After some of the Supersonic crowd partied late into the night, it seems rather fitting to shake off the rust with the all consuming hypnotic drones of main stage openers SMOTE. Sitting somewhere between the defiant post-rock of Godspeed You! Black Emperor, touches of post-metal lords Neurosis and Amenra with folk inspired melodic flute explorations. These are lengthy compositions, taking plenty of time to seed the psychedelic grooves and mesmeric droning, sprinkling in manipulated feedback and synth leads. The audience are hooked, nodding along to the lumbering riffs when they skirt close to stoner territory or lost in the grand atmosphere’s, eyes closed and swaying along. SMOTE sound unbelievable, the subs are pumping out chest rumbling bass, guitars and melodic instruments soaring over the top and the drums cutting through the mix like butter making for a hell of an introduction for day two.
As experimental Indonesian duo Senyawa get ready to take the main stage by storm, its already notably busier than day one, with a gleeful crowd packing out the main stage to witness one of the more unique acts and rare sets of the weekend. Its hard to pin down the bands sound; described as avant-folk and neotribal, but with an experimental perspective alongside influences of industrial, groove and doom metal, Senyawa are very much their own beast. Vocalist Rully Shabara is incredibly emotive when performing, using a range of vocal styles from throat singing to extreme metal inspired roars to almost ritualistic chanting. Wukir Suryadi uses a custom, self-built instruments from bamboo and traditional agricultural tools, at times bowing like string instrument, others using small mallets like a dulcimer to create percussive beats. The way its all mixed together with electronics to alter and loop the vocals and instrumentals is mesmerising, unlike anything else you’re likely to see in the alternative music world, leaving the audience stunned with pure adoration as their set comes to a close.
It’s never a bad move to open your main stage with a firm festival favourite, enter Gazelle Twin. Well known for her experimental electronic discography as well as several scoring works for television and film, Gazelle Twin has performed numerous times across the years at Supersonic. The floor of the o2 Institute is already busy with excited punters as Elizabeth Bernholz takes to the stage to indulge the excitable audience in her intoxicating performance art. At times bathed in grainy, vintage film projections and others illuminated solely by a single standing lamp, the dark and oppressive electronics engulf the audience as the haunting vocals cut straight through the gloomy atmosphere. It is fittingly cinematic to watch and you can feel their catharsis of performing pieces that deal with incredibly heavy subjects to a receptive audience.
Just a short walk away in XOYO (formerly The Mill), Supersonic’s main base of operations for the weekend, is Welsh language goth rock trio Tristwch Y Fenywod. With their name translating to “The Sorrow Of Women”, it is a suitably somber aura as the band celebrates the release of their debut album. Channeling early goth heavyweights such as Bauhaus and Siouxsie and the Banshees with a touch of otherworldly folk; the three piece perform with electronic drums, synths and bass guitar with each channeling luscious haunting harmonies through the witchy goth landscapes being conjured. Teaser singles “Ferch Gyda’r Llygaiud Du” (A Girl With Black Eyes) and “Llwydwyrdd” (Grey-Green) go down a treat with the healthy crowd in attendance, bathing the room in deep green glows to match the mystical and pensive performance.
Like an ethereal shroud, the haunting melodies of opener Choir Noir wash over the Wembley crowd. There isn’t an instrument in sight as the choir’s soaring vocals deliver unaccompanied choral versions of metal classics to a transfixed audience who aren’t quite sure what to make of this deviation from a usual high-energy, high-noise support act.
The choir’s re-imagined versions of Gojira’s Silvera and the unearthly melodies of Deftones’ Minerva are so atmospheric that an almost deathly hush washes over the whole crowd. Choir Noir hauntingly and magnificently set the scene for the main acts to follow. And follow they did, with a literal Halloween bang.
Seamlessly blending soaring power-pop vocals with ferocious post-hardcore inspired riffs, south west based four-piece Hamartia turned The Louisiana into their own personal hard riffing, trauma dumping therapy session. Having already done plenty to prove themselves, earning support slots with Mallavora, Dream State and Lake Malice, the quartet have carved out a small but extremely dedicated fanbase.
Led by vocalist Sophie Smith, Hamartia blazed through both their back catalogue of storming alternative hits and a selection of brand new anthems with latest single ‘Is This It?’ making a huge impact on the packed crowd with its driving bassline and forceful vocal performance. Smith displays natural talent as a live performer, bringing both genuine emotional weight and a dazzling sense of drama to the band’s set.
A highlight of the set was the single ‘Homesick’ which allowed the band to stretch their creative legs while delivering a huge sing-along chorus and ambient lead lines from guitarist Matt Shiels. Ending on ‘Yellow’, a wonderfully uplifting single blending Smith’s lilting vocals with chugging post-hardcore style guitars clashing against tender, atmospheric verses, Hamartia once again prove themselves to be one of the UK’s most promising alternative bands.
Opening the show was the Essex five piece Existentialist. Fronted by a man with some of the coolest tattoos in existence, looking like scorch marks across his body), they blast and grind their way through a frantic opening set. Mixing soulful solos in with crushing breakdowns and searing blasts, they get a good reaction from the early crowd. ‘Usurper’, the band’s penultimate song hit the hardest and garnered the first arm swinging pit action of the evening, before the key-laden closer brings things down to a slower tempo in an oddly beautiful moment that has a few members of the front row arm in arm, swaying.
Acres took the stage at a sold-out Electric Ballroom in Camden, setting the tone for what would be an unforgettable night. With headliners The Plot in You on the bill, the anticipation was electric, and by 6:30 pm, the queue had already wrapped around the block. When Acres kicked off at 7:30 sharp, they wasted no time launching into their first heavy track, and the crowd—many already donning Acres merch—was fully engaged from the start.
For someone experiencing the band for the first time, it was a revelation. Acres’ ability to shift between melodic clarity and crushing aggression was impressive. Their frontman’s seamless transition between clean, emotive vocals and powerful screams highlighted their versatility. The energy in the room escalated with each song, with pits forming early on, and even some walls of death erupting during the breakdowns of mid-set tracks.
As the set progressed, the band dialled up the intensity. The final two songs were particularly heavy, pushing the crowd into full headbang mode, and the atmosphere became electric. Their closer, easily the most intense track of the night, was the perfect way to wrap things up, leaving a lasting impact.
