In absolutely unprecedented temperatures, Pool Kids kicked off the Outbreak weekend on Friday evening. Battling against a slowly filling up second stage and oppressive heat, the Floridian emos took a while to find their groove, but after a few songs, they had the growing crowd singing along and even the first stage divers of the day, which is no mean feat, as inside the BEC it feels like a rainforest. CE.
Possessing a bit more of a bite than Pool Kids, Free Throw were the first band to defy the heat and bring a high-energy set to Outbreak. For the first (certainly not the last) time of the weekend, the pit felt like a genuine safety hazard, but that wasn’t stopping people from dancing and stage diving as bangers like ‘Pallet Town’ and the anthemic closer ‘Two Beers In’ set an early high bar for the festival that some bands struggle to reach. CE.
Dublin emo outfit Kissing on Camera know how to get a room moving. Despite their early stage time and the sweltering heat, their frontman conducts a decently sized crowd gathered at the third stage with composed assurance, and it’s not long before dancing breaks out and never lets up. The band delivers a half hour crammed full of chunky, hook-heavy tunes. Last year’s single ‘Corner Couch’ slaps on record, but its stop-start dynamics really come alive with an appreciative room lapping it up. A triumph of a set. PW.
When you hear a supergroup featuring ex-Holding Absence drummer Ashley Green and ex-Napolean vocalist Wes Thompson are supporting the seething metalcore phenomenon, Showing Teeth, you expect…well, not Exit Dream, that’s for sure. And the British four-piece know it. “I know our music’s very different to Showing Teeth, so I appreciate you being so patient,” Thompson reiterates on a number of occasions, endearing the less-than-lively crowd to him in a way their music doesn’t quite manage. Since this is also their third show ever as a band, respect has to be given where respect is due – even if their performance does hit with all the force of an awkward elevator ride with last night’s drunken hook-up. Some determined shredding from Murry Deaves and Luke Shadrick, and the vivacity rolling in torrents off of Green’s drumming, elicits a dynamic one-man kung fu pit and some light crowd headbanging. But by the time they leave the stage, the crowd is practically frothing at the mouth for tonight’s headline debut.
Once described as “McFly meets Meshuggah”, Bristol’s own Blank Atlas have become local legends over the last decade. Composed of twin brothers Tom and Dan Thould on drums and guitar and their childhood best friend Chris Simpson on bass, the Blank Atlas boys are no strangers to playing with The Last Vinci after co-headlining with them across the UK and Ireland last November.
Opening on ‘Flawless’ and blasting through hits like ‘Connections’ and ‘Beautiful Morning’ from their debut album Dawn Chorus as well as newer track ‘Leave My Life Behind’, Blank Atlas take a break from recording their upcoming second album to deliver a brilliant set full of lush three part vocal harmonies and chaotic alternative rock energy. Definitely a band on the upswing, Blank Atlas should be a name to watch for fans of Press To Meco style layered vocals and Reuben-esque guitar work.
Perhaps the most straightforward act of the night, Cork quartet Red Sun Alert mix math rock rhythms into an otherwise fairly accessible post-hardcore sound, gripping the audience’s attention with wild on-stage energy rather than impressive technical skill. Frontwoman Julia Pawlak gives a masterclass in vocal gymnastics, leaping between threatening growls and banshee-like screams.
Although the Cork quartet only have a pair of EPs and a handful of singles available to the public, Red Sun Alert manage to grab the audience by the throat and refuse to let go throughout their half-hour set. While singer and guitarist Julia remains the focal point throughout, the rest of the band, particularly guitarist Cian Mullane (who those in the know will recognise as the bassist of Cork party math rockers God Alone) aren’t slacking off, throwing themselves into the mathcore-tinged post-hardcore with all their might. Closing out on their rip-roaring single ‘I’m Upside Down For That’, Red Sun Alert aren’t a band to miss if they grace your neck of the woods.
We were always going to be a touch biased when it comes to today’s main stage opener. But still, there’s no denying Unpeople are utterly fantastic this morning. Riding high following the announcement of their debut LP, Unpeople sound triumphant on a stage as ludicrously large as this, with the spirited nature of the likes of ‘Overthinking’, ‘Clouds’ and unreleased belter ‘Bottle It’ effortlessly carrying the charm, charisma and chemistry now synonymous with this band. However, the most striking aspect of this set is just how at home this band seem this morning. Sure, Unpeople aren’t new to bigger stages such as this – they’ve literally opened for Metallica – but to see a relatively new band with boundless promise like this own the biggest festival stage in the world and relish it is brilliant. You better get used to seeing this band on stages this big.
Back up the hill on the Dogtooth, Private School shake off any remaining final day hangovers with all the force of a boot to the doors of Eton. Sounding akin to the early days of Linkin Park marred by the fury of Native James, this set is an unapologetic barrage of adolescent fury that carries the disillusioned rage of the emerging, albeit futureless, generation. It’s still early days for this band, especially here in the UK, but judging from the sheer number of people in this tent even whilst Kublai Khan play songs about having large testicles or something, it’s clear this band is set for a promising future even if this new wave of nu metal comes to a crest in the near future.
Back over on the Opus stage, it looks like half the festival has turned out for Dogstar. Probably not for their band’s music, though, but rather for who’s actually playing the music. Featuring none other than Keanu Reeves on bass, Dogstar are probably one of the few acts this weekend who are capable of drawing tens of thousands of punters who have never actually heard their music. But fair play, they sound alright. Performing a kind of inoffensive alt rock that incorporates motifs from Queens Of The Stone Age and Muse without the overinflated egos, Dogstar ultimately prove to be a band of musical substance that warrants their inclusion regardless of their members. It’s offensive radio fodder, and of course, many punters do wander off after grabbing a pic of John Wick for Insta, but genuinely, this band does prove to be more than its bassist, even if that’s only what they’re known for.
With the Earth still littered with Halestorm-branded confetti and the early morning sun struggling to break through a hungover overcast, it almost feels like a crime for The Wildhearts to be delegated to such an early slot set such as this, especially with all things considered. But in true Wildhearts fashion, Ginger and co couldn’t give a flying fuck.
Treating this as a headline slot, the UK punk firebrands seem spirited, sound flawless and radiate an air of good-natured defiance this morning, something the early morning revellers are relishing. Even with the news of Ginger’s cancer diagnosis no doubt hanging in the minds of the countless fans who have scrambled out of their tent early for this set, today, The Wildhearts are life-affirming and perform as the embodiment of the ceaseless resilience that has long characterised their career. A wonderful set that shows you are never just your diagnosis. Plus, any set that sees the stage invaded by the frontman’s dog will never fail to get praise.
With the afternoon failing to bring the temperatures up, Lowen are on hand to manifest the heat of ancient Persia instead. Delivering what is essentially an audiovisual exercise that enlivens the splendour, mythos and esotericism of the nations of their collective heritage, the prog metal icons set is less of a standard festival performance and more a ritual in storytelling. There are backup dancers, rituals regarding holy blades and sacred iconography galore. Sure, many not familiar with this act may initially see this as a gimmick, but as the band progresses through this set, it’s impossible not to get fully engrossed in Lowen’s ability to retell history and myth via punishing prog metal. There’s little wonder many see this band as one of the most immersive names in UK metal at the current time.
