FESTIVAL REVIEW: Bloodstock Festival 2019 – Sunday
And just like that, it’s all over. This is the final section of our epic Bloodstock Festival review. You can read our Thursday/Friday review, and our Saturday one just to prepare before diving headfirst into what was a stellar day of metal. From the bottom of the bill to the very top, the Sunday at this year’s Bloodstock was destined for greatness, so find out what we thought!
FRACTIONS – Hobgoblin New Blood Stage
Sunday on the Hobgoblin New Blood Stage eases into the heaviness as FRACTIONS slowly wake us up with a mix of chill and floaty prog mixed in with metalcore aggression. Ambient synths and keys wash over the crowd before frantic but melodic riffs hit. Christophe Hare patiently hovers round the mic waiting to unleash crushing roars which make the chill waves turn into a tempest. The tides turn once more as Anthony Coghlan lets loose complex thick basslines and Hare switches from his growls into graceful highs for vast choruses. At first the band seem a little stiff but they soon loosen up after a few sick solos and big choruses land well. Whilst they may be a little green around the gills they opened up the new blood stage with a storm of well executed tech metal.
Rating: 7/10
ALL HAIL THE YETI – Ronnie James Dio Stage
California’s ALL HAIL THE YETI open the Ronnie James Dio Stage with their intricate blend of sludge, melody, and horror. Strong riffs barrel out the speaker constantly transitioning between fast paced classic metal and slow stoner rock. Singer Connor Garrity spits lyrics which are essentially small horror stories with a gravelled voice, whilst the band backing vocals provide haunting choruses. The creepy intro and samples on Before The Flames create a tense atmosphere even outside in the daylight, and because Garrity isn’t just trying to be uber-brutal the shocking story is a actually able to come across. Despite their chilling lyrics the band are clearly having cracking time in between songs and as they slam out the bigger riffs Garrity is head banging with the crowd and getting the energy up early in the morning. It’s a different act than what the Bloodstock crowd are used to but a great pallet cleanser.
Rating: 7/10
HARBINGER – Sophie Lancaster Stage
With the rain absolute demolishing the Ronnie James Dio Stage, the alternative to ABORTED come out to show that they should’ve been the first choice all along. HARBINGER come out the gate swinging, armed to the teeth with technical death metal and the fresh momentum stemming from their recent Compelled to Suffer album. The tech-death group are keen to make an impact and play with fervour, inciting mosh pits and even attempting to instigate a circle pit despite their meagre crowd. Their riffs sound huge, and the bass drops that the band come with hit with all the impact of a sledgehammer, some of them coming out of absolutely no where as well. The fact HARBINGER are even willing to try shows how thankful this young band are to be on a stage like this, and their performance is enough to leave a lasting impact on what has been a stacked weekend.
Rating: 7/10
ABORTED – Ronnie James Dio Stage
ABORTED’s efforts to provide a remorseless early awakening over at the Ronnie James Dio Stage are initially thwarted by a downpour of biblical proportions. Although it’ll take more than God’s so-called tears to dissuade the malevolent faithful gathered here. Delivering aural blows designed to bludgeon skulls to dust, the ground shakes as the death metal monoliths spew forth an inhuman barrage of crushing blastbeats, gore-laced grind and maniacal grooves. Armed with warped cuts like TerrorVision and Necrotic Manifesto, its yet more evidence of this band’s vicious craft. The pre-lunch wall of death that opens up mid-set would sate any appetite and as a sea of heads bang in the midday sun, the Belgians consolidate their legacy as twisted veterans of the genre leaving this crowd in a dumbfounded mess.
Rating: 7/10
WITCH TRIPPER – Sophie Lancaster Stage
Like HARBINGER, the inexplicable weather has proved fortuitous for WITCH TRIPPER encouraging a mass exodus to the moisture-free confines of the Sophie Stage come showtime. As a result, it presents an opportunity for the Mansfield trio (including new drummer Gary Evans) to entrance fans old and new via their heady brand of stoner groove ‘n’ roll. No stranger to the Bloodstock experience having opened the New Blood Stage in 2016 along with a headlining spot on the Jagermeister Stage one year earlier, it’s a triumphant return to form. Frontman Richie Barlow’s appreciative shouts of “Bloodstock you’re fucking gorgeous!” are met with rowdy applause and encourage the crowd to throw their hands in the air and ahem, trip along to a soundtrack of growling vocals, stomping basslines and hi-octane riffs.
Rating: 7/10
SOILWORK – Ronnie James Dio Stage
SOILWORK’s musical pedigree speaks for itself and with 11 releases over the past 20 years, they’ve long served as the poster boys for modern melodeath. Opening with the crushing Arrival (from current release Verkligheten) it’s an indisputable blend of aggression and grandeur, all blastbeats and tremolo riffing, while elsewhere songs like The Ride Majestic and Stabbing the Drama remind us of the Swedes’ penchant for classic melodeath bangers. There’s also little to pick at when it comes to Bjorn Stridd’s vocal prowess who veers seamlessly between operatic cleans and belting screams. It’s just a shame that his onstage presence doesn’t quite have the same impact as his musical chops.
Rating: 7/10
WHEEL – Sophie Lancaster Stage
Riding the TOOL hype with a sound that could easily be mistaken for the very band, Finland’s WHEEL stand as one of the more progressive acts on the Bloodstock line up this year. WHEEL don’t let anything stop them though, and their mix another testament to just how good the Sophie Tent sounds this year, as the group lead the audience through a percussive and meandering set. Complete with crushing riffs that swell with the drums, and songs triple the length of most, WHEEL prove that prog doesn’t have to mean boring, and they also dominantly assert themselves as one of the modern prog bands to watch, given how expertly paced this set is, and also how flawlessly executed it is, even if the words ‘sterile’ can come to mind at times. Complete with the odd moment of group choreography, WHEEL deeply impress by the closing moments of their self-titled closer, and are absolutely brimming with potential.
Rating: 8/10
HYPOCRISY – Ronnie James Dio Stage
All hell breaks loose over at the Ronnie James Dio Stage as Sweden’s HYPOCRISY proceed to tear through a frenzied opening salvo of Fractured Millennium and Valley of the Damned. It’s the cue for seething pits and the kind of ferocious windmilling that can only end in snapped necks. Peter Tagtgren’s screams are sharp and spiteful in their delivery, the bass rumbles plentiful and there’s even brief moments of anthemia during the gloriously catchy Adjusting the Sun. From Warpath to the extra-terrestrial leanings of classic Roswell 47, it’s an imperious display of riff-wielding destruction.
Rating: 7/10
BOSS KELOID – Sophie Lancaster Stage
If you were to ask anyone before the weekend who their set of the festival was going to be, it’s unlikely anyone would’ve said BOSS KELOID. But that is exactly what this northern bunch of stoner riffing friends achieved when stepped out onto the Sophie Lancaster Stage. Having evolved beyond their oddball roots into even more oddball territory, the fact cannot be denied that BOSS KELOID write amazing songs. Chronosiam washes over the crowd before crushing with its bass heavy mid section, where as tracks like Tarku Shavel inspire emotive singalong from front to back of the growing crowd. Alex Hurst works the crowd expertly, and eventually leads a BOSS KELOID chant, which speaks volumes to the growth and evolution of this group. This is a stellar performance, dripping in passion and genuine musical brilliance, and it stands out as one of, if not the, set of the weekend.
Rating: 9/10
DEE SNIDER – Ronnie James Dio Stage
It’s unfair booking an act like DEE SNIDER, because everyone from his generation immediately looks terrible because of him. His energy and stamina are immeasurable, and DEE bounds around on stage and jumps at every moment, never missing a beat and never sounding any worse because of it. He solves his own sound issues without missing a note during the second song, and its moments like that, alongside his undeniably funny stage banter and humility despite his godlike status in the scene, that makes this set feel so special. DEE really does just do this for the love of metal, and it is so abundantly clear that he is a fan of the music, as his set lunches from dirty riff led metal to the more glam rock roots of his heritage and even includes some TWISTED SISTER numbers for good measure. The fact of the matter is that this is a headline quality set, and it’s only 5 in the afternoon.
Rating: 9/10
CRADLE OF FILTH – Ronnie James Dio Stage
Forced to pull their set completely due to Saturday’s gale-force winds, CRADLE OF FILTH now have a Sunday evening slot on the Ronnie James Dio Stage with the festival organisers allowing attendees who missed out to return. What unfolds is everything one would expect from Dani Filth et al. The dimunuitive frontman stalks up and down the extended catwalk as huge plumes of fire shoot skywards. Granted, there are moments where the histrionics wander into “strangled cat” territory – Summer Dying Fast’s operatics horrify for all the wrong reasons and the unsettling atmosphere of Thirteen Autumns… is lost as a result of the vocal yapping. That said, there is no disputing the goth-tinged grandeur of Nymphetamine and Her Ghost in the Fog – both of which absolutely crush in a live setting and send the ‘Filth faithful into fits (and pits) of delight.
Rating: 7/10
DAMIM – Hobgoblin New Blood Stage
DAMIM sound like a sentient woodchipper coming for your children. To say they are ferocious would be a severe understatement for the Hobgoblin New Blood Stage headliners. After a lengthy intro, the group kick right into the evil proceedings, and despite their mess of a mix, the group cut through the audience like a knife through butter. Everyone in attendance is stunned at the aggression, and when you can make heads or tails of the frantic and muddy mix, there are buzz saw riffs and blast beats a plenty to be enjoyed. The 30 minute set is just enough for DAMIM to throw enough ire to satisfy everyone, and with the mix never really sounding as clean as it should, there is a case for DAMIM to return and truly show Bloodstock what they’re made of.
Rating: 7/10
BATUSHKA – Sophie Lancaster Stage
There has been much debate over the preceding months as to who the “true” BATUSHKA are. The split between guitarist Krzysztof Drabikowski and vocalist Bart Krysiuk has subsequently split opinion amongst the fanbase with some starting petitions to show their solidarity with one or the other. DIMMU BORGIR‘s unfortunate cancellation due to illness has brought the current incarnation of the Polish black metallers to Bloodstock and despite the dramas, the Sophie Lancaster Stage is packed out for this live ritual. Visually, it’s difficult to tear your gaze away from the spectacle that’s unfolding. Candles everywhere, there’s more skulls lying about than your average cemetery and swathes of smoke surround the robe-adorned band. And herein lies the problem – the theatrics become the focal point rather than the actual songs.
Rating: 6/10
SCORPIONS – Ronnie James Dio Stage
The legacy act at Bloodstock every year is nearly always someone who didn’t get their dues at bigger UK festivals and get to prove themselves to the diehards of Catton Park. This year the German rock n rollers SCORPIONS are the blast from the past. With way more hits than the casuals think they know and a legion of cult followers at the front it’s set up to be a fun set. But in a festival filled with young blood bands trying to prove themselves, how will the old guard fit in?
They start strong with Going Out With A Bang as Rudolph Schenker and Matthias Jabs Rev up the old school biker rock style guitar whilst Mikkey Dee pounds away behind the kit. It all sounds pretty cohesive until Klaus Meine comes in. His vocals lack a lot of the energy that’s on the record. In defence of the 71(!) year old it’s better than most singers voices have aged, and it improves on the softer parts of the following track Make It Real as well as the ballads like the classic Winds Of Change (which gets one of the biggest sing alongs of the weekend). But on heavier moments like Top Of The Bill, Meine just about keeps up. He also has a small case of ‘the Ozzy Osbournes’ in that he doesn’t leave his spot much and when he does, doesn’t stray far, it’s understandable at these guys age but it has to be said it makes the set lack in frontmanship.
Luckily Schenker has enough energy for the whole band, running across the huge stage and runway constantly whilst throwing out huge solos and thick riffs, especially on heavier tracks like Tease Me, Please Me and Bad Boys Running Wild. But that wind is taken right out of the crowds sails with a bloated drum solo which feels twice as long as it should be comes in. Luckily it goes straight into the raging banger Blackout, again Schenker sounds incredible and reminds you how important this band are as he lets loose riffs which would go on to inspire countless thrash bands.
The energy drops again when the encore starts with ballad Still Loving You. It’s a strange choice because at this point the crowd are exhausted after the weekend, you would expect heavier stuff to keep them awake rather than so many slow songs. Despite some parts feeling a tad out of date everyone is sent home happy with the almighty Rock You Like A Hurricane. At a festival where there’s so many bands cutting their teeth SCORPIONS seem a little dull, but ultimately this old dog has some of its original bite still.
Rating: 6/10
ELUVEITIE – Sophie Lancaster Stage
After the SCORPIONS have laid out their obvious claim to be long remembered in the pantheon of heavy metal, ELUVEITIE prepare to really send the weekend home with a band. Having been vacant from the festival for little over a decade, ELUVEITIE are clearly ecstatic to be back, and they come wielding the full force of their musical assault. Matching folk instruments to death metal sensibilities, all nine members of the band get their share of the spotlight as the intense performance blasts at break neck speed and refuses to relent. A mid set break in the form of a haunting and emotive acapella song allows the audience to regain their breathe, and thanks to the varied sounds of the band, it never feels out of place for a second. The biggest praise, and ultimate downfall, of this performance is how effortless it feels and subsequently how quickly it is over. An hour just isn’t enough to full encapsulate everything ELUVEITIE are, but this set is a testament to both how brilliant the band are as standard bearers for folk metal, but also for how brilliant this weekend has been in general. A performance of this calibre is closing the weekend and it’s not even the best set of the weekend. Long live Bloodstock, and may ELUVEITIE return sooner rather than later.
Rating: 9/10
Words: Eddie Sims, Sophie Maughan & Jack King
And that closes our coverage of this year’s awesome Bloodstock Festival! As always, we love the annual pilgrimage to Catton Hall and we are already counting down the day’s until next year’s festival!