Opening the show were Scottish locals, Below The Neck from Inverness. This group of lads have seen their fair share of action and toured the UK a few times now on different hardcore packages, but this marked a monumental step forward in their career. Taking to the stage early, their energy was abundant in every aspect, with members prowling the stage like hungry dogs eager to prove what they’re capable of. From the first song, the entire crowd in the venue was on side and eager to show their energy and dance moves in return for the pummelling breakdowns and bouncy 2-step sections. There was something about the quartet on stage that was so reminiscent of a younger Knocked Loose. Perhaps it was the songs themselves, the love for the music they were playing, having something to prove, or even just the sheer amount of style on display. Needless to say, the crowd was receptive, opening some insane pits extending far beyond what you’d see for a local support. It’s clear that these lads won’t be considered local for too much longer, as we expect Below The Neck will be a household name of the UK scene soon enough.
In our ones to watch preview, we stated that Sans Froid are more than up to the task of opening this festival. Now we can confidentially say we were absolutely correct. Opening ArcTanGent 2025 in spectacular fashion with their irrefutably arresting piano-led art-rock, the local Bristolians essentially come to encapsulate the nature of this festival as a whole. As the band fly through material from their debut LP Hello, Boil Brain with spindly finesse, Sans Froid are a band that radiate creativity and genuine human emotion at the expense of genre norms and standard musical convention. It’s a wonderful set, one that manifests as a shifting web of artful proggy noise and one yet kickstarts the weekend of musical madness that is ArcTanGent in the best way possible. – DH
By the time Healthyliving take the Yohkai the crowd have already been baffled by the piano-led art rock of the aforementioned and pummelled by Hundred Year Old Man and are ready to be immersed in the multinational trio’s mix of brutal and ethereal sounds. Led by bassist and vocalist Amaya Lopez-Carromero, in her first appearance at this year’s festival before performing on Thursday as Maud The Moth, Healthyliving’s sound takes pointers from all across the Arctangent spectrum, from Brutus to A.A. Williams and Melvins to Alcest. Although they draw from plenty of niche genes, Healthyliving manage to bring them all together into a memorable performance full of bone shaking riffs and ghostly, wailed vocals. – TB
With the sun now breaching the overcast, the timing couldn’t be more ironic. Still, some lovely sunshine doesn’t stop Year Of No Light offering some of the most bleak music possible. Returning to ArcTanGent following their main stage set last year, the French post metal sextet sound morose, gloomy and all too doomy as they move through soundscapes that are either desolated or devastating. Quite frankly, this is a glacial set of musical desolation, but to call it horrible would be a fallacy. With their dual percussionists switching between an array of drums and synthesisers scattered around the stage, the band are fantastic in their approach in creating musical scenes of utmost ruin. A thunderous rendition of ‘Alètheia’ pretty much sounds akin to the end of the world. They aren’t exact stereotypical summer festival listening, but there’s no denying that Year Of No Light are absolutely brilliant when it comes to presenting sonic ruination. – DH
Fresh are no stranger to the UK’s diverse scene of punk-tinged indie rock and opening their support set with 2021 single ‘The Summer I Got Good at Guitar’, their energy was infectious and a great start to the night. With their Bristol show also falling on pride, the crowd was adorned with novelty fans and colourful attire which matched their musical style of peppy instrumentals mixed with vengeful lyrics that tackle women often being overlooked in the music industry, (‘Girl Clout’ and ‘Merch Girl’) and ode to personal freedom (‘Going to Brighton’). Their set was a notable blend of older songs, fan favourites, new songs, and a surprising cover of Tom Petty’s ‘I Won’t Back Down’ which was unexpected, yet very much appropriate in this current climate where peaceful protesters are persecuted and people who identify as LGBT having their rights questioned. Another highlight was the trauma-surviving anthem ‘Revenge’ and surely the crowd screaming the lyrics “I am valued, I am loved” was a cathartic release of emotion for anyone who has been a victim of abuse, violence, or harassment. Fresh may have only played a thirty-minute set they continue to leave a lasting impression, and have provided a safe space with their uncompromising sound and vulnerable, riot grrl adjacent lyrics.
Mathy emo newcomers Love Rarely have already made a big splash with their debut EP, and the NEU stage is packed out for them even as its first band on today. It’s easy to see why people have gravitated to them so quickly; emotional screams and melodies from vocalist Courtney and off kilter riffs coalesce into something emotionally fragile and stirring. They’ve adjusted well to such a rapid ascent, making the most of the space with constant movement around it, and their performance is stellar. It’s their first ever time at the festival – both as punters and as a band – and the turnout shows they’re very welcome here. – WM
A band who have attracted a huge following on social media due to clever lyric performance videos helping viewers get to know the music better, Last Hounds proved this tactic works as fans belted songs back at vocalist Mikey Skelcher. The tent was full for this hardcore band from the Midlands, perfect for the type of live performance antics they have become known for. Skelcher encouraged the crowd to form a wall of death back to the sound desk as he joined the pit in the chaos. The energy was unrelenting as they brought the fun and dance vibes, and it’s undeniable that there is a talent in making a performance feel like utter chaos whilst being incredibly organised, something Last Hounds nail every time. In a standout moment, the band brought out Jason Butler from Letlive. who joined them for a duel rendition of ‘Snakeskin’ and the two vocalists battled with charisma firing around the stage. An exciting and fun performance. – CL
Danish Hardcore band, EYES came screaming onto the stage, predictable given how their latest release SPINNER sounds. Lead singer Victor Kaas widened his eyes at the crowd, staring everyone down and adding to the intensity of the music. Strobe effect lighting accented the atmosphere and shifted the feeling from their stage predecessors Last Hounds from fun and exciting to fierce and intimidating. Grinning like a maniac, Kaas, paced the stage hitting every beat under his feet as the rest of the band stood firm, banging their heads in time. This is their first time playing in the U.K., so was surprising news given the largely positive critical response to their releases. EYES are an incredibly heavy sonic force of nature and to see them live is to realise that music can be created to scare and alarm the audience. The mosh pit was filled with dancers who had donned makeshift face masks to protect themselves from the dust being kicked up (it was very hot inside the tent!) which added to the apocalyptic scene created by this band. – CL
It’s already the hottest day of the festival, but Mallavora are determined to warm people up even more with their slot opening the main stage. The alt metallers get much heavier live, blistering riffs and winding vocal melodies snaking their way through scorched eardrums. Gen of Gen & the Degenerates joins them onstage for ‘Smile’, a brand-new track due out later this year, lending punk snarl to its off kilter groove. “We’re here to prove disabled artists belong on bigger stages,” they declare before a pummelling final song – they’re absolutely right, and are themselves starting to blaze that trail. – WM
Midway through their ‘Real Deal Tesco Meal Deal’ tour, Kaonashi make their highly anticipated 2000 Trees debut with an early afternoon set on The Cave stage. Gaining internet virality in early 2024 with their song ‘I Hate the Sound of Car Keys’, the band have been followed by a buzz within the UK ever since, adding a new dynamic to their niche, established following. With a couple of minutes to spare, the crowd starts filling out, building to a respectable size. The Cave spins with unceasing bedlam as Kaonashi grasp the crowd in a vice grip, delivering an overwhelming sonic wall that twists and warps from progressive, razor-sharp musicianship into serrated brutality. Defiantly off-kilter, Kaonashi’s live performance showcases their ability to marry the unexpected with masterful precision as they pepper their set with samples from TV show references to fucking-with-the-teacher-in-music-class DJ buttons. – ES
This genre bending band but slowly filled up the tent as they made the stage their own. Lead singer Louis Jucker barked their way through the lyrics and when the drums halted every so often from delivering solid, pounding beats they would politely urge the audience to “come closer, nobody’s gonna get hurt” in their gentle Swiss accent. Triumphantly declaring “this music celebrates being weird” Coilguns perform for those who feel like outcasts and the people who want to delve a little deeper emotionally when seeing a band. And despite the band hitting dancier beats, the audience prefers to take in the performance in a more demure fashion. During the set, there was a small technical break and the vocalist filled the musical silence. Being handed a beer by an audience member Jucker opened a conversation with the audience, handing the mic around. This could have been a risky move, but it was well received as a fan began a “Free Palestine” chant that rang out within the tent, the audience joining in. Coaxing the audience to dance and ensuring everyone’s safety? This may have been the politest band to play 2000 Trees. – CL
Jenna McDougall might’ve made her name with Tonight Alive, but since then she’s ventured out on her own under the Hevenshe moniker, swapping pop punk for more alt- and Americana leaning pop rock. It’s a fitting soundtrack for driving down highways or coming of age movies, or a shaded set amongst the trees of Forest Sessions. She’s clearly grateful to be here, thanking the fans for helping her achieve a dream of playing the festival under the Hevenshe guise. It’s much heavier on vibes than the kind of pop punk she was known for, instead echoing spacious worship music at times in the guitar parts that act as the backdrop to her voice rather than a specific part on their own. She often talks of manifesting, and of getting signs or feelings steering both herself and the crowd to the stage, echoing a kind of communal spirituality that seemingly permeates her fan base. On a day like today, soft pop rock fits the vibe like a glove. – WM
Ferocious and unforgiving, Uncertainty tore into their set with all the grace of a wrecking ball on fire. Toward the end, the sound faltered slightly at The Cave stage, but instead of stopped or letting it throw them off their stride, they leaned in harder, punching a hole straight through the noise. Imperfect, yes, but a testament to their professionalism. – CL
As the name suggests, Grief Ritual are heavy and morose, but they bring out the morning moshers. From the first note, they hammer through their set with relentless precision, switching time signatures constantly. Sonic booms marked every beatdown moment, while the bass is so loud it rattles ribcages. Guitars shriek and snarled, and then, in a Triple H moment, the guitarist spits water skyward like a metal baptism. They dropped the heaviest breakdown of the festival, slow and mean. A set that shook a whole tent. – CL
Like a more hardcore Smashing Pumpkins, Super Bloom bring a razor-edged blast to the Axiom stage. Their set thrashes with grunge grit and punk swagger, loaded with bouncy hooks and raw, unfiltered energy. The shirtless vocalist commands attention, their tattoo-covered body becoming part of the spectacle, a living canvas in constant motion. Each riff hits harder than the last, whipping the crowd into a sweaty frenzy. Super Bloom erupt when they play, and the audience absolutely loves it. – CL
