FESTIVAL 2025
PHOTOCREDIT; CHARIS LYDIA BAGIOKI
One of the most ambiguous headliner choices, Sleep Token went from Dogtooth to Apex in zero time due to their meteoric rise following their latest two albums. Even In Arcadia was an album that topped American and UK charts, and a lot of people had really high expectations for a band that is crowned the greatest metal act of its generation. The stage production was incredible, with a stage built entirely to match the band’s lore and their headliner slot was mesmerising. Waterfalls on stage, smoke, immersive backtracks and a set that started off behind a curtain, creating an audio experience before the stage was revealed made the audience hold their breaths until the masked collective was visible. Sleep Token’s setlist was also a feast for the ears of their listeners, containing songs that spanned the band’s 10-year career, from ‘Thread the Needle’, one of their first songs ever released, to fan favourites such as ‘Caramel’, ‘Alkaline’ and ‘The Summoning’. With soaring crescendos, intense vocals and ambience, Sleep Token definitely delivered a performance that was festival-headliner worthy.
There were however a lot of mishaps, from a delayed start to a lull between the songs. Critics of the band cited lack of crowd interaction – something that people who do not know the lore and philosophy of the band found odd – the sound being less grande than their indoor arena gigs last year and lack of energy from the crowd, especially in comparison to the energy that Green Day brought the day before. Fans of the band definitely had a great experience, but it was difficult for the band to win the crowd over, especially for people who did not know the deal of Sleep Token. Despite the audience being attentive to the set and songs, I definitely heard a lot of people commenting negatively on their performance. It remains to be seen how the band will win new fans over in their upcoming tour, but the performance was definitely one that has marked Download’s history.
REVIEW + PHOTOS BY: CHARIS LYDIA BAGIOKI