FESTIVAL REVIEW: Bloodstock Festival 2018 – Sunday

It’s always a bit of a bummer when you wake up on the Sunday morning of a festival, especially Bloodstock. But it really doesn’t linger for long when the realisation that there’s still a full day of epic metal to sustain everyone until the final notes of the mighty WATAIN. Here’s who we were able to catch on the last day of the best weekend, it was some of the best music we caught all weekend!

OBZIDIAN – Hobgoblin New Blood Stage 

Kicking off the new blood stage on the final day of festivities is Stafford’s OBZIDIAN who are perfect for anyone who loves groovy 00s metal like LAMB OF GOD and CHIMAIRA. As they come out with their own branded black balloons (very metal) being thrown around the tent, guitarist Baz Foster and bassist Matt Jeffs let loose a chuggy mix of deathcore and groove metal riffs. Singer Matty Jenks is either stomping around the stage or joining the crowd releasing huge gruff growls which have a very big Randy Blythe feel to them. Paul Hayward’s drums hit hard but have a catchy stomp to them much like the late Vinnie Paul. However after a few songs in it feels a tad stale, a touch more of originality rather than just worshipping their heroes would help OBZIDIAN tremendously.

Rating: 7/10

Words: Jack King

MONUMENT – Ronnie James Dio Stage 

Kicking off the final day are London metallers MONUMENT, who overcome slightly dismal weather conditions by simply hurling loads of pyro out at the early-morning crowds. With a delightfully retro IRON MAIDEN-meets-NWOBHM style tone, the group quickly establish themselves as strong openers thanks to an impacting set filled with as many huge choruses from ex-WHITE WIZZARD man Pete Ellis as there are thunderous riffs from his bandmates. They might not draw as well as a band of their quality should do, but given the early time and the bleak conditions, it’s somewhat understandable, and lends a feeling that the tenacious few who have made it in early have managed to see something truly great to start their day.

Rating: 8/10

Words: Jack Fermor-Worrell 

IMMINENT ANNIHILATION – Hobgoblin New Blood Stage 

There’s a thunderous roar as IMMINENT ANNIHILATION walk on to I Don’t Want To Set The World On Fire by THE INK SPOTS. They’re another group of local heroes who won the Metal 2 The Masses competition and are now ready to prove themselves to the nation. Once the oldtime music Harry Godfrey drops into fast death meets groove drum work with a vicious sounding snare. Connor Rhode’s guitar work explores vast influences within a single song, giving you MESHUGGAH riffs one minute and SUICIDE SILENCE bounce the next. Jordan Grey lets out high pitched raspy screams, another singer today taking a big influence from the 00s burst of growlers. They pump out newer tracks from the EP The Annex Between Creation and Annihilation, as well as older ones like Pitchfork Abortion from their formative years as a death metal act. Once this has been played you can hear so much more old school death metal sneak into their riffs, adding yet another ingredient to their melting pot of metal influences.

Rating: 8/10

Words: Jack King 

AMARANTHE – Ronnie James Dio Stage 

AMARANTHE, the Swedish melodic metalcore group, famed for having three lead vocalists and electronic elements, invigorated the grounds of Bloodstock with immense energy on what would normally be a sleepy Sunday afternoon. Difficulties can arise when plying multiple vocal styles and musical elements together, particularly on a live performance. As luck would have it, very few of these were encountered by the six-piece band during their time on the Ronnie James Dio Stage. Performance wise AMARANTHE pulled out all the stops, featuring crowd interaction and genuine displays of comradery between the members. The crowd certainly seemed pleased with the setlist, as favourites including Hunger and Call Out My Name were played to near album quality, but with a gusto and vigour that only a live performance can bring.

Rating: 8/10

Words: Christopher Harding 

KING LEVIATHAN – Sophie Lancaster Stage 

If you can cast your mind back a few years, KING LEVIATHAN were making a surprising impact on the Hobgoblin New Blood Stage, complete with stage attire and the venom of a new band with something to prove. Fast forward to now and unfortunately the band’s days are numbered as they begin to wind down and play their final shows before entering indefinite hiatus. KING LEVIATHAN don’t really play like it is one of their last shows, blasting through their set with so-so energy that never really feels like it’s as intense as it should be. Coffin Swallower cascades with raging blast beats and thrash grooves, and when the band hit their stride it’s difficult not to throw the horns and bang your head, but this set does just feel like an easy way to spend half an hour rather than a must see set of the weekend.

Rating: 6/10

Words: Eddie Sims 

ALIEN WEAPONRY – Sophie Lancaster Stage

Another one of the most hyped and talked about acts on the line up this year, ALIEN WEAPONRY are probably the youngest band to ever play Bloodstock, as the majority of their crowd has about five years on the New Zealand youngsters. Novelty aside though, the age has nothing to do with the quality of music ALIEN WEAPONRY come equipped with. Representing a new age of thrash crossover, the trio boast lumbering grooves that switch into traditional thrashing segments that send the crowd into a craze. Holding My Breath and Kai Tangata both possess such primal power it almost feels like a new age SEPULTURA at times, the Maori influence giving the trio a unique stamp that also makes their music far more imposing and intimidating than most other bands twice their age. After the biggest wall of death the Sophie Lancaster Stage sees all weekend, the crowd is left panting and wondering what just hit them. ALIEN WEAPONRY have a bright, bright future in the British music scene and it’s mental to think this is their first time on our shores.

Rating: 8/10

Words: Eddie Sims 

FOZZY – Ronnie James Dio Stage 

Today’s appearance is the final European show on the Judas Rising Tour for FOZZY, and the hard-rocking outfit are more than keen to send things out on a high note from the moment they step onto the Ronnie James Dio Stage. Sprinting out and immediately blasting into monolithic opener Judas, it’s blatantly clear that the band are intending to close things out on a high for this leg. Picking a strong eight-track set pulled almost entirely from their two most recent albums, Judas and Do You Wanna Start A War, the band seem hell-bent on bringing the party atmosphere to Bloodstock; and do so easily thanks to powerful pop-metal bangers like Drinkin With Jesus, Burn Me Out and Lights Go Out. As you’d expect from a man with decades of experience entertaining arena crowds, frontman Chris Jericho is an atom-bomb of charisma and showmanship – be it in his constant back-and-forth banter with the audience, his messing around with some kind of smoke-spewing hose stage prop, or his constant looking to climb parts of staging as he sprints around to different corners, the man is simply entertainment incarnate today. Finishing up on a track as strong as Sandpaper is hardly hurts either, and all it takes is one final cry of “Bloodstock – you just made The List!” from Jericho to send everyone packing with a bemused smile.

Rating: 9/10 

Words: Jack Fermor-Worrell 

JASTA – Ronnie James Dio Stage 

From the first two songs you could assume that this was a plain JASTA set as the HATEBREED frontman bursts on stage with The Same Flame and This Is Your Life, which do sound just like a slightly more downtuned version of his regular band. It’s when Jamey Jasta starts bringing out his mates it comes a spectacle, having Howard Jones for his part in Chasing Demons and then the two singing Body Hammer by FEAR FACTORY with the “riff beast” Dino Cazares on guitar. It feels like a massive jam among friends, and a strange dream for anyone who grew up listening to metal in the 00s, especially when they drop world beaters like FEAR FACTORY’s Replica. Jamey Jasta holds the tunes well and acts as a good hype man simultaneously. The next guest to emerge is the king of slow riffs and bong riffs, CROWBAR and DOWN’s Kirk Windstein who pulls out a track from his collaboration with JASTA, KINGDOM OF SORROW. The low rumbles of Buried In Black and CROWBAR’s All I Had I Gave sweep Catton park as every member on stage looks like they’re having a blast. With all this excitement and guest spots there’s only room for one HATEBREED track but it’s a treat as seeing Cazares and Windstein simultaneously pump out Last Breath is surreal but brilliant. The set ends with all members and guests jamming Bury Me In Smoke, the never ending final riff as the crowd stares at the crazy supergroup which just appeared before their eyes

Rating: 8/10

Words: Jack King 

THIS PLACE HELL – Hobgoblin New Blood Stage 

The Dublin based quintet THIS PLACE HELL have been lovingly described as ‘organised chaos’, and the reason is clear when witnessing their live performances. The winners of the Irish leg of Metal 2 The Masses have an intimidating stage presence, culminating into an aggressively energetic performance from both frontman Stephen Cannon and the rest of the group. THIS PLACE HELL focused primarily on performing tracks from their newest album, Contempt, including the ultra-heavy track End Game, and have shown that they are a band to look out for on the live circuit. Skull-crushing riffs and furious vocals are sure to be a sign of their continued growth as a new band.

Rating: 7/10

Words: Chloe Leonard 

BARBARIAN HERMIT – Hobgoblin New Blood Stage 

Few bands have the kind of set that allows for the saying ‘you like that gravy on your Sunday lunch?’ to be a reasonable addition. However, for BARBARIAN HERMIT, this make complete sense. The Manchester group have a sound that is just as thick and sludgy as gravy and goes down just as smooth. It’s clear that this group have a somewhat cult following from their home town, as a large population of the crowd sang along to favourites such as Alma and Burn The Fire. Frontman Ed Campbell brings with him a huge personality and gravelly vocals that sit perfectly over the gelatinous riffs that sludge is famous for. BARBARIAN HERMIT are a fantastic modern example of the sludge and stoner genres, and it seems fair to say that this gravy train isn’t stopping any time soon.

Rating: 9/10

Words: Chloe Leonard 

MR. BIG – Ronnie James Dio Stage 

Possibly the strangest booking on all of this year’s bill, 80’s rock supergroup MR. BIG are next out, arriving to mild bemusement from some and utter rejection from others. Choosing to open with the amusing-technical Daddy, Brother, Lover, Little Boy (The Electric Drill Song) is just about the best way the band could kick things off, as virtuoso guitarist Paul Gilbert and bassist Billy Sheehan set about displaying their considerable chops to the crowd via lashings of quality shredding and some creative use of picks mounted to the titular power-tools. Frontman Eric Martin does his best to entertain throughout too; acknowledging almost immediately the band being somewhat out of place on a bill that’s mostly comprised of contemporary metal acts from the heavier end of the spectrum, and his charisma allows things to roll relatively smoothly through the likes of Rock & Roll Over, Alive and Kickin’ and Price You Gotta Pay; although the all-out soft-rock power-balladry of To Be With You might be just a bit of a step too far for most of the average Bloodstock audience.

Rating: 5/10

Words: Jack Fermor-Worrell 

DEMONIC RESURRECTION – Sophie Lancaster Stage 

Travelling all the way from India just to be with Bloodstock this weekend, DEMONIC RESURRECTION are so entirely chuffed to be on the stage that it’s a pleasure to see! Put aside the pleasantries, DEMONIC RESURRECTION boast some of the finest death metal you’ll hear all weekend, with thrashy riffs and twisted lead lines that explore everything the fret board has to offer. After the crowd discovers how the front man like his steak much at the expense of certain religions, Krishna – The Cowherd kicks in and all that can be seen is a flurry of flailing hair in unison windmills as everyone shows true metal head appreciation for the international talent.

Rating: 7/10

Words: Eddie Sims 

DEVILDRIVER – Ronnie James Dio Stage 

The weather has still yet to really improve by the time DEVILDRIVER hit the stage, though the gloomy conditions arguably help add to the atmosphere for the US groove-metallers’ set. Today drawing most frequently from second album The Fury of Our Maker’s Hand, the Californian band are on vicious form, blasting out hit after punishing hit like End of the Line and Grinfucked, as hordes of fans seemingly look to obliterate each other in the resulting pits. Vocalist Dez Fafara is of course the perfect ringmaster for such chaos, and although his choice to add a cover of AWOLNATION’s pop-chart-smashing Sail into the band’s repertoire still remains questionable from a musical standpoint, there’s more than enough of the band’s usual fare surrounding it to make up for the slight misstep. Clouds Over California in particular has horns across the entire arena raised in unison, before a swaggering Ruthless and cataclysmically-powerful The Mountain draw things to a close in fine style.

Rating: 7/10

Words: Jack Fermor-Worrell 

MANTAR – Sophie Lancaster Stage 

Not only do the mighty MANTAR sound like they’ve been made in a pit in hell but they look and play like it too. It’s not the fiery torture chamber that you would expect from WATAIN though, it’s a dark room with a solitary light on each member. Hanno Klänhardt’s gaunt frame bends over his guitar and twists with his agonised rage filled screams and viciously heavy riffs whilst Erinç Sakarya sits there pounding out the hardest hitting beats of the festival. It’s a simple set up for one of the world’s most primal sounding bands and the sheer level of noise they’re able to create with two people is astounding. There’s a tension and atmosphere sweating out of MANTAR as they face each other, it’s like they’re about to keel over the second they’ve released these demons from them. It’s not a visual flame filled level of hell they create, but a dark, brooding, psychological one.

Rating: 9/10

Words: Jack King 

AT THE GATES – Ronnie James Dio Stage

Having released a fresh record this year in To Drink From The Night Itself, AT THE GATES feel revitalised and their set at Bloodstock runs along at about 150 miles an hour. Jamming in as much as they physically can into their hour set, the legends lurch from classics like Slaughter Of The Soul to newer tracks like The Chasm that fit incredibly comfortably into the set and helps give this performance the buttery smooth feel it boasts for the entire time. AT THE GATES just don’t fuck about, diving from song to song with little care to the carnage they’re unleashing into the crowd. Nausea and Blinded By Fear are both ferally aggressive and it just cements the fact that AT THE GATES are the best melodic death metal band out there currently, and they’ve been kicking since the 90s. Sets like this are the type that simply affirm what we all knew all along: AT THE GATES are just bloody wonderful.

Rating: 9/10 

Words: Eddie Sims 

PALLBEARER – Sophie Lancaster Stage 

Every festival there is always a performance that should never end. The performance where nothing else matters except the time you have with the band on stage, and PALLBEARER deliver just that set at Bloodstock. Coming on stage and immediately getting stuck in, the gargantuan weight of their aural assault can be felt, let alone heard. The crushing guitars are boosted by the epic bass work, all backed up by rock steady drums that elevates the music further. The soothing and haunting vocals push through the racket and add a further dimension to the cacophonous and beautiful noise PALLBEARER have become renown for. Thorns rolls over the crowd with it’s opening riffs but as the song develops and evolves, the audience remain captivated and refuse to take their attention from the band even for a second. PALLBEARER write some of the most emotionally impacting doom on the scene, and it’s with tracks like Dancing With Madness and the chilling closer of Worlds Apart that displays the bands incredible song writing, as the tracks swell with majesty, washing over the crowd with an amazing light show that continues the captivation. This is the sort of performance that doesn’t feel like an hour, despite nearly every song being seven minutes or longer. PALLBEARER spellbind the late Bloodstock audience with such grace and poise that this is the set everyone will be talking about for months to come after the weekend is over.

Rating: 10/10

Words: Eddie Sims 

NIGHTWISH – Ronnie James Dio Stage 

Closing off the Ronnie James Dio Stage for the weekend are Finnish symphonic-metal titans NIGHTWISH, who bring about the end of Bloodstock in just about the most grand and cinematic way possible thanks to their special Decades World Tour greatest hits set. From the very first notes of opener End of All Hope, it’s blatantly obvious that everything has been turned up to 11, including the symphonic-metal campiness, as keyboard maestro Tuomas Holopainen leads his merry band through arguably the most over-the-top spectacle seen all weekend.

Turning the entire stage, including risers, into screens on which to display fantastical imagery lends the entire show a hugely immersive feel, and allows the members of NIGHTWISH to essentially act as though scoring their own movie. And what a soundtrack it is too – enormous rock anthems like Wish I Had An Angel and Slaying the Dreamer sit alongside the folksy stomp of Élan and operatic bombast of cuts like Gethsemane, as the Finnish heroes blast through a career-spanning set that perfectly maps out exactly what made them into the world-conquering beast they are today. Frontwoman Floor Jansen deftly steers the band through it all; her powerful vocal presence perfectly able to flit between the multiple voices needed to replicate her predecessors, be it via a soft croon, an opera-calibre high note or a strong heavy metal shout seemingly at the drop of a hat, and doings so with a constant grin on her face to boot.

Of course, all the songs you’d expect from a hits set are here; be it the pop grandeur of Amaranth, the danceable swing of I Want My Tears Back (led perfectly by the uillean pipe-playing of Troy Donockley) or mega-hit single Nemo, which leads to probably the biggest singalong of the entire day. Packing in a few choice excerpts from sprawling epic The Greatest Show On Earth, including some Richard Dawkins narration, acts as a great reminder of where the band are currently at in 2018, before a huge Ghost Love Score brings about the end of their set, and one of the best Ronnie James Dio Stage performances the festival has seen.

Rating: 10/10

Words: Jack Fermor-Worrell 

WATAIN – Sophie Lancaster Stage 

Closing out the weekend is a tough ask, but there are genuinely fewer bands as capable of such a slot as WATAIN. The black metal icons come on stage with ritualistic fire adorning the space, before Erik Danielsson announces that ‘we are here to deliver the end‘. Malfeitor enshrouds the Sophie Lancaster Tent with evil as the recognisable guitar licks swirl and the spitting vocals of Erik adding the trademark venom that the band are known for. Nuclear Alchemy injects satanic aggression into the crowd, and Furor Diabolicus bleeds further occult intensity into the tent, representing the best cuts from their Trident Wolf Eclipse record with gusto. Whether or not you’re on board with the open occultism that the band are known for, it’s difficult to deny how epic and unsettling WATAIN are, as Erik leaves his arm in the stage adorning fire for far to long for it to be comfortable, refusing to shift his gaze from the inferno before casting his terrifying eyes back onto the crowd. If evil is what the band are going for, then evil is what they deliver, and as the band confirm the success of their mission to bring the end with a chilling rendition of Waters of Ain, the feeling of a grand finale is tangible, almost as if Belzebub himself is going to rise up and join in the fun. The final song does a couple of things though, firstly confirming that WATAIN are actually fucking great at writing hugely diverse black metal music but also that the Swedes are one of the most capitvating, chilling and downright evil bands to ever exist.

Rating: 9/10

Words: Eddie Sims  

And that brings our coverage of this year’s Bloodstock Festival to a close! Check out our coverage from the Thursday and Friday, and Saturday from this year’s festival and we will see you at next year’s festival!