FESTIVAL REVIEW: Download Festival 2022

When IRON MAIDEN’s Bruce Dickinson orders us to “scream for me, Donington”, it’s enough to send shivers down your spine. It’s been three long years since we stepped foot on the holy ground of Donington Park for Download Festival, and that warm fuzzy feeling of being home is worn on the faces of everyone all weekend. Whilst last year’s Download Pilot played a part in bringing live music back with an all-British line-up, this year’s mammoth return see’s legends like KISS and MAIDEN share stages with the brightest stars of our scene such as BLEED FROM WITHIN and SPIRITBOX. Let’s not forget all the up-and-coming talent too, like HERIOT and ANIIMALIA making noise. Whether you raced between stages, found a seat on the hill, or simply took it all in, relive the whole weekend with our review right here!

Friday – June 10th

HERIOT – Dogtooth Stage

It’s been three years since we’ve had a proper Download Festival, and three years since guitar hero Debbie Gough joined HERIOT. Therefore, HERIOT’s festival-opening set on the Dogtooth Stage feels like a match made in heaven. Whilst some campers are still setting up shop back by the village, you’d never have guessed by the end-to-end HERIOT chants echoing out before they even hit the stage. The battering ram blast of opener Coalescence sets out the stall as Gough, drummer Julian Gage, guitarist Erhan Alman, and vocalist/bassist Jake Packer blitz through a seven-song set showcasing their potential. Cuts from recent EP Profound Morality make all the difference to their dynamic, as Erhan and Gough play like their possessed by demons. Sure, there’s some muddying sound issues to wade through, but what does it matter when the whole crowd’s still calling out “HERIOT! HERIOT!” This won’t be the last time HERIOT hit Download Festival, that’s for sure.

Rating: 8/10

WAYWARD SONS – Apex Stage 

Being the first to play the Apex Stage is something to brag about, right? It’s also something which comes with great responsibility. Something which WAYWARD SONS took in their stride. Knowing they needed to get things moving, they opened with the apt Feel Good Hit. WAYWARD SONS did what they set out to; brought the noise. However, they came up against a crowd looking to break in slowly to their first full-length Download Festival. While Toby Jepson (vocals) brought people into the pit for Big Day, many opted to sit and drink in the vibe of dad rock. Coaxing a somewhat nervous crowd became the new task for WAYWARD SONS and it was one they performed well, if only to become forgettable by the end of the day.

Rating: 6/10

THEORY – Apex Stage

You could do anything with your time at Download Festival, so why waste it with your head in your hands during THEORY’s masterclass of mediocrity. As far as setlists go, THEORY stick to their radio-rock best of, plucking tunes mostly from their late-00s/early 10s glory days. Whilst Bitch Came Back and Bad Girlfriend once bought them mainstream success, today they’re proof that rock’s still got a misogyny problem that needs addressing. Away from setlist antics, the band pull out every cliché in the book – from pulling out bad British accents and craving fish and chips to delivering the same old speeches every band bangs out at festivals. Worse yet, they sound like they’re running out of steam, with vocalist Tyler Connolly sounding rougher than a group of Downloaders after a night in the village. They might’ve changed their name, but they’ve not fooled us – they’re still the same band you shouldn’t miss others for.

Rating: 2/10

BURY TOMORROW – Apex Stage

BURY TOMORROW are on an upward trajectory. One which escalated following a blistering set on the Apex Stage. The metalcore sextet wasted little time displaying big riff energy with the visceral Choke. The band moved as a single unit, the well-oiled machine producing multiple reasons why they should have been further up the bill.
Pyro propelled heat across the sweltering crowd as it descended into multiple circle pits to the tune of weighty breakdowns which were a joy to indulge in. Undulating bodies came unglued with the live debut of DEATH (Even Colder), Daniel Winter-Bates‘ growls of “forget heaven, I’ll go somewhere I deserve” splurging catharsis. The live debuts didn’t stop as LIFE (Paradise Denied) followed a poignant Earthbound. From Choke to closing Cannibal, BURY TOMORROW went from zero to 100 and maintained that energy flawlessly, delivering a highlight of the day.

Rating: 9/10

MYLES KENNEDY & COMPANY – Opus Stage

Coming from bands like ALTER BRIDGE and collaborating with SLASH, MYLES KENNEDY had a lot to contend with as he played his first set of the weekend. His crowd was sizeable thanks to devoted fans of the names we mentioned. Though the increasing gusts of wind hindered the prolific singer as he drowned in noise, his microphone rendered quiet on one or two occasions. Bouncing between his two solo albums, Year Of The Tiger and The Ides Of March, it seemed this set list had been compiled of the more obscure material rather than what was accessible. With this in mind, renditions of THE MAYFIELD FOUR‘s High and an acoustic World On Fire from the collaboration with SLASH suddenly made sense. While they drew big reactions, they shouldn’t have been the focus of Kennedy‘s set and it’s a shame they were as his solo material isn’t as disappointing as this set made out. Fans left Opus slightly deflated, wondering why there had been such questionable choices.

Rating: 6/10

MEET ME @ THE ALTAR – Avalanche Stage

Pop-punk isn’t the Caucasian boys club it used to be, and MEET ME @ THE ALTAR’s arrival on the Avalanche Stage is the proof in the pudding that the times they are a-changing. The queer BIPOC trio raise the roof with opener Mapped Out’s electrifying energy, as the young audience bounces on command. Vocalist Edith Victoria is all smiles and sunshine, sending concert-goers into a feeding frenzy of fun. Drummer Ada Juarez and multi-instrumentalist Téa Campbell are joined by two others today, but they lack the same buzz their vocalist brings, leaving Hit Like A Girl lacking the punch. They’ve made headlines for speaking out and inspiring others, but today their message seems at odds with their covers medley, which features the likes of NEW FOUND GLORY, LIMP BIZKIT and LIT. Sure, the sing-alongs don’t stop, but it certainly feels like they’re taking a step back from using their platform properly. Of course, when a crowd’s eating out of your hands this much, does anything else really matter? MEET ME @ THE ALTAR have arrived, and their bound to ascend.

Rating: 7/10

LACUNA COIL – Opus Stage

Goth metal is alive and well as LACUNA COIL set to prove with their time on the Opus Stage at Download Festival. With the 20th anniversary of Comalies on the horizon, it seemed somewhat of a missed opportunity they didn’t open with something from that. Opting instead for Blood, Tears, Dust and Trip The Darkness, it mattered very little to the growing crowd the Italians were drawing. Cristina Scabbia‘s voice has aged like a fine wine over the years, only improving with time. The reunion between LACUNA COIL and their fans had been a long time coming, something Scabbia wasted little time acknowledging. After thanking the crowd for making the walk over from Apex the thunderous intro to Heaven’s A Lie echoed around Opus. The reception reminding us of an ecstatic child at Christmas. Heaven’s A Lie and Our Truth sound just as good as they did 20 years ago. A massive testament to the longevity of LACUNA COIL.

Rating: 8/10

SKINDRED – Apex Stage

If anyone was still looking for a good time, SKINDRED were more than happy to oblige. Benji Webbe strutted onto the stage accompanied by the trademark bombastic rendition of The Imperial March. Black Union Jack hoisted into the air, SKINDRED dragged us into a typhoon of mosh pits, mash ups, and ass shaking. Quickly followed by Rat Race and the bone rattling Doom Riff, SKINDRED weren’t here to mess about. The crowd ate every morsel thrown at them. Whether it was the flash mob during That’s My Jam, or the live debut of Smile Please, Webbe had them in the palm of his hand. The mash up of VAN HALEN‘s Jump and HOUSE OF PAIN‘s Jump Around got the crowd riled up for a hard-hitting performance of Kill The Power. Thousands drowned out Webbe‘s call of “no retreat, no surrender”, the rage towards powers that be seeping from every sweat clogged pore.

Rating: 9/10

AIRBOURNE – Opus Stage

Nothing beats blasting out the tunes, downing the pints, and soaking up some rare Donington sunshine whilst Aussie AC/DC disciples AIRBOURNE cause absolute chaos at Download Festival once more. The hard rock heroes hit the stage like wild coyotes chasing prey, as the packed-out Opus Stage woah-oh’s its way into opener Ready To Rock. From here on out, they deal us hit after hit after hit like a twisted game of 21, throwing up a ludicrous run of Back In The Game, Girls In Black, and Burnout The Nitro early on. Rock and roll rebel and frontman Joel O’Keeffe is fired up beyond belief, pulling all his party tricks out the bag one-by-one, from chucking out beers into the crowd to crushing cans over their heads and running straight through them hell bent for leather. If AIRBOURNE ever felt like they were stalling on their ascent to the heavy metal hall of fame, today’s set is a shining reminder of just how fun the good ‘ol days can be.

Rating: 9/10

A DAY TO REMEMBER – Apex Stage

It’s A DAY TO REMEMBER’s third time filling the sub-headline slot on the Apex Stage at Download Festival, so they’re getting dangerously close to BULLET FOR MY VALENTINE territory, as they muddle through the hits yet again. Whilst there’s been some questionable off-stage antics, on-stage they’re not messing about this evening. Few bands have balls big enough to open with their biggest hit, yet A DAY TO REMEMBER pull no punches opening with The Downfall Of Us All. It’s a buckle-your-seatbelts set as they speed through the bangers. Early helpings of All I Want and Right Back At It Again have the Download Festival crowd eating out of their hands. Yet it all feels a little bit been there, done that, got the t-shirt. Their past sets at Download Festova; have had crowd surfers surfing on top of each other, t-shirt cannons taking fire, and a real feel of excitement. Tonight, it all feels a tad more formal, like they’re ticking a box. By now, they should be headlining, but like BULLET, they keep selling themselves short. Saying that, closing trio If It Means A Lot To You, All Signs Point To Lauderdale, and The Plot To Bomb The Panhandle is cause for three cheers for sweet chanting.

Rating: 6/10

SLEEP TOKEN – Avalanche Stage

In one of the more controversial placements, SLEEP TOKEN held a Ritual on Avalanche Stage. A pitch-black stage allowed Vessel to stalk his way out for a spine-chilling rendition of Alkaline. Raucous cheers spilled from the tent as the bass dropped and the crowd immersed themselves into Hypnotise and fan-favourite Jaws. For those expecting the typically static SLEEP TOKEN set were proven wrong. The phantom beings of the backing band drank in the adoration as bass guitars were slung and noise was actively encouraged. The heady blend of Like That into Dark Signs was intoxicating as the beat carried us fully into the moment. Vessel commanded the darkened stage, his characteristic sobbing strangely missing. Though the set still hit hard with the devastating The Love You Want prompting tears from many a forlorn soul, including ours. However it was The Offering which packed the biggest punch, long outside the tent where onlookers commented on the chills the breakdown gave them. Truly a euphoric Ritual.

Rating: 9/10

FRANK CARTER & THE RATTLESNAKES – Opus Stage

Having stolen the show headlining last year’s Download Pilot, punk-rock prince FRANK CARTER and his band of RATTLESNAKES return to Donington to headline the Opus Stage. Just like they did last year, they cause absolute chaos in a mile-a-minute set that once again sells them as future main stage headliners. Storming his way onto the stage, CARTER kicks right into a devious double whammy of newish cuts My Town and Sticky, whipping up a storm of sweaty crowd-surfers straight from the off. Defiantly declaring they’re upstaging KISS, Carter and project mastermind Dean Richardson hit delirious heights, chopping up their different eras into a Download Festival-friendly delicacy.

Carter swaps the stage for the shoulders of fans as he walks like Jesus Christ across water during Juggernaut, calls up his mum on FaceTime for the front row seat of a lifetime before Bang Bang, and breaks hearts as he introduces the tear-inducing Angel Wings as his suicide attempt-in-song. Their feverish set feels even more like a moment when they stop the show to say hello to THE DISTILLERS, who should’ve been headlining instead before pulling out. Honouring their legacy, they dish out a cover of Drain Your Blood like they wrote it themselves. Elsewhere in the set, Wild Flowers sees the star apologise for not starting this sooner, when he announces this is a woman-only pit, demanding all the men respect everyone getting involved. It’s part and parcel of a RATTLESNAKES set, but with 30,000 fans involved, it feels even more monumental. As the entire crowd cries out emphatically “I hate you, and I wish you would die” until the cows come home on the blackened blues-rock of I Hate You, they leave no doubt in your mind a future main stage headliner is ready and waiting in the wings.

Rating: 10/10

KISS – Apex Stage

In what seems to be a never-ending farewell tour, KISS made their way back to Download Festival for the first headline slot of the weekend. The lower field packed itself out as the cinematic played to a loudening crowd. With an explosion of pyro, KISS finally graced the stage for tried and tested Detroit Rock City. Die-hard fans screamed every word while casual listeners drank in the unfolding spectacle. The face painted rockers powered through Shout It Out Loud, Deuce, and War Machine with Paul Stanley determined to debunk claims of lip synching. What we received instead were ropey vocals. Stanley still has a formidable voice but the years spent out on the road have taken their toll on the higher notes.

Fans of KISS were given a spectacular show nonetheless. With fireworks, platforms, and ziplines aplenty, there was more than enough to captivate even those who weren’t that fussed to begin with. Cold Gin was the first instance of a larger crowd coming together, momentum building towards the wider known songs. Momentum which was stopped by the first of many solos. While we cannot deny the musical talent of this band, this test of endurance was too much for some to take. Those who managed to stick it out were treated to the power couple of Love Gun and I Was Made For Lovin You which saw many pull out their high pitched harmonising vocals across the field. Closing Rock And Roll All Nite had us dancing in the field, relishing in the final moments of the evening. “Download, you wanted the best. You got the best!” rang out as the set came to an end. While they gave us the good time we were all looking for, we sometimes have to question the validity of that statement now the heyday has gone. We admire all that KISS have done and will hail them as a legendary band for the rest of time, though the time has come now for new legacies to be made.

Rating: 8/10

Saturday – June 11th

ANIIMALIA – Avalanche Stage

Imagine starting a band in the middle of a pandemic, winning a competition, getting signed to Marshall Records, and opening a stage at Download Festival – sounds like you’re living the dream, right? Well, for Southwest alt-rockers ANIIMALIA, that’s reality. And like the rockstars they wish to be, they roll onto stage bright and early like they’re the last band of the day. With their outfits coordinated – uniform black for all those wondering – they appear on-stage one-by-one, as drums and bass roll in the rhythm before the build up explodes and vocalist Kira Beckett arrives with the confidence of a performer whose years into their career. New single Silver Linings shows off their synth-driven alt-rock chops, as they sink cans and bounce around the stage like they own it. Sure, they need some more material to flesh out their sets. And sure, they need a few more shows under their belt to truly find their feet. But for a band who’ve been together for two years, this really is what living the dream looks like.

Rating: 8/10

DEATH BLOOMS – Dogtooth Stage

Bleary eyed and limp tailed, we piled into the tent of Dogtooth for sweet annihilation from DEATH BLOOMS. Leading the underground resurgence of nu-metal, Life Is Pain was nothing short of blistering. The bass rattled through the tent giving off the saccharine buzz in the chest. Paul Barrow‘s screams of “stay the fuck away from me!” with brutal pits was a glorious juxtaposition we were glad to witness. The chug of Gore wound up the circle pits with the uncomfortable whispering as Barrow pulled the trigger of descension. Room to breathe came in short supply as we were dragged straight into Anger‘s ferocity. Finishing with the vengeful Fuck Everything brought our time to a bittersweet close. DEATH BLOOMS took Dogtooth to an entirely different level, leaving spectators agog, questioning what they had just seen but supercharged to see more.

Rating: 8/10

CASSYETTE – Opus Stage

CASSYETTE’s first ever festival was last year’s Download Pilot, and since then her stock has shot through the roof. With awards under her belt and a string of singles, the rising star’s set on the Opus Stage is another step towards stardom. Unlike her superior Slam Dunk Festival set a few weeks back, it takes a few songs for CASSYETTE to find her feet on such a large stage. Whilst it lacks energy early on, the grit-popper’s backing band, particularly the beast mode drummer, drives the cheering crowd into a frenzy, before her own claim that “Goths and the sun don’t mix” has everyone laughing. Dear Goth is emo’s answer to P!NK whilst Mayhem feels like a nu-metal twist on AVRIL LAVIGNE’s early-era skate-punk. CASSYETTE chants arrive, little pits start to open, and there’s fire in her belly as she starts cutting up shapes across the stage. Just like Slam Dunk, CASSYETTE leaves Download Festival stronger than before, a shining star coming to life set-by-set.

Rating: 7/10

SALEM – Avalanche Stage

If you’ve ever wondered what it was like to be in the studio when THE BEATLES were on Ed Sullivan, simply watch Will Gould arrive on stage wearing a black necktie at the start of SALEM’s set at Download Festival and you’ll get close to the feeling. Opener Fall Out Of Love screams stadium sing-along potential, Draculads dolls out the delinquent punk-rock punch-up, and Heaven Help Me hits the sweet spot between the two. And we’re only three songs deep. With the Avalanche Stage the busiest it’s been all day, Gould and co. put the best of their side-project on a pedestal. Like with CREEPER, Gould twists theatre and punk like liquorice lace in a lover’s mouth. It’s the pomp punk lacks so much these days, and it’s hard to find fault when they’re all having so much fun. William, It Was Really Something sets up more sing-alongs, and Destroy Me finishes everyone off with earthquake-shattering entertainment. With a bar set so high, Gould’s set with CREEPER later in the day has a lot to live up to.

Rating: 9/10

MALEVOLENCE – Opus Stage

One of the most anticipated sets was to come from Sheffield-based MALEVOLENCE. On the back of their critically acclaimed Malicious Intent, the crowd at Opus Stage was massive and rapturous. Alex Taylor‘s “watch me step into Hell” became the moniker of the set. What followed was carnage in its purest form. From the preliminary second to the denouement, MALEVOLENCE obliterated Opus in one of the sets of the weekend. The slow churn of sludge and brutality of hardcore collided as Slave To Satisfaction paved the way for Still Waters Run Deep. Winding through grinding melodies and salacious double kick hit the jackpot for many a spectator, given away by the gurns of appreciation. Self Supremacy followed suit with its glow grind into oblivion while Keep Your Distance provided an apt closing leaving many in desperate need of a good sit down and neck massage.

Rating: 9/10

LOATHE – Avalanche Stage

One of Britain’s best live bands live up to their name yet again. That’s it, that’s the review. Seriously though, Liverpool’s LOATHE turn the Avalanche Stage into an oven, baking us all alive with their nu-metal shoegaze extravaganza. It’s one of those sets that’s stacked with moments, from Kadeem crawling across the barrier to the ghostly, possessed presence of bassist Faisal El-Khazragi and guitarist Erik Bickerstaffe. Last year’s Pilot performance was bittersweet, ending in vocalist Kadeem France going full-on acapella for Two-Way Mirror. But tonight, there’s no theatrics, just pure catharsis as the whole crowd chants along in unison. Better yet, they become puppet masters on fan favourite Is It Really You? as they pull at our heartstrings. Whilst they’re more melodic cuts matter just as much, they’re well versed in whipping up punishing pits and knackering out your neck. Aggressive Evolution does what it says on the tin, whilst Gored tears you apart limb from limb with it’s snarling, extremist post-hardcore. And as they continue to shut out material from The Cold Sun, it’s clear the next era is closer and closer.

Rating: 9/10

BLACK LABEL SOCIETY – Apex Stage

The Download Chapter Berserkers were out in force for BLACK LABEL SOCIETY‘s stint on the Apex Stage at Download Festival. Blessed by Zakk Wylde donning his trademark kilt, Bleed For Me and Destroy & Conquer were just a small testament we were about to witness a guitar clinic of huge proportions. The groove of Heart Of Darkness was sublime as said masterclass was well underway. Somewhat mimicking the drop in temperature, the set from these giants felt disappointingly cold. With little spoken crowd interaction, the separation between us and them began to grow. The rift became a chasm during the duel between Wylde and secondary guitarist Dario Lorina dominated a large portion. It was a sight to behold and something to appreciate but that was it. Closing with Suicide Messiah and Stillborn was music to our ears as we settled back into the songs we love to scream at full pelt, but still wanted to close the rift.

Rating: 7/10

BUSH – Opus Stage

Despite being as British as you like, post-grunge pioneers BUSH have had a rocky relationship with the motherland. Having always been bigger across the pond, the band have struggled to simulate their success back home, despite frontman Gavin Rossdale’s stints as a talent show judge. 2020’s underrated return-to-form, The Kingdom, felt like a fresh start, but today’s set on the Opus Stage sees them return to bad habits. Opener The Kingdom feels like a false start, Everything Zen is average at best, and cult classic Swallowed sounds shaky at best, lost in invisible winds. Worst yet, Rossdale skulks across stage centre as if he’s got better places to be, phoning it in throughout. It’s only when he’s told they’ve got to cut another three songs down to one, despite seemingly being right on time, that he wines he “can’t get in the crowd with you all now!” before the band saunter into closing number Comedown. Surprisingly, BUSH spring to life just as they’re winding down, with Comedown’s chorus sang loud and clear by the Download Festival crowd. This could’ve been a special set, but then BUSH could always have been so much more.

Rating: 5/10

SHINEDOWN – Apex Stage

Opening a festival set with new material is always going to be a ballsy move but that’s exactly what SHINEDOWN did. Full steam ahead on the promotion of their upcoming record Planet Zero, The Saints Of Violence And Innuendo received a mixed reaction. Had it been planted later in the set, it could have gotten a better reception but Brent Smith’s militant vocal style spoke of full conviction to the cause. This conviction ruled the moment as Bully and Enemies sounded massive with their elements of crowd participation upon a sea of bouncing riffs and pummelling beats. Get Up and Unity‘s slower vibes gave an impressive visual with swaying arms and phone lights but brought the mood down at an inopportune time. What slowed the momentum further were Smith‘s speeches. While motivating and encouraging us to grow through what we go through, many wanted to cut the speeches short and get to the songs. The tandem of Diamond Eyes and fan-favourite Sound Of Madness gave SHINEDOWN an explosive end to an otherwise mixed bag.

Rating: 8/10

DAUGHTRY – Opus Stage

Whilst BUSH give post-grunge a bad name, American Idol finalist Chris Daughtry and his eponymous band DAUGHTRY save it’s soul today. The sweltering sun sets the scene, as World On Fire welcomes them in; their radio rock charm shining through. From every word Daughtry speaks, it’s clear he’s here to have fun and hit back at the past two years, and it’s exactly what the Download Festival doctor ordered. End-to-end barrier-runs are rarer than you think, but not today as Daughtry gets up and close and personal on more than one occasion. Dearly Beloved steals the crown for crowd-singing, but it’s their cover of ALICE IN CHAIN’s Man In A Box which really lifts the roof off their set. So much so, you wouldn’t bat an eyelid with William DuVall suddenly found himself replaced by Daughtry.

Rating: 8/10

THE FAIM – Avalanche Stage

Watching THE FAIM could quite possibly be the wet flannel moment of the weekend. Whilst their compatriots in BETWEEN YOU & ME, STAND ATLANTIC, and YOURS TRULY lead the pop-punk revolution, these indie-popping Aussies let the side down with a set that’s way past it’s best before date. A sparse tent is never a good sight, but a great band brings the party no matter who’s there. Unfortunately, it’s something THE FAIM forget to do today, as the only movement you’ll find is from speaker-waltzing frontman Josh Raven. Try as he might to get things off the ground, he delivers the world’s worst ‘get down and jump up’ moment, enough to make SLIPKNOT roll their eyes in disappointment. Seriously, there’s no passion or pop to it, just nothingness as people uncurl themselves back to normal standing posture. THE FAIM have got the songs to see them through, but they could’ve had so much more.

Rating: 4/10

MASTODON – Opus Stage

Just like chalk and cheese, festival sets and MASTODON don’t mix. Whether it’s flinging out fan-favourite deep-cuts for an entire set, or their lacklustre stage presence, there’s always something holding them back from reaching the heights their sludge-y prog-metal deserves. But something feels different during their Opus Stage set, like they’re trying to set the record straight. Sure, they still dive deeper into their catalogue than a pilot whale, and they’re still staying tight-lipped – albeit with some humorous tea-themed Brit-bashing for good measure – but they’re playing with real passion, with smiles on their faces, and a rejuvenated sense of purpose. Whilst Black Tongue and Blood And Thunder open up the pits and punch the chorus-chanting clock, it’s the set-dominating cuts from last year’s Hushed & Grim that transform the set. A back-to-back blizzard of The Crux and Teardrinker weaves the concept together on-stage, as guitarists Brent Hinds and Bill Kelliher put on an absolute clinic. As always, sound issues swallow up their soundscapes into a murky, muddying mix that masks their merging vocals, most notably bassist Troy Sanders. But as far as MASTODON festival sets go, this is by far one of their best in a decade on our shores.

Rating: 7/10

DEFTONES – Apex Stage

In somewhat of an odd choice, it fell to DEFTONES to play before the mighty IRON MAIDEN on Apex Stage. While it seemed odd to us, it was an opportunity the alt-metal band relished in. Putting My Own Summer (Shove It) just four songs into the set list was a bold and much loved decision. Chino Moreno dominated the stage as his vocals tried to prove this was the band the audiences should have been watching. For those wondering, the absence of certain members on this tour was thoroughly felt. Chemistry lacked between the band itself which fed into the music and consequently the crowd. While they engaged within the material they were hearing, the disconnect just become too great. DEFTONES included some incredible cuts on this setlist in You’ve Seen The Butcher, Rosemary, and Ohms. Yet when opening for a band such as IRON MAIDEN, the A game which should have been rolled out simply wasn’t there.

Rating: 7/10

CREEPER – Avalanche Stage

Let’s get things straight: gothic-punks CREEPER belong on a bigger stage than this one. A casualty of postponements, their Avalanche Stage set is bursting at the seams with fans tucking into spaces tighter than a tin of sardines. And after last year’s sensational second stage headline set at the Pilot, they more than belong on the Apex or Opus stages. Frontman Will Gould continues his ascent to absolute stardom, offering up a near-perfect vocal delivery whilst causing absolute chaos just by being on stage. It’s punk with all the pomp you could possibly want, whether it’s the prom night theatrics of Thorns Of Love, the pit-inducing punk of Winona Forever, or the tent-shaking celebration that is Annabelle.

Whilst some technical issues cause some teething problems for her keyboard set-up early on, the confidence Hannah Greenwood oozes these days as she dances all over the stage for Midnight’s magical duet more than makes up for it. Ian Miles and Sean Scott are on fire, working up the crowd and playing with pure smiles on their faces, sounding tighter than ever with drummer Jake Forgarty fully integrated and touring guitarist Lawrie Pattison part of the family. As always, closing number Misery proves CREEPER are destined for arenas, as the entire tent takes over the song and carries it on their shoulder. It’s enough to send shivers down your spine. With Gould left to compose himself, he circles the track back to lead it his way after admitting just how beautiful and perfect it all is.
Whilst there’s a few bands here this weekend who could quite easily headline the Apex Stage one day, CREEPER stand out as the one most likely to make it happen.

Rating: 10/10

MEGADETH – Opus Stage

Say what you will about Dave Mustaine, but if MEGADETH’s thrash metal masterclass headlining the Opus Stage is anything to go by, it’s that he bites back with a vengeance. Arriving on stage to a hero’s welcome during the guitar hero wizardry of Hanger 18, it’s their first UK festival appearance since MegaDave beat throat cancer. And for someone who’s faced a bucketload of backlash for his vocals over the last decade, he sounds the best he has for sometime tonight, with Angry Again’s snarling rage and Sweating Bullet’s spoken word descent into madness particular highlights. It’s also bassist James LoMenzo’s first UK show with the band since re-joining the ranks, and MEGADETH are all the better for it. Mustaine, LoMenzo, and guitarist Kiko Loureiro rotate around the stage throughout, joining up in the middle to shred together with smiles on their faces.

Whilst Mustaine is quick to hype up their new album The Sick, The Dying…And The Dead!, there’s no teasers tonight. Alongside a few choice cuts from 2016’s Dystopia scattered throughout, they opt for banger after banger after banger. Rarer cuts like Dread And The Fugitive Mind and The Conjuring are stark reminders of MEGADETH’s ability to mix their thrash metal with melody, whilst setlist staples Trust and Symphony Of Destruction continue to offer seismic sing-alongs and mosh-pit madness decades on from their release. Usually a man of few words on-stage, Mustaine makes a habit of thanking fans and telling stories. This new approach to crowd interaction only benefits the bangers they’re dropping, and nothing beats the roar of laughter that lands across the jam-packed crowd as he introduces Angry Again as the result of a dream that ended in him killing their drummer for bumping into someone on stage. As the superhit Peace Sells and monolithic Holy Wars…The Punishment Due close out proceedings, it’s safe to say MEGADETH continue to make their mark on heavy metal.

Rating: 9/10

IRON MAIDEN – Apex Stage

It’s been over three years since IRON MAIDEN launched The Legacy Of The Beast Tour, and by tonight’s shenanigans, you’d say they’re well and truly over it. Whilst it’s not their fault they’ve since moved on from memory lane, having released Senjutsu last year, it all feels like their losing the magic a little bit tonight. Unless you’re down in the dungeons of the MAIDEN pit, opening trio Senjutsu, Stratego and The Writing On The Wall muster up more than enough yawns. Whilst a Ninja-themed Bruce Dickinson doing battle with Samurai Eddie is a spectacle, it doesn’t take away from the slog of it’s songs.

What’s worse is the deep disconnect it all has from everything else; MAIDEN completely disappear as the dojo-inspired setting is torn down and swapped over for the stain-glass windows of the Legacy Of The Beast backdrop and their usual two-layer set-up. One of MAIDEN’s greatest gifts is the mystique each set brings, yet this feels too much for us to even suspend our disbelief. Letting Senjutsu in on the festivities meant making bigger cuts than the UK Government does to welfare provisions. So that MAIDEN could shuffle up the set with some Senjutsu tracks, heavy metal classics got the boot, with the likes of Evil That Men Do and Where Eagles Dare paying the price. Whilst Brave New World’s Blood Brothers sounds epic alongside fellow long-player Fear Of The Dark, missing out on MAIDEN‘s biggest hits for the likes of Revelations or Sign Of The Cross is just sad.

But fear not, for messrs Dickinson, Gers, Harris, McBrain, Murray and Smith still pack all the fun of the fair into their two-hour set. The flag-waving fervour and Eddie-chasing excitment of The Trooper is iconic as always, whilst a crazy closing run of Hallowed Be Thy Name, Number Of The Beast, and Iron Maiden might as well register on the richter scale it’s so seismic. A double encore delights just as much, but it’s closer Aces High – originally the Legacy Of The Beast tour’s opener – that hammers home the band’s real legacy right now. With a giant spitfire gunning through the stage’s sky above their heads, and the whole field screaming “live to fly, fly to live, aces high!” unison, you forget for a minute that there was anything wrong with this set at all. Like their exit music muses, always look on the bright side of life, eh?

Rating: 8/10

Sunday – June 12th

STATIC DRESS – Avalanche Stage

It’s Sunday morning at Download Festival, the sun is still shining, and you’ve sunk more pints than a pirate has ships. If you needed the hair of the dog, STATIC DRESS could certainly set you straight with their pulverising post-hardcore. Only their mix isn’t quite as magical as their debut album Rouge Carpet Disaster, rendering frontman Olli Appleyard mute at key moments. But as much as that’s a problem for some ears, it’s not enough to stop the mosh-pits engulfing the middle for the devastating Di-sinTer and sweet. Appleyard channels post-hardcore legends like GLASSJAW, launching himself across the stage like a grenade, exploding at a moments notice. Masked guitarist Contrast is an intimidating presence, whilst drummer Sam Ogden hammers every song home with conviction, yet Appleyard really is the star, shown triumphantly in the closing moments as he dives headfirst into the crowd, held-up by the crowd like he’s won the cup.

Rating: 8/10

CONTROL THE STORM – Opus Stage

Being the first band to play on a festival day can be a mixed bag. Sometimes it’s what catapults a band to the next level while other times it can be forgettable. Melodic metal outfit CONTROL THE STORM fall into the latter category. There is no doubt frontwoman Firouzeh has an impressive voice. There’s also a lot to appreciate about the crunchy riffs lined with synthwave. However, there wasn’t enough for us to sink our teeth into. Firouzeh‘s posing and static hair flips between verses became jarring. Attempts to get the crowd involved received a mixed reception. It all felt flat for us despite our best efforts to enjoy the moment. Though the cover of BONNIE TYLER‘s Holding Out For A Hero was indeed an enjoyable moment. Had CONRTOL THE STORM played to a more lubricated audience, they may have come across better, but for now, they fall victim to the opening curse.

Rating: 5/10

POWERWOLF – Apex Stage

“Welcome to our Holy Heavy Metal Mass!” screams POWERWOLF’s master of ceremonies Attila Dorn just moments before launching into the fist-pumping Army Of The Night. As far as Sunday schools go, this is the only one we want to sign up for. Following last year’s Call Of The Wild, it’s safe to say POWERWOLF are helping shift the perspective on power metal. And they don’t take their main stage slot – and their first at Download Festival – lightly; they bring out wall-to-wall bangers amidst a masterclass of crowd control. Opener Fire And Forgive fans the flames, as the crowd chant along emphatically, but it’s Incense And Iron’s barnstorming jumping that really gets their set off the ground. Whilst Demons Are A Girl’s Best Friend has everyone from the front to the back singing along by the end of it, it’s the ridiculous four-part recital of Armata Strigoi that proves few bands their senior could pull off a sing-along as strong and as complicated as that. Keyboardist Falk Maria Schlegel is absolutely key to the set’s chaotic success, ditching his keyboard from time to time to whip up the crowd with Attila. Their circus of madness reaches its climax with a deliriously good double-attack of Werewolves Of Armenia and We Drink Your Blood. Power metal might not be the coolest genre on this stage, but POWERWOLF prove it can sure be the funnest.

Rating: 10/10

BIMINI – Dogtooth Stage

When a tent’s so tightly packed, there’s people clambering over each other just to get a glimpse, it’s usually because it’s hammering it down with rain or a secret set that’s just dropped. Today, it’s neither as the Download Festival faithful flock to watch Ru Paul’s Drag Race star BIMINI perform their first festival set ever. The Phil Daniels-doing-Parklife-aping God Save This Queen starts the party with passion, but by the time follow-up Don’t Fuck With My Groove gets underway, a fair few rows are filing out. Whilst BIMINI’s dance-punk electro-pop isn’t for everyone, it’s a spectacle not to be missed. Considering this is only their second show, BIMINI and her band play like they’ve been together for years. Although their stage confidence can only cover over so many cracks, with the vocals verging into howling wolf territory several times throughout. Covers and mash-ups of THE PRODIGY’s Breathe alongside BRITNEY SPEAR’s Toxic get those not-in-the-know singing along, but it’s the SOFT CELL meets SLEAFORD MODS approach to the originals that really gives this set potential. By the time When The Party Ends and Rodeo shuts up shop for the day, it’s clear that BIMINI has officially entered Download Festival’s marmite club – but for our money’s worth, we ruddy loved it.

Rating: 8/10

TREMONTI – Opus Stage

Finally able to give Marching In Time the touring cycle it rightfully deserves, TREMONTI took to the Opus Stage at Download Festival like a duck to water. Joyous crowds welcomed Mark Tremonti‘s solo band with welcome arms as they threw themselves into the thrash-inspired Thrown Further. The riffs from Tremonti and secondary guitarist Eric Friedman were tight and bordered on perfection as they sailed through If Not For You and My Mistake with ease. “Download, it’s been far too long” Tremonti beamed to a thunderous crowd. The shy nature soon disappeared as Marching In Time‘s storytelling took over. Bleeding into the emotionally wrought The First The Last, what TREMONTI gave us in this all too short time was unadulterated bliss. The crushing Another Heart showcased the frantic thrash influence, Tremonti himself unable to hide the smile within the venom ridden lyrics. People left the Opus Stage with just one question: why was that not on the Main Stage? In time, we hope that will come.

Rating: 9/10

RISE AGAINST – Apex Stage

You’ve got to give it to RISE AGAINST, they’re taking no prisoners today. It might be the third day of Download Festival, but the Chicago punks storm the stage, shooting out of the gate with Prayer Of The Refugee. From here on out, they drop hits like bombs, with Satellite, Ready To Fall, and Collapse (Post-Amerika) causing more chaos in the pits than the time KFC ran out of chicken. But it’s not all letting off steam, this lunchtime sermon is a fist-raising, voice-amplifying protest, as charismatic frontman Tim McIllrath swaps his mic for a megaphone and leads us through their ‘songs about revolution’, proudly declaring “there is no racism in revolution”. Newer cuts like the empowering, alt-rock anthem Nowhere Generation and latest single Last Man Standing show off the new sheen to their sound, but it’s old favourites like Re-Education (Through Labour) and Survive that feel like the rallying cries the whole crowd needed, as boots jump up and down, pits circle round and round, and voices echo out. By the time super-hit Saviour closes out their set, it’s safe to say they’ve saved themselves a seat on the Download Festival bus of favourites.

Rating: 9/10

VOLBEAT – Apex Stage

Did anyone order the Rockabilly Roast for dinner tonight? As the Danish stars VOLBEAT take to the stage this teatime, there’s more than a few yorkie puds kicking about the Download Festival ground, but as soon as they fire into The Devil’s Bleeding Crown, it’s about one thing and one thing only: having one hell of a good time. Packing more heat than a cop undercover, their set is dripping in hits. And thanks to that, frontman Michael Poulsen has the whole crowd eating out of his hands. He causes chaos with a single question – “does anyone want to hear a song about a shady lady?” – as Lola Montez gets everyone cheering along, whilst a magical medley of A Warrior’s Call and I Only Want To Be With You threatens to open the heavens with its ground shaking impact.

For all of Poulsen’s JOHNNY CASH-crooning between songs, the music truly speaks for itself and suits the sunshine setting Donington delivers. Newer cuts like Sad Man’s Tongue and Temple Of Ekur feel right at home between the lightning-fast feast of Pelvis On Fire and iconic Black Rose. But beyond all that is one simple fact: there’s never a moment not a single member of VOLBEAT isn’t smiling, and it’s the same for the fans. Even if you’re sat back enjoying your yorkie pud, this is one of those feel-good sets you won’t forget.

Rating: 9/10

SPIRITBOX – Avalanche Stage

The Avalanche Stage at Download Festival had never packed out faster with the anticipation of SPIRITBOX‘s first performance on UK soil. The moment Courtney LaPlante roared “cut down the altar” the frenzied crowd became unglued. Beginning a set with arguably their biggest song, Circle With Me was a perfect choice. This was euphoria at its finest as LaPlante became drowned out for Blessed Be while the chug of Mike Stringer‘s eviscerating riff for Yellowjacket drove circle pits to fever pitch. Holy Roller signified the chains snapping. LaPlante‘s vocals were top notch as she orchestrated pure chaos. The tent shook with ecstasy and dripped with condensation as humidity dominated. SPIRITBOX‘s set was close and intimate yet epic in its execution. This is a name which carries a lot of hype and after that set at Download Festival – that is deservedly so.

Rating: 9/10

SKILLET – Opus Stage 

Say what you will about SKILLET, they draw a crowd. The Opus Stage at Download Festival became packed to the gills for the Christian rockers. Not knowing what to expect, we tagged along. With the anthemic Whispers In The Dark, Korey Cooper (rhythm guitar) transformed into a human dynamo, flying around the stage with a grin plastered on her face while husband John Cooper spat his rap verses to a rapturous gathering. Christian rock tends to come with a stigma of being “preachy”, something which SKILLET fell into once or twice. Though it was moreso about mental fortitude over that of the religious. The heart wrenching Hero was dedicated to a fan currently battling cancer, and Monster to Cooper‘s nephew who perched on his dad’s shoulders in the crowd. Messages aside, Feel Invincible and The Resistance drove their crowd into a frenzy we can’t help but compare to that of the devout. Would we go to a headline show of theirs? We certainly have a curiosity which needs sating.

Rating: 7/10

THE DARKNESS – Opus Stage

What comes to mind when you think of THE DARKNESS? That comes later, but eccentricity was our answer. THE DARKNESS carried that in abundance as they bounced onto the stage, Justin Hawkins in a very fetching jumpsuit Elvis Presley would covet. The fun began with the anthemic Growing On Me which became an exercise in hitting the high notes for later on. Against a shower of sparkles, Hawkins impressed with not only his athletic skills but the ability to carry those ball busting notes through Heart Explodes and Love Is Only A Feeling. Get Your Hands Off My Woman was a surprising highlight as Rufus Tiger Taylor‘s beat was sharp and perfectly dictated the enthusiastic dance. While the song escaped Hawkins for a moment, the crowd picked up the slack allowing him to recover. “We’re going to play the famous riff now” Hawkins quipped with Russell Brand energy, “we’d like to see a somewhat intense bounce.” Intense bounce is what they got with the giant I Believe In A Thing Called Love, complete with hand claps and choreographed crowd participation before we heard our first Christmas song of the year to close out an otherwise wonderful set in the middle of June.

Rating: 8/10

STEEL PANTHER – Opus Stage

What do cunnilingus, glory holes, and cocaine have in common? Besides the pleasure factor, they’re faithful material for heavy metallers STEEL PANTHER. To the delight of boisterous onlookers, the foursome breezed onto the Opus Stage for their headline slotat this year’s Download Festival. VAN HALEN‘s Unchained gave way to the grind of Goin’ In The Back Door. For stalwart fans, the change in opener came as a bittersweet surprise as favourite Pussywhipped was nowhere in sight. The Los Angeles outfit powered through material from the stellar Balls Out (2011) and Feel The Steel (2009). There was nothing tongue in cheek about this set as anything on the sexual spectrum was fair game and the crowd ate it up. With a crack at Amber Herd‘s defecation habits and Michael Starr‘s (vocals) scarily convincing impression of OZZY OSBOURNE for a rendition of Crazy Train, the line of acceptability may have been snorted.

STEEL PANTHER may be known for their shock value but setting the pomp and circumstance aside, this quartet surprise with their musical prowess. The chug of Satchel‘s guitar for Let Me Cum In, the swagger of 17 Girls In A Row, and Stix Zadinia‘s (drums) stint on the keys for Weenie Ride prove they’re more than sex crazed deviants. The faithful tandem of Death To All But Metal and Gloryhole brought the set to a close as bodies smashed into each other for an unconventional moshpit. The only surprise of the set came with Justin Hawkins (THE DARKNESS) joining the band for Party All Day (Fuck All Night) but the crowd didn’t care. Whether it be an arena or a stage at Download Festival, STEEL PANTHER always bring the sleaze.

Rating: 7/10

DESCENDANTS – Avalanche Stage

As Everything Sux pumps adrenaline and amphetamines into the crowd, the elder statesmen of American punk arrive on stage. DESCENDANTS headlining set on the Dogtooth Stage is a rare chance to catch the pioneers from across the pond, who are playing just their 12th UK show since reforming over a decade ago in 2011. Whilst pop-punk prototype Hope, skate-punk surf-rock jam Myage, and I Wanna Be A Bear bring the party, as old-school pits touch the barrier, you can’t help but think these dogs have well and truly had their day.

Sure, Milo Goes To College is a seminal staple of any punk-rock history lesson, but bassist Karl Alvarez, drummer Bill Stevenson, guitarist Stephen Egerton and vocalist Milo Aukerman sound tired as they stand mostly static during some of the world’s most energetic songs. It takes the conviction out of their set, as if they’re sprinting the London marathon without training. But it’s hard to give them the cold shoulder when I’m The One and Suburban Home are so much fun to cut shapes and sing your heart out to. As closer Smile sings out “what I wouldn’t give to see you smile, once in a while”, there’s not a single soul heading off to BIFFY CLYRO without a smile on their face.

Rating: 7/10

MYLES KENNEDY – Dogtooth Stage

Originally billed as an acoustic solo set, MYLES KENNEDY arrives on stage for his second show of the weekend joined by his backing band. With some apologies out of the way, Get Along’s groovy stomp has us all singing along, so who cares if there’s more bells and whistles than promised? With BIFFY CLYRO taking to the main stage just moments before, the Dogtooth Stage is fuller than a pub on payday, which is testament to MYLES KENNEDY’s reputation as a kindred spirit. Unlike Friday’s Opus Stage set, they keep the covers to a minimum, with Myles revisiting his day job as ALTER BRIDGE frontman for the only acoustic number of the night. With the stage lit up in fairy lights like a campfire hangout, All Ends Well is a goosebump-inducing display, proving once and for all that Myles is the voice of the angels.

Considering that ALTER BRIDGE and his extracurricular activities with SLASH are arena-conquering projects, Myles seems far more comfortable and at ease channelling A Thousand Words’ and Haunted By Design’s Americana spirit. There’s true happiness upon his face, and just as much on the crowds, as they dance and sing their way through the set. By the time In Stride brings it all to a close, calls for more could easily put Oliver Twist to shame. Why brave the cold night for BIFFY CLYRO, when one of modern rock’s most magic stars is right here lighting campfires with his voice?

Rating: 10/10

BIFFY CLYRO – Apex Stage

Headlining Download Festival is a monumental task in itself but bringing the entire festival to a close is another mission entirely. For 2022 the prestige landed at the door of BIFFY CLYRO. The trio strode out to raucous cheers, the crowd which remained finally ready to see someone newer headlining Apex. If the band felt any nerves following the likes of KISS and IRON MAIDEN in terms of stage productions, they didn’t show it. Besides, the second time is always better than the first, is it not?

Where the eerie DumDum gave the impression of a dreary set from the Scots, A Hunger In Your Haunt picked up the pace with its punk influence and reverence. Did this combination of an opening have the impact fans desired? It indeed got off to a slower start but once the set rolled with Tiny Indoor Fireworks‘ mainstream rock, this meeting of melancholy infused joy became the spectacle it needed to be. A wonderful moment came with Machines as thousands screamed “I’ve forgotten how good it could be to feel alive”, rounding off a weekend where it was indeed glorious to be alive. A reminder that we had survived two years of great sadness and returned to our spiritual home.

For those who doubted BIFFY CLYRO had the stones to headline Download Festival again, that moment alone was enough to silence them multiple times over. The playful Bubbles rounded off the core set as Simon Neil led the charge with bright guitars and gleeful smiles as he sang of creepy worlds and proclamations “that baby is a sinner”. The joy truly came with the tour debut of The Captain in the encore. Elation seeped into the hallowed grounds of Donington Park as Cop Syrup‘s call of “fuck everybody, woo” soared into the sky and Many Of Horror‘s chorus will forever reverberate from the top of the hill.

Rating: 8/10

Words: Jack Press, Tasha Brown

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