FESTIVAL REVIEW: Download Festival 2023

Drownload. Brownload. Mudload. Donington Park’s annual meeting of metalheads, Download Festival, has been called many things over the years for its penchant for rainy weather. This year though, the rain was nowhere to be seen, so Dustload it is. Beyond a lot of dust, and a lot of traffic jams, the four-day, 20th anniversary edition was a year to remember — not one, but TWO headlining sets from METALLICA; nearly a dozen auditions for future headliners (keep reading to find out who passed!), and that BRING ME THE HORIZON performance. Fuelled by Bunnyman’s Bunnychow, Crumble Pots, and Liquid Death, our writers caught all the action for you to catch up on.

Thursday – June 8th

CANCER BATS – Opus Stage

There’s no better way to warm up for a four-day festival than an afternoon with CANCER BATS. Whilst technical issues tow the line of opening deep cuts Pneumonia Hawk and Trust No One, Lonely Bong let’s frontman Liam Cormier channel his inner bull in a china shop, stomping across the Opus Stage with pomp. Despite running through a set of greatest hits, it’s only when late newcomer Radiate serves a (mostly) sluggish crowd a well-needed shot of sludgy hardcore that the action takes place, but by the time they’re in their stride, the plug is pulled for being out of time; a trend that soon starts to form during this years festivities.

Rating: 7/10

MAMMOTH WVH – Apex Stage

If anyone is going to feel pressure this weekend, it would be nobody other than MAMMOTH WVH. Being given the mammoth task of opening the main stage at any festival is a big ask, yet Wolfgang and co take it entirely in their stride. The fact that they will set the tone for the entire festival doesn’t faze them and their set acts as an energy boost for the already tired campers among us. Their classic rock sound is easily digestible and acts as the perfect soundtrack for lolling around in the sun, as most of the festival-goers seem to be doing right now. Their set is an extremely pleasant surprise for the masses that have seemingly never heard of them before now, treating them to the perfect mix of wailing solos, melodic vocals, and surprisingly hefty riffs.

Rating: 8/10

THE BRONX – Opus Stage

Following an incendiary set by Canadian heavyweights CANCER BATS, the legendary THE BRONX take to the Opus Stage with a tough act to follow. The Californian punks are more than up to the task though with sky high energy levels from both them and the crowd. It’s the kind of sun-drenched fun perfect for the glorious weather, the likes of Shitty Future bringing a freewheeling, chaotic energy it’s impossible not to enjoy. Beers are flying within the first ten minutes – a sure sign people are having fun when you see the beer prices, as is the deafening crowd roar of “yeah!” when Heart Attack American kicks in with all its pit inciting glory. They’re celebrating twenty years together and it feels very much like a victory lap for a band who know exactly what they’re about and love every second of it.

Rating: 9/10

MIMI BARKS – Dogtooth Stage

You know you’re not connecting with a crowd when the loudest cheers come from the only moment you’re not singing during a set. MIMI BARKS’ mid-set drum solo is drawn-out and overindulgent, whilst the overbearing reverb thundering over their vocals for the first few songs smothers the lightning of DEADGIRL and Mad Hoe. The DJ spends more time in the pit than he does at the decks, whilst MIMI BARKS’ glides from side to side. Seeing experimental artists at Download Festival is a promising sign of progress, but a lack of bite to Mimi’s bark feels like a setback.

Rating: 4/10

FEARLESS VAMPIRE KILLERS – Avalanche Stage

Making a grand comeback only a year ago after a tragic disbanding in 2016, FEARLESS VAMPIRE KILLERS took to the Avalanche Stage to show the UK and the world that they have more music to make and more souls to slay. With their multi-talented frontman Kier Kemp back on the mic, it was as if time never passed and a break-up never happened. Closing the set with fan-favourite single All Hallow’s Eve celebrates both the 10 years since its release and the official re-introduction of the band to the rock community that welcomed them all those years ago. The gratitude in Kemp‘s voice says more than any lyrics ever could; and the cheers in return are open arms to accept them back. Live freely, live happily, live fearlessly.

Rating: 8/10

JINJER – Apex Stage

JINJER again join us under heartbreaking circumstances; proudly flying their flag in the face of the ongoing Russian invasion of Ukraine, they’re on special dispensation from their government to tour and share their story with the world. Onstage, they’re a tour de force, opening with the titanic Perennial, even if the guitar is a little low in the mix and buried under bass so you can’t always make out Roman Ibramkhalilov‘s serpentine riffs. It’s a small complaint though as otherwise, they’re extremely tight and put on a phenomenal performance. Vladi Ulasevich batters his kit through their grooving polyrhythms, underscored by Eugene Abdukhanov‘s rumbling low end such as on the grooving heft of I Speak Astronomy. All the while, Tatiana Shmayluk commands the crowd as she snarls, growls and sings soaring melodies with gusto, moving constantly through the songs to emphasise meaning or a vicious breakdown. This should be a phenomenal set, a triumphant call to arms and for support and while a muddy mix doesn’t help matters, the message is heard loud and clear to the enormous crowd gathered to hear it, who soak up every castigating shriek and battering ram drum hit.

Rating: 7/10

PUNK ROCK FACTORY – Avalanche Stage

Filling the tent with catchy riffs and childhood wonder is PUNK ROCK FACTORY. A group that rose through the ranks on social media to find popularity in the mainstream alternative, they took the stage with a all-colour line-up of Power Rangers while welcoming the crowd with the characters’ theme tune. The nostalgia is real and the laughter is plentiful as they play through some modern Disney hits from the likes of Moana and Encanto, start up a mosh pit to the rhythm of the SpongeBob SquarePants theme, and even paying tribute to Netflix hit Stranger Things with pop-punk cover of KATE BUSH‘s classic Running Up That Hill. In the midst of the gutterals and the howls of the metalheads, there is always room for a joke and a giggle; and these guys are producing them by the crowd-full.

Rating: 9/10

HALESTORM – Apex Stage

There’s a handful of auditions for headlining the main stage this weekend, but HALESTORM set the bar high as Lzzy Hale steals the Apex Stage’s spotlight. Whilst Arejay Hale’s supersized drumsticks send laughter into the air, and shine a light on his sensational drumming, it’s Lzzy’s stage to storm. If there’s one way to say you’re ready, it’s opening your set with the adrenaline-pumping metallic bite of megahits I Miss The Misery and Love Bites (So Do I) after arriving on stage, singing Raise Your Horns acapella. From there on in, it’s the best of the back catalogue; Familiar Taste Of Poison haunts the throats of thousands singing along, I Get Off pumps up the jumpers, and The Steeple is the cherry on top of a strong set.

Rating: 8/10

ALTER BRIDGE – Apex Stage

Yet another act on a victory lap of sorts this weekend is ALTER BRIDGE. A staple of the festival season, they play the familiar setting of Donington finally armed with new material and fresh off UK, European and US dates in support of new album Pawns & Kings. There is no denying that this band is built to be on this stage with frontman Myles Kennedy able to command thousands of people with the merest of gestures – the entire band have this crowd wrapped around their little fingers, using the walkway to reach the further members of the audience and make sure the reach of their kingdom extends as far as possible. Choosing to rely on their back-catalogue is a smart move from ALTER BRIDGE, allowing them to whip the audience up into a frenzy thanks to tracks like Isolation, Addicted To Pain and, of course, the anthemic Metalingus.

Rating: 8/10

STATE CHAMPS – Avalanche Stage

Despite being nowhere near as tinned sardines as PUNK ROCK FACTORY’s set was, headliners STATE CHAMPS prove pop-punk ain’t dead; it’s just getting poppier. Whilst frontman Derek DiScanio teasingly promises to ‘celebrate’ the 10th anniversary of debut album The Finer Things, set-staple Elevated is the only cut they drop, tearing through a set that’s nearly all of new album The Kings Of The New Age. It’s no bother though, as they come alive and at their best on these tracks: opener Just Sound’s bouncing crowd sends tremors through the tent, Eventually cries out for bigger crowds to shout out its booming chorus too, and Fake It and Act Like That are pure fun wrapped up in pop songs. But AGAINST THE CURRENT’s Chrissy Costanza’s backing-track played duet on Half-Empty is underwhelming, as is a lack of love for some of their deeper cuts, although All You Are Is History still hits as hard as it did in 2015. Saving the small talk for small moments, like celebrating bassist Ryan Scott Graham’s recent marriage, is a sound idea as they squeeze as many songs into a short-but-sweet hour-long set. Despite a Ben Barlow-less Everybody But You feels like a missed opportunity for a show-stealing spot (with NECK DEEP on the bill the next day), it’s still a super-closer to sing-along to. STATE CHAMPS might not be on stage for a long time, but they’re here for a good time.

Rating: 7/10

PERTURBATOR – Dogtooth Stage

The venn diagram of SKINDRED and PERTURBATOR fans is clearly two separate circles as there’s a very busy tent for the French synthwave musician on the Dogtooth Stage while the Welsh ragga metallers take to the Opus Stage. Backed as ever by his huge pentagram and pentagonal light frame, the lighting doesn’t have the same spectacle given how bright it is outside the tent. It’s not the usual rave at the end of the world territory, but the thumping bass and pulsing synths still make it a worthy soundtrack to the summery heat. Despite not saying a word, it’s an enthralling set easy to lose yourself to, the repetition and gradual evolution creating a trancelike state in the tent. The crowd are clearly loving it too, finger guns at the ready, clapping along and moving to the entrancing rhythm. Download Festival‘s usual fare? Certainly not, but it’s bloody brilliant.

Rating: 9/10

METALLICA – Apex Stage

Two sets. No repeats. Few bands could pull that off and fewer still have the calibre of material in their catalogue to do it as emphatically as METALLICA. Preceded by a projection of old photos set to AC/DC‘s It’s A Long Way to the Top (If You Wanna Rock ‘n’ Roll) another short film with ENNIO MORRICONE’s The Ecstasy of Gold, it’s an audacious start certainly but if anyone’s earned the right to be audacious, it’s METALLICA. Creeping Death detonates as their opener, the four piece on exceptional form. Hetfield especially sounds like a man with a new lease on life as he snarls through the likes of King Nothing and the Kill Em All-echoing Lux Æterna. Never ones to be outdone, they’ve also brought their own sound and video towers from the ongoing world tour to compliment the stage side screens, so nobody misses an inch of the spectacle. The huge sea of people in front of the stage says it best, that this is a band who’ve not only left an indelible mark on metal but continue to put together mammoth endeavours like this current two night, zero repeat per city tour. Only a band with a back catalogue this deep and this consistent could do it, and on Night one of two at the legendary Donington Park, it still feels like METALLICA are scratching the surface of their greatness.

Rating: 10/10

Friday – June 9th

STAND ATLANTIC – Apex Stage

Aussie pop-punkers STAND ATLANTIC had the daunting and rather difficult task of kicking things off on the main Apex Stage on a ridiculously hot (and sweaty!) Friday afternoon. From the very first note of their recent track Doomsday, the band showed the crowd that they meant business. Bonnie Fraser was an incredible frontwoman, trying her best to keep the vast crowd engaged so early in the day. Pink Elephant’s Jurassic Park was next in the setlist, followed swiftly by Hair Out, Wavelength and Switchblade. However, when the band started playing their infectious track Deathwish, their set really sprung to life. You could literally feel the energy seeping into your veins as STAND ATLANTIC’s hardcore fans sung every word. By the time they reached Hate Me (Sometimes), transitioning into closer Molotov (OK), it was evident that STAND ATLANTIC had sufficiently warmed up the Apex Stage for what was to come.

Rating: 8/10

SMASH INTO PIECES – Opus Stage

“We’re all here acting on the same reason, for the love of music, am I right?” Sure, SMASH INTO PIECES’ speeches between songs are as cliche as their Americanified arena-rock a la SHINEDOWN or DAUGHTRY, their first-ever UK festival set is easily one of the funnest sets of the day, played out with all the passion of a champion cage fighter. The swedes’ stick close to 2017’s Rise And Shine and 2020’s Arcadia, bringing out the big-stage bangers like Wake Up and Let Me Be Your Superhero; there’s a little moshing, a lot of singing along, and their fellow country folk in the audience represent by flying Swedish flags high in the air and donning IKEA bucket hats upon their heads. Despite being seven albums deep, new songs Boomerang and Six Feet Under are so supersonic they suggest SMASH INTO PIECES are only just getting started.

Rating: 8/10

WITCH FEVER – Dogtooth Stage

Clashing with NOVA TWINS isn’t exactly how most bands want to spend their time at one of the biggest metal festivals in the world, but Manchester quartet WITCH FEVER don’t let this slip deter them from delivering a blinding set in the Dogtooth Stage. Their entire set is full of everything that makes them and last year’s spectacular Congregation a thing of beauty – incredibly sludgy, doom-ridden beauty. Despite this clash they manage to pack the stage, with singer Amy Walpole even joking about it. They take absolutely no prisoners during their set, Walpole even getting into the heart of the crowd to push the band’s assaulting sound even further into the faces of the more apprehensive audience members. The ferocious confidence that this band carries themselves with gives us hope that they will soon be the royalty of this same festival in a few short years.

Rating: 8/10

NOVA TWINS – Apex Stage

A success story set to heavy riffs and powerhouse vocals, dynamic duo NOVA TWINS got to live a dream-come-true moment by taking the Apex Stage at Download Festival. A group that only four years before opened the festival up on the smallest stage, they prove their worth this year round. Storming through a set, mostly made up of tracks from their sophomore full-length Supernova, they’ve shown that two’s company but hundreds if not thousands more is a fully-fledged rock show. Lead vocalist Amy Love was revelling in the adoring faces before her, giving her full attention outwards and showing her thanks to every single person watching her and bandmate Georgia South. Both of these hard-rock iron maidens have worked hard to get to where they are and to perform on the stage they took this very day, and they’re showing no signs of slowing down.

Rating: 9/10

REDHOOK – Avalanche Stage

“We’re currently cruising above Download Festival,” the voiceover intones as part of a faux airline announcement before Aussie alt metallers REDHOOK bound onstage to Postcard XO from debut album Postcard From A Living Hell. It’s their second ever Download Festival appearance and while the tent might not be heaving, it’s plenty busy for such an early set. I Don’t Keep Up has vocalist Emmy Mack asking whether people have been in a saxophone circle pit before promptly inciting one as guitarist Craig Wilkinson swaps the guitar for a tenor sax and jazz licks. There’s theatrical throughlines too, with Mack initially coming on in a straitjacket she sheds during second song Off With Your Head and a costume change to a bloody dress for Dead Walk. The nu metal influence is plain from the bouncing riffs to the rap flows (including breaking into LIMP BIZKIT‘s Break Stuff partway through to the crowd roaring back the “what!”), while the pop-punk shines, especially on the anthemic Jabberwocky and ode to exactly what it suggests with closer Bad Decisions. They might be a relatively young band and only making their second trip here, but they’ve already left an impression as the crowd sings back the close of Jabberwocky to a stunned quartet. We’ll hopefully be seeing much more of them in the future.

Rating: 8/10

PUPIL SLICER – Dogtooth Stage

If there is one thing you can count on during the festival season, it’s that Kate Davies will manage to whip up a crowd into some pretty vicious pits. PUPIL SLICER is one of those few bands whose name truly reflects their music – it’s a complicated blend of sludgy guitars and intricacy that comes together to create something frankly assaulting and increases the heat in this tent tenfold. It’s almost nauseating but the brimming stage is lapping up every last drop of this near fever dream of a set. Kate says, “give me a circle pit?” You’re going to get circle pits. We can only oblige, throwing bodies to the soundtrack of their new record Blossom – a record that has all but solidified PUPIL SLICER’s place in boundary pushing music history.

Rating: 9/10

AS DECEMBER FALLS – Avalanche Stage

It’s a tall order to follow, but recent HMA Best UK Breakthrough winners AS DECEMBER FALLS are determined to put their best foot forward. The Nottingham pop-punk quartet are practically neighbours to the festival, making this a hometown show of sorts and they get the raucous reception of one. Go Away and Afterglow kick off 25 minutes of pop-punk anthems, with all the towering choruses and singalong moments that entails. The tent might’ve been busy before but it’s heaving now, the kind of sticky humidity created by thousands of people dancing and enjoying the moment. The band remark “we didn’t think we’d play here, and it’s all thanks to you guys,” which rings even truer with their staunchly independent approach that truly is entirely fan driven. That plus a generous smattering of songs from upcoming third album Join The Club, makes this feel like a truly triumphant moment for a band that’s worked hard and earned every cheer they get.

Rating: 8/10

HOT MILK – Apex Stage

You’re third to play on a seven-band bill. You’ve not got a debut album. And you’re having to follow-up NOVA TWINS – so what do you do? If you’re rising punks HOT MILK, you slam your flag into the ground and shout “we’ve arrived” with seismic opener Party On My Deathbed’s bombastic pyro display. There’s sub headliners packing less heat this weekend, and it’s clear the torch is being passed, as HOT MILK shoot their shot for superstardom. Blasting out all their bangers to date – the anthemic Teenage Runaways, infectious Candy Coated Lies, and sing-along sleeper hit I Just Wanna Know What Happens When I’m Dead – dynamic duo Han Mee and Jim Shaw treat the Apex Stage like they own it. From playing unreleased songs – the booming Bloodstream – to jumping into the crowd, and commanding the “cheeky fuckers” of Download Festival to “open this place up”. Whilst they’re ballsy enough to callout the labels who wouldn’t touch them – “it’s taken a long time cause no record label would fucking sign us – sorry Sony, we’re here now” – their set shows they can more than back it up. Mark our words, they won’t be this low down on festival bills for long.

Rating: 9/10

UNDEATH – Dogtooth Stage

Sandwiched between PUPIL SLICER and INGESTED, American revellers UNDEATH have the tall task of taking on two of Britain’s best extreme metal bands. Needless to say, the band Rise From The Grave to storm the stage like a zombie horde to flesh. Rammed to the rafters, those not circle pitting themselves into oblivion for the entire six-song set, are headbanging away hangovers. Whilst older cuts Lesions Of A Different Kind and Grave Osmosis go hard, it’s the likes of the groovily neurotic Necrobionics or The Funeral Within from last years’ It’s Time…To Rise From The Grave that unleash all chaos. For a death metal band often compared to CANNIBAL CORPSE, stuck on a stage like the Dogtooth Stage, they sound like they’re mixing (and playing) for far bigger rooms. Simply put, this is devastatingly good death metal.

EPICA – Opus Stage

From the second they stepped out onto the Opus Stage, Dutch symphonic metal six-piece EPICA were met with excited revellers cheering them on all the way. Their whole set was a visual masterpiece. You were taken on an impeccable musical journey until the very end with the band not hitting a note out of place the entire time. Vocalist Simone Simons possessed the perfect qualities of a frontwoman. Her conviction was mesmerising whilst belting out some of EPICA’s most loved songs such as Unleashed whilst still being incredibly humble at the same time. However, it was surprising and a bit of a disappointment that they did not play some of their classic and well-loved hits in the setlist like Cry For The Moon and Sensorium. Saying this, they did a great job of including both newer and older EPICA tracks for fans old and new to get the full EPICA experience.

Rating: 9/10

NECK DEEP – Apex Stage

NECK DEEP has become somewhat of a festival staple but this year they haven’t been shoved into a tent. Instead, they are given prime opportunity to take the main stage as their own with frontman Ben Barlow immediately making use of the runway and sprinting the length of it before he can even sing a note properly, the look on his face akin to a child on Christmas morning. As pop-punk royalty it’s only right that the Apex Stage is packed with adoring fans as they explode out of the gate with Motion Sickness. The rest of the set is a masterclass in why this band has grown so big since their inception ten years ago and they are clearly all having so much fun whilst delivering the lecture, with each member sporting a wide smile as they two-step across the stage. The set is a mix of tender and nostalgic moments, intercepted by ones of pure joy from Barlow – and of course a politically-driven speech to introduce Citizens Of Earth. Finishing off their set with Can’t Kick Up The Roots and In Bloom, they show just how much of an achievement this set is for them as the entire crowd sings along with Barlow, leaving him with yet another wide smile on his face.

Rating: 10/10

CRAWLERS – Avalanche Stage

Being one of the standout alt acts of the north recently, especially over the last 12 months, CRAWLERS are invited to make their Download Festival debut at the highly-anticipated 20th anniversary celebration. Releasing their debut EP two years ago, followed by their positively received Loud Without Noise, they guaranteed a fun yet down-to-earth set for the die-hard fans and curious newcomers. The peak of their performance was giving the crowd a new take on their biggest and most social-media-viral track Come Over (Again), breathing new life into a song that many fans have heard over the years. Mixing this in with their newly released single Messiah, it’s an ideal introduction for the faces in the crowd who just wandered over with the thought of, “Who the hell are CRAWLERS?” With some luck, their question was answered and everyone leaves with falling in love or falling further in love with this lovely north-western crew.

Rating: 8/10

ASKING ALEXANDRIA – Opus Stage

There is only one worse than a humid, dusty field during festival season – being made to wait in said humid, dusty field for a band to come on well after their announced set time. Arriving onto stage 15 minutes late is scene legends ASKING ALEXANDRIA. They have a lot of work to do in order to get this disgruntled crowd warmed up and the best way to do this is opening with Alone Again – it immediately makes the crowd forget that they were even slightly irritated in the first place and frontman Danny Worsnop wastes no time in encouraging pits and singing. Though they choose to play mostly newer tracks, they still take us right back to our roots with a rendition of The Final Episode (Lets Change the Channel). We may all be respectable grown ups now and without the neon green band tees and huge belt buckles, but we can still stay true to our roots and pay homage to one of the main movements and bands that subsequently brought us to this field today.

Rating: 7/10

BRUTUS – Dogtooth Stage

BRUTUS might only have 25 minutes on the Dogtooth Stage but they spend every second proving why they’re so beloved by those in the know. Transcendent post-everything, they’ve vocals that run from fragile to powerfully resonant and shimmering guitar lines that plunge into the depths of despair and climb to the heights of ecstasy. Stefanie Mannaerts provides both the thunderous rhythmic backbone on her drum kit as well as the emotionally fraught melodies, while the guitar of Stijn Vanhoegaerden winds through stunning post-rock and cacophonous post-hardcore, all underpinned by Peter Mulders‘ punk-led bass. The resultant racket of the trio shouldn’t be as powerful as it is, but it’s utterly captivating. 25 minutes goes by far too quick; if there’s any criticism, it’s that they should’ve had a longer set to properly unfurl their emotional range over.

Rating: 9/10

PENDULUM – Apex Stage

It’s been 4379 (that’s a day under 12 years!) since Australian dance-rockers PENDULUM have played Download Festival, but by the size of the crowd rocking and raving their way through the hour-long set, they’ve clearly not been forgotten about. Whilst comeback single and opener Driver creates an underground alt-club atmosphere, dropping the sizzling super anthem Propane Nightmares second song-in sends the crowd into overdrive. From there on out, it’s a masterclass in how heavy metal and dance culture can come together symbiotically, like music’s answer to Marvel’s Venom. Sure, the sunlight steals the would-be-stunning staging away from them, but what does it really matter when their Blood Sugar/Voodoo People remix and Witchcraft bring the ruckus. Whilst the likes of Slam and Tarantula feel like grave omissions in favour of their recent post-hiatus singles, the arrival of BULLET FOR MY VALENTINE’s Matt Tuck for the heart rate-inducing, groundshaking Halo is a highlight. Is this another audition for higher spots? You bet.

Rating: 8/10

EMPIRE STATE BASTARD – Dogtooth Stage

BIFFY CLYRO fan? Then you probably know about Simon Neil‘s new side project with live guitarist Mike Vennart, EMPIRE STATE BASTARD. Born of the pair listening to the most horrible music they could together while on tour, on record it’s an aural assault of blasts, desolate shrieks and furious grindcore. Live, it’s sadly anaemic and weak; neutered by a mix that buries the vocals almost entirely and the bass is inaudible. What should have been 40 minutes of indignant, weird grindcore is anything but, and the only feeling after is an overriding sense of disappointment that a band so interesting on record, with such musical pedigree behind them (Dave Lombardo is their drummer too, for goodness’ sake), hits like a wet noodle with even less charm.

Rating: 5/10

WITHIN TEMPTATION – Opus Stage

The Opus Stage on the Friday night of Download Festival this year was clearly the place to be if you are a fan of symphonic metal. Almost two hours after EPICA’s tremendous performance earlier in the day, we were treated to another fantastic female fronted metal group, WITHIN TEMPTATION. In their 50-minute set, the Dutch septet wowed the crowd from start to finish. Whilst they managed to keep fans satisfied with hits such as The Reckoning, Supernova and Faster, there were a few unexpected surprises in their performance to keep things fresh and exciting. By the time we reached the final two tracks What Have You Done and Mother Earth, it is safe to say that we were truly astounded by Sharon Den Adel and the rest of the band. Overall, it was a truly wonderful and simply unforgettable performance from WITHIN TEMPTATION; one that we won’t be forgetting for a while.

Rating: 9/10

EVANESCENCE – Opus Stage 

For a 20th anniversary of one of the most famous rock festivals ever, it’s expected to pull out some big guns in the form of legendary outfits within the community. Closing the Opus Stage on Friday night was EVANESCENCE. Whether they came in the middle of an emo kid’s phase back in the 2000s, or were who opened the doors for the younger souls in the crowd, there was no doubt they hold some importance both musically and emotionally. Celebrating their own 20th anniversary of their best-selling record Fallen, their set peaked at its conclusion when frontwoman Amy Lee showed her own appreciation for said record. Bringing the vast audience to tears with a heartfelt performance of My Immortal, everyone was united as one and it prepared all for the fantastically powerful closer of the worldwide rock anthem Bring Me To Life. There are never enough words to sum up EVANESCENCE besides “thank you for everything”.

Rating: 10/10

BRING ME THE HORIZON – Apex Stage

Imagine the scene: a sentient A.I. strips off the straitjacket, starts a sinister cult known as Genexis, and sets about eradicating humanity. Earth’s last defence is a band of brothers armoured with enough pyro to burn down Pompeii. Set in a church that slowly decays, a cast of cameos offer side quests aplenty to save the day. If you thought you’d just read the blurb for the next Bioware or Bethesda release, think again: you just read the plot to BRING ME THE HORIZON’s near-decade overdue headline performance.

Sandwiched between METALLICA’s two-night takeover and competing with record-breaking headliners SLIPKNOT, BRING ME THE HORIZON politely ask them to hold their beer as they wipe the floor with them both. Arriving on stage like its the apocalypse, a blistering AmEN! bulldozes any doubts the Sheffield six would do anything but slay the main stage. The nu-metal bounce of the Hybrid Theory-infused Teardrops threatens to take off into the sky, The House Of Wolves sees entire swathes of crowds become circle pits like tsunamis engulfing islands, and MANTRA has a sing-along so loud it’ll probably get noise complaints; and that’s all before they’re even half an hour in.

BRING ME THE HORIZON could’ve come out at Donington with a bee in their bonnet and bruised their way through their deathcore days. But thankfully, they thrive on being the flagbearers for the future of British metal (and what that means) and stray no deeper than Sempiternal. Their set doesn’t lack surprises though; Evanescence’s Amy Lee arrives, hooded in occult attire, to steal the air from your soul like a dementor with just a single verse of One Day the Only Butterflies Left Will Be in Your Chest as You March Towards Your Death before transforming Nihilist Blues into a hauntingly nightmarish, albeit glitchy, heaven whilst NOVA TWINS turn heads once more for 1×1. The special moments keep coming: LosT’s neon nightclub sing-along, Kingslayer’s frenetic hyperwave rollercoaster, and Follow You’s evergreen sitting-on-shoulders, lighters-in-the-sky theatrics.

By the time a triple-threat encore of Drown, Throne, and Can You Feel My Heart sends you to sleep, it’s clear that BRING ME THE HORIZON came, saw, and conquered. Like SLIPKNOT in 2009, they’ve taken the throne and claimed Download Festival as theirs.

Rating: 10/10

Saturday – June 10th

POLARIS – Apex Stage

The energy seems to be dwindling at the halfway mark of Download Festival 2023, with the weather and dust clearly catching up with a lot of the audience. The sound of sirens in the distance indicates the start of another hot day and the imminent arrival of Aussie metalcore band POLARIS. Opening with Landmine, there is no doubt that they have shaken any inkling of sleepiness from this crowd. Frontman Jamie Hails is yet another to utilise the runway METALLICA has left behind, bringing his ferocious voice and encouraging words for crowd surfers into the eye of the storm. Tracks like Masochist, The Remedy and the newest offering Inhumane means the crowd just can’t catch their breath for the half hour that POLARIS is on stage. After years of headlining smaller venues and commanding crowds with an unrelenting force, it is only right that POLARIS is paid their dues and gets an opportunity of this magnitude.

Rating: 9/10

STATIC DRESS – Opus Stage

Less than 24 hours ago, you were announced as the opening act on BRING ME THE HORIZON’s all-British arena-tour lineup. How do you top that? For STATIC DRESS, they prove they can handle the heat and play with the big kids. Sure, there’s far too many still slumbering away inside their tents as they take to the stage at 12pm, but for those in attendance, they’re given a glimpse of the scene’s future. Haunting visuals that fuse their own with BRING ME’s NextGen imagery combine with their creepy live-human-hung-on-a-cross theatrics to send opener Di-sinTer into the stratosphere, sounding bigger than ever – and like it belongs – on a stage as big as Opus. Frontman Olli Appleyard is growing in confidence with every performance, and commands the crowd and the stage like its a sandbox to play in; whipping up pits, baiting out the crowd for more energy, and contorting himself as he sings and screams to his hearts content. There was always worry their intimate theatrics wouldn’t work on bigger stages, but as sweeping statements like sweet. and Courtney, just relax prove, they’re destined for them.

Rating: 8/10

STRAY FROM THE PATH – Opus Stage

STRAY FROM THE PATH are all metalcore snarl and righteous fury, opening with a storming one-two punch of Needful Things and May You Live Forever to incense the crowd. The cheers for their declaration of opposition to bigotry and fascism and pits that greet the following Goodnight Alt-Right and III show a band firm in their identity and stances playing to not just a crowd, but their fans who’ve turned out in droves for them. Tom Williams‘ guitar veers between searing riffs and calamitous breakdowns, Drew Dijorio barking his RAGE AGAINST THE MACHINE inspired hip-hop meets hardcore screeds and all the while one of metalcore’s best drummers, Craig Reynolds holds court with deviously complex, furious drumming. It’s a near-perfect showing of everything STRAY do best that culminates in an outrageous display of Guillotine into First World Problem Child, the crowd roaring back roaring back its “shut the fuck up” refrain and sending bodies flying in the pit. As short festival sets go, you could hardly ask them for more.

Rating: 9/10

LAKE MALICE – Avalanche Stage

Hyperpop metallers LAKE MALICE have been having a banner year already, with support slots for the likes of BLOODYWOOD and VUKOVI already so today’s set, which has been upgraded to the Avalanche stage, feels like a well-earned victory for their hard work. Erupting onto the stage with Magic Square, the trio sound enormous, a crisp mix letting every jagged riff and excoriating scream shine. The tent starts off a little thin but within minutes there’s been a steady influx of people to fill out the crowd, and those at the front are giving it their all. The enthusiastic reception makes it hard to believe they’ve only got a smattering of singles so far and are yet to release an EP, let alone an album, but they’ve not earned their rise without some serious graft and songwriting chops. Blake Cornwall‘s riffs are angular, with occasional breakout melodic leads, pulsing synths and trap drums add an industrialised hyperpop feel while Alice Guala is a magnetic frontwoman as she incites pits to the likes of Bloodbath or singalongs to Black Turbine. If they carry on this way, they’ll be a force to be reckoned with even more so than they already are.

Rating: 8/10

MUNICIPAL WASTE – Opus Stage

As vocalist Tony Foresta reintroduces his band – “Like I said earlier, we’re FIVE FINGER DEATH PUNCH” – it’s clear MUNICIPAL WASTE aren’t here to take life too seriously. And what’s the best way to heal a festival hangover? Hair of the dog delivered by the kings of partying themselves. Playing a career-covering set, Foresta and friends do what they do best: silly jokes, raging thrash, and whipping up pits. Speaking of that, by the time third song Beer Pressure ends, anyone who’d bothered showering is covered in dust from the countless pits swallowing the Opus Stage. MUNICIPAL WASTE aren’t revolutionaries, but just like a clown at a kid’s party, they’re the entertainment injection you need; who can deny bangers like Headbanger Face Rip, The Thrashin’ Of The Christ, and Poison The Preacher?

Rating: 7/10

INCE NINE KILLS – Apex Stage

Welcome To Horrorwood; where there are many ways in but only one way out. Becoming more a horror-based musical than a band performance, ICE NINE KILLS kept the crowd entertained with more than clever movie-themed lyrics and deep near-terrifying screams from frontman Spencer Charnas. Wielding weapons, conveying fear, and setting an example by slaying the festival’s very own Download Dog live on stage, people would be lying if they said they left that stage feeling inspired if not a little scared. Definitely one for the fans of horror films and slasher flicks, but maybe it’s time for everyone to expand their horizons a little more and welcome some more blood and metal into their lives. Turn on the silver screen, tune in to the Silver Scream, and try and relax. This won’t hurt… much.

Rating: 9/10

CASEY – Avalanche Stage

It’s been six years since CASEY last took to the stage at Download Festival and their return is something of a homecoming. The welsh post-hardcore group are just as excited as the crowd, both taking the time to feed off each other’s energy. While their sound may not be unique enough for some, it is the sort of music that oozes nostalgia, allowing the crowd to get lost in their set for a short half hour. Tom Weaver’s voice soars throughout the tent and elevates the audience into one mass of bodies that move together. As a unit, the band is a force to be reckoned with. Their set is overflowing with emotion from both sides of the barrier, with the crowd accompanying Weaver’s powerful voice during Hell and Little Bird to elevate the entire performance. It is just so good to see this band back together and on stage again, even more so that it’s at Download Festival.

Rating: 7/10

MOTIONLESS IN WHITE – Opus Stage

Performing on the exact one-year anniversary of their last release Scoring The End Of The World, MOTIONLESS IN WHITE battled the beaming sunlight and the scorching heat to put on one of the heaviest and most entertaining shows of the weekend. Playing hits from the record such as its title track, Werewolf, and the fan-adored Slaughterhouse, they still pulled a beautiful closer with the ever so popular and – in its own way – ever so sweet hit Eternally Yours. This was a set to remember, and one that was worth the intense heat and eye-bleaching brightness for. No one ever said art was painless or without its sacrifice, and even if the unexpected weather was something that many struggled with for the rest of the festival’s run, at least they could leave knowing they got a stellar set from one of metalcore’s most fascinating acts right now.

Rating: 8/10

ALEXISONFIRE – Apex Stage

ALEXISONFIRE belong in big slots on big stages. They’ve got a star-studded trio of vocalists in Dallas Green, George Pettit, and Wade MacNeil. They’ve got a bassist who jives across the stage, stealing your eyeline like he’s possessed by a puppeteer. Oh, and they’ve got the back catalogue to boot. But today, they crash and burn. For a band who helped pioneer post-hardcore into what it is now, slow burners like Dog’s Blood and the psychedelic Sweet Dreams Of Otherness look like lost puppies searching for the intimacy of a Brixton or Slam Dunk stage. For fans and casuals, you’re left wondering where the likes of Drunks, Lovers, Sinners And Saints, .44 Caliber Love Letter, and Accidents are hiding, although the sun-soaked Sans Soleil and undeniable closer This Could Be Anywhere In The World are as joyously powerful as ever. In another audition for higher spots, ALEXISONFIRE might want to resit this one.

Rating: 6/10

THREE DAYS GRACE – Opus Stage

Following the disappointment of CLUTCH on the larger Apex Stage, we were really praying that Canadian hard rock band THREE DAYS GRACE would knock it out of the park on the second Opus Stage… and we certainly got our wish! They immediately grabbed our attention with a somewhat unexpected introduction track of HOUSE OF PAIN’s Jump Around. This got the crowd pumped for what was to come and it was incredible to witness. Their first song was So Called Life. Despite it being one of the newer tracks in their catalogue, the energy was unmatched from the very start of their set. You know that you have watched a fantastic set when you see fellow fans enthusiastically moshing to closer Riot. THREE DAYS GRACE played the obvious classics as well as the lesser-known album tracks, leaving us feeling energised and pumped for the rest of the day.

Rating: 10/10

BOB VYLAN – Avalanche Stage

Does anyone remember SPIRITBOX’s set at Download Festival last year? There was a palpable energy in that tent and surrounding their performance that just screamed “this band is about to be catapulted into stardom”. And it wasn’t far wrong. This same energy was present during BOB VYLAN’s set. The band are far from ‘under the radar’, with some of the most politically charged lyrics and their signature pre-show yoga and stretching warm-up ritual becoming popular among even the heaviest of metal fans. Despite the raging heat, the crowd matches the energy on stage, throwing themselves around in the same way that Bobby does. The setlist includes usual disorderly subjects I Heard You Want Your Country Back and Pulled Pork, with the latter being performed alongside Jason Aalon Butler, whipping the crowd up even further, Bobby and Bobbie feeding off their energy and vice versa. If next year doesn’t include at least an Opus Stage set for BOB VYLAN, there is something seriously wrong.

Rating: 9/10

SIMPLE PLAN – Opus Stage

The sun is out and the music is booming, and there’s only one genre that will always be beach ready, and that is pop-punk. The purest, most youthful sound of Download Festival, SIMPLE PLAN have proven that hating one’s hometown and familial angst has no age limit and it never grows stale. This Canadian outfit are always here for a good time, and seemingly a long time as they play tracks that have reached or are coming to their 20th birthdays while allowing their fans to relive their own youth. The good times and the bad times, the laugher and the tears. From playing with frontman Pierre Bouvier‘s “big balls”, to creating a pop-punk medley with hits from AVRIL LAVIGNE, THE KILLERS and SMASH MOUTH, there was an emotional rollercoaster from start to finish with the closer of Perfect. It was a ride of a lifetime, and there is no getting off.

Rating: 9/10

DISTURBED – Apex Stage

We settled in our position for American heavy metal band DISTURBED’s set and soon enough, we started to feel anticipation for what was to come. A pounding, impactful drumbeat filled our eardrums before vocalist David Draiman started to do a fun little metal dance around the stage – entertaining to say the least! Breaking out into Divisive’s Hey You, it was evidently clear from the get-go that Draiman and the rest of the band were enjoying their time on stage from the very start. The most emotional and memorable section of the set was when Draiman was giving his heartfelt speech on depression and addiction. He stated “addiction and depression are diseases” and made people put their hands up if they have suffered with either one, promising them that they are not alone in their struggles. It was such an unforgettable and meaningful moment that we will never forget.

Rating: 9/10

DEAF HAVANA – Avalanche Stage

As DEAF HAVANA’s James Veck-Gilodi sings “coming to terms with things on a comedown, on a train across a city that I no longer love” on newer cut Kids, it feels like a self-fulfilling prophecy for their journey home. For a band who just five years ago headlined Brixton Academy, the fact they’re subbing for COHEED & CAMBRIA tonight says a lot; the fact their on-stage chemistry feels clunky and awkward says more. Technical issues leave opening duo Sing and Fever virtually vocal-less, whilst rockier, beefed-up versions of Worship and Hell steal the thunder from their lightning synths. Combine a setlist lacking in the hits (no Hunstanton Pier, no Mildred, not even a look-in for Holy) with technical issues, awkward attitudes, and half a crowd waiting for a certain prog-rock band to rock-up, you’re left wondering whether DEAF HAVANA are dishearteningly on a comedown.

Rating: 5/10

PLACEBO – Opus Stage

A surprising Download Festival debut, one that is inarguably overdue, rock outfit PLACEBO close off the Opus Stage for the festival on Saturday in a way only they could. Using the stage lighting and visual effects with the accompanying screens, this is an act that doesn’t need all the ringing bells and shrieking whistles. They just need each other and their instruments, and the unique tones of Brian Molko‘s vocals are the topping of this sweet layered performance. Giving a range of newer hits including the outstandingly thoughtful Beautiful James, a surprise cat was let out of the bag as the group pulled out classic hit Nancy Boy for the first time since their 2016 live adventures, to the joy of the Download Festival crowd and everyone surrounding the stage. Closing with their noteworthy cover of KATE BUSH‘s Running Up That Hill, their set ran short but no one complained. No one even cried out. It was a wonderful set from a wonderful if interesting band.

Rating: 8/10

COHEED AND CAMBRIA – Avalanche Stage

For their headlining set on the Avalanche Stage at Download Festival, COHEED AND CAMBRIA bring all the big guns in their catalogue. Opening with the towering Beautiful Losers from latest album Vaxis II: A Window Of The Waking Mind after its intro The Embers Of Fire, the mammoth crowd are singing back every word immediately. It’s followed by an electrifying Shoulders, Claudio and co having the crowd firmly hanging onto every melody and lyric. Often unfairly described as a prog band, they use their hour-long set to dispel the notion that’s the only string to their bow. There’s certainly prog moments but far more importantly they know their way around a fantastic pop hook to pair with other influences from emo to post-hardcore. It creates a scintillating blend of melody and deceptive hooks that sink their teeth into the willing crowd who clap, cheer and sing their hearts out. The band pull out more than a few fan favourites, including The Suffering, causing huge cheers from the packed tent. With such a relatively small stage there’s no production beyond lighting but they don’t need it. With a back catalogue this stacked with pop-tinged rock, along with flourishes of prog, it’s a joyous journey through their career celebrated with a tent full of adoring fans that closes with the audacious, literally show-stopping combo of Ladders of Supremacy into Welcome Home. Perfection.

Rating: 10/10

CREEPER – Dogtooth Stage

Oh, CREEPER. It doesn’t matter where they are, or what cycle they’re on, but they pack stages like sandwiches in a supermarket: stacked to the rafters. Their not-so-secret, secret headliner on the Dogtooth Stage threatens to steal METALLICA’s spotlight, even with a short-but-sweet setlist and toned-down theatrics. Opener Cry For Heaven’s sing-along sounds big enough to be heard in Heaven itself, whilst the rapturous Poison Pens is a strength-test for the tent, as the pits push its capacity. Like at Slam Dunk 2023, keyboardist and vocalist Hannah Hermione Greenwood arrives on stage holding the head of Will Gould, before the newly-christened William Von Ghould takes over proceedings. Down Below delivers a dose of jubilance, Cyanide sounds extra seismic, and unreleased song Sacred Blasphemy is a shotgun blast of mid-noughties emo-punk that makes you ever-hungrier for new album Sanguivore. As staple closer Misery has every hand in the air, and every soul singing along, it’s sad the set isn’t longer (thanks to a certain other band…), but it’s no less special, and one day, CREEPER will headline that main stage — mark our words.

Rating: 9/10

METALLICA – Apex Stage

“You give me a microphone and I don’t know what to do,” says James Hetfield after mixed reactions to the worst dad joke in existence. That statement couldn’t be further from the truth right now, after a triple-whammy opening of the first tour play of Whiplash, For Whom The Bell Tolls and Ride The Lightning – it’s a masterclass in thrash and sets the high-pace tone for the evening immediately.

There is no denying that METALLICA is simply on a victory lap right now, and their second set of the weekend solidifies just that. Rather than the almost rigid and clinical performance we were given on Thursday, Saturday’s feels more of a laid-back comfortable affair. Not only has production increased, but the band are also careful not to take themselves too seriously, laughing and joking with a snare mishap from Lars Ulrich prompting a “oh god, it’s St Anger again” from Hetfield. It’s incredible to see a band of this caliber not take themselves too seriously, even if they are on one of the biggest stages of the music world – not that it matters to them, as tonight is their tenth headline show at Donington. With a career spanning this long it’s no shock that it is reflected in the crowd with parents and their children of all ages singing along together. There is even a point during You Must Burn! where a child (who can’t be more than eight) crowd surfs, quickly followed by his mother. METALLICA has used tonight as an opportunity to quash the doubts in any minds about whether they were ‘past it’ or should ‘just pack it in’, showing that they will no doubt be back for their eleventh headliner at Donington soon.

Rating: 10/10

Sunday – June 11th

BLOODYWOOD – Apex Stage

Even though they are a relatively new band to emerge in the scene, Indian nu-metal trio BLOODYWOOD absolutely nailed it on the main stage. They had the difficult task of keeping people energised on the last day of the festival, which they successfully managed to do despite the ridiculous heat! Kicking things off with one of their most popular tracks Gaddaar, BLOODYWOOD possessed this addictive live energy that was just impossible to ignore. Frontman Jayant Bhadula completely captivated the crowd with not only a great sense of humour, but also showed his sensitive side, touching on some deeper meanings behind their chosen tracks such as politics and violence against women. By the time we reached the end of their set our opinion had altered somewhat. BLOODYWOOD are so much more than a fun loving, wacky group – they actually feature some vitally important messages within their infectious songs.

Rating: 10/10

BLIND CHANNEL – Opus Stage

BLIND CHANNEL aren’t here in Donnington by accident, something they’ll let you know straight away. They aren’t a fluke, a flash in the pan, nor an overnight sensation. Opening the huge Opus Stage, perhaps one of the only acts able to pull the masses out of their shaded tents during an unprecedented English heatwave on a Sunday afternoon, BLIND CHANNEL make every second of their debut slot in the UK’s biggest alt festival count. An energetic outing kickstarted by new single Happy Doomsday, the young stars put all of the levelling up gained from recent arena tours with metal heavyweights I PREVAIL, LACUNA COIL and ELECTRIC CALLBOY into full force here as they charm everybody from the die-hards up front to even the hardest of metal purists at the back with their brand of “violent pop”. Positively swinging through a flurry of recent cuts and even squeezing in time for a crowd-pleasing heavy cover of ANASTACIA’s Left Outside Alone, the fiery faction ensure no stone is left unturned and leave Download on a high note with their megahit calling card, Dark Side which, if the crowd roars following are any indication, ensures that next time BLIND CHANNEL grace this festival it’ll be on an even bigger stage.

Rating: 8/10

TAYLOR ACORN – Dogtooth Stage

After focusing mostly on the larger couple of stages over the last couple of days at the festival, it was a pleasant change to wonder down to the tented Avalanche Stage for a change of scenery. Following on from BLOODYWOOD’s exceptional performance, we decided to check out Nashville based singer/songwriter TAYLOR ACORN. Even though ACORN’s stage presence was bubbly and dynamic, her overall set lacked a little something. Looking at the crowd, you could tell they thought the same. Reminiscent of a rockier ARIANA GRANDE, TAYLOR ACORN’s high notes hit the sweet spot particularly on the track Certified Depressant. Whilst there is no denying that her songs possess catchy and infectious melodies with relatable, hard-hitting lyrics, TAYLOR ACORN undoubtedly still has a way to go in this industry. Saying this, ACORN is clearly a talented individual and deserves her place on the Avalanche Stage at this moment in time.

Rating: 7/10

LORNA SHORE – Apex Stage

If you haven’t heard of LORNA SHORE by now, you are quite simply living under a rock. The band have become the best thing since sliced bread in the metal industry, with outdoor sets like this showcasing exactly why that is. Their unique brand of harsh symphonic deathcore is sure to warm up any crowd, with a matching performance that is just as ruthless and relentless. The group take no prisoners, encouraging every kind of interaction they can – circle pits, mosh pits, crowd surfers; you name it, frontman Will Ramos has asked for it. Ramos’ unhuman growls and squeals riles the crowd further, especially during that part of the infamous …To The Hellfire. Their urgency to resurge deathcore and devastatingly heavy riffs have cemented their place on a sure-fire rise toward the top at any metal festival and Download Festival is just the next in their sights.

Rating: 8/10

GRAPHIC NATURE – Dogtooth Stage

On record, GRAPHIC NATURE deals in delivering devastating knife blows on modern life’s war with mental health. On the Dogtooth Stage, they’re no less devastating. Vocalist Harvey Freeman is an imposing force, unleashing their extreme nu-metal attack with whiplash-inducing velocity. And beyond that, he acts as a beacon of hope for the hopeless, spreading genuine, positive messages on mental health. Whilst GRAPHIC NATURE musically grind up your guts and pop your brain in a blender to forget your feelings, their sets most poignant moment comes when Freeman asks the crowd to raise their hands and keep them up if they’re struggling with their mental health; when he asks only the men to keep their hands up, the staggering amount still standing moves the man to visible tears before divebombing into the crushing Into The Dark. Whilst White Noise and Killing Floor are frenetic bangers, it feels like they’re missing that special something — but that’ll come in time.

Rating: 7/10

JOEY VALENCE & BRAE – Avalanche Stage

There are a fair thousand people who spend every 10 minutes seeing JOEY VALENCE & BRAE’s name featured on a main stage ad for the entire weekend without even knowing who they are – this is their chance to learn. Their music acts as a breath of fresh air for what has been an understandably metal-centric weekend, being to this weekend what the BEASTIE BOYS were to the nineties. It’s hard not to compare the two groups but there is such an obvious influence and nobody is complaining about it because they are just that good. They carry themselves with the same unapologetic energy and the crowd feeds off it, the entire tent turning into a sea of jumping heads. They are clearly appreciative of this opportunity, spending the time after their set to chat to and take pictures with those right at the barrier – definitely not something most other bands would do.

Rating: 8/10

THE HU – Apex Stage

Continuing the international flavour on the main stage, Mongolian troupe THE HU bring their blend of metal with traditional Mongolian folk instruments and throat singing. It’s a powerfully evocative combination that’s won them fans the world over, and the sizable crowd for them proves it. In the midday sun the sometimes militaristic marching rhythms become meditative, the crowd soaking it in along with the scorching heat. The mix is occasionally muddy, likely a victim of the open air and necessities of projecting to So many people, but it doesn’t take too much away from their stirring performance. It’s very much the feeling of a band consolidating their monopoly on the genre after the untimely demise of TENGGER CAVALRY, sharing their culture and musical traditions with the wider world. Unfortunately songs have a tendency to run together, and along with the oppressive heat it’s a hard sell.

Rating: 7/10

AVATAR – Opus Stage

Bringing the theatrical to yet another day at Download Festival is AVATAR. Needing no introduction as everybody’s favorite ‘circus metal’ band, they are on fine form even in the absence of their stage props and settings. Opening with Dance Devil Dance, the crowd are immediately drawn to their pantomime-esque performance. Though it’s a surprisingly short set (the tech issues that have plagued Opus Stage all day show no signs of being resolved), the audience still finds itself captivated by frontman Johannes Eckerström and co.’s energy, the band not letting this fact deter them from putting on the best show they can. His voice travels with ease throughout the grounds and, if the crowd that has gathered by the time they reach the halfway mark is anything to go by, it has gained them some new fans. Even the most disgruntled metal purists that bear witness to the set find themselves with a smile on their faces, despite the set’s length – let’s hope that AVATAR will be invited back next year to make up for this faux pas.

Rating: 9/10

BEHEMOTH – Apex Stage

How do you make an extreme metal statement on the main stage of a sold-out festival? Show up with more pyro for 50 minutes than METALLICA can muster in four hours, shotgun blast the crowd into submission with a set so stacked it threatens to defy the laws of gravity, and leave half the crowd wondering why you’re not headlining a stage. And that’s exactly what Poland’s premier extreme metal icons delivered during their mid-afternoon set. Sure, you’d think shining the sun down would soften their Satanic anthems, yet BEHEMOTH’s bombastic theatrics are no less thrilling, as blood spills from their tongues and frontman Nergal undergoes as many outfit changes as TAYLOR SWIFT does. But none of that matters anyways, because from opener Ora Pro Nobis Lucifer, it’s clear they’re not here to mess around. Classic cuts Conquer All and Ov Fire And The Void command crowd control-crippling circle pits, whilst the stadium-sized The Deathless Sun and Once Upon A Pale Horse threaten to pioneer a blackened-pop movement. By the time closer Chant For Eschaton 2000 acts as a metaphorical mic drop, it’s clear to all that BEHEMOTH belong on our biggest stages.

Rating: 10/10

PARKWAY DRIVE – Apex Stage

They’ve headlined Bloodstock Open Air. And they’ve headlined Download Festival’s second stage. Now they’re sub-headlining for SLIPKNOT. If this were a ladder match, PARKWAY DRIVE would have their hands all but wrapped around the gold. It’s hard to believe that only a decade ago these Aussies were playing festivals in board shorts and flip flops; today, they’re decked in black from head-to-toe, except ever-commanding frontman Winston McCall, draped in white. The professionalism bleeds out from their outfits into their near-theatrical show; hooded torch-bearers usher them on-stage, a trio of violinists and cellists envelop and enrich Shadow Boxing and Darker Still with haunting strings, and an arena’s worth of pyro to singe an eyebrow or two. The setlist doesn’t sleep either: opener Glitch gets in a few hard-hitting punches, before a one-two combo of Prey and The Void lands an early-round knockout blow. Darker Still is their Nothing Else Matters, and as tens of thousands sing along, it feels just as strong as its ancestor. It’s no secret PARKWAY shy away their pre-IRE days, so it’s a nice surprise to see Idols & Anchors and Wild Eyes whipping up so much dust that Winston says “you know it’s a sign of a good set when you can taste the dust from the stage”. Winston himself is the star of the show, strutting across the stage like a hound unleashed, before disappearing The Undertaker-style, reappearing seconds later in the middle of the crowd. Yes, there are some in attendance who feel PARKWAY DRIVE have lost their way, but the soaring Vice Grip and anthemic Crushed suggest that we’ve just seen a future headliner pass their audition.

Rating: 10/10

TOUCHE AMORE – Dogtooth Stage

Los Angeles natives TOUCHÉ AMORÉ were next up on our watchlist. Their blend of post-hardcore mixed with calm melodies is just the ideal combination. Opening with their 2016 track Flowers And You, TOUCHÉ AMORÉ managed to keep their audience engaged from beginning to end. By the time they reached Adieux, it was clear that the crowd were getting more and more hyped by the minute. Vocalist Jeremy Bolm’s energy was just unmatched, prancing around the stage with so much passion and energy for the entire 30 minutes. Reminders and the finale of the set, Limelight were our personal musical highlights. We realised just how powerful and impactful Jeremy Bolm’s vocals were throughout the whole set as soon as things drew to a close. TOUCHÉ AMORÉ most certainly deserved to be higher up on the bill on the Download Festival line up this year, considering their ever-increasing popularity since blasting into the scene back in 2007.

Rating: 8/10

ELECTRIC CALLBOY – Avalanche Stage

Add this to the list of long-overdue Download Festival appearances, ELECTRIC CALLBOY have had 13 long years to prepare for this very moment and from the sounds of it – the ferocious crowd have too. Met with an overflowing Avalanche Stage decked in suitably familiar neon gym wear, fake moustaches and spacesuits galore packed all the way back to the metal fences around the festival site itself, the Schalgercore sextet hold nothing back from the opening pyro bang of their Sunday evening headliner slot. Naturally, for a band who continue to evolve at what can only be best explained as a stratospheric speed, the inclusion of brutal fan favourites Crystals, tent-bouncing hits Best Day and MC Thunder and even entirely German sung wildcard Castrop-Spandau find their place effortlessly amongst the band’s most recent album TEKKNO heavy set – yet the strangest is yet to come.

Between all of the rainbow pride flags, costume changes, walls of death or even next-level confetti and pyro; ELECTRIC CALLBOY are here to create moments that simply no-one else would dare to: rolling out the bright red and aptly nicknamed Pepiano for a medley of Let It Go/I Want It That Way provides a sea of sweaty metalheads the feeling this band are famous for bringing to their live performances which is a shot of unfiltered joy and silliness in an otherwise largely serious scene. As they close in on yet another sold out UK tour this October, you have one more chance to catch the Heavy Music Awards winners very soon.

Rating: 10/10

GHOST – Opus Stage

The area in front of the stage for GHOST is unbelievably busy; it begs the question whether they’re even on the right stage at all. That question is further compounded by the sheer quality of the show. Dazzling lights, a drumkit made of bones and more hits than a boxing gym; it’s all present and correct. The opening run of Kaisarion, Rats, Faith and Spillways is inarguably brilliant, the mammoth crowd threatening to drown the band out with cheers and occasional moments of singing along. That sea of people simply doesn’t stop moving, flowing all the way to the vendors near the back of the arena as the spectacle unfolds, pillars of pyro and smoke unleashed with gusto. “It’s not as hot as it was earlier, but we are!” Forge gleefully quips mid-set before they launch into a triumphant Mary On The Cross. It’s a fan favourite for a reason, soaring with ease, everyone even at the back revelling in it before Mummy Dust seethes and rumbles forth. If you needed any more evidence that they should be headlining the main stage sooner rather than later, this raucous set closing with Kiss The Go-Goat, Dance Macabre and Square Hammer says it all. Bring them back Download Festival, and give them the biggest stage.

Rating: 9/10

SLIPKNOT – Apex Stage

Finally, the wait was over and it was time for SLIPKNOT to hit the main Apex Stage on Sunday night, closing out Download Festival 2023 in the best way possible! The heavy metal giants from Des Moines, Iowa were last on the bill for a reason. Even though their live sound seemed very quiet in comparison to other sets during the weekend, vocalist Corey Taylor managed to soldier on with his performance despite an ongoing illness. You could tell that his clean vocals suffered slightly but that was just to be expected with the circumstances. In terms of his unclean vocals, you honestly could not tell the difference. SLIPKNOT fans old and new were also treated to percussionist Shawn Crahan aka ‘Clown’ being present during the performance despite briefly being absent from the band due to his wife’s health. The pitfalls encountered during SLIPKNOT’s performance were minuscule in the grand scheme of things. Overall, Taylor had immaculate vocal delivery for most tracks, especially during tracks Psychosocial and The Heretic Anthem. COREY TAYLOR ultimately proved that he was one of the best frontmen in this scene and it is definite that this SLIPKNOT performance will go down in Download Festival history.

Rating: 9/10

Words: Jack Press, Will Marshall, Megan Jenkins, Issy Herring, Jo Cosgrove, Chelsea Cochrane

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