Radar Festival 2026: The Review – Friday

Rozemary

The jewel in the Merseyside heavy music scene cut the ribbon on Radar Fest 2026 with ferocious intent. Marrying violent panic with a brutal melancholy somewhere between Long Goodbye and Dying Wish, Rozemary stands tall and thrives with a confidence befitting festival veterans. Sing or scream: vocalist Izabel Lavin is a bright spark and pendulums in ‘Starlit Ballroom’ with style and ease. Rozemary setting the bar for the rest of the day. AC.

Ghost Iris

Ghost Iris wasted little time turning the early afternoon into something considerably heavier. Their low-end grooves landed with real weight, while Jesper Gün’s restless stage presence kept the set from ever feeling overly clinical. By the time he made his way into the crowd, Ghost Iris found a neat balance between technical precision and the sort of blunt-force metalcore that simply demanded movement. VR.

Sixth Wonder

Sixth Wonder continued to make a strong case for themselves as one of the UK’s most exciting newer progressive metalcore bands. ‘Death Departed’ and ‘Missile’ balanced intricate guitar work with genuinely memorable hooks, keeping the technicality accessible without sanding away any of the weight.

There was plenty for the fretboard-watchers to obsess over, but Sixth Wonder’s real strength was how naturally the melody sat alongside the heavier elements. We tipped them before the weekend, and their RADAR performance only reinforced the feeling that their current position on festival bills wouldn’t last particularly long. VR.

Live Review: 200 Stab Wounds w/ Mutagenic Host, Celestial Sanctuary | The Dome, London | 11/08/26

The air is thick with something greater and more mutinous than the stench of London’s inescapable heatwaves, as Mutagenic Host rip off the lid to tonight’s death metal slaughter. They were last seen – or not seen, so packed was their set – at the Underworld during Incineration Festival 2026, and the months have crawled by in anticipation of their sludgey chaos to once again rattle some skulls and plague some eardrums. Roars of “up the Host” attest to the devoted fanbase building behind these brutal Londoners, as does the sloppy, slashing mosh pit that smacks through the front of the crowd a few songs in. Tracks like Genestealer up the crazy in the room, all down-tuned grizzly riffs and searing growls from frontman Ash Moore. But when someone shouts for them to play Genestealer a few moments after they have…just played it, the band’s menacing demeanours break as they laugh out, “we just did!” London hasn’t quite been crazy enough for Ash, however, as he informs the crowd that just last night they were in Leeds at a “proper tiny metal show” where everyone was stage diving: “let’s get this up a gear”. A lone, but determined diver stalks onto the stage to do Mutagenic Host’s bidding, warming the crowd’s arms up before Ash performs his own dive to end their set on the “stupidest” note possible. Filthy, cell-bludgeoning fun. Up the Host.

2000 Trees Festival 2026: The Review – Friday and Saturday

Knives
Knives arrive with the kind of buzz most young bands would sell a limb for, and the Marshall Stage is sweatily crammed to see whether British hardcore’s most talked-about new band can cash it in. They keep their end of the bargain and then some. Drawing largely on last year’s incredible Glitter, this is hardcore weaponised: hooks and choruses built to work just as well in tiny basements as they will on main stages, and massive tunes laced with howling sax and riding grooves you can’t shake. Charisma and energy pour off the stage in waves, and it’s hard to watch without concluding this is a band destined for the top of posters. Bigger stages beckon. – PS

Higher Power

If there’s a band whose sound seems perfectly suited to a sunshine-baked main stage at 2000Trees, it’s Higher Power. Kicking things off brightly with a one-two of Shedding Skin and Low Season from their breakthrough 27 Miles Underwater, but pretty quickly there’s a sense something’s missing. Last time they were at Upcote, they played a set in the Axiom of such intensity that it seemed preordained that this progression would come, but now that they’re here, they’re like the dog that finally caught the postman’s van. The songs are great, and maybe it’s the sapping, setting sun, but Higher Power no longer feels like Britain’s brightest hope. – PS

House Of Protection
There is never much doubt that House of Protection will bring energy, but they deliver it in overwhelming amounts. Lead vocalist Stephen Harrison refuses to let the crowd play it safe, shouting, “You’re not at work; you’re not at school, so let’s have some fun.” Instantly, the pit expands across the entire front of the stage. By just the second song, Harrison dives into the chaos, creates a circle pit around himself, and somehow keeps singing while playing guitar. Fans repeatedly grab the microphone to scream every lyric with him in a truly incredible moment. As the set progresses, drummer Aric Improta steps forward for vocals before casually landing a backflip and surfing on a board through the crowd. Nothing about this set sounds real, but somehow it all happened, and the sound remained powerful throughout. – CL

Sunny Day Real Estate
After three days of being endlessly berated by various Metalcore singers to ‘wake the fuck up’ and other such charming entreaties, the positively lackadaisical approach of Jeremy Enigk is something of a breath of fresh air, mumbling not much more than ‘does it sound alright?’ or ‘thanks’ between songs. But when you can draw upon what has to be one of the greatest songbooks of any wave of emo and deliver its highlights with such aching, soaring, pinpoint delivery, maybe you don’t need the banter. – PS

Arcane Roots
The return of a band with such a complex and evolved back catalogue comes loaded with unanswered questions: what version are we getting? The prog majesty? The ethereal post-rock? Or the bludgeon of old? As the stage turns red and the band launches into the new single A Wave, Across The Sea, an absolutely rammed Axiom finds that the answer to these questions is… yes. This is the same soaring, progressive, epic, and melodic Arcane Roots that left us the best part of a decade ago, picking up where they left off. It’s a thrilling return, heavy but delicate, complex yet simple, and frankly more than a little bit emotional for quite a few in the crowd. As for what comes next? Well, there’s an acoustic set tomorrow in the Forest, and then Andrew Groves promises, ‘There’s gonna be some new shows, there’s gonna be some new songs,’ which is greeted as loudly as anything else. Welcome back. – PS

Cancer Bats
If Arcane Roots are all about the beauty and transcendence of melody, then Cancer Bats are decidedly the opposite of that but no less transcendent for arriving like a brick to the back of the head. This is a no-holds-barred, arse-shaking, hardcore stoner punk n’ roll steamroller; a sweaty, cathartic, windmilling whirlwind. It might not be subtle, but it’s a hell of a lot of fun, and the final one-two of Sabotage into Hail Destroyer ensures everyone leaves the Cave with a big, sloppy grin on their face.
– PS

Funeral For A Friend
Funeral For A Friend wastes no time making an impact, opening with All The Rage straight out of the gate. A brief pause follows when a possible injury in the pit causes the band to stop, but after confirming everyone is okay, they launch straight into the unmistakable telephone-ringing intro of Streetcar. Bubbles float across the audience as waves of clapping hands keep the atmosphere alive. The lighting is equally impressive, shifting from deep blues to bright whites and vivid reds, while the band makes full use of the entire stage.
FFAF was just one of the emo offerings this year, but Trees could not have picked a better Friday headliner. – CL

ALT BLK ERA
Those lucky enough to make it to the Forest Stage for ALT BLK ERA are treated to a striking performance. Ghostly, ethereal vocals sit in sharp contrast to serrated guitar riffs, creating a sound that is both haunting and heavy. Visually, the duo embraces the contrast too, with one dressed entirely in white and the other in black, reinforcing their distinctive aesthetic. However, after a day packed with relentlessly energetic performances, their slower, more atmospheric set feels like a noticeable change of pace. As the festival’s final act, though, that gentler comedown perhaps feels fitting.
– CL

Outbreak Fest Manchester 2026 – The Review: Sunday

Dealing with delays to the crowd getting in due to a broken-down bin lorry, Leeds metalcore antagonisers Crowquill start their set to a smaller crowd than they deserve. Throw Converge and On Broken Wings into a blender, and you come close to their sound, and on the second stage it feels as massive as it does chaotic, and the moshing on show proves it. Vocalist Liam Turton’s deeply personal statements to the crowd see him receive an outpouring of love, and with their set closer being one of the best metalcore tracks of the last decade in ‘The Family Faucet’, it’s a triumphant beginning to Sunday, with crowds swarming their merch table afterwards. CE

It ain’t clever, but it’s sure as hell big and fun. Gridiron once again took to the second stage of Outbreak after a stunning performance two years ago, armed with even more tracks of hip-hop-influenced bouncing hardcore. Undeniable bangers like Trench and 26/9 are made for festivals, and even the uninitiated are soon banging their heads and trying their best to flash gang signs. Frontman Matthew Karll is electric, a born showman who conducts things with a swagger that few can ever hope to match, and with bangers like ‘No Good At Goodbyes’ in their arsenal, he’s got the material to warrant it. At this point, you could put Gridiron on every two years and you’d be guaranteed big crowds, hefty moshing and belting singalongs. CE

A band that seemed to not get much hype in the run-up to the fest but delivered an absolute rager of a set was SoCals Initiate. They’re definitely an “if you know, you know” kind of band, and they definitely turned the heads of more than a few curious passers-by with their brand of chaotic hardcore. Vocalist Crystal’s charisma is infectious and she commands the crowd through a rousing set of hard yet melodic tunes that slightly edge their way into metalcore territory, ending on the incendiary (pun intended) Firestarter for a scathing end to proceedings. CE

Philadelphia shoegaze envelope-pushers Nothing is an interesting choice for a Sunday afternoon on the main stage at Outbreak. I mean this in both senses of the word: on the one hand there’s something captivating and centring about getting lost in their sound in the sunshine, and on the other hand vast swathes of the audience are at an all-you-can-eat hardcore buffet inside and have absolutely no room for gazing at a shoe unless it’s just cracked them across the jaw. During the studied pace and woozy ambience of opener ‘Purple Strings’, there’s a quiet exodus of those clamouring for more immediacy. If it wasn’t for the whiplash-inducing programming of the afternoon, it would be tempting to suggest that those that left robbed themselves of a sublime palate cleanser. The set creeps up and gradually takes a hold with a very particular vibe that really hits for those that stick around. Almost half of the songs performed are from this year’s excellent record A Short History of Decay, and the show is capped off by a soaring rendition of 2008’s ‘Zero Day’ set to images of drone strikes and architectural destruction played forwards and in reverse to a near-hypnotic effect. Nothing is an Outbreak band yet simultaneously sits as an outlier to pretty much everything else at the festival, and by the time they leave the stage, that doesn’t matter at all. PW

Outbreak Fest Manchester 2026 – The Review: Saturday

It isn’t an easy task to open up the Saturday of Outbreak, but as past years have shown, UK hardcore is the best choice. Ikhras showed that last year and this time around, London’s own Turn Of Phrase is up. They have the third stage packed out at least fifteen minutes early, and they justify the crowd. A blend of Have Heart and Title Fight, it’s anthemic and heartfelt, and they do the UK proud. There may not have been too much in the way of homegrown hardcore on the lineup this year, but the ones who were there showed why things have rarely been stronger right now. CE.

Opening the main stage is a tough spot for a young band, despite the huge opportunity that it represents. Liverpool’s East Exchange takes to the stage with the front enclosure pretty sparsely populated. It’s 1pm, it’s very hot, and between those that have chosen to arrive later and those that carried what remained of their limbs home at 4am from last night’s late-night Knocked Loose set, there’s mitigation for the meagre turnout. Frontman Sonny K delivers his vocals in a drawl that has the same American affect as Gavin Rossdale, and there’s a stadium rock feel to the songs that is slightly out of place. Calls for movement fall largely on deaf ears, and it’s hard to know what kind of movement could be expected given the alt-rock tepidness of the songs. That being said, ‘Lily’ sounds properly big, and East Exchange will no doubt go on to find a wider audience, but today just isn’t the day. PW.

A wide-eyed, intimidating addition to the Outbreak lineup, Truck Violence are the sonic equivalent of Chat Pile, Show Me The Body and IDLES fighting with rusty needles in a back alley on a rainy night. Chaotic, confrontational music; there are a few narrowed eyes as things kick off, but they’re soon bright and addicted to what they witness. A microphone sadly doesn’t survive the set, but that’s par for the course for Truck Violence, who will have surely won some new fans…or at least intrigued people enough to check them out further. CW.

Anyone who has caught Blanket live will know that the Lancashire post-rock/shoegaze band are a force to be reckoned with, creating a wall of sound that is both invigorating and transportative. Booking them for today’s early set in the cavernous room that houses the third stage at Outbreak, which typically plays host to hardcore and hardcore-adjacent bands, turns out to be a misstep. From the outset, the mix is all over the place with tonnes of snare and cymbal drowning out everything else. When corrections are made and the guitars reemerge, the vocals are barely audible. For their part, the band put in a valiant effort, darting across the stage and locking in when needed. The material battling for aural balance and clarity is unquestionably excellent, and closers ‘When the Light Takes Us’ and ‘True Blue’ encapsulate how much the band have grown on and between records, but this only serves to underline the fact that Blanket deserve a lot better. The diversification of the Outbreak lineup has its obvious merits, but it also has its victims. PW.

2000 Trees Festival 2026: The Review – Wednesday and Thursday

Love Rarely
Love Rarely begin their set without introduction; instead, they erupt into bursts of screams that ignite the Word stage. Emo energy pours forth as they play their opening song, immediately proving why the packed crowd believes the hype. When the first song ends, the introductory intensity gives way to a quiet ambient passage before they move into the second song, ‘Will.’ The track showcases singer Courtney Jade’s impressive range, with soaring melodies replacing the raw ferocity of the opener. The contrast lands beautifully, creating an early emotional high point that balances vulnerability with power. Bathed in warm sunlight, the moment draws the audience even deeper into the set and hints at the emotional depth that defines the rest of the performance. – CL

Karen Dió

Karen Dió and her band turn the woodland-based Forest stage into a full-blown party from the moment they arrive. Midway through the set, a Chappell Roan cover echoes through the trees. The sound is crystal clear, and the atmosphere feels perfectly suited to the setting. It doesn’t take long before the first crowd surfers emerge, flanked by sprays from water guns and a rowdy moshpit. The band comfortably plays fun party vibe punk rock, packed with rapid-fire riffs, relentless energy, and shout-along vocals. Karen Dió throws everything into the performance, capping it off with a cartwheel that perfectly sums up the chaotic, joyous set. – CL

Hyphen

Introduced by Abba’s Gimme Gimme Gimme, Hyphen immediately engages the crowd with an energetic and confident performance. The audience responds enthusiastically, shouting the lyrics back to the band and creating a strong sense of connection throughout the set. The atmosphere remains lively as the band combines powerful musicianship with a clear message. Their songs are political, unapologetically left-wing, and delivered with conviction, reflecting their beliefs without compromise. Rather than shying away from controversial themes, Hyphen embraces them, encouraging the audience to think as well as participate. The combination of infectious energy, crowd interaction, and socially conscious songwriting makes their performance memorable and reinforces their identity as a band with both passion and purpose. – CL

Venus Grrls

There’s more than a touch of the old goth about these reinvented riot grrls and an admirable dedication to donning all black in this punishing heat. Sadly, a ten-minute delay to an already short set means that just as the crowd are being won over by the sonic majesty, it all comes to a bit of a halt. Before they depart, however, we do get treated to a new single, which is some excellent witchy shit, wrapped up in a great big riff. – PS

The Dirty Nil

At first, it seems like Canadian rockers have got great big Canadian balls, kicking off their set with Metallica’s ‘Hit the Lights’, but then it soon becomes clear that this is a covers set to warm things up ahead of their set proper tomorrow. It’s an eclectic mix, from Jawbreaker to The Police, Van Halen to The Misfits, and even a rollicking rip through Nirvana’s ‘School’. As they crack into a blistering ‘Let There Be Rock,’ and the sun finally starts to bugger off back where it belongs, it’s a reminder that there really is nowhere like Upcote Farm and no place like Trees. It’s a joyous time but also a testament to the Dirty Nil’s catalogue that you’re left wanting them to blast out some of their own. Maybe tomorrow. No, wait, they didn’t cover that. – PS

Sprints

Ireland’s post-punk heroes Sprints hit the Forest stage harder than Count Binface is going to hit Clacton, a band singularly on a mission to wrest every bit of noise out of the PA. With a set that leans heavily on their newest album, All That Is Over, there’s a reason they seem the band most likely to break away from the Trees faithful to the wider world, namely their incredible knack for a crossover pop hook that sounds born to live on Radio 1, but the fact they can still blow the bloody doors off with such venom means they’re always going to have a home with this crowd. – PS

PUP

Canadian punks and Trees regulars PUP bring a 10th-anniversary set of their breakthrough second album The Dream Is Over for their first set of the weekend. There’s an irony to the fact that this is the album about the fact this is an album about vocalist Stefan’s blown vocal cords, because weeks of touring it have clearly wrecked them all over again, but the Forest Stage crowd take up the slack, singing along to every chorus, particularly on album Pine Point, which demonstrates their depth in a way you don’t get in a normal PUP set. They close out with a couple of bangers and leave the crowd wanting more, which they’ll luckily get tomorrow. – PS