Devolution returned to the sacred grounds of Catton Hall for our annual pilgrimage to one of the UK’s premier metal festivals. Anticipation for this year’s lineup has been building since the first dozen acts were announced on the Friday of Bloodstock 2024. It promised to be a tour de force of metal excellence and a great time. We may be older, not necessarily wiser, but we are ready as ever for three and a half days of mayhem. Horns up for the 2025 edition!
Thursday 7th August
Dead Flesh
“Alright, lads, opening an entire festival. Nothing rash…” Or, as Londoners Dead Flesh opted to do, just rip everyone a new one, consequences be damned. When you are a deathcore band, it is almost expected that you begin proceedings with sonic violence, and with the likes of the delightfully titled “Swallowing Nails”, or the crowd-pleasing (and involving) “Dead Flesh”, the band nailed their task. Circle pits were created, and the weekend began in brutal fashion.
FourWayKill
As veterans from opening Bloodstock’s mainstage back in 2005, Bristol’s FourWayKill continued their recent revival with a storming set of aggression under the Sophie Lancaster tent. Featuring a number of cuts from their recent ‘Pacifying The Aggressor’ album, the foursome looked and played as if they were thrilled to be home again and even took time to acknowledge a dearly departed former member. Poignancy and aggression never made such welcome bedfellows.
Gnome
And you would know them by the trail of pointy hats. Yes, you knew Belgium’s Gnome were up next by the sheer volume of garden ornament-style headpieces present in the crowd. If that didn’t leave you bewildered, then the trio’s crushing stoner rock set would have. Replete with magic tracks such as “Old Soul” and “The Ogre”, their brand of quirky but goddamn-heavy metal provided a sublime bit of variety to the evening.
All For Metal
There is something to be said about a band that brings a sense of fun and adventure to a festival, right? Enter All For Metal, with heavy metal staples about Vikings (“Born In Valhalla”), Norse gods (“Raise Your Hammer”) and even Japanese legends (“Year Of The Dragon”). The sextet appeared to be having a blast, and the joy was infectious – cue the roar of approval when vocalist Tim Schmidt lifted guitarist Ursula Zanichelli clean off the ground mid-solo!
Me & That Man
While not necessarily a palette-cleanser, Nergal and his merry bunch certainly brought a bluesy rock ‘n’ roll vibe to round off the festival’s opening night. While it may be an odd sight to see the man stripped of his usual Behemoth attire, Nergal’s Me & That Man project is no less anti-religious than his more aggressive main gig, with the whole show billed as a black sermon-of-sorts and a rockin’ one at that. Behemoth’s music and message are the perfect embodiment of extreme, yet the more mellow aural presence of Me & That Man, coupled with no less scathing sentiments on religion, is arguably that bit more vicious. The good-time feel of “My Church Is Black” or the drunken-singalong stylings of “Burning Churches” is at odds with their darker views on the subject, but not one person seemed to care in the Sophie tent as the crowds’ collective voice was raised in blackened worship. None more so than when the band honoured Ozzy Osbourne, the Prince of Darkness himself, with a brief cover of “Paranoid” to begin winding down the night.
Friday 8th August
Ofnus
Welsh atmospheric black metallers Ofnus awoke the early birds in the Sophie Lancaster tent early Friday morning with an emotional and arctic blast of the good stuff. Their declaration of them coming “…to make you miserable!” was met with a great deal of mirth, and the enthralling, heartfelt set whirled by in a daze of tremolo and throat-shredding shrieks. As “Grains Of Sand” – dedicated to Ozzy – fell away, the band deservedly took their plaudits for a stirring start to the day.
Shrapnel
Shrapnel had the honour of opening the Ronnie James Dio Stage for Bloodstock 2025, and they took no further invitation to blast away the morning haze. With vocalist and bassist, Daniel Moran, a bundle of energy, the tough early morning slot was rendered a piece of cake as they ripped through heavies from their recent ‘In Gravity’ album. “Amber Screams” sounded tremendous, whilst the melody-infused “Judgement” offered a welcome respite. Good morning, one and all!
Famyne
Canterbury’s Famyne are another example of the benefits of Bloodstock’s Metal 2 The Masses (M2TM) system: debuting in 2016, they returned to play the Sophie Stage in 2021, and then to the Ronnie James Dio boards in 2025. Hard work prevails as the band, fronted by the compelling vocal prowess of Tom Vane, brought doom to the fore. “Long Lost Winter” and “Dreamweaver” were greeted roundly, and the “Famyne!” chants should ensure their return in future once more.
Tealdeer
It cannot be enjoyable having a delayed start to your debut New Blood Stage performance, but if there was any anxiety about it, then tealdeer kept it hidden. An eclectic set of heavy riffs and wonderful vocal harmonies across the band, the Nottingham M2TM winners were very well-received. As “Don’t Be A Cult” bounced to a mad-cap end, all attending and even masked guitarist Ominous Deer Man – birth-certificate confirmation still pending – could not hide their smiles.
ThunarWülf
When your set features that saxophone riff (you know the one…), then you are taking the fast lane to a good time. ThunarWülf’s exceptionally folky brand of folk metal was both as impressive as it was entertaining, even before the use of Epic Sax Guy’s riff in “Run Away”. Folk music often inspires a sense of community, as well as fun, and this was duly delivered by the Sheffield M2TM winners.
Flotsam & Jetsam
Another band making their long-awaited return to the hallowed grounds of Bloodstock were thrashers Flotsam & Jetsam, and they brought their Sunday best for a Friday. Featuring a set of classics, including “Hammerhead” and “No Place For Disgrace” alongside newer songs in “A New Kind Of Hero”, the Arizonans were warmly received in the afternoon sun by an adoring crowd and wasted no time in thrashing them all to within an inch. Welcome back to Bloodstock, chaps!
Desolator
On the EMP Stage, three-piece thrashers Desolator did their level best to level the tiny tent with a set that flew in the face of the usual blood, guts and gore theme thrash loves. “Back On The Road” brought a singalong property during its chorus that begged joining in with, yet it was “Full Power” that proved the gem of the set. A fun, furious blast in the face that couldn’t fail to bring a smile to the face every time vocalist and guitarist Jamie Brooks screamed “Full power!”
Palface Swiss
As their first ever UK summer festival appearance, Paleface Swiss’s initial reactions seemed a trifle miffed. Apparently unsatisfied with the crowd’s response to his requests, vocalist Marc Zellweger almost looked as if he’d cut short “Hatred” and await the requisite circle pits. Thankfully, this was not the case, and their actual feelings of gratitude were conveyed via pulverising deathcore, with “Please End Me” sounding downright naaasty as it broke down towards its conclusion.
Eihwar
Metal music has a certain affinity for Vikings, and there is love for it even without the “metal”. Hence why Eihwar’s set on the Sophie Lancaster Stage went down such a treat. While contemporaries such as Heilung and Wardruna bring a sense of flowing drama, Eihwar’s take on the genre with the likes of the beautiful “Völva’s Chant” or guttural “Berserkr” really does make you want to dance. Such is their mission statement; so it was live.
LN
Continuing the theme of paganism/Vikings were Newcastle’s LN, and through powerhouse vocalist, Ellen Hirst, that sense of drama returned. With 2023 EP ‘The Hangman’s Tales’ detailing the story of pagan witch LN, the narrative remains strong through the band’s set as well as heavy on riffs. This is especially the case as their set drew to a close and the Viking staple “Shield Wall” sounded in the New Blood tent. We came as metalheads, yet we left as Vikings.
Lacuna Coil
Milan’s Lacuna Coil may have had to contend with a late start and tech issues, but they did not hang about on their return to the Ronnie James Dio Stage. Straight out of the block with “Layers Of Time” – sounding glorious in the early evening – the crowd were instantly hooked, and the confetti cannon provided an audible bang to the set. The classic “Enjoy The Silence” cover was trotted out, alongside revered classics in “Heaven’s A Lie” and “Our Truth”, ensuring all-comers for the band were well-catered for.
Backseat Juliet
One of the many advantages to Bloodstock and, indeed, the New Blood Stage is the variety it provides. Hence, glam rockers Backseat Juliet offer an element of levity to the evening’s entertainment, with energy and a vibrant crowd. Those gathered before them complied keenly to jump around, whilst the band ploughed through the fun “Gimme That Poison” with a slickness befitting a band formed thirty years ago.
Emperor
What can be said about Norway’s Emperor that has not already been said before? Their set on the Ronnie James Dio Stage could have ably headlined, and the crowd were completely under their spell. With a set that spanned all four of their albums – albeit mostly their first two – the likes of “With Strength I Burn” and “I Am The Black Wizards” went down swimmingly. It is rare that black metal sounds this good bathed in setting sunlight, but the Notodden masters made it work.
Devilhusk
Combining disparate genres as dubstep, drum and bass, djent, and hardcore is admirable, but boy, do Brighton’s M2TM winners, Devilhusk, make it work. Such genres also make for a helluva live sound, and the band shook the New Blood Stage up with a set that included the hefty “No Rest For The Wicked” and “As Above, So Below”, as well as a guest appearance from Dead Flesh’s Richard Stevenson. Incredibly energetic and warranting a sit-down afterwards.
Trivium
What the Ronnie James Dio Stage witnessed from Trivium the night they closed Day One can only be thought of as a quintessential metal show. The Floridians absolutely brought their A-game, with the night not just a celebration of them – and partly-continued celebrations of 2005’s ‘Ascendancy’ – but a celebration of metal itself, as cheesy as that may sound. With the band’s ‘Ascendancy’-era material opening the set to rapturous delight, it sat alongside their recent output, including the live debut of “Bury Me With My Screams”, with the same power and precision. Even softer songs such as “Until The World Goes Cold” and “The Heart From Your Hate” kept the energy, and allowed the more thunderous choices, e.g. “A Gunshot To The Head Of Trepidation” and “In Waves”, to hit all the harder.Yet this could feasibly have been billed as Trivium & Friends, with the band bringing out Robb Flynn (for a cover of Black Sabbath’s “Symptom Of The Universe” dedicated to Ozzy), III from Sleep Token, Ihsahn, and Josh Baines of Malevolence for various guest appearances. Couple this with pyro and smoke, and this was an exceptionally high bar to have set for the rest of the weekend and, indeed, future headliners.
Kataklysm
As anyone who has festival-ed at Bloodstock before will tell you, the night is not over once the mainstage headliner finishes, so it was left to Kataklysm to round off the day’s proceedings entirely. With the unenviable task of following Trivium’s set, the Canadians set out with the sole focus of playing blasting death metal, with which the crowd were oh-so-willing to consume. Maurizio Iacono and his merry men (including birthday boy drummer, James Payne) were in fine fettle and brought with them a set from the last twenty years or so of the band. 2001’s “Manipulator Of Souls” sounded thrash-tastic, whilst the breakdown of “Crippled & Broken” elicited an extra layer of aggression in the moshpit. If there could be one complaint, then it would be for the sound when the drummer began gravity blasting as the snare was lost in the mix – visually impressive on the screens, but the preference would be to hear it. Overall, however, there could be little else to whinge about, as Kataklysm seemed to take pleasure in causing the first proper bangover for the weekend, as well as making the security staff earn their money rescuing bodysurfers during “Goliath”. How anyone has that kind of energy after the whole day, but they do…
Saturday 9th August
Cage Fight
The Bloodstock gods must take careful consideration of their opening bands for each day on the Ronnie James Dio Stage, but one factor seems prevalent: bloody loud. Cue hardcore bruisers Cage Fight blowing away the morning alcohol-fuzzies with an auditory kick to the face. The callous “I Hate Your Guts” battered the crowd in the Saturday sun, whilst the bloody “One Minute” suitably pumped everyone up for the day. Kick-arse, then they’ll kick your arse.
Adfeilion
Metal story time, anyone? Adfeilion duly provided this in the New Blood tent: a folk metal tale of treachery by the Fey. Yet that does nothing to describe the atmosphere, where the Swansea M2TM winners captured the imagination with elaborate woodland set dressing and attire, atmospheric tracks of birdsong and a compelling mysticism. As “Elixir Of The Witch” closed, the crowd were finally released from the band’s spell, crashing back to reality and demonstrating the band’s storytelling power.
Ba’al
One of the finest properties of genres like post-metal is the ability to draw out an emotional response in the listener. This is something that Sheffield’s Ba’al achieved comfortably during their set in the Sophie Lancaster tent: glorious melodic moments that gave way to shattering heavy riffs just at the right moment. Similarly, vocalist Joe Stamps’ shrieks and growls seemingly expressed a cathartic and collective emotion that held the crowd as one throughout. Superb.
Heriot
If you do not know Heriot by now, then you had best prepare yourselves. Having graced the Sophie Lancaster Stage before, the band took their bow on the Ronnie James Dio Stage and acquitted themselves with aplomb. Overcoming some early tech issues, and featuring a Heriot-brand knight in the pit, the likes of “Solvent Gaze” and the quake-inducing “At The Fortress Gate” demonstrated Debbie Gough et al. in fine form. Loud, furious and causing an absolute maelstrom in the pit – terrific.
Creeper
For a sense of theatre across the weekend, you could not do much better than the vampires in Creeper. Debuting “Blood Magick (It’s A Ritual)” much to the crowd’s enjoyment, the band won over plenty of the fence-sitting metalheads with a set loaded with flames and soaring choruses. The one-two punch of “Headstones” and “Cry To Heaven” were notable for both their power and the expanded coven amongst the crowd as the band took their well-deserved applause.
Mechromorph
What the New Blood stage needed was a little more heaviness, which Essex M2TM winners Mechromorph were only too happy to oblige. Combining the speed of grind with the colossal heaviness of slam, their set gave a good example of why they were worthy winners for their regional. That there was also an inflatable crocodile-riding crowd surfer only added to the sense of occasion. A stellar Catton Hall debut.
Phoenix Lake
If you saw Phoenix Lake last time out at Bloodstock, you would have seen an excellent melodic metal band power through their set. On this occasion, the band ramped things up with a jacked stage show, including a phoenix statue, fire dancers, pyro, etc. As the likes of “Serenity” and new single “Bells Of Variel” were belted out, the crowd’s enjoyment suggested that the band’s long-awaited debut album would be eagerly devoured upon release day.
Fortune Teller
Oh, the irony. A power metal band with no power – such was the fate that befell Fortune Teller for the first few seconds of their set in the New Blood Stage. Thankfully, someone turned the sound on, and the band’s full force was unleashed, with vocalist Theresa Smith a veritable siren. The excellent “Savage Seas” showcased the band’s exquisite harmonies, both vocally and on guitar, whilst the riffs provided heft for days. Based on this, a future return to Catton Hall will not be far away.
Fear Factory
Guitarist Dino Cazares may be the only original member left, but Fear Factory had some celebrating to do on the 30th anniversary of their classic ‘Demanufacture’. Perhaps unusually for a festival, the band played it in full, with “Zero Signal” and “Replica” rattled through with mechanical precision. The lack of other hits may have hampered the overall show, but the Fear Factory fans pitting hard won’t have cared, especially when “Linchpin” closed up.
Unnatural Order
From a lineup change to Bloodstock’s New Blood in ten months: Kent M2TM winners Unnatural Order have had a sharp upwards trajectory in that time. On evidence in the New Blood tent, you can see why: their performance was intense and goddamn heavy, with “Bloodsport” eliciting a myriad of two-steps in the pit. If you like your metalcore unrelenting, then you need to have been there for these Canterbury-natives.
Ministry
Ministry are the stuff of legend, and the masses gathered before the Ronnie James Dio Stage confirmed that. With a set that put the “industrial” into industrial metal, the likes of “Goddamn White Trash”, “Burning Inside” and “Stigmata” sounded like a pneumatic drill upside the head, all while Al Jourgensen marshalled the chaos like some madcap conductor. It may have been a touch impenetrable for newcomers, but fans loved it nevertheless (including that one with a cardboard sign reading “Tune”).
Breed 77
Billed as the weekend’s biggest unsigned act, Gibraltar’s Breed 77 received a hero’s welcome under the lights of the Sophie Lancaster Stage, and, oh, did they embrace it. Looking every bit as grateful as charismatic frontman Paul Isola kept repeating, fan-favourites including “The River”, “Blind” and “Zombie” sent the crowd into delirium. New song “The End Of The Line” sat alongside “La Última Hora” and demonstrated that the band are truly back. Record labels take note.
Machine Head
When energy levels start to wane at the end of the day, in opposition to the increasing anticipation levels, it takes something special to rouse the crowd and hit the expected heights as a headliner. Three years on from their secret set under the Sophie Lancaster tent, metal masters Machine Head returned to headline the Ronnie James Dio Stage, and, by the gods, did they deliver. Defiant opener “Imperium” kicked things off with verve, whilst the technical might of “Unto The Locust” thrilled and sent the pits into bedlam. Like others across the weekend, there was pyro aplenty and fireworks to punctuate the night, adding to the spectacle impressively. Robb Flynn and co. were on song, and Flynn himself was the master of ceremonies we all needed: doling out beer to Banana-man in the crowd and imploring everyone to lose their minds. Yet there was still room for sentiment in a touching tribute to a late friend and metal PR queen, Michelle Kerr, through “Darkness Within”. Phone torches lit up the night, and a collective moment was held amongst the thousands before him. Rounding out the night with the beautifully heavy “Halo”, the band’s set encompassed everything we love about metal: music and community.
Static-X
If ever you wanted a sign of how beloved a band are, then the fact that the Sophie Lancaster tent was so packed that fans were making do with a view outside in order to catch Static-X’s set is a prime indication. As “Bled For Days” opened, the party well and truly began in earnest. The set featured heavy rotation of the band’s esteemed debut, ‘Wisconsin Death Trip’, alongside big hitters throughout their career, including the crazed “Cannibal”, ballistic “Destroy All”, and the chug-tastic “Dirthouse”. Yet the biggest cheers were reserved for “Cold”, with Wayne Static appearing in the backdrop screens as a tribute to the late frontman. There were also appearances by the monster from the “Push It” video, a giant Frankenstein-style monster and a crowd-surfing pumpkin cyborg – are you not entertained? The one-two punch of “I’m With Stupid” and “Push It” closed out the night to huge cheers, and a palpable sense of the collective remembering and enjoying the life that was Wayne Static. While he may be gone, his surviving bandmates and fans ensured a marvellous evening of evil disco honoured his legacy.
Sunday 10th August
Ghosts Of Atlantis
Unlike most opening bands, Sunday’s mainstage openers in Ghosts Of Atlantis combined both a solid metal performance with grand set dressing. Banners, a trident-designed mic stand and sweeping nautical backdrops complemented the fury of “False Prophet” and the melodic bend to “Melkin’s Tale” very well, indeed. Also of note was their commitment to their roles: Trident fingers instead of horns, and Phil Primmer’s never-ending growl even whilst chatting to the crowd. Fabulous.
Frayle
Doomsters Frayle, all atmosphere and heaviness when the guitars drop, certainly will have gained some new fans following their display in the Sophie Lancaster tent. While their first two songs eased the gathered into the set, it was their magnificent cover of Lana Del Rey’s “Summertime Sadness” that truly drew everyone into their darkness. From there, Gwyn Strang and co. held everyone in the palm of the band’s hand, and the rest of the show played out in spellbinding fashion.
Rivers Of Nihil
Progressive death metallers Rivers Of Nihil, arguably, strike a fine balance for Bloodstock with their heaviness and penchant for proggy, emotive melody. Thankfully, this was on full display over on the Ronnie James Dio Stage, as the band ran through a generous portion of their recent self-titled album. “American Death” showcased them at their most savage, whilst “Water & Time” – complete with sax solo – demonstrated their ear for emotive, post-rock-influenced melodicism. A festival set from a band maturing like fine wine.
Dogma
Professing to be the antithesis of traditional nuns, the members of Dogma captivated the Sophie Lancaster tent with a hard-rocking set that was every bit as dynamic and provocative as it was fun. Sporting corpse-paint, each member reflected a vibrant personality, and they worked through numbers such as “My First Peak” and the apt cover of Madonna’s “Like A Prayer” with abandon. There was a hype about them prior to their taking the stage, and those in the tent saw why.
Surya
Leeds’ deathcore purveyors Surya were another M2TM winner (from Burnley) to grace the New Blood Stage, and gave a good account of themselves and their win. A typically heavy set with bass drops in bountiful supply, but with sprinkles of melody throughout to capture the ear, these Leeds lads will undoubtedly be on the rise in due course. The set certainly resonated around the crowd under the New Blood tent, so they should expect those social media metrics to tick up.
Feuerschwanz
Considering their visuals, Feuerschwanz were a damn-good addition to the billing. The German octet were resplendent in battle attire, with dancers occasionally popping up during their set, whilst the sense of fun brought on by “Dragostea Din Tei” was impeccable. Sometimes, you need the light-hearted stuff amid the heavy, and Feuerschwanz were very much good for it, and the jumping crowd were only too happy to enjoy the ride.
Lowen
Among the most impressive things about Lowen’s music is the sheer power behind Nina Saeidi’s vocals. So whilst the band capably dropped some seriously heavy doom riffs about the show, it was those soaring, Middle Eastern melodies Saeidi lets fly with that really catapulted the Sophie Lancaster Stage to her homeland in Iran. “May Your Ghost Drink Pure Water” was a particular highlight – if you were not there, then you missed out.
Orme
It was to a packed EMP tent that drone metal trio Orme peddled their wares, and needless to say, those in attendance were left hypnotised by fuzz. The band opened their set with a growling bass note that circled for well in excess of five minutes, while rhythm and vocal melodies gently weaved into the fold. Mesmeric, terrifying and jarring all at once: it won’t have been for everyone, but those at EMP will have been transported to another realm.
Siglos
Mad how it took until Sunday to come across corpse paint, only for it to occur twice (London buses adage, etc.) Siglos brought their extreme metal barrage to the Sophie Lancaster tent and delivered a solid set of blackened doom with a Latin lean. Pockets of melody were laced throughout as vocalist Pedro Sanchez howled away, creating an intriguing listen. Spare a thought for him, though, as that mask must have been hot to wear!
PREYRS
Over on the New Blood Stage, Belfast’s PREYRS crafted out a set that swept the audience up in a bundle of energy. Vocalist Amy Montgomery’s prowess was awesome, while the band’s supporting vocals made for a lush sound. Her interaction with the crowd at the barrier provided a showmanship and drama that ensured they left the stage with more listeners than before.
Lord Of The Lost
Their attire may run the gamut from grey to shiny grey/black, but Germany’s Lord Of The Lost brought a leather-clad party atmosphere to the late afternoon that enthralled fans and soon-to-be alike. “We’re All Created Evil” and “Drag Me To Hell” brought equal parts rave and metal, whilst Eurovision favourite “Blood & Glitter” brought the curtain down in raucous fashion (that synth!) Also, the concept of the one-person circle pit really ought to be used more.
Mastodon
It is nearly ten years since Mastodon last graced Catton Hall, but they were in no mood to waste any time as they tore through a set of almost universal fan-favourites. “The Motherload”, “Crystal Skull”, and “Ember City” all received an airing, and all sounded anvil-heavy with beautiful vocals throughout. The one-two closers in “Blood & Thunder” and the Ozzy tribute “Supernaut” were just about as pleasing as you can get. The band promised to be back after their next album is released, and the crowd already could not wait.
Gojira
This was it: the final Ronnie James Dio act of the weekend, and the culmination of a weekend’s metal. France’s Gojira had a tall order to match the sets of their headlining peers, yet – and almost needless to say – they aced it with nary a drop of sweat falling. Once again, more pyro and fireworks were incorporated into a stunning visual display, whilst the band themselves delivered banger after banger. “Flying Whales” sounded positively monstrous in the evening air, whilst Olympic-favourite “Mea Culpa (Ah! Ça Ira!)” brought the Opening Ceremony’s uniqueness before an actual audience. Joe Duplantier and co. held court with consummate ease, and thrived off the crowd’s adoration and circle pits, whilst the light show behind them served each song masterfully. It was not all straight-faced metal, with Mario Duplantier using a set of cardboard signs to firstly offer fish and chips for £10, before proffering the audience with more double bass. As the weekend’s final main stage tribute to the great man, Joe produced a new, black Gibson SG before the band covered Sabbath’s “Under The Sun/Every Day Comes & Goes”, finally rounding the night off in style with the glorious “The Gift Of Guilt”. Headliners do not come better than this.
Obituary
As ever with Bloodstock, it is actually the headliner for the Sophie Lancaster Stage that truly rounds the weekend off, and that fell to Floridian death metallers, Obituary. Not to be outdone by any that came before, their set was death metal distilled: fast, heavy and merciless. Also, bloody loud. With heavy focus on their ‘Cause Of Death’ album, the crowd in the Sophie tent were treated to wicked excerpts from their sophomore album, including: “Body Bag”, “Dying” and the album’s title track. The band even managed to squeeze in a cover of Celtic Frost’s “Circle Of Tyrants” for good measure, as well as a brief run through of that riff from “Black Sabbath”. Another band of thirty years, the Floridians were – as expected – a well-oiled machine, and kept things simple: minimal chat; maximum destruction. Their set was brought to a close with “Slowly We Rot”, grinding into life as if to tempt those broken and bruised souls in the pit into one last salvo as the tempo ramped up one more time towards its end. This was the way to end Bloodstock with a bang.
With that, the patrons of the Sophie Lancaster tent departed into the night in search of beers, food and more revelry to eke out as much as they could from the dying moments of Bloodstock 2025. It is customary to summarise the year’s festival as outstanding, but this year truly stood out as a golden year. 2026 has a tough act to follow – rest up and see you next year.
Review By Lee Carter
All Photos By Rebecca Bush – https://www.instagram.com/beckybphoto/
