You know what would make spending time in one of the Garden Of England’s finer parks even better? Rock music and plentiful booze. Yes, the festival season rolled into Kent on a balmy mid-July weekend, with some of the world’s premier rock acts gracing the stage boards and continuing to keep audiologists in work treating concert-based deafness. As Def Leppard once queried, “Do you wanna get rocked?” Absolutely! Let’s do this Maid Of Stone 2024.
Day 1 – Friday
White Raven Down
In many ways, it must be a tough gig to open an entire festival, but if there was any anxiety over that daunting prospect, then Essex rockers White Raven Down did not let on. A set replete with grooves and delightful vocals, the trio dropped hard-riffing song after hard-riffing song, with ‘Lost Your Hold’ and the brooding ‘Masquerade’ giving the thirsty (for riffs) crowd something to lap up. Frontman Stu Bailey had the gathered masses in the palm of his hand and would certainly have felt the love as he wound his way to the barrier during the middle of their set. A terrific way to open proceedings.
Blaze Bayley
Suffice to say, Blaze Bayley has a lot of love in the metal community and it’s evident by the warm reception as he and his band took to the stage. Having had a major health scare recently, Bayley’s performance and on-stage theatrics demonstrated a man who is thoroughly grateful for everything – even going as far as to dispel rumours of his imminent retirement. Of the music, the set featured his Iron Maiden classics such as ‘Lord Of The Flies’ and ‘Sign Of The Cross’, whilst the touching ‘Como Estais Amigos’ provided a brief moment of reflection amidst the high-energy rocking’s. Yet it was the incredible ‘The Clansman’, and audience sing-along during ‘Strikes Twice’ that brought the set to its precipice, with band and crowd having the time of their lives. Bayley et al. produced the goods with aplomb.
Gun
When your headline appearance at a festival garners members of the audience dancing, jumping, singing and playing air guitar, you can safely conclude that, a) your band is well-liked; and b) your music’s pretty damn good. In observing the above amongst the crowd during Gun’s set as they rounded off Friday night, you can safely conclude both statements were true for the Glaswegian group. Featuring a set stuffed with classics, including their stellar cover of Cameo’s ‘Word Up!’ alongside debut album trio ‘Better Days’, ‘Inside Out’ and ‘Shame On You’, the band took the Mote Park mob along for a hell’ of a ride (which they duly offered in opener ‘Lucky Guy’, with the ‘Let’s take a ride’ refrain). There were stories to ingratiate with the crowd, including Dante Gizzi’s tale of a relative setting up an ice cream shop in Maidstone, as well as the impressive fact that drummer Paul McManus had recently returned from keyhole surgery. It all made for a well-rounded and thoroughly enjoyable conclusion. That the band’s closing cover of The Beastie Boys’ ‘Fight For Your Right (To Party)’ was cut short due to breaking curfew made for a pleasingly ironic curtain call to Maid Of Stone’s opening night.
Day 2 – Saturday
Spyder Byte
As Saturday dawned in the same hot, hazy fashion as the previous day, self-styled ‘sleazy hard rock” crew Spyder Byte took to the Firestarter Stage to raise the curtain on the day’s festivities. Taking one or two cues from myriad 80s hard rock heroes, the band delivered a set that proved that the time-honoured rock mantra of sex, drugs, rock ‘n’ roll is alive and well, with the thrilling three-part vocals of ‘Black Velvet Love’ sounding smooth in the summer sun. Throw in Daniel Lawrence’s charismatic frontman duties and the introduction of an inflatable lady being lobbed about amongst the crowd, and you had a strong start to the day.
The Commoners
Over at the Phoenix Stage, Canadians The Commoners served up a prime example of good, solid rock done oh-so right at a festival. While looking effortlessly cool with sunnies on, too, the band jammed through cuts such as ‘Devil Teasin’ Me’ and the brilliant ‘Body & Soul’, with keyboardist/organist Miles Evans-Branagh’s retro keys sounding glorious throughout. There was even time for vocalist Chris Medhurst to self-deprecate when introducing ‘The Way I Am’ by billing it as describing why he is an “asshole”, yet the good-natured, good time feel to the band’s set suggested otherwise.
South Of Salem
Judging by the number of shirts for South Of Salem about, you would have thought they would be the headliners for one of the stages. That they were playing mid-afternoon on the Inferno Stage had no bearing as a large crowd gathered for a set complimented with pyrotechnics and even cheerleaders for two songs. What followed was an energetic performance from the horror-rockers, with ‘Made To Be Mine’ eliciting a good audience sing-along, whilst the groovy ‘Static’ got even the most statuesque attendee at least bobbing their head. Sets like this will surely see Salem climbing higher up festival bills in no time.
When Rivers Meet
Technology, eh? Sadly, for When Rivers Meet, the tech gods were not smiling upon them as their stage time drew near, but after a wait of more than twenty minutes as the sound crew worked away admirably to troubleshoot, the band finally kicked off with a stomping rendition of ‘Did I Break The Law?’ to a raucous reception from the patient crowd. The joy and relief that Grace Bond and co. must have felt would have been palpable, and they looked to make up for lost time in delivering a fantastic set, with ‘Play My Game’ sounding particularly thunderous. Just a shame the tech didn’t want to play ball, but obstacles are there to be overcome, and that they did.
Crowley
Sadly, for Newcastle’s Crowley, they, too, seemed to suffer at the hands of the tech gods, with the guitars fighting to be heard over a bass-heavy mix. Nevertheless, guitarists Eliza Lee and Ruth Cranston, and bassist Kim Fellows battled on to deliver an energetic set, with ‘Pyro’ particularly ripping (billed as a song about “burning people that you hate”). Yet the highlight was ‘The Witching Hour’, where vocalist Lidya Balaban demonstrated her prowess with an almighty scream at the intro, and a subsequent soaring performance. For their energy and talent, these Geordies deserved a better mix on the day.
Wayward Sons
From occult rock to feel-good rock. Wayward Sons were up next over on the Phoenix Stage, and there is just something about upbeat rock music in the sun. Songs like ‘Big Day’, ‘Land Of The Blind’, and the appropriately titled ‘Feel Good Hit’ sounded resplendent in the summer heat, and the band themselves were all smiles throughout. Even to the last note of ‘Joke’s On You’, the band’s toe-tapping style had their fans tapping said toes with vigour, and singing along at the top of their lungs. Well, when the spirits are high, the booze is flowing and the sun is shining with good music, what else are you going to do?
The Warning
The crowd in front of the Inferno Stage was gently filling up as Mexican trio The Warning took to the boards, but once they left there were a-damn-sight more applauding them off. The Villareal sisters, in-short, killed it, with opener ‘S!CK’ setting the groove immediately and demonstrating the incredible three-part vocal attack the band possesses. ‘Choke’, in particular, showcased Daniela”s (or Dany) vocal talent with the soaring chorus, whilst ‘More’ brought the house down with the one-two vocal and guitar lines. There were more than a few who will have headed away with a new band to check out (especially the girl in the crowd who received Paulina’s – or Pau – drum sticks!)
Those Damn Crows
You would say that it is somewhat expected that the headliner for a stage would get a generous crowd, but that was rather an understatement for Those Damn Crows. Their pull could have merited a slot on the Inferno Stage, as opposed to the Phoenix, but they made do and, boy, did they make do. Opening with the groove laden ‘Who Did It?’ the stall was set out early with big riffs and even bigger vocals, courtesy of Shane Greenhall. His command of the crowd, though, was top-notch, with a Stars In Their Eyes gag relating to their smoke machines, and frequent drops in singing to allow the crowd to join in – not that they ever stopped. Sometimes the choice in headliner guarantees a good show, and this was one of those times.
Ward XVI
You don’t see a lot of narrative performances in rock music these days, do you? Most bands rock up, play their stuff and get out, but not Ward XVI whose performance detailed the rise of fictional serial killer, Psychoberrie. Draped in asylum attire, the band ran through a set featuring heavy hitters such as ‘Burn The Witch’, and the almost fun and bouncy ‘Toybox’, with the set ebbing and flowing to the macabre narrative. The music is almost a backdrop for the visual performance, with examples such as a bed monster rearing from behind a bed prop to terrorise the crowd, an on-stage ‘murder’ where a woman is disemboweled (think of Alice Cooper meets GWAR), to Psychoberrie herself chain sawing her band members and receiving the electric chair for her efforts. A wild end to the Firestarter’s day.
Wolfmother
As the night drew in, the Inferno Stage had amassed a bubbling and expectant crowd, desperately anticipating the arrival of Australia’s Wolfmother to round off Saturday’s fun. Opening their set with ‘Dimension’, the band then sprung a surprise early door with the fan-favourite ‘Woman’. Naturally, this drew a rapturous response from all, but it begged the question of why the band were including one of their biggest hits so early in the set? Well, it pays to make your set flow, with a good amount of variety to the performance, so stockpiling the big hitters until the end does not make sense. Especially when you are a band with the likes of the psychedelic-influenced sing-along ‘Midnight Train’, the fuzzy ‘Gypsy Caravan’ and the headbanging-inducing ‘Rock ‘N’ Roll Survivor’ in your back-catalogue. The band themselves may not run around the stage like lunatics, but their energy was concentrated in delivering cracking rock ‘n’ roll, and the complimentary light show made for a tremendous spectacle. That they then round off the night with the colossal ‘Joker & The Thief’ alongside a terrific run-through of Led Zeppelin’s ‘Rock & Roll’ is testament to meticulous setlist planning. It is a set that picked those energy levels up at the end of a long, hot day and maintained them through, with the thousands heading off into the night suitably re-energised and rocked. Sunday beckons and has a lot to live up to.
Day 3 – Sunday
Phoenix Lake
A band with Phoenix in the name opening the Phoenix Stage? How apt. Phoenix Lake, with a brand of hard rock/melodic metal, were like a real shot in the arm to the sleepy day’s start. The band tore through songs such as ‘Reflections’ with verve, whilst vocalist Lana Phillis marshalled the crowd and cajoled their involvement to great effect. Yet it was with the Maiden-esque twin guitar assault of ‘Serenity’ that saw band and crowd at their peak, culminating in an ideal wake-up call for the day’s events.
Brake Loose
Over at the Firestarter Stage, Dubliners Brake Loose took to the stage for a blast of rock that was made all the more compelling by frontman’s antics. Falling over, bashing a tambourine, vibrating to the music and eyeballing those at the barrier; this is a singer who just wants to perform, and it is utterly welcome. There is a uniqueness to his voice, most notably on display in his delivery during ‘Yea I’m A Vampire’, but also during their cracking cover of Billy Idol’s ‘Rebel Yell’. However, special note goes to their incredibly fun ‘Rebel Rebel (Evil Like The Devil)’, which sounded terrific in the muggy afternoon air and was sung back with gusto from the crowd. More, please!
Seething Akira
Upon seeing Seething Akira perform live, if you took one thing away it would simply be: energy. From all of the Portsmouth crew, they do not stop moving and whipping the crowd up with their brand of electronic nu-core. With pulverising beats and chonky guitars, the band unleashed an aural assault upon the Phoenix Stage that included the ominous ‘Something In The Water’, and the defiant ‘Resilient’ to a crowd that began their set taken aback but were welcoming vocalists Kit Conrad and Charlie Bowes to the barrier with open arms by the end. As amusing as it was to hear it, one attendant’s curt “NO!” response to their query of “Are you awake?” was categorically the outlying opinion, with many leaving the stage as the band took their bows feeling enthused and energised. An incredible set, and we look forward to more music from the boys – bring it on!
Oli Brown & The Dead Collective
As a last-minute replacement for These Wicked Rivers (who were unable to play due to a family emergency), you would forgive the members of Oli Brown & The Dead Collective to be a little nervous or rusty. On the evidence from their performance on the Inferno Stage, they looked about as home as could be, with their ‘atmospheric alternative rock going down a treat. At times a bit bluesy, and at others a touch proggy, the likes of ‘Father’ and ‘Estranged’ allowed the band to take the spot as their own rather than being just the replacement band. That being said, there was a subtle nod to their peers, with the band performing alongside a lampshade beside the drum kit and including it in the final band photo at the end. Nice touch, lads – These Wicked Rivers would have appreciated that.
As December Falls
From the atmospheric and contemplative, to the high-energy, As December Falls picked the pace back up with a lively set over on the Phoenix Stage. Vocalist Bethany Curtis was a flurry of energy, inciting the crowd to join in with the likes of ‘I Don’t Feel Like Feeling Great’ and ‘Alive’ – even offering a quick tutorial in the vocal lines. The band gave a good account of themselves, though the occasional lack of bass (especially after the sub drops) left their sound a tiny bit thin, but those that jumped into mosh in the pit were none-too-fussed. Punky and sprightly: diametrically opposite to the sluggishness of December!
Drew Dixon
There is an admiration for any artist that travels the world to play at festivals, but the likes of Drew Dixon deserve his flowers for travelling all the way from Nashville to a festival in Maidstone, England. He and his merry men were only-too-pleased to perform their take on swampy blues rock on the Firestarter Stage, with the glorious ‘South Carolina’ (dedicated to his recently passed grandmother) and ‘Dead Man’ sounding marvellous in the afternoon sun. In keeping with the weekend’s cover’s theme, the rendition of Mountain’s ‘Mississippi Queen’ sublimely honoured the original, whilst Drew’s band’s backing vocals added delicious richness to the fold. All that was missing was a whisky in-hand!
Massive Wagons
Back over at the Phoenix Stage, Massive Wagons were another band across the weekend that, based on the number of people gathered to watch them, you would be forgiven for thinking they should have higher billing on the main stage. The fact they also brought along pyrotechnics and smoke machines shows Massive (as vocalist Barry Mills noted given the set-obscured “Wagons”) have ambition to reach the top, and their performance would certainly warrant it. With dynamism in spades, ‘House Of Noise’, ‘Missing On TV’ and the ironically-titled – given the madness in the crowd – ‘Please Keep Calm’ were wonderful fun, and only enhanced by Mill’s mad energy. The random quick-fire verses of Peter Andre’s ‘Mysterious Girl’ and Bob Marley & The Wailers ‘No Woman No Cry’ were a delightful cherry on top of a bonkers set.
The Karma Effect
The Karma Effect’s star is most definitely on the rise, with their most recent album ‘Promised Land’ cracking the UK Top 20, and what better way to ride that wave than as main support on the Firestarter Stage? As one of the nation’s up-and-coming rock acts, the London collective proved quintessential viewing for patrons of Maid Of Stone, with a roaring rock ‘n’ roll sound that harks back to those glory years of rock during the 70s and 80s. Big choruses and big vocals from Henry Gottelier, numbers like ‘Livin’ It Up’ and ‘Steal Your Heart’ straddle the nostalgic and modern sounds, but delivered the goods to an enthralled collective of rockers. Sure-fire future favourites on the evidence here.
Skarlett Riot
Headlining the Firestarter Stage and on a deadline to finish before 9pm for the main stage’s headliners, Skarlett Riot had some work to do but set about their task with great enthusiasm. They may also have been competing with Larkin Poe for crowds, however those that were gathered did not leave disappointed, as the band ripped through a metallic set with hard rockers like ‘Paralyzed’ and the uplifting riffs of ‘Stronger’. With time for the poignant ‘Hold Tight’ dedicated to those with mental health struggles, it cemented the band’s set as one for rock fans of all persuasions: heavy, light, dark, and everything in between. It is a joy to behold when a crowd collectively headbang, so after inducing that through their set, Chloe ‘Skarlett” Drinkwater and co. must have left the stage considering it a job very well-done.
Mr. Big
It seems fitting that one of Mr. Big’s final ever appearances as a band in the UK was to be at a celebration of rock amongst the rolling green of the Garden Of England. Typically, the crowd that had gathered was substantial and the cheer that greeted the US foursome as they took to the stage will have been heart-warming as they take their final bows as a band. What followed was a run through of some of the band’s greatest works, where original members Eric Martin, Billy Sheehan and Paul Gilbert, alongside drummer Nick D’Virgilio, had ample time to showcase their talents. Opening with the pulse-racing ‘Addicted To That Rush’, the band were instantly into their stride, with string-merchants Sheehan and Gilbert trading off licks like trading cards, whilst the ‘Daddy, Brother, Lover, Little Boy (The Electric Drill Song)’ brought on huge cheers when the electric drills came out during the solos. Of course, what Mr. Big set would be complete without the worldwide hit, ‘To Be With You’, and giving many couples in the crowd to get all schmaltzy. Not to be out-done by their peers from across the weekend, Mr. Big rattled through no less than four covers, with Jeff Paris (‘CDFF – Lucky This Time’), Cat Stevens (‘Wild World’), Sheehan’s first band Talas (‘Shy Boy’) and The Who (‘Baba O’Riley’) all receiving homage. Truly, a celebration of some of the greatest songs in rock by one the genre’s gems on a weekend where it was celebrated in largesse.
As the last strains of ‘Baba O’Rile’ died away, and the members of Mr. Big took their final curtain call in Maidstone, there was a charming feel-good factor that permeated the departing crowd.
A slight chill had set in, but the weekend’s music, heat and copious booze ensured no one was complaining one bit. Maid Of Stone 2024 hit the spot, so bring on the 2025 edition.
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Review By Lee Carter
Review & Photos By Rebecca Bush – https://www.instagram.com/beckybphoto/
Wolfmother Images By Louise Phillips