We returned, as we must, to the hallowed turf of Catton Hall for this year’s Bloodstock Festival, and after the early band announcements at last year’s edition, it could not have come sooner. With three days and an evening of extreme music to digest, the ear defenders were ready, the comfy walking shoes were on, and the liver was (not) prepared for alcohol. So, with ourselves – primarily – prepared, we at Devolution Magazine dove head-first horns up into the weekend’s charms. This is our account of Bloodstock Festival 2024
Thursday 8th August
Acid Age
There are not many better ways to kick off a metal festival than some good old-fashioned thrash, and that’s what Acid Age were so obliging to provide. With bruisers like ‘Death Of Octavia’ and ‘The Burning Of Rome’, the Northern Irish ‘war-jazz’ trio warmed up the gathered masses in the Sophie Lancaster tent with slick riffs and terrific precision. The thought of raising the curtain for arguably Britain’s premier metal festival may cower the hearts of other bands, but Acid Age made no mistake here – the very definition of a power trio with some power behind them.
Tailgunner
From the thrasher side, we moved swiftly towards a more traditional sound, with Tailgunner bringing excitement and coordination that bordered choreography. We all love Steve Harris gunning an audience down with his bass, and Tailgunner fancied a bit of that with all three stringers getting in on it. As if that was not enough, their ripping rendition of Judas Priest’s ‘Painkiller’ elicited a warm crowd reception – indeed a set for the traditionalists. Though maybe wait until you’re at Wembley for the guitarist’s solo spots and covers of ‘In The Valley Of The Mountain King’, lads.
South Of Salem
If you have had the pleasure of seeing South Of Salem before, you will know they can deliver a good show, and this was certainly the case here. A set that featured dancing cheerleaders alongside light-up coffins, the band were a flurry of energy on stage, and their thunderous rock was a hit with the crowd. With ‘Made To Be Mine’ the raucous ‘Static’ and buoyant ‘Death Of The Party’, there were sing-alongs aplenty, giving further evidence that these hard rockers are brewing something special. While their latest album may allude to a party becoming deceased, their set was very much alive and kicking. Kudos.
Hellripper
On the crowd’s energy levels for the weekend, Hellripper frontman James McBain declared, “If we do our job right, you’ll all be fucked!” That is some statement right there, especially considering their placement as the fourth band of the weekend. As it happened, the band’s brand of blackened speed metal certainly whipped everyone into a frenzy, with the likes of ‘Goat Vomit Nightmare’ (nice) and ‘Headless Angels’ spawning among the festival’s first circle pits. That someone with a Christmas tree hat was doing laps in it made it all the more amusing, considering the more violent nature of the music. ‘Tis the season for metal, right?
Evergrey
There was a certain magic about waiting for Evergrey’s set – the bubbling anticipation of the festival’s first headliner (okay, on the second stage) was rather remarkable. Mercifully, when the Swedes took to the stage, the throng before them was only too glad to receive them. That the band spent an excessive amount of time in travel hell to get there and having to borrow instruments made for a true cathartic celebration on the opening night. With heavy riffs galore and soaring vocals, the brilliance of ‘Cold Dreams’, ‘Misfortune’ and the delightful ‘Save Us’ demonstrated a triumph over logistical adversity and an opening night that ended on a smile-inducing high.
Häxan
Say what you want about Bloodstock, but the festival knows how to cram in as many bands as possible with its early starts. Welsh trio Häxan had the honour of waking everyone up in the Sophie Lancaster tent, and the sound of the powerhouse vocals from Sam Bolderson was the ideal alarm clock. A little bluesy and a little stoner-y, the likes of ‘Killing Time’ made for a glorious soundtrack to the morning coffee and breakfast, with band and crowd thriving off of a feel-good energy as the day got itself going.
Desert Storm
Over at the Ronnie James Dio Stage, Desert Storm also had the task of waking up a field of sleepy patrons, and their task was made all the easier with the sheer power of the kick drum on Elliot Cole’s kit. Lawd, it could have knocked you into next week! Add to this the band’s thick stoner/southern-influence metal and the sonic assault of the likes of ‘Master Of None’ and ‘Cheyne Stoking’; there would have been very few who would have remained sleepy once the band took their bow. Some prefer a gentle wake-up, and those people would have been left bewildered by an utterly brutal beginning to the day’s main stage frivolities.
By Virtue Fall
Over at the New Blood Stage, By Virtue Fall took to the stage and promptly ripped it a new one with a set that married ferocity with melody. Featuring a host of tight riffs, crunching breakdowns and energy that defied the early hour and rising heat, the likes of ‘Path Of Surrender’, ‘Death’s Hand’, and the band’s single “Abandon Hope” sufficiently announced the band to a horde of new fans. There was even time for a bit of fun, with the band imploring the circle pit in the tent to reverse to much initial confusion (do circle pits always go clockwise?) Terrific stuff.
Nervosa
It was somewhat appropriate that Nervosa had a song called ‘Kill The Silence’ because they were rather adept at doing that. And that is putting it mildly. The Brazilian thrashers took no prisoners from their set, with the aforementioned ditty that murders quietude a veritable highlight from a whirlwind set. Prika Amaral may have only recently taken on vocal duties alongside her guitar playing, but her and the rest of the band’s performances were that of a well-oiled machine that knows only two things. Bloody good thrash metal, and how to utterly destroy all before.
DeathCollector
“If this is to be our end, then I would have them make such an end as to be worthy of remembrance.” While a famous quote from the Lord Of The Rings trilogy may refer to a collective, a few tweaks would do justice for DeathCollector’s Andy Whale, who would be hanging up his sticks at the end of the band’s set. The Sophie Lancaster tent was rammed with fans to celebrate and mark the historic occasion and to bang their heads off to some fantastic old-school metal riffage. ‘Terroriser’, ‘A Taste Of Ichor’ and the hard-hitting ‘Death’s Toll’ shook the tent to the rafters, to the crowd’s joy, making Whale’s final ever performance one for the history books. Enjoy your retirement; your band will continue delivering the good stuff.
Green Lung
There is something about a band with folklore leaning to its lyrical content. Green Lung’s love for folk horror and British folklore adds a beautiful sense of mysticism to their brand of doom rock, and it was oh-so enticing early in the afternoon on the Ronnie James Dio Stage. ‘Mountain Throne’ rocked up a treat, whilst the folk progness of ‘Song Of The Stones’ brought a sense of flow to the band’s set. Yet closer ‘One For Sorrow’ was the absolute zenith for the band’s performance, at once heavy and cathartic, but made all the better for vocalist Tom Templar’s request for the “world’s slowest circle pit”. Even walking pace was too fast! A breath of fresh air, this was.
Wolf
You cannot go to a rock or metal show without seeing an Iron Maiden or Judas Priest shirt on at least one person, which shows the enduring popularity of the New Wave of British Heavy Metal subgenre. Sweden’s Wolf are only-too-glad to offer a reminder of that, with a set that sounds every bit like the godfathers of NWBHM. ‘Shoot To Kill’ and ‘The Ill-Fated Mr Mordrake’ brought vibrancy to the Sophie Lancaster tent, with frontman Niklas Stålvind proving a master of entertainment. While ‘Skull Crusher’ may have called to mind Rob Halford in the vocals, those who left the tent as Wolf headed off were reminded that this band knows their stuff and can certainly deliver it in their own right.
Enslaved
Black metal and sun are seldom comfortable bedfellows, so it would stand to reason that Enslaved’s more progressive take (with Viking metal thrown in) may lose its lustre in the summer sunshine. This makes it all the more commendable that the band’s set, containing the likes of “Kingdom”, ‘The Dead Stare’, and the, frankly, epic ‘Congelia’, draws the crowd at the Ronnie James Dio Stage in and takes them on a compelling Norse journey. Special mention should go to ‘Homebound’, which is dedicated to the memory of a band friend who had recently passed and then delivered with remarkable reverence.
Crowley
Over at the EMP Stage, Newcastle’s Crowley simply wowed the crowd squeezed under the festival’s smallest tent. As if to accentuate the above point, one attendee’s reaction to vocalist Lidya Balaban’s incredible prowess was to be shocked and rush towards the barrier for a closer listen. With a near-perfect sound mix, the band’s cuts had the required impact their talent deserves. With ‘The Witching Hour’ sounding brilliantly dark, it was closer ‘Pyre’ – about burning people – that saw the band and crowd at their absolute best. One hopes that these Geordies get a bigger stage next time!
Final Coil
When your music relies on a level of intensity and pacing to draw your audience in, the last thing you want is for tech gremlins to rear their ugly heads. Sadly for Final Coil over on the New Blood Stage, they had to weather some tech issues as they took their slot, but their perseverance paid off as their set was pleasingly proggy, with a striking push-and-pull feel that enveloped the tent. Including cuts from across all three albums, with ‘Chemtrails’, ‘The Growing Shadows’ and ‘Wires’ from their latest ‘The World We Inherited’, there was something for everyone as the band made their debut Bloodstock performance memorable.
Clutch
As primary support for Friday’s main stage, the amount of love on display for Clutch could have fooled many into thinking they were the headliners. Maybe for another year, but for 2024, the love they were given was reciprocated in spades, with a set of high-energy rock that got the toes tapping. ‘Slaughter Beach’ and ‘Sucker For The Witch’ demonstrated the band’s groove and up-tempo bounce, with the latter drawing an impassioned sing-along from the crowd, whilst Neil Fallon’s infectious personality made for a significant uplift. Maybe 2026 will see them emerge as headliners?
The Vintage Caravan
Dynamism in metal can often be forgotten instead of unrelenting speed or heaviness, so it was pleasing that the likes of The Vintage Caravan were around to remind everyone of a fundamental in music. Bearing a sound that is a little poppy and a little proggy, these Icelanders created a sense of joy in the Sophie Lancaster tent with their bounce and liveliness. ‘On The Run’ saw the band at their most Tigger-like, whilst ‘Expand Your Mind’ brought a fuzzy prog vibe to proceedings that made for a fun sonic adventure in the early evening light.
Opeth
“Majesty” toned Opeth mainman Mikael Åkerfeldt at the beginning of ‘The Grand Conjuration’ to bring the band’s headline set to an explosive start, and that one word right there is the entire review for their performance. Headliners, by the very nature of being a headliner, are hyped up to the nines, and there is always the worry that what comes to pass is a let-down. Far and away, not the case here as night drew in on Friday, with the band in scintillating form and delivering fan favourites from across the back catalogue. The set flowed wonderfully, from the despairing beauty of ‘In My Time Of Need’ to the menacing ‘Ghost Of Perdition’, and nary a beat was missed. In Åkerfeldt, the band have a charismatic focal point that delivers both musically and with audience engagement (his joking insistence on discussing the history of Lynyrd Skynyrd upon hearing a request for ‘Freebird’ was very droll). Closing out the night with ‘Black Rose Immortal’ was a masterstroke and ensured long-time fans would have headed off into the night suitably satisfied.
Igorrr
To anyone less informed about the qualities of Igorrr, what they would have beheld in the Sophie Lancaster tent as the French band rounded out Friday would have been baffling and extraordinary to them. The sound of breakcore-esque electronics switching into crunching metal, with a mezzo-soprano singer inserting heart-breaking melodies into the fold? Well, when it’s written like that, it does sound rather disparate, but goodness, does it work live. That is before you consider the crowd’s reaction to the utter audio chaos on display. Every beat, riff, scream and melody is roared back, danced to and applauded with conviction. Couple this with the impressive light show perfectly synched with the aural assault on stage, and you would have a show of hyper-stimulation for the eyes and ears. When the opening breakbeats of “Very Noise” sounded out, the tent damn-near collapsed, such was the crowd’s reaction, and the night was not so much wound down as ended in cacophony and catharsis. Somewhat exhilarating!
Saturday 10th August
Cauldron
If you weren’t awake before Cauldron kicked off their set in the Sophie Lancaster tent, you certainly would be by the end of their first song. Boy, was this five some like a hammer blow to the face before the coffee kicked in, with heaviness going spare and intensity rarely found this side of noon. As ‘Futile’ rang out, it was apparent that it would have been just that to try and resist the storm that the band brewed. Saturdays have not often begun so abruptly, but you wouldn’t mind Cauldron offering you your wake-up call on a more regular basis based on their performance.
Ignea
Imagine plying your trade as a musical artist all the while your home country is ravaged by the scourge of war, and you would be forgiven if your performances were a little lacklustre. Not for Ukraine’s Ignea, who bludgeon their way through a set filled with lead-heavy riffs and glorious melodies. Opening with ‘Dunes’ and thumping cuts of ‘Bosorkun’ and ‘Gods Of Fire’ stirred the blood for all and showcased the band as ambassadors for their nation’s plight. Their thanks to the crowd for the support was genuinely heartfelt, and one can only hope the next time they grace the Ronnie James Die Stage will be when there is peace back home.
Stone Soup
If you need any indication of how much fun Stone Soup would be as a band, then you need only consider that they refer to their fans as “croutons”. Exceptional. As was their set, with ‘Purgatory’ (“this is ‘Purgatory’, a song about, well, being in purgatory!”) and ‘The Elephant’s Foot'(about the mass of corium at Chernobyl) bringing a feel-good rock ‘n’ roll vibe to the New Blood Stage. In addition to a sense of boogie during ‘Fuzzy Brain, ‘ the band was also partial to some beach balls being chucked to the crowd to ramp up the fun. Go on and grab a spoon.
Crypta
If you were not aware of Crypta before their deathly, thrashing set on the RJD Stage, then you absolutely will have been once they left because, lawd, did they make a mark. Vocalist and bass player Fernanda Lira could shame several other metal vocalists at the ease with which she delivers her performance – it looks like breathing. But while it may look easy, the Brazilians make no mistake in destroying ears with frenetic death metal. It may read like a calmer cut, but ‘The Other Side Of Anger” was anything but and set the band’s stall out early, which did not let up until closer ‘From The Ashes’ rang out, and the crowd was thoroughly tenderised.
Ludovico Technique
There is something to be said about bands that take pride in their appearance on stage, especially when creating an atmosphere. Ben V. et al. made their show’s visual side impressive, with the band members enrobed and anonymised and Ben himself in macabre attire, embracing the role of the focal point of all the darkness. ‘Embrace’ and ‘Absence’ sounded both malevolent and a touch romantic, but the show’s highlight was when Ben approached the barrier and sent those there absolutely bananas. Such careful consideration of the whole package marvellously drew all in the Sophie Lancaster tent into Ben and Co.’s world. On their first visit to these shores, they won’t be too long coming back, I’m sure.
Forbidden
Forbidden have been going at this thrash metal business for nearly forty years now (formed in 1985), so you would – correctly – assume they know a thing or two about putting on a show. Featuring songs solely from debut ‘Forbidden Evil’ and sophomore ‘Twisted Into Form’, the band’s set celebrated their legacy, and the plentiful crowd before them were only too willing to partake. From opener ‘Infinite’ through closer ‘Through Eyes Of Glass’, the thrash riffs were dealt out with beaming smiles from Forbidden to even bigger ones on the faces of those whose ears they were deafening. Top work over at the RJD Stage.
Unleash The Archers
We all know and love power metal (yes, you do, don’t lie), and of the modern crop, you can rely on Unleash The Archers to deliver. Which is precisely what they did in the Saturday sun. Brittney Hayes (or Slayes) held the crowd in the palm of her hand throughout as she and the rest of the band made light work of “Soulbound” and the stirring “The Matriarch”. But one thing to note is their vocal harmonies – good grief, are they magnificent. It is somewhat expected of a power metal band, but to actually produce live and make it look easy is still some talent. Needless to say, these Canadians hit the bullseye.
Red Rum
Few would have any complaints if there were a rule where any rock or metal festival required a pirate band. Bloodstock’s complex and heavy nature needs a palate cleanser, and Red Rum was very much that, with ‘Fifty Gallons Of Ale’ and ‘Drunken Pirates Ahoy!’ bringing the fun factor back to the fold. Props to vocalist Dave Everitt for committing to the bit of talking like a pirate throughout, as it all made for a thoroughly enjoyable set. Ahoy!
Slaughterhead
Norway’s Slaughterhead graced the New Blood Stage and promptly set about bringing it down with an energetic set of pure, unadulterated thrash that screamed “we will be back”. While their riffs are thrash, the band themselves are not above a touch of prog, with the eight-minute epic ‘Pictures Of The Past’ flowing serenely between the light and shade of the band’s sound. It served them very well with the crowd, and the band can look forward to more fans checking them out on the streaming services based on their showing. Onwards and upwards.
Lost To Light
Following on from their Norwegian brethren were local lads Lost To Light, and their overall sound would tick a lot of metal music lovers’ boxes. Heavy? Yes. Melodic? Yes. Harmonies? Yes. Energy? Big yes. With the new single ‘Confess’ hitting like a ton of bricks on the New Blood Stage, their set served as a reminder of why this stage exists: to showcase the brightest of metal talent in the UK. As one of the bands selected by Bloodstock as opposed to qualifying via the Metal 2 The Masses regionals, the band has something about them, and this was a strong debut. Expect more from these guys in the future.
Combichrist
Having seen Combichrist, many moons ago supporting Rammstein, their set was somewhat of a surprise in that it seemed they had gone, full-on industrial metal band. There was no space for the likes of ‘Get Your Body Beat’ however, there was plenty of time for the likes of ‘Children Of Violence’, ‘Only Death Is Immortal’, and the punishing ‘Violence Solves Everything, Pt. 2 (The End Of A Dream)’. While mainly focusing on more recent material, the aggression and energy Andy LaPlegua and co put on was thrilling and ensured the gathered fans were left satiated as ‘D For Demonic’ gave way to silence.
Sylosis
Being a band can be tough sometimes. All you want to do is go out and perform for your fans, and then technology buggers up to throw a massive spanner in the works. Unfortunately for Josh Middleton, the tech goblins wreaked havoc with his guitar, which resulted in half the set being performed with him on vocals only. Despite the apparent delays to their set, Josh et al. ploughed on with gusto, tearing through ‘I Sever’ with venom and making light of the absence of lead guitar. However, Josh was to have the last laugh when the hard-working sound crew solved the problem and allowed his lead playing to shine from a spirited ‘A Sign Of Things To Come’ onwards. That the band made the absence of lead guitar a minor speed bump is a testament to their prowess and a prime example of sticking it up to the tech goblins.
Architects
Saturday, as Architects mainman Sam Carter was pleased-as-punch to tell us, was a sell out and on the evidence of what he and his merry men of metal produced that night, it was not difficult to see why. Hit after hit after hit, and with enough pyro to worry the local fire brigade, the Brighton collective simply made the day their own, and the baying crowd lapped it up and then some. ‘Seeing Red’ began proceedings with red confetti cannons going off, and the pulverising riffs did not stop there, with ‘Gravedigger’ and the latest single ‘Curse’ inciting vicious pits near the barrier. The heart-wrenching ‘Doomsday’ brought a sense of poignancy to the set, with Sam dedicating it to the late Tom Searle and ex-bandmate Josh of Sylosis, whilst a member of the crowd paraded a goose plushie sporting a classic battle jacket (bearing patches such as “Honk, honk” and “Silly goose juice”, much to Sam’s amusement). There was fun, heart, and heavy (with ‘Nihilist’ and ‘Animals’ rounding things off). There was a tremendous headline set.
Korpiklaani
Closing out the night back in the Sophie Lancaster tent were folk metal maestros, Korpiklaani, and their set was another example of perfectly placed palate cleansing. With the crowd singing along and dancing merry jigs at every opportunity, their set was like the most incredible summer soiree in The Shire, and no one would leave without a smile on their face and feeling warm and folksy. The high-energy ‘Kotomaa’ kicked everything off, with Jonne Järvelä’s vocals calling the party to order before the full band jumped in, and the pace rarely let off from there. ‘Happy Little Boozer’ was an apt choice considering the number in attendance plundering cups of the stuff, whilst ‘Leväluhta’ begged to be danced to with your fellow tent attendee – try not dancing to it wherever you are. A gleeful end to the day and one that warranted searching for another pint (certainly if ‘Beer Beer’ was hinting at anything!)
Sunday 11th August
Raised By Owls
Raise By Owls set? Delights included: the band dressed as vicars for “Sunday sermon”, a Great British Wall Of Death determined by your pronunciation of “scone”, the terrifying summoning of a dildo-wielding Mr Blobby, and the debut of vocalist Sam Strachan’s mum (to chants of “Where’s your mum?”). You head banged and laughed at the same time. ‘I’m Sorry I Wore A Dying Fetus T-shirt To Your Baby’s Gender Reveal Party; and ‘The Dark & Twisted Realm In Which Fred Durst Resides’ were exquisite fun, and the band capped their set shortly after with a cracking cover of Limp Bizkit’s ‘Break Stuff’. That’s how to wake up on a Sunday morning!
Cultura Tres
By the very nature of incorporating thrash metal with sludge elements, Venezuela’s Cultura Tres set themselves apart from the majority of the thrash bands they shared the festival with across the weekend. Where ‘Time Is Up’, ‘Proxy War’ and ‘Zombies’ had moments that flailed like a rabid animal, the slower, groovier bits felt like a colossus stepping down to level all before it. With a certain David Ellefson standing in for Paulo Xisto Pinto Jr. (away with Sepultura), the band created a memorable set over on the RJD Stage – despite a delay due to a broken drum pedal – that would have left an impression on many.
Froglord
Masked bands with mystic lore behind them seem to be in vogue as of late, but where others have arguably “loftier” concepts, Froglord keeps theirs firmly swamp-based. With songs like ‘Live By The Fuzz’ and ‘Die By The Slime’ praising their amphibious overlord, their fuzzy, enthralling set was captivating and demonstrated the wise decision to award them as winners of Metal 2 The Masses in Bristol. The New Blood Stage was bathed in green throughout and duly accepted into the Froglord cult. From this, expect the cult to grow further.
Soen
Festival timings can be a bit of a bugger when it comes to meeting the mood of your music, especially when the weather presents itself with surprising warmth. Sweden’s Soen brought an introspective, mid-tempo brand of progressive metal to the Ronnie James Dio Stage in the summer sun that, while performed immaculately, felt slightly at odds with the environment. The likes of ‘Unbreakable’, ‘Lotus’ and ‘Fire Up Your Guns’ (complimented with the obligatory pyro) sounded ace but ultimately fell flat in the afternoon haze. A touch of pathetic fallacy would not have gone amiss here.
Beast In Black
As if to throw the strongest possible contrast, Beast In Black’s set was unfiltered merriment, with their exciting, up-tempo power metal providing the sonic equivalent of a roof-down joyride down the motorway. Their choreography was spot-on, with guitarists Anton Kabanen and Kasperi Heikkinen moving as one with bassist Máté Molnár during opener ‘Blade Runner’ while the pop-tastic ‘Sweet True Lies’ begged to be sung along to. There is a knowing element of cheese to their music, but that makes it so good and it was a welcome addition to Sunday’s line-up.
Septicflesh
Symphonic bands using backing tracks walk a tricky line between their set sounding awesome or awful. The sheer might of an orchestra cannot be understated, so symphonic death metal titans Septicflesh could be forgiven for their symphonic elements sounding thin on the Ronnie James Dio Stage. Mercifully, their orchestral side was equal to their ferocious death metal, with ‘The Hierophant’ and ‘Communion’ sounding dark and massive. Frontman and bassist Spiros “Seth Siro Anton” Antoniou held court impeccably, commanding a sweaty crowd into further death metal chaos with resounding success. A triumph.
Ankor
We all know metal elitists ultimately miss out on fun times with their sniffy attitude to anything with a whiff of melody or pop sensibilities. This is why it sucks for them that they would have missed Ankor over in the Sophie Lancaster tent, as the band originally from Catalonia demonstrated all that is good about modern metal. Vocalist Jessie Williams ably and energetically flits between guttural screams to gorgeous melodies without issue, whilst the band’s low-strung riffage and penchant for electronics taps into modern metal mastery. ‘Venom’ was particularly caustic, whilst curtain-closer ‘Embers’ offered a dictionary definition of “big chorus”. A sublime slice of metal’s current trajectory.
Flogging Molly
Three decades is an awfully long time in music, and on evidence of Dave King’s earnest appreciation for the crowd, the band are very grateful for their lot. Admitting that they are playing a metal festival but are equally likely to play an indie one, the band set about producing a good time for all. There was dancing aplenty in the pits with party-influenced ditties like ‘Drunken Lullabies’ or up-tempo cuts as ‘A Song Of Liberty’. ‘If I Ever Leave This World Alive’ brought things down a little for a touch of wistfulness, but the spring the band brought to the festival could be keenly felt long after they took their bows.
Semprah
Poland’s Semprah were another example of a Metal 2 The Masses band done good, taking to the New Blood Stage having won their regional back home. Uncompromisingly heavy, intense and with playing as tight as a well-tuned snare, the five-piece meant business. Featuring several songs sung entirely in Polish, alongside the English-language’ Edge Of The Universe’, the band proved that a language barrier is no hindrance to a good time, with those in attendance happily accepting the ear-bashing meted out. Ones to watch.
Crowgod
Kent Metal 2 The Masses winners Crowgod closed out the New Blood Stage to a sizable collection of people in the tent who were promptly knocked on their backsides once vocalist Alana Rose Martin’s beautiful melodies gave way to an ungodly scream. The intensity of the four pieces was something to behold, as their sludge, post-metal-influence sound pushed and pulled the audience to their will. Martin danced with arms aloft, whilst guitarist Mateusz G?uszniewski added texture through a violin bow during one song. Ending with ‘Shitfacer’ (unsurprisingly about getting drunk), the band proved themselves worthy winners and a group who will definitely be back in Derby soon enough.
Infected Rain
Infected Rain’s set in the Sophie Lancaster tent in a few words? Energy. And hair. Both vocalist Elena “Lena Scissorhands” Cataraga and guitarist Vadim “Vidick” Ojog hurled themselves around with verve throughout, dreadlocks flying all over the show and whipping up a frenzy. With the heavy riffs of ‘The Answer Is You’ and ‘Dying Light’ kicking up a storm in the pits, the ear-catching melodies offered a degree of respite and uplift that only made the following snapping riffs all the more impactful. A strong showing from the Moldovans and a delight to have witnessed such a whirlwind on stage.
Amon Amarth
Continuing the theme of “headliners being excellent”, Amon Amarth were not to be outdone with their set, and good grief, were they not outdone. With fans growling along to Johan Hegg, their set was replete with pyro, Viking actors (including Loki/Loke), a Viking long-boat, as well as the sea snake Jörmungandr and Mjolnir during closer ‘Twilight Of The Thunder God’. The spectacle was all that fans could have hoped for, whilst newcomers will indeed have become fans upon the night’s conclusion. Of the music, it was, again, fan-favourite after fan-favourite, with ‘The Pursuit Of Vikings’ producing a roar of approval worthy of battle, whilst ‘Put Your Back Into The Oar’ produced the obligatory rowing mosh pit. “Shield Wall” was particularly bracing, and you would have to be made of stone to not want to march into battle with the band during the song’s chorus. However, the band’s encore was something else. ‘Crack The Sky’ lit up the night with power, whilst the aforementioned ‘Twilight Of The Thunder God’ brought the house down as hard as Thor would with Mjolnir. We came as metalheads but left as Vikings.
Satyricon
There were two surprises for Satyricon’s set under the lights of the Sophie Lancaster tent, which raised some eyebrows. Firstly, the tent itself was not as packed as expected for the weekend’s final band and such a celebrated one in black metal. Secondly, the band had not played that many shows in the last five years. Of the second, you could not tell as the performance was befitting a band of their veteran: sharp and commanding of the crowd. Arguably a more “accessible” brand of black metal, incorporating more traditional heavy metal parts, the likes of ‘Now, Diabolical’ and ‘Black Crow On A Tombstone’ got the crowd singing and moving. At the same time, old favourites such as ‘Filthgrinder’ and ‘Mother North’ brought the infernal vibes of the black metal we know and love. Yet the weekend’s final tumultuous moment belonged to the mighty ‘K.I.N.G’, which had the biggest sing-along of the band’s set and made for a fitting farewell to the festival.
That, as they say, was that. Another top weekend of rock and metal at, arguably, the UK’s home of extreme music. Monday dawned and applied a large dollop of the blues as the tents came down, with the obligatory drizzle to remind everyone of the impending return to the daily grind. Still, with excitement at fever-pitch for next year’s festival, the countdown has already begun. See you at Catton Hall in 2025.
You can purchase tickets HERE but be warned they are selling very fast already!
Review By Lee Carter
All Photos By Rebecca Bush – https://www.instagram.com/beckybphoto/
With Thanks To Kirsten @ Cosa Nostra
