FESTIVAL REVIEW: Bloodstock Festival 2022

As the first festival in our world to make its triumphant return last year following the pandemic, Bloodstock Festival was a saving grace for so many people who had been starved of live music in the age of lockdowns. Flashforward to this year and the UK’s biggest metal festival is back with a vengeance, armed with a stack of international and homegrown talent across four days. Sure, the heatwave made Bloodstock an almighty challenge and a test of endurance, but for team Distorted Sound, we donned the suncream and hit the pit. This is our review of Bloodstock Festival 2022!

Thursday – August 11th

BASEMENT TORTURE KILLINGS – Sophie Lancaster Stage

Being the first band to open a festival is an audacious task in itself but with most of Bloodstock‘s patrons sweltering from the merciless heat and labouring to establish camp, the task for BASEMENT TORTURE KILLINGS to kick the festival off with a bang is all the more difficult. Fortunately, these London grind merchants are more than up to the task, and provide a set of bludgeoning quality. Eloquently titled tunes like Shit Carcass and Foetus Eater might play the trope of death metal silliness but the way in which the buzzsaw guitars, pounding drums and a razor-sharp vocal display from frontwoman Beryl batter the crowd mercilessly over the course of their set ensures that Bloodstock kicks off with to the best, albeit gore-soaked, start.

Rating: 7/10

THUUM – Sophie Lancaster Stage

Elder Scrolls and more specifically Skyrim-themed metal has come to prominence in recent years, and it is also the theme of Bournemouth based sludgy groove metal band THUUM. The second act on The Sophie Lancaster Stage on Thursday, the band gave us a powerful dose of sludgy riffs set in the northern realm of Tamriel. With soaring synths and chunky, chugged riffs the Dorset metallers thrust the audience deep into the dark corners of the Skyrim landscape. With the crowd just starting to warm up after arriving at Catton Park a couple of hours prior, the band gave it their all. Despite this the energy from the audience was slightly lacking, as many attendees were just starting to get their bearings in order. Which is unfortunate as THUUM gave a passionate performance, making a good account of themselves by seizing their opportunity with their thunderous Thu’ums.

Rating: 7/10

MOTHER VULTURE – Sophie Lancaster Stage

Bringing their trademark chaos and carnage to The Sophie Lancaster Stage, MOTHER VULTURE stunned the crowds with adrenaline inducing derring do and relentlessly high energy throughout their performance. The Bristol quartet channelled the old school rock ‘n’ roll bands of yesteryear, a tight performance matched which was fed by the raucous energy of the audience. With a stacked setlist of vigorously riff filled songs old and new, including the band’s latest single Honey, MOTHER VULTURE put the crowd in the palm of their hand and kept them there throughout. With guitarist Brodie Maguire climbing the steel stage rigs and vocalist Georgi Ivanov climbing into the crowd, it is fair to say this performance had everything you could have wanted from a hectic bluesy punk band. Alongside a host of band’s kicking off the festival on Thursday, MOTHER VULTURE are without a doubt one of the stand out bands of the weekend.

Rating: 9/10

NANOWAR OF STEEL – Sophie Lancaster Stage

If Bloodstock didn’t book a band that cared as much about banter as it did bangers, you’d be inclined to ask for a refund. When you’re chowing down at the extreme metal buffet, palette cleansers like NANOWAR OF STEEL are a refreshing reprieve. These Italian satirists show up looking like extras in a PITBULL video, yet perform like they’re power metal’s next big thing. The ridiculously-named, seriously-played Barbie, Milf Princess Of The Twilight shoots their set straight out the gates, before they rocket through a show that’s as much an ode to heavy metal history as it is a comedy of errors. The Call Of Chtulhu blows raspberries the only way rocker’s know how, Ironmonger sends you spiralling through heavy metal history to the eighties heydays, and Armpits Of Immortals smells like teen spirit and slidy solos. But nothing hits as hard as mid-set highlight Norwegian Reggaeton, which does exactly what it says on the tin – go on, imagine the sight of denim-clad metalheads dancing the samba through the Sophie tent like they’re downing pina colada’s at an all-inclusive. If you need a reason to down your pint and kick off the weekend in style, NANOWAR OF STEEL gives you one.

Rating: 8/10

NEKROGOBLIKON – Sophie Lancaster Stage

How do you follow-up an act as ridiculously silly as NANOWAR OF STEEL? You book a band who bring goblins and death metal together like a director’s cut of Labyrinth gone wrong. NEKROGOBLIKON have carved out a career playing folksy, funny death metal delivered by John Goblikon, the world’s best dressed goblin. And their set tonight is nothing short of madness. Mosh pits erupt whilst others cut shapes to the dazzling, dizzying keyboard licks of Powercore whilst Dressed As Goblins might as well be the anthem for your next marathon, nightmare fuel for those in need of a death metal energy drink. Gimmicks can only go so far, and at times their set feels stretched as there’s only so many times a crowd can cheer along to songs about, you guessed it, goblins. But when you’re having so much fun, does it really matter?

Rating: 7/10

DARK TRANQUILLITY – Sophie Lancaster Stage

After nearly two hours of metal made to make you laugh with NANOWAR OF STEEL and NEKROGOBLIKON, headliners DARK TRANQUILLITY’s melodic death metal arrives like a black cloud over the beach. Having originally been booked to play the main stage, then to headline the Sophie Lancaster Stage on Sunday, and now tonight, their set is one that felt doomed from the start, and Thursday’s care-free booking doesn’t work in their favour. Opener Identical To None is a masterful display of melodic death metal from 2020’s Moment, yet it falls a little flat over a crowd still necking chasers and recovering from back-to-back party sets. The rollercoaster riffs of Damage Done’s Monochromatic Stains should be enough to spark up any crowd, yet it continues to feel like something’s missing – a sinking feeling that stays in the pit of your stomach for the whole set.

Tonight’s setlist is as accessible to their catalogue as it can be, sending a clear statement on which era they prefer: omitting material from their first three albums, with nearly half their set reserved for 2020’s Moment and 2016’s Atoma. It plays in their favour that there’s plenty of melody to move to, riffs to air-guitar to, and hooks to hum along to; but they just can’t get above being anything but average tonight. Whether it’s bad booking or phoning it in, DARK TRANQUILLITY jumped off the ladder just as their hands were holding the title.

Rating: 5/10

Friday – August 12th

RED METHOD – Ronnie James Dio Stage

The first act opening up the Bloodstock Main Stage is always an honour for any band, and this year the opportunity to kick start the festival fell to RED METHOD, the band that rose from the ashes of THE DEFILED and META-STASIS. With their distinct industrial metalcore sound, the band provided big riffs alongside ominous synths and electronic effects. The band put all their energy into their performance, opening the festival with gusto. This included frontman Jeremy Gomez venturing into the crowd and dispatching his visceral vocals on top of someone’s shoulders. Despite this, unbalanced sound plagued their set, with some of the synths and effects only just being audible under the dominating guitars and it was a struggle to make out the majority of Gomez’s vocals. Sadly, these issues distracted you from the band’s passionate performance, and it was an unfortunate way to kick off the festival on the Main Stage.

Rating: 6/10

CREPITATION – Sophie Lancaster Stage

You know you ought to be worried when your heart rate-inducing techno beats in between songs get more chants than your own music does, yet the UK’s resident deathgrinder’s CREPITATION take it all in their stride. Whilst pig squeals are part of the butcher’s block with any deathgrind worth its salt, it’s far too early and far too hot, leaving dual vocalists Chris Butterworth and Mark Pearce manhandling their meaty sound with the cooking prowess of an apprentice, rather than Michelin-starred veterans. Whilst Gelatinous Intergalactic Spunk Trumpet gets three cheers for trying to rival GWAR for the day’s most ridiculous song title, their muddy sound and watery vocals leave you wondering whether Peppa Pig has more bite than these lot have bark.

Rating: 4/10

NØMADUS – Hobgoblin New Blood Stage

When Bloodstock books bands from Belfast, you better get yourself a front row seat. Runner’s up to Northern Ireland’s Metal 2 The Masses, NØMADUS, keep the tradition up during their early doors set. Despite having just three singles to their name, they stand tall on stage with the confidence of a band who’ve been around a lot longer. Reminiscent of mid-noughties BULLET FOR MY VALENTINE, they throw the new-school of thrash into a cocktail of melodious grooves made for headbanging your way through the extreme heat. Set highlight Dawn Of Darkness holds its own enough to get some circle pit movement, and there’s more than enough people buying into it. As their set progresses, it’s clear to see they’re still sounding out their own sound. Sure, NØMADUS bring the riffs to the ruckus, but their songs spiral off into proggy, post-metal realms that feel at odds with their earlier aural assaults. But when a new band does it this well, who are we to complain?

Rating: 7/10

HEART OF A COWARD – Ronnie James Dio Stage

HEART OF A COWARD don’t do things by halves; it’s only new guitarist Dan Thornton’s second show – the first being a warm-up in their hometown – on the main stage of Bloodstock; talk about throwing you in the deep end. There’s no need to worry though, Milton Keyne’s metalcore mainstays more than deliver. Firing on all cylinders, vocalist Kaan Tasan throws himself around the stage like a bull in a china shop, whilst commanding the crowd with the intensity of a general. Whilst old favourites like Shade hit with a hardcore edge, it’s material from 2019’s The Disconnect that pops off like fireworks, songs made for main stage festival sets. Opener Drown In Ruin drops you into an all-out metalcore war whilst Collapse crushes your bones like a boa constrictor. It’s a shame there’s no teases for their recent time in the studio working on album number five, but their set is no less relevant; HEART OF A COWARD are here to stay, and they’re not messing about.

INHUMAN NATURE – Sophie Lancaster Stage

London’s crossover thrashers INHUMAN NATURE have been riding a wave of momentum this year with frequent live outings and a slick bout of aural ferocity in Under The Boot. At Bloodstock, the UK’s answer to POWER TRIP take full advantage of their early morning slot on the Sophie Lancaster Stage to blow off any cobwebs from the night before with a masterclass of thrash. All of Under The Boot‘s offerings make a live outing, with a one-two punch of City Of The Dead and the title track in particular being strong highlights with copious heads banging amongst the crowd, and in Christopher Barling; INHUMAN NATURE have one hell of a frontman. Channelling the aural onslaught provided by his bandmates, Barling oozes charisma through his prowling of the stage and venomous vocal snarls. Watch this space, INHUMAN NATURE are bound to soar up the ranks.

Rating: 9/10

SORCERER – Ronnie James Dio Stage

Don your leather jackets, it’s time to go old-school with SORCERER. The sun’s scorching gaze doesn’t detract from these wizards, who make their first ever UK appearance on the Ronnie James Dio Stage – which is rather apt considering their entire sound is a homage to the heavy metal god’s work. Whilst long-time fans have waited over 30 years for SORCERER to set up shop in the UK, the Swedes opt to play a set that’s almost strictly post-reunion songs only. Leaning heavily on 2020’s Lamenting Of The Innocent, the set feels vitally fresh despite its throwback vibes, yet you can’t help but feel a trick or two was missed to celebrate their past. Saying that, Hammer Of The Witches’ solos take you on a powerslide through 80’s heavy metal heaven, whilst Abandoned By The Gods is all the DIO-worship this DIO-worshipping crowd needs on a Friday afternoon. Whilst SORCERER aren’t stealing the show, 1992’s The Sorcerer is a fitting finale for a triumphant first show.

Rating: 7/10

I FIGHT BEARS – Hobgoblin New Blood Stage

The winners of the South Wales heat of Bloodstock’s Metal 2 The Masses, Welsh quintet I FIGHT BEARS have been compared to the likes of old school metalcore giants KILLSWITCH ENGAGE and PARKWAY DRIVE alongside metal behemoth LAMB OF GOD. The band gained notoriety after they released their epic cover of SPANDAU BALLET’s Gold thrusting them further into the spotlight, I FIGHT BEARS brought their twin vocal, modern metalcore attack to the New Blood Stage. Filling the tent with rousing metalcore anthems, with hardcore fans of the band glued steadfast to the barrier, singing passionately back to them in full voice. Despite the overwhelming heat at the time of their set, the band delivered a tight and sturdy performance, making a good account for themselves and no doubt capturing the attention of a new wave of passionate fans.

Rating: 7/10

BLOODYWOOD – Ronnie James Dio Stage

The arrival of New Delhi’s BLOODYWOOD to Bloodstock has been a long time coming. Originally booked to perform at 2020’s event, but we all know what happened that year, two years on and the nu-metal-meets-folk ensemble arrive to Catton Hall to a rammed main stage and the ensemble do a fantastic job of bringing their unique blend of metal to the Bloodstock masses. Gaddaar kicks the party off in grand fashion as the traditional sounds of their homeland fuse with the thumping guitars and venomous vocal bars from rapper Raoul Kerr and the crowd go balistic with glee. Keer combines excellently with the growls of second vocalist Jayant Bhadula as they spearhead the band’s assault through a high-octane set of numerous cuts from this year’s excellent Rakshak. And with deep political and societal messages lying at the heart of their presence on Bloodstock‘s main stage, BLOODYWOOD gave a performance that will live long in the memory of those who can say “we were there”.

Rating: 9/10

SWAMP COFFIN – Jagermeister Stage

Like a ritual late summer summoning of moths to a lamp, the distorted feedback that emanated from the Jagermeister Stage as SWAMP COFFIN prepared to discharge a barrage of sludgy doom drew in fuzz connoisseurs from all over the Bloodstock arena. Heavier than hell, giving MOTÖRHEAD a run for their money on the decibel metre and letting Main Stage wanderers know that they have arrived, the sweaty and cramped Jagermeister Stage was treated to a fantastic dose of sludgy, fuzz drenched misery from Rotherham’s finest. With a slow barrage of fuzz, feedback and grooves, the music was the perfect accompaniment for the oppressive heat that Friday afternoon. As the ground around them rumbled and cracked, SWAMP COFFIN introduced themselves to the masses in the best way possible. It is fair to say that the Jagermeister Stage didn’t sound the same after SWAMP COFFIN had shook the tent pegs from the ground.

Rating: 8/10

MACHINE HEAD – Sophie Lancaster Stage

When Bloodstock first began teasing a secret set at this year’s festival, the rumour mill ran wild. AMON AMARTH. COREY TAYLOR. SPIRITBOX – the list is endless. Whilst a stream days before gave it away for some, the sight of groove metal heroes MACHINE HEAD’s t-shirts at the merch stand Friday morning sent shockwaves through the camp. For a band who swore never to play festivals again, and haven’t since their headline appearance at Bloodstock in 2012, did they pack out the Sophie Lancaster Stage? Despite MISFITS legend DOYLE donning the Main Stage at the same time, fans scrambled for a spot inside the tent, the first time it was packed like a tin of tuna all week.

For those who rolled the dice and saved a spot for this secret set, they were duly rewarded with MACHINE HEAD delivering a live set so ferocious and on form, it could’ve easily headlined. Opening with BECØME THE FIRESTØRM whipped up the pits, but it was the call-to-arms of Imperium’s headbang-inducing ‘hear me now’ that the chaos truly kicked off. Even with lead guitarist Vogg missing, MACHINE HEAD gave the crowd everything, and the crowd gave it all back, too. From chugging down pints to chucking them into the crowd, to calling for circle pits to welcoming crowd surfers over the barrier, Robb Flynn commanded all in attendance like a general and his troops. There was something for fans of every era of the band, from their first time ever playing Roadrunner United cover The Dagger live, to the pulse-inducing punch of 1997’s Ten Ton Hammer, to the regal majesty of masterful closer Halo. Even without cuts from 1994’s Burn My Eyes, MACHINE HEAD have never sounded so urgent and vital. Welcome back, MACHINE ‘Fucking’ HEAD.

Rating: 10/10

GWAR – Ronnie James Dio Stage

If you were feeling a little fried from a lethal dose of extreme metal and sunshine, shock-rock pioneers GWAR give the gift of a palette cleanser. Whether it’s one to savour or one to spit out is all down to taste, but their tongue-in-cheek terror tests the waters. Despite a teatime set, the legends are at their theatrical best, from spurting fake blood into the faces of the front row to having Her Majesty The Queen make an on-stage appearance. For all the family’s in attendance, this is as pantomime as it gets, and GWAR earn a feverish response with the largest main stage crowd of the day so far. With their new documentary earning pride of place on the main stage screens all weekend, it’s only fair the band play a set that pleases fans of every era. The sing-along stomp of Mother Fucking Liar from this year’s The New Dark Ages holds its own alongside heavy hitters from the nineties like Sick Of You and mid-noughties fan favourites like Bring Back The Bomb. GWAR might not be the weekend’s most politically correct band, but they’re candidates for the funnest.

Rating: 8/10

EXODUS – Ronnie James Dio Stage

If GWAR’s treehouse of horror had everyone laughing, EXODUS’ theatre of thrash masterclass has everyone headbanging their way through the heatwave. It’s their first show since the pandemic, and their first since releasing Persona Non Grata, their first album in seven years. Just like the album was a return to form, their main stage appearance at Bloodstock finds the thrash fivesome at their fiercest. Arriving on stage like a battering ram breaking down doors, opener The Beatings Will Continue (Until Morale Improves) sets the pace. Over the next hour, EXODUS go all-guns-ablazing with a set that puts many modern thrash bands to shame.

Their set celebrates the old and the new, leaning heavily on their iconic 1985 debut Bonded By Blood and last year’s Persona Non Grata. A Lesson In Violence whips up the pits within minutes, whilst The Years Of Death and Dying’s chugging train of riffs has heads banging and mouths chanting. In the first of several fitting tributes over the weekend, EXODUS pay tribute to the late Trevor Strnad, as guitarist Brandon Ellis fills in for them through the set. The heart-rate-inducing double whammy closer of The Toxic Waltz and Strike Of The Beast are so seismic they may’ve registered on the richter scale. It turns out you can teach old dogs new tricks.

Rating: 9/10

EYEHATEGOD – Sophie Lancaster Stage 

New Orleans sludge metal legends EYEHATEGOD graced The Sophie Lancaster Stage just as the intense heat of the sun was dying down on Friday evening. It is hard to tell if the heat had got to iconic frontman Mike XI Williams or that was his trademark erratic stage presence, even so the band’s punk attitude shone through with their banter and explosive set. Offering up a hefty setlist of bass grooves, behind the beat drum rhythms and chunky guitar chords, EYEHATEGOD demonstrated why they are at the top of the sludge metal pyramid. Given the heat and the hypnotic grooves supplied by Gary Mader’s bass, the audience were captivated and locked in a fuzzy trance. Mike XI Williams was brilliant throughout, dispatching his raw vocals with ease and bringing the banter. The band also treated us to a bonus song before disappearing as quickly as they arrived.

Rating: 8/10

TESTAMENT – Ronnie James Dio Stage

If this was a game of poker, and EXODUS just raised the bet; their thrash metal peers TESTAMENT said hold our beer and went all-in. Opener Rise Up shoots Chuck Billy and co. on-stage like a shotgun blast, before bringing out the big guns for an all-out assault, courtesy of The New Order and The Pale King back-to-back. Like EXODUS’ Steve Souza before him, Chuck Billy is on his best behaviour and finest form. Running around the stage, air-guitaring his way through every solo, riff, and lick, commanding the crowd like he’s running the joint. Returning drummer and thrash metal legend Dave Lombardo drives the rhythm section forward like they’re racing round Silverstone, taking every cheer like its nitro, whilst Alex Skolnick and Eric Peterson nail riffs like Christ’s to crosses.

They never once let the pace drop, keeping the pits open, the crowd surfers climbing, and the chants coming with a set that screams greatest hits compilation. They chuck out bangers like they’re throwaways mid-set, delivering D.N.R. midway through with a velocity their peers would shudder at. Closing trio Over The Wall, Into The Pit, and Alone In The Dark is a joyous reminder of just how important TESTAMENT are to thrash metal, and with the sun shining bright, that’s all that matters.

Rating: 9/10

AVATAR – Sophie Lancaster Stage 

Bringing the theatrical to Bloodstock on Friday evening is Sweden’s AVATAR. Their ideas are avant-garde, even for Bloodstock, but they don’t let this stop them and welcome newcomers to the Sophie Lancaster Stage with open arms in the form of a triangle formation at the front of the stage that even drummer John Alfredsson can get involved in. They open with the thundering Colossus; a track that is powered by a powerful kick drum and serves as a gentle start to their set – something that isn’t going to stick around for long. Lead vocalist Johannes Eckerström has an energy that doesn’t fail to captivate the audience, even when the entire band are standing still. His voice soars throughout the tent with little effort and is met by the same energy by the enthusiastic crowd. They may not be for everyone but with songs that hit a variety of sub-genres, even the most disgruntled of death metal fans in the audience should find themselves happy by the end of their set.

Rating: 8/10

BEHEMOTH – Ronnie James Dio Stage

Ever since 2014’s The Satanist, BEHEMOTH have been building to something truly special. 2018’s I Loved You At Your Darkest, more theatrics in their live performances, and two cutting-edge and masterful livestreams during the pandemic, the horde from Gdańsk look destined to make their headlining slot at Bloodstock another scalp in their continued ascendancy. But it doesn’t get off to the best start. Despite the grand unveiling of a curtain into the thundering Ora Pro Nobis Lucifer, Nergal‘s microphone is suffering from technical gremlins and his vocals are lost for the entire song.

Fortunately, this is but a blemish and from there, BEHEMOTH are rampant as they dispatch a masterclass of extreme metal of the highest order. Backed with an arsenal of devilish stage props, bout after bout of pyro that matches the searing heat of the heatwave, and enough theatrical bells and whistles to provide visual ecstasy, BEHEMOTH‘s stage show is top tier but it is within the songs themselves where the band truly excel. Staples like Ov Fire And The Void, Slaves Shall Serve, Christians To The Lions and Conquer All are all performed with the utmost ferocity whilst a serving of new cuts (Off To War! [which featured a sombre lighting of flares in Ukrainian colours], Ov My Herculean Exile, The Deathless Sun] from the forthcoming Opvs Contra Natvram all held their own against the band’s decorated back catalogue. BEHEMOTH are in a league of their own and their headlining set more than proved why they are considered one of our world’s biggest flagship names.

Rating: 8/10

SLEEP TOKEN – Sophie Lancaster Stage

Granted, SLEEP TOKEN might not be the most heavy band on this year’s billing, but they are arguably one of the most curious. The enigmatic djent-meets-pop collective have been a hit in the scene, obtaining cult status through two stellar studio records and a string of impressive live performances, and their performance headlining Bloodstock‘s second stage is simply jaw-dropping. A sombre and reflective opener in Atlantic gets SLEEP TOKEN off to the perfect start as Vessel instantly captivates with his soaring vocals and from there; the band roll out hit after hit and the crowd are captivated entirely.

Jaws has the crowd sinking back to the stage in droves as the synths swirl, Sugar sees the band embrace their pop-influences, Nazareth and Thread The Needle is a nice reward for those who have worshipped the collective since day one and Levitate sees several in the crowd reaching for the tissues to wipe away wet eyes. They might be divisive, but for those present at the Sophie Lancaster Stage, they were fully indoctrinated to the cult of SLEEP TOKEN. And it was a ritual to remember.

Rating: 10/10

Saturday – August 13th

BAEST – Ronnie James Dio Stage

Sometimes, all you need to kickstart your day is meat and potatoes death metal. Whilst that description might be unfair to Danish upstarts BAEST, their brand of death metal doesn’t set out to reinvent the rulebook and as such, they open Bloodstock‘s main stage in thundering fashion, drawing a healthy crowd as pummelling riff and pummelling riff encourages heads to bang along. Newer cuts from this year’s Justitia, Ecclesia and Gargoyles, pack a powerful punch but it is with closing thumper Necro Sapiens where BAEST are at their very best. High-octane riffing and a monstrous display from Simon Olsen ensures that as the band close their short stint at Bloodstock, the day is off to a resoundingly strong start.

Rating: 8/10

MASTIFF – Sophie Lancaster Stage

Despite taking to The Sophie Lancaster Stage at 11:50am, a large crowd had turned out to watch MASTIFF decimate the stage with their punishing brand of metallic hardcore. With a hefty dose of West Yorkshire charm and banter, the band wasted no time in getting down to business and unleashing their punishing, heavy riffs upon an audience that had only just crawled out of their sleeping bags. The added highlight being when vocalist Jim Hodge called the audience, in jest, “amateurs” for not being half cut before twelve got a hearty laugh from the audience. Banter aside, the band did not disappoint, with a solid performance of caveman riffs, crushing misery and an absolute pummelling from the distortion, it was exactly the wake up call and hangover cure that you needed for another day of Bloodstock carnage. As soon as you’ve had your liquid breakfast and oversized Yorkshire pudding of course.

Rating: 8/10

LOST SOCIETY – Ronnie James Dio Stage

Any band hitting a main stage before noon has a tall task of rallying round the troops, yet Finnish thrashers LOST SOCIETY play like they’re headlining. Opener Blood On Our Hands rips open proceedings with the stomp of hardcore punk, their modern thrash setting fire to the rulebook. Vocalist Samy Elbanna is LOST SOCIETY’s not-so-secret weapon; thrash metal’s answer to AIRBOURNE’s Joel O’Keeffe, Elbanna brings the wild child pomp of glam rock to proceedings. Whether he’s crowdsurfing his way through songs, banging his head at the barrier, or firing himself across the stage whilst smashing out riffs, he brings LOST SOCIETY an edge that suggests a higher-up slot is theirs for the taking. The band ditch 2013’s Fast Loud Death and 2014’s Terror Hungry in favour for a set that celebrates their musical evolution. No Absolution is an anthemic call-to-arms, Riot is exactly what it says on the tin, and new single Stitches is a synth-banging thrash-metal slammer that’s set to become a fan favourite, it’s LINKIN PARK-inspired chorus having the whole crowd cheering along. If LOST SOCIETY felt like they had a point to prove, they well and truly proved it here.

Rating: 9/10

PUPIL SLICER – Sophie Lancaster Stage

What is a Saturday lunchtime without some aural noise? Filling this slot is PUPIL SLICER. Quite possibly one of the only bands that has a name that does what it says on the tin, their music is assaulting and complicated, blending intricacy with grinding guitars and bass to create their own style of truly nauseating music. As stressful as their music may be, it makes for a truly interesting watch with singer and guitar Kate Davies galloping around the stage while wearing space goggles and somehow still managing to make it look cool. PUPIL SLICER push music to the edge of its boundaries and their set feels like a fever dream with the amount of whiplash changes in genre, tempo and style they choose to make. Their music is a real amalgamation of genres that, when brought together, create something unique that the audience in this stuffy tent can really sink their teeth into.

Rating: 8/10

SPIRITWORLD – Ronnie James Dio Stage

Billed as a festival exclusive, it’s somewhat disappointing that there’s a thinned crowd to greet Las Vegas-based hardcore-meets-death metal hybrid SPIRITWORLD. Perhaps it’s the fact the sun is beating down mercilessly or perhaps there is not enough momentum yet in this emerging talent’s sails yet, but the band do not care one bit. Donned in matching cowboy getup, the band proceed to unleash a barrage of rattling hardcore which oozes grooves and vitriol from band mastermind Stu Folsom. For those braving the heat, they enjoy every second of it and the band can stand in good stead that momentum is building on their side. We can anticipate that this is just beginning.

Rating: 8/10

CAGE FIGHT – Sophie Lancaster Stage

When TESSERACT’s James Montieth got bored in his bedroom during the pandemic, few could’ve predicted the prog-metal mastermind would whip up a hardcore punk supergroup. Since unleashing their rebellious, call-to-arms eponymous debut this year, they’ve rattled cages and rioted through live shows like they’re bulls on parade. Even with Monteith missing thanks to TESSERACT duties, CAGE FIGHT cause havoc on The Sophie Lancaster Stage as vocalist Rachel Aspe delivers heavy hitters One Minute and Respect Ends with violent rage, inciting chaos in the pit. Bassist Jon Reid is the master of ceremonies, smiling his way through songs and riling up the crowd with rounds of applause for the warm welcome they’ve received, yet there’s no pleasantries to be found in their punishing hardcore grooves – this is a set to disrespect your surroundings and throw shapes to.

Rating: 8/10

LORNA SHORE – Ronnie James Dio Stage

Unless you’ve been living under a rock, you will have seen LORNA SHORE plastered across the internet over the past several years. The New Jersey-based band rose to viral stardom in the pandemic and now, gracing the main stage at the UK’s biggest metal festival, a throng of people congregate to see if the hype is real. And real it is. Dropping the song that spawned your viral boom is an audacious move but LORNA SHORE aren’t here to mess about and as they unleash the mesmerising and devastatingly heavy To The Hellfire to kick off their Bloodstock set, the crowd is in awe as Will Ramos and co. pull no punches. And yes, THAT scream is just as venomous in the live environment. From there, the band smash their way through the rest of …And I Return To Nothingness and a splash of cuts from the forthcoming Pain Remains. Make no mistake, LORNA SHORE are spearheading the continued resurgence of deathcore.

Rating: 10/10

CYHRA – Sophie Lancaster Stage

There’s a few supergroups swanning about The Sophie Lancaster Stage today, yet Sweden’s CHYRA leave a lot to be desired despite their pedigree lineup. Whilst their members CV’s boast AMARANTHE, IN FLAMES, KAMELOT, ANNIHILATOR, and SHINING, their performance feels far more amateur, a predictable power metal romp that’s as phoned in as it is telegraphed. Vocalist Jake E struggles to set the crowd alight, spending the whole set on the backfoot trying to bait out a reaction from anyone but the few on the barrier banging their heads in unison. Whilst the likes of Letter To Myself and Dreams Gone Wrong deserve supermassive singalongs, they sound more like slogs through quicksand today. Even with members of MACHINE HEAD standing side stage, who Jake E fails to convince to come on for a sing-along, the band soon become as uninspired as the crowd. With new cuts like Ready To Rumble promising a bright future for the band, it’s a shame to see them fall short of the mark.

Rating: 5/10

WARLOCK A.D. – Jagermeister Stage

WARLOCK A.D. transported their audience to a self-made fantastical multiverse, regailing tales of tantalising battle, intriguing characters and magical semen. Arming their audience with inflatable swords, this motley crew enraptured the audience in their grand narrative from the beginning. The fantastical illusion reinforced by their flamboyant costumes and cemented by their ghostly drummer, his phantom’s beats blasted through the speakers yet he remained invisible. This satirical fantasy band were the ones to satiate your party hunger. Coming to a heroic climax as the audience parted and the sword wielders readied themselves for a walled battle. One audience member in particular had an unfair advantage as he had two swords, one he grasped valiantly in his hand and his armour was a dirty phallic costume. Swords flailed as the final song was played, Geralt of Labia, it was sung proudly by band and audience alike, WARLOCK A.D. took us on a mighty quest with epic riffs and immense vocals.

Rating: 8/10

SYLOSIS – Ronnie James Dio Stage

Having to withdraw from last year’s Bloodstock due to COVID-related complications, SYLOSIS have a second roll of the dice in 2022 and Josh Middleton and company waste no time in laying down the gauntlet in a thundering performance on Bloodstock‘s main stage. Cuts from 2020’s Cycle Of Suffering go down a treat, with closer I Sever being obtusely heavy with its crushing riffs, whilst the likes of The Blackest Skyline and Empyreal (Part 1) showcase exactly why SYLOSIS are so revered within our scene. Although the biggest cheer of the set is for the partial cloud cover to provide respite from the beating heat, the band rarely put a foot wrong and showcase that the wait for SYLOSIS to return to Bloodstock has been more than worth it.

Rating: 8/10

NOVACROW – Hobgoblin New Blood Stage

If Bloodstock’s Metal 2 The Masses’ mission is to track down the best breaking metal bands and bring them to the festival, they’ve found this year’s one true winner in Merseyside champions NOVACROW. NOVACROW arrive on stage like they’re playing to 20,000 on the Ronnie James Dio Stage, a band bursting with so much energy they’re moments away from spontaneously combusting. Led by Kitty Staunton, their powerhouse vocalist and candidate for alt-metal’s future leader, they take the Hobgoblin New Blood Stage on a rollercoaster ride of horror, humour, and heavy metal. Inflatable dinosaurs crowdsurf their entire set, whilst bassist Freddy Spera is a man possessed, cutting shapes on the shoulders of fans in the pit. There’s mid-set squatting, and more jokes to make you laugh than an episode of Live At The Apollo. But what really makes their set so special is that NOVACROW aren’t just a fun live band, they’re a bloody good one too. They bring a bucketload of bangers, with new single Not Your Mannequin setting off a frenzy like letting a firework off indoors. If this is anything to go on, NOVACROW will be climbing the stages in no time.

Rating: 10/10

JINJER – Ronnie James Dio Stage

In what may be the most powerful set of the weekend, Ukraine’s JINJER have captured the attention of most, if not all, of Bloodstock Festival. They burst onto stage with Teacher, Teacher and are met by a sea of blue and yellow flags from thousands of fans that have come out to show their support for the cause they so proudly represent. As a technical unit, JINJER are insanely impressive. Frontwoman Tatiana Shmailyuk is a real force to be reckoned with from the second she steps onto stage, exuding energy and stalking from one end of the stage to the other, despite the soaring temperatures they have found themselves playing in. Not to be forgotten, the rest of the band are pretty much identical to their recordings, managing to keep up with her drive and vigour. JINJER truly are one of the finest forces in metal right now and show that the genre has a real more human emotional element. They proudly fly the Ukrainian flag on stage as an act of resistance and defiance toward the forces that wish to stop them. The intensity and passion throughout their set is enough to rouse even the hardest of metal fans and proves why they have been given a primetime slot.

Rating: 10/10

SAMAEL – Sophie Lancaster Stage

Whilst the likes of DIMMU BORGIR and DARK FUNERAL pay black metal it’s gimmicky dues over the weekend, Swiss legends SAMAEL prove symphonic black metal doesn’t need corpse paint and pyro to prove a point. Shaded from the sun, they lose none of the cavernous ferocity their music masters. Opener Black Trip drags you down into their abyss with aplomb, before 1996’s Rain lifts you up into the coldest depths of space. The swiss quartet rarely visit these shores, having last played a one-off show three years ago, so their career-charting set today serves as a welcome reminder of just how vital these industrialist black metal bunch are. Sinister renditions of Slavocracy and Son Of Earth take things up a notch, so that by the time they close out with super-hit Baphoment’s Throne, there’s not a single head in the crowd not begging for more. The only shame here is that the tent isn’t packed out for these heroes, who deserve a far higher slot for their contributions.

Rating: 8/10

BURY TOMORROW – Ronnie James Dio Stage

Southampton’s BURY TOMORROW have long been British metal’s underdogs. Whilst their peers in BRING ME THE HORIZON, ARCHITECTS, and WHILE SHE SLEEPS have climbed the ladder to critical acclaim, they’ve swam under the surface. With 2020’s Cannibal invading the UK Top Ten, and their new lineup following the departure of co-vocalist Jason Cameron last year reinvigorating them, their hour set at Bloodstock is their chance to claim their seat at the table. Opening duo Choke and The Grey (VIXI) set the pace right out the gate, but it’s the electro-stomp of new cut DEATH (Ever Colder) that takes their set to the next level. Setting off more pyro than a forest fire, their stage show finally matches the arena-ready hooks they’ve added into their catalogue. Older cuts like Earthbound and More Than Mortal cause chaos in the circle pit, but it’s Man On Fire’s manic attempt at setting Bloodstock’s record for the most crowd surfers during a single song that elevates the madness as frontman Dani Winter-Bates baits security, asking “are you feeling strong today, security?”. As the sing-alongs of Black Flame and Cannibal close out their chaotic set, any doubters in the crowd are left silenced. It’s clear to see, BURY TOMORROW are not only ready to take their seat, they’re here to steal the throne.

INGESTED – Sophie Lancaster Stage

Given the fact that Norwegian symphonic metal giants DIMMU BORGIR are performing on the Ronnie James Dio Stage, the fact that there is a healthy swarm of people present at The Sophie Lancaster Stage for homegrown death metal beasts INGESTED just shows how respected they are within extreme metal. The Mancunian bruisers have been bludgeoning the underground since 2006, and at Bloodstock, they are on fine form as they pulverise those present with a blistering set of blast beats, buzz-saw guitars and a resounding performance from frontman Jason Evans. Slabs of material from 2020’s Where Only Gods May Tread sound absolutely devastating in the live environment and the band rarely take their foot off the pedal throughout their time on stage. With Ashes Lie Still on the horizon, the only direction is up for INGESTED.

DIMMU BORGIR – Ronnie James Dio Stage

If the award for black metal’s biggest divas was a real thing, DIMMU BORGIR would win it hands down. It’s taken over three years for the symphonic seers to play this slot, and eight years to return, yet they hit the stage nearly a quarter a way into their set. So much so, it’s got the crowd chanting “hurry up” and “why are we waiting” like it’s extra time in a football match. When opener Dimmu Borgir finally rings out, it’s welcomed with open arms, yet there’s something off about today’s set. Vocalist Shagrath stalks the stage with the intensity of a sloth, slinking about like there’s better things to be doing than warming Bloodstock up for MERCYFUL FATE. Considering their status as symphonic black metal legends, it’s a real shame to see them phone it in. Puritania’s glitchy chants do dangerous things to crowds, yet today fall flat on deaf ears, whilst Progenies Of The Great Apocalypse lacks the majesty that makes it so magical on record. Maybe it’s the sun, or maybe it’s just a bad day at the office, but this is not the DIMMU BORGIR we come to expect; an underwhelming, wet lettuce of a performance that lacks presence and passion.

Rating: 5/10

MERCYFUL FATE – Ronnie James Dio Stage

It’s been 23 years since black metal pioneers and trad metal enthusiasts MERCYFUL FATE have played the UK, and only their 18th show back since reforming in 2019. Whilst KING DIAMOND himself is undoubtedly a legend, having headlined Catton Park himself, the question on everybody’s lips is: was it worth the wait? As the stormy, synthy, siren-sounding intro of The Oath ushers in the King’s signature cackle, the euphoria expressed by all in attendance at his arrival on stage is nothing short of reaching Beatlemania heights. The crowd’s cheers are duly rewarded, as Hank Shermann, Mike Wead and Bjarne T. Holm play like their lives depend on it, whilst KING DIAMOND’s falsetto hasn’t faltered over the years, ageing like a fine wine.

Their set is a heavy metal history lesson in occult-rock bangers, made up mostly of classics from iconic duo Melissa and Don’t Break The Oath. Whilst Come To The Sabbath and Curse Of The Pharaohs are delivered with dangerous precision and welcomed with a warm embrace, unreleased newbie The Jackal Of Salzburg is as vital as ever, giving theatrical newcomers GHOST a run for their money both musically and theatrically. Talking about theatrics, MERCYFUL FATE have lost none of the pomp they prided themselves on their first and second time around the sun. A giant neon inverted cross lights the stage in heavenly white and hellish red, whilst a ram’s head pentagram atop of the stage becomes King’s altar of worship throughout the set.

11-minute opus Satan’s Fall sends their 11-track set sailing off into the night sky, leaving all in attendance hungry for more from the occult rock giants. Like The Undertaker leaving the ring, MERCYFUL FATE soak up the applause and bow their way off the stage, whilst King brings on his five year old son to wave off the crowd into the night. Whoever said reunions won’t work has well and truly been proven wrong, MERCYFUL FATE are back to reclaim their throne once and for all.

Rating: 10/10

MALEVOLENCE – Sophie Lancaster Stage

After giving arguably the best performance at last year’s Bloodstock, Sheffield’s heavy hitters MALEVOLENCE are back for round two. Armed with their sublime new album, Malicious Intent, they arrive to a packed tent at The Sophie Lancaster Stage and they proceed to give a performance of jaw-dropping brilliance. A triple-whammy of Malicious Intent, Life Sentence and Slave To Satisfaction ignites sheer bedlam in the pit as Alex Taylor and his bandmates are on scorching form with riffs drenched in grooves and mosh calls aplenty.

Self Supremacy still hits just as hard as it did when it first battered our eardrums in 2017, Serpent’s Chokehold‘s dizzying riffage is an utter treat and finale On Broken Glass is as aurally devastating as it is on record. There are still some tricks up MALEVOLENCE‘s sleeves. First, rolling out the moody ballads of Higher Place and The Other Side are not only strategically placed to give the crowd a well-deserved breather but their execution is simply stunning, but it’s the addition of two special guests that really help cement this show as one of the best of the festival. Will Ramos of LORNA SHORE delivers a new level of brutality in Karma whilst BLOOD YOUTH‘s Harry Rule helps with a resounding rendition of Keep Your Distance. On the back of this, MALEVOLENCE are bound for super stardom and you won’t find a single person who witnessed their set saying they do not deserve it.

Rating: 10/10

Sunday – August 14th

SKARLETT RIOT – Ronnie James Dio Stage

Imagine waking up to the news you’re no longer playing a mid-afternoon second stage set, but that you’re now opening the main stage up at Bloodstock. It’s one hell of a daydream, right? For SKARLETT RIOT, it’s their reality and they more than pay their dues for the opportunity. The hard-rocking quartet have spent a decade under the radar, yet their set today feels like a true unveiling of the potential they hold. Opener Breaking The Habit is the hair of the dog the hungover few in attendance need, but it’s testament to vocalist Chloe Drinkwater’s commanding voice that by the time mid-set highlight Stand Alone’s machine-gun drum stomp arrives, they’ve built up a deserving crowd for a set at 11am on a Sunday. With the sun already shining bright, Danny Oglesby’s melodic riffs and Luke Oglesby’s defiant drumming deliver the hard rock heat that serves up the best breakfast a Sunday morning could ask for.

Rating: 8/10

VENDED – Ronnie James Dio Stage

Being a nepotism baby isn’t easy for most and proving your worth becomes an even harder task in the face of critics that love to tell you you’re only famous because your parents are in SLIPKNOT, but Des Moines band VENDED are not letting this hold them back. Formed in 2018 and featuring vocalist Griffin Taylor and drummer Simon Crahan, VENDED are on the path to world domination with their next conquest being the Ronnie James Dio Stage. With brutality and brawn, they take to the stage and anybody who is yet to see the background that boasts their logo may be convinced that Corey Taylor himself is on stage – after all, Griffin Taylor does sound extremely like his father. These boys go just as hard as their parents and use their early morning Sunday set to annihilate any low moods or hangovers that may be lingering from the few nights before. This band is the start of a whole new generation and era of metal and do what they do extremely well. They are clearly hungry to perform, throwing everything into their short 30-minute set. Don’t be surprised if next year VENDED are pushed a lot further up the bill to compensate for the crowd of hangovers that they have found themselves performing to this year.

Rating: 9/10

GUILT TRIP – Sophie Lancaster Stage

Fans of MALEVOLENCE last night have yet again found themselves back in the Sophie Lancaster Stage to witness future hardcore royalty in the form of GUILT TRIP. They’re a part of the MLVLTD Family – the same record label that boasts names like MALEVOLENCE and DESOLATED – so it makes sense that they share some similarities with these heavyweights. Almost as soon as their set begins, the room opens up and makes way for a dust cloud that is the cause of two-stepping and pitting from the enthusiastic audience. They specialise in blending groovy riffs with the classic style of hardcore that most of us have come to know and it’s a mixture that works extremely well. They are quite possibly one of the rawest bands on the line-up and their aggression and sheer anger throughout helps to make them stand out amongst the crowd and take the crown as one of the most brutal acts of the weekend. 

Rating: 8/10

BUTCHER BABIES – Ronnie James Dio Stage

There was a moment in time when Carla Harvey and Heidi Shepherd’s BUTCHER BABIES were going to be the biggest thing in metal. Combining the fun of nu-metal with the shotgun blast of groove and thrash, they were fresh and exciting. Unfortunately, their set at Bloodstock shows a band who’ve hit a crossroad: are they past the potential? Opener They’re Coming To Take Me Away is as adrenalised as it gets, setting the stage alight with the kind of energy a Sunday morning hasn’t seen in weeks. But it’s all downhill from there, as the likes of Igniter and Monsters Ball all blur into one big mess of metal. The chemistry Harvey and Shepherd possess is undeniable, but it’s not contagious – their circle-pit inciting shtick gets stale before long, leaving the likes of Jesus Needs More Babies For His War Machine feeling more gimmicky than groovy.

Rating: 6/10

VIO-LENCE – Ronnie James Dio Stage

It might’ve been booked three years ago, but Bay Area bruisers VIO-LENCE’s arrival at Bloodstock is 37 years in the making. Despite playing a pivotal role in the second wave of thrash metal, and paving the way for former members to start up MACHINE HEAD, they’ve never made it to our shores until now. If there was ever any pressure on their shoulders, they showed no signs of it from the off. Opening with 1988’s iconic Eternal Nightmare, the new rhythm section of Bobby Gustafson and Christian Olde Wolbers blow open the doors like they’re demolishing buildings, as lead guitarist Phil Demmel slides out the riffs like they’re going out of fashion. Vocalist Sean Killian sounds better than ever, shrieking out stone-cold classics like Calling In The Coroner and Officer Nice like its the late eighties. Whilst their set leans heavily on their debut and 1990’s Oppressing The Masses, Upon The Cross from this year’s Let The World Burn EP more than holds its own – a heavy hitter to open up the pits. As far as first ever sets on British soil go, this is one hell of a hello.

Rating: 8/10

LORE OF THE WOODMAN – Jagermeister Stage

Born out of a mutual love for progressive music and years worth of honing their musical abilities, the incredibly talented trio of musicians that make up LORE OF THE WOODMAN brought their unique grooves and unusual melodic hooks to the Jagermeister Stage, in what was a wonderful respite from the heaviness of the other bands of the weekend. LORE OF THE WOODMAN’s beautiful floaty melodies, intricate rhythms and virtuosic finger picking, transported a delighted audience into the ethereal world of their debut EP. Evolving, groove filled bass lines were locked into tight drumming grooves, as the audience bobbed their heads with glee, getting hypnotised by the mesmeric finger tapping on display. The ethereal atmospheres interwoven by prog brilliance was a relaxing and welcome escape from the heat as LORE OF THE WOODMAN transported you to a peaceful paradise. It is safe to say that LORE OF THE WOODMAN were a shining gem in a stacked line up.

Rating: 9/10

VENOM INC – Ronnie James Dio Stage

Whether it’s Cronos or Demolition Man dishing out the vocals, as long as you’ve got Mantas firing out iconic riffs like they roll off the tongue, you’ve got VENOM. VENOM INC, which brings together Mantas and Demolition Man, along with new enlistee and drummer Jeramie Kling, might make new music, but they largely exist to spread the legacy of a band who practically spearheaded an entire genre into existence. Taking the slot originally reserved for THE BLACK DAHLIA MURDER, the band take a moment to raise a toast to Trevor Strnad before admitting they were asked to do something special by the organisers. That something special is their historic and iconic Black Metal album, in its entirety, from start to finish. For a teatime Sunday afternoon set, it doesn’t get much better than this.

The band are on blistering form, and so are the crowd. Opener Black Metal whips up the pits without even being asked, a sing-along that can be felt on the other side of the country, whilst the speed-metal punk of Teachers Pet, played live for the first time ever, is a delicious slice of fan service. As closing trio Countess Bathory, Don’t Burn The Witch, and At War With Satan bring the set to a triumphant end, there’s not a single soul in the crowd not convinced of the legacy these trailblazers have left behind.

Rating: 9/10

HERIOT – Sophie Lancaster Stage

As one of the more recent breakout bands, HERIOT have been enjoying a fruitful 2022. Thunderous live performances and a snappy and effective debut EP in Profound Morality have certainly played their part and at Bloodstock, the band are on scorching form. The likes of Coalescence and Near Vision are aurally explosive with Debbie Gough‘s piercing screams and shrieks cutting through the chaotic mix effectively and the quartet’s animated presence on stage is captivating to watch. It’s clear that there is a buzz around HERIOT and rightfully so. Bloodstock is another scalp claimed for one of metal’s most exciting emerging bands.

Rating: 9/10

CATTLE DECAPITATION – Ronnie James Dio Stage

CATTLE DECAPITATION‘s presence at Bloodstock has been a long time coming but the San Diego-based deathgrinders reward the Bloodstock faithful with a resoundingly heavy and confident performance. A one-two punch of Bring Back The Plague and Forced Gender Reassignment are early highlights as Travis Ryan displays his terrifying range of guttural lows and piercing clean-esque shrieks whilst guitarists Josh Elmore and Belisario Dimuzio keeps the grinding riffs coming thick and fast. With most of the setlist comprised of their last studio record, Death Atlas, it would have been nice to have more deeper cuts but what is displayed is performed with the utmost ferocity. This is extreme music at its most vicious and injected a bout of adrenaline for those beginning to experience festival fatigue.

Rating: 9/10

ORBIT CULTURE – Sophie Lancaster Stage

The stock of Sweden’s ORBIT CULTURE has been rising considerably in the past several years. 2020’s Nija and 2021’s Shaman went down a treat thanks to the band’s amalgamation of crushing grooves and melo-death sensibilities and now, in a post-pandemic age, the band hit Bloodstock‘s second stage with a statement of intent to reward those who championed them from the confines of enforced lockdowns. Open Eye is a adrenaline-surging rager as the blistering riffs and booming growls from Niklas Karlsson pack an almighty punch and North Star Of Nija is a resounding anthem that has numerous fists pumping the sky. Mark our words, this is not the last we will hear from ORBIT CULTURE.

Rating: 8/10

DARK FUNERAL – Ronnie James Dio Stage

The idea of DARK FUNERAL opening the gates for Satan’s reign as the burning sun shines down on their corpse-paint souls sounds ridiculous, but it’s their first set in the UK in 6(66) years and they more then make up for their absence. Despite dropping out of Incineration Fest for questionable reasons, DARK FUNERAL pull no punches in gunning for the jugular today. Opener Unchain My Soul sets the pace for an hour of blistering, battering black metal built on blast-beats and bludgeoning riffs. This satanic Sunday service sticks mostly to this year’s We Are The Apocalypse and 2016’s Where Shadows Forever Reign, letting vocalist Heljarmadr comfortably hit out the prayers he knows best. Whilst Let The Devil In and Nail Them To The Cross feed the fire, stone-cold classics Open The Gates and The Secrets Of The Black Arts set the stage alight. Whereas DIMMU BORGIR disappointed, DARK FUNERAL deliver black metal as it should be: no thrills, all chills.

Rating: 8/10

ILL NIÑO – Sophie Lancaster Stage

If anyone had told you noughties nu-metal icons ILL NIÑO would be a festival highlight in 2022, you’d have probably laughed in their face. Yet the New Jersey mob, with founding member Marc Rizzo back in their ranks, as well as newish vocalist Marcos Leal fully integrated as master of ceremonies, they absolutely kick ass on The Sophie Lancaster Stage. Blasting out the big guns and bangers from 2001’s Revolution Revolución and 2003’s Confession, their nu-metal mass is as hardcore now as it was then. God Saves Us erupts like a volcano, as crowd-surfers clamber over the barriers like they’re fleeing from lava – an activity that doesn’t stop until they step off the stage 45 minutes later with How Can I Live. For those not pitting for gold or crowd-surfing to save their souls, the packed-out tent are singing their hearts out to Te Amo…I Hate You and What Comes Around. With the likes of BLIND CHANNEL, SPIRITBOX, TETRARCH and VENDED leading a nu-metal renaissance, this is ILL NIÑO protecting their seat at the table.

Rating: 9/10

KILLING JOKE – Ronnie James Dio Stage

Post-punk pioneers KILLING JOKE are the last band you’d imagine playing Bloodstock, let alone sub-headline for groove metal behemoths LAMB OF GOD. But by god, is it a genius bit of booking. The make-up drenched, boilersuit-draped Jaz Coleman is a man possessed; he stalks the stage and prophetically claims “we are at the beginning of World War Three!” before their master of melody, guitarist Geordie Walker, drills into opener Wardance. From here on out, KILLING JOKE are an experience unlike any other you’ll witness all weekend. Coleman jives across the stage, strutting his stuff so much it’s clear to see who Jarvis Cocker copies his moves from, whilst bassist Youth wiles around like a mad scientist, as Geordie and drummer Paul Ferguson stand (and sit) sternly, blasting their way through a greatest hits set dark enough to soundtrack the apocalypse.

The industrial stomp of I Am The Virus is vicious, whilst early helpings of superhits Requiem and Eighties convert the confused and bedazzle the faithful. If you still need a little convincing on why they’re here, just spend a second watching LAMB OF GOD’s Randy Blythe side-stage smiling like the Cheshire cat as he snaps photos and air-guitars his way through the entire set. Whilst the only words Coleman utters to the crowd are prophetic threats – “this time next year we’ll all be radioactive waste!” – and their in-between moments jarring as they juggle the setlist, there’s no denying these legends deserved their slot and were an absolute delight.

Rating: 9/10

BELPHEGOR – Sophie Lancaster Stage

Austrian extremists BELPHEGOR have an affiliation with Satan. That much is clear from their eye-catching stage props of inverted crosses, blood-soaked corpsepaint and arsenal of devil-worshipping songs. On stage, they are a force to be reckoned with as band leader Helmuth leads their blackened death metal charge with the utmost conviction. Conjuring The Dead sounds absolutely enormous in the live environment, the sinister Stigma Diabolicum twists and turns raising the hairs on the back of your neck whilst material from this year’s The Devils more than hold their own against the band’s more established cuts. And being possibly one of the few bands at Bloodstock to bring pyro to the confines of a tent, it’s clear that BELPHEGOR‘s shock and awe approach has worked wonders. Hail Satan.

Rating: 8/10

LAMB OF GOD – Ronnie James Dio Stage

The last time LAMB OF GOD graced Bloodstock was 2013, and for those there, they can recount that it wasn’t quite the bombastic performance that was expected. Nine years later and Virginia’s finest are back with unfinished business, and as they erupt into a thundering rendition of Memento Mori, it’s clear that LAMB OF GOD mean business. Pyro consistently explodes as Randy Blythe and co. gallop through a run of jaw-dropping heaviness. Ruin and Walk With Me In Hell‘s early outing has the crowd surging with energy as Blythe‘s infectious enthusiasm connects with the crowd, Omerta is still an anthem of the modern metal age and Nevermore and Omens (both from the band’s forthcoming new album) sound absolutely killer on the big stage.

It’s a performance that has the crowd gripped and fixated towards the stage as LAMB OF GOD pull no punches; delivering hit after hit from their extensive discography. Now You’ve Got Something To Die For still sounds just as enormous as it did in 2004, Contractor makes a welcome appearance and whips up a frenzy in the pit and a triumphant encore of Vigil, Laid To Rest and Redneck closes Bloodstock with the biggest of bangs. Make no mistake, LAMB OF GOD not only reinforced why they are considered one of the biggest bands in 21st Century metal, but solidified their status as a UK festival headliner.

Rating: 9/10

THE NIGHT FLIGHT ORCHESTRA – Sophie Lancaster Stage

Sweden’s THE NIGHT FLIGHT ORCHESTRA had the task of closing this year’s Bloodstock Festival. After waiting two years to play the festival, they landed their party plane on The Sophie Lancaster Stage, bringing sequins, sparkle, white jeans and an intense passion to dance. With audience members opening up dance pits and the sheer joy associated with dancing with anybody and everybody spread smiles throughout the tent. The highlight of the performance was a giant conga line that went all round the tent during West Ruth Avenue. From start to finish there wasn’t a single still body in the tent, everyone was dancing, cheering and smiling, a welcome distraction from the impending end of another awesome Bloodstock. THE NIGHT FLIGHT ORCHESTRA’s expert and seasoned showmanship, glamorous appearance and infectious boogie beats brought the festival to a close with fun, flair and merriment.

Rating: 10/10

And that rounds off our massive coverage of this year’s Bloodstock Festival! A phenomenal weekend of heavy metal action, we’re already counting down the days to 2023!

Words: James Weaver, Jack Press, Megan Jenkins, Tom Fordham

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