Despite the gloomy drizzle that cast a grey Sunday morning over the scene, a small but dedicated crowd braved the elements to catch Dead Label’s early set. Armed with warm breakfasts and raincoats, they stood shoulder-to-shoulder, transforming a patch of muddy ground into a makeshift mosh pit that pulsed with the band’s raw energy. Though the weather and early hour kept the numbers down, the hardy fans who turned out were treated to a raucous performance that defied the damp setting.
Dead Label, a rising rock band known for their gritty riffs and electrifying live shows, tore through their set with infectious enthusiasm. The rain may have dampened the ground, but it couldn’t dampen the band’s fire, or the spirit of the devoted fans who skied and moshed in the muddy pit, their cheers echoing through the air. The band’s music, a potent blend of punk-infused rock and roll, resonated with the crowd, creating a sense of shared defiance against the dreary weather. Even the rain-streaked faces couldn’t hide the grins of the fans as they thrashed along to Dead Label’s anthems, proving that sometimes, the most memorable gigs are the ones played in the most unlikely of conditions.
Uuhai
Amidst the drizzle that painted the festival a moody grey, Mongolian rock band UUHAI emerged as a fiery bolt of sunshine. They stormed the stage with their unique blend of traditional instruments and pulsating rock rhythms, setting the crowd ablaze with energy. Standing front and center, the band’s electrifying performance left us mesmerized. The deep throat-singing vocals, twanging morin khuur melodies, and pounding drums wove a spellbinding tapestry that resonated deep within. So spellbound, in fact, that I couldn’t resist snagging a UUHAI t-shirt, a souvenir to forever etch this electrifying afternoon into memory. Later, as the clouds finally parted, a serendipitous encounter allowed me to capture a treasured photo of Selina and the band themselves, forever documenting this highlight of the Serpents Layer experience.
Tribulation
Swedish metal outfit Tribulation took the stage under clear skies, their music electrifying the atmosphere. The band’s signature blend of dark riffs and heavy grooves resonated with the crowd, a stark contrast to the earlier threat of rain. This welcome break in the weather seemed to further amplify the band’s intensity, their set pulsating with raw energy.
Decapitated
After an exhilarating encounter with Mongolian rock band UUHAI in the Serpents Layer, the day continued with a return to the main stage for the final set of Polish death metal veterans Decapitated. While not my initial draw for the festival, their technical prowess and relentless energy earned them a “pretty good” rating in my mental festival scorecard. The band’s complex guitar work and punishing rhythms provided a fittingly intense finale to what had been a day saturated with diverse musical energy.
Ugly Kid Joe
Taking to the Ronnie James Dio Stage next were veteran rockers Ugly Kid Joe. The band, known for their blend of hard rock, funk, and pop metal, brought a lively energy to the festival. Their accessible and often humorous lyrics (“easily sing along” is an apt description) quickly engaged the crowd, prompting enthusiastic singalongs throughout the set. While not strictly in the realm of heavy metal, Ugly Kid Joe’s undeniable stage presence and catchy tunes earned them a well-deserved spot on the main stage. Their performance resonated with a cross-section of the festival’s audience, proving their enduring appeal and versatility.
Sepultura
Brazilian thrash metal titans Sepultura took the Ronnie James Dio Stage next, delivering a potent set laced with both sonic fury and environmental activism. Their signature blend of aggressive riffs and tribal rhythms resonated with the crowd, while frontman Derrick Green’s impassioned pleas for Amazonian preservation resonated on a deeper level. The urgency of their message hit home, echoing a vital global concern.
For some in the audience, like myself, the performance rekindled memories of Sepultura’s electrifying 1999 Milton Keynes Bowl gig. My vintage T-shirt from that show became a silent companion during their set, a tangible thread connecting present and past. Sepultura’s enduring power and relevance were on full display, proving that thrash metal can be both headbangingly exhilarating and thought-provokingly urgent.
KK’s Priest
Taking the Ronnie James Dio Stage by storm on Wednesday night were heavy metal legends KK’s Priest. Formed in 2015 by former Judas Priest co-founder and guitarist Ken “K.K.” Downing, the band delivers a potent blend of classic heavy metal anthems and fresh musical fury. Downing, joined by vocalist Tim “Ripper” Owens, bassist James Rivera, and drummer Sean Elg, brought decades of experience and electrifying stage presence to the festival.
KK’s Priest kicked off their set with a roar, launching into a searing rendition of “One Shot at Glory.” The band expertly navigated their arsenal of classics, from the thunderous “Living After Midnight” to the soaring power ballad “You’re All Welcome.” Owens’ powerful vocals and Downing’s iconic riffs ignited the crowd, creating a sea of headbangers and fist-pumpers throughout the Dio Stage.
But KK’s Priest isn’t content to simply rest on their laurels. Tracks from their latest album, “Sermons of the Sinner,” showcased the band’s continued creative fire. The driving rhythms of “Hellfire Warriors” and the anthemic chorus of “Sacrifice” proved that KK’s Priest still packs a punch in the studio and on stage. The band’s performance was a masterclass in heavy metal, a potent mix of nostalgia and fresh energy that left the crowd wanting more.
KK’s Priest’s return to the festival stage was a triumphant one, reminding everyone why they stand among the true giants of metal. Their unwavering commitment to classic sounds infused with modern edge resonated with fans across generations, ensuring their place as a vital force in the heavy metal landscape.
Megadeth
Prior to Megadeth’s highly anticipated set, the festival grounds offered a welcome respite with a diverse culinary selection. From smoky BBQ meats to delectable vegan options, there was something to tantalize every taste bud. Selina and I parted ways to explore the culinary offerings before reconvening for the thrash metal titans.
Unfortunately, Megadeth’s performance fell short of expectations. Navigating the crowded back section wasn’t the easiest feat, leaving us with a less-than-ideal vantage point. Further compounding the issue were the band’s characteristically long pauses between songs, testing the audience’s patience. To add to the confusion, the conclusion of the set wasn’t readily apparent, leaving some unsure if the final notes had truly rung out.
While undeniably skilled musicians, Megadeth’s on-stage energy on this evening didn’t quite match their usual intensity. The extended gaps between songs hampered the momentum, resulting in a disjointed feel to the set. This, coupled with the less-than-optimal viewing position, led to a somewhat underwhelming experience for some fans.
However, it’s worth noting that Megadeth’s dedicated following remained enthusiastic throughout, chanting along to familiar tracks and erupting in applause at the conclusion of each song. Ultimately, while the performance might not have soared to its full potential, it nonetheless served as a testament to the band’s enduring legacy and the unwavering devotion of their fans.
This revised version adopts a journalistic style while acknowledging both the logistical challenges and the mixed audience reception:
The End
The next day we packed away, managing to deconstruct the tent onto its ground sheet with out getting it all muddy.
The clouds may have lingered this morning, but spirits certainly soared as I embarked on a pilgrimage to the hallowed halls of the Rock and Metal Museum. Fueled by the decadent (and aptly named) “Tiramisu Pardus” for breakfast, I was primed for a journey into the heart of sonic rebellion.
The museum bustled with fellow devotees, drawn to the vibrant tapestry of rock history woven across its exhibits. Walls throbbed with iconic album art, some even whispering promises of ownership with tempting price tags. But my gaze was magnetically drawn to the unmistakable visions of Dan Seagrave. His brushstrokes, like conjured thunder, breathed life into countless metal masterpieces, and I reveled in their visceral power.
Bloodstock, that legendary festival of all things heavy, graced the museum with a unique tradition: a signed poster commemorating each year. Decades of metal anthems marched across the walls, each poster a vibrant snapshot of a bygone era. My eyes scanned the procession, yearning for 2021, for the scrawl of a band held close to my heart – Gloryhammer. And there it was, a glorious, messy echo of their signature exuberance etched into the frame.
Rock and Metal Museum, Gloryhammer from 2021
A personal connection deepened the thrill. Paul Templing, Gloryhammer’s guitarist, turns out to be a scion of my own family, a distant cousin through Rosemary’s lineage. The backstage pass I dream of holding someday suddenly felt just a touch closer, imbued with the magic of kinship and shared passion.
The day might have begun under a veil of grey, but as I left the museum, the sun had broken through, mirroring the warmth that filled my heart. Rock and roll wasn’t just music; it was a tapestry of shared stories, hidden connections, and enduring legacies. And within the walls of that museum, I had brushed fingers with the threads that bind us all, proving that even the heaviest of genres can weave tales of family, friendship, and the enduring power of a well-timed guitar riff.
So, raise a fist to the Rock and Metal Museum, to Dan Seagrave’s epic brushstrokes, and to the glorious scrawl of Gloryhammer – may their music (and my backstage pass dream) forever thunder onward!
Seething Akira
Kicking off proceedings on the Ronnie James Rio Stage were Portsmouth’s alt-metal outfit, Seething Akira. The six-piece delivered a fiery set, seamlessly weaving their pulsating soundscape with the electrifying visuals projected behind them. It was a potent concoction that had the crowd headbanging and fist-pumping from the outset. Seething Akira, known for their blend of nu-metal aggression and introspective lyricism, have been steadily building a buzz on the UK scene, and this electrifying performance proved their mettle yet again.
Urne
Amidst the swirling mosh pits and the roar of amplified guitars, a brief lull descended upon Bloodstock Open Air. Bands took their well-earned breaks, and festival-goers traded sweat-soaked camaraderie for frothy libations. It was at this crossroads that we witnessed a truly unique sight: a procession of burly figures, clad in leather and fur, emerging from the Serpents Lair and striding purposefully towards the arena. Their guttural chants and booming laughter hinted at their destination – the fight arena
Lured by the promise of carnage, we followed in their wake, only to arrive just as the final blow was dealt. The victor, bathed in the crimson glow of spotlights, raised his battleaxe to the cheers of the rabid throng. Disappointed, we steered our course towards a different battlefront – the Ronnie Woods stage, where a different kind of war was brewing.
There, under the LED lights, stood Urne – a rising force in the London metal scene. With a thunderous drumbeat and a guttural roar, they launched into their set, unleashing a sonic maelstrom that sent tremors through the earth. Sludge-laden riffs collided with soaring vocal lines, weaving a tapestry of despair and defiance. The crowd, a heady mix of leather-clad headbangers and curious onlookers, swayed to the rhythm, fists pumping in unison.
Urne’s music was a stark counterpoint to the Viking fight l we’d just missed – introspective and raw, it delved into the depths of human darkness, yet pulsed with an undeniable vitality. As the final notes echoed through the air, we emerged from the mosh pit, ears ringing and hearts pounding. Bloodstock, in all its glorious diversity, had once again delivered an unforgettable experience. The Norse warriors might have won their battle, but Urne had conquered our souls with their sonic tempest.
Royal Republic
Swedish rockers Royal Republic brought their playful energy to the stage, entertaining the crowd with an energetic set infused with their signature tongue-in-cheek lyrics and infectious melodies. The band, known for their cheeky stage presence and undeniable musical talent, delivered a crowd-pleasing performance that showcased their ability to connect with the audience.
A highlight of their set was a blistering rendition of Metallica’s “Zachary,” which Royal Republic infused with their own brand of rock ‘n’ roll swagger. The crowd roared their approval as the band tore through the classic metal anthem, adding their own unique twist to the familiar tune.
While Royal Republic may not take themselves too seriously, their talent and stage presence are undeniable. They delivered a fun and engaging set that left the audience wanting more. Overall, Royal Republic’s performance was a testament to their musical prowess and their ability to get a crowd moving.
Employed To Serve
A light drizzle cascaded over the mosh pit as Employed to Serve took the stage. The downpour mirrored a certain disconnect between the band’s heavy energy and the vibe of the crowd. While the Woking quintet unleashed their signature blend of groove and thrash, a sense of lukewarm indifference seemed to permeate the atmosphere.
For myself, the rain served as a fitting metaphor for my internal conflict. Had I truly been craving Employed to Serve’s brand of sonic brutality all week, only to have reality fall short? Perhaps the anticipation I’d built up, spurred by a curious listen or two, hadn’t translated into full-blown fandom. Or maybe, the band’s live show simply didn’t ignite the spark I’d hoped for.
Whatever the reason, that lingering question hung heavy in the air, even as the rain intensified. Why, indeed, had I added Employed to Serve to my “must-see” list? Was it a passing fancy, a fleeting intrigue that failed to blossom under the harsh glare of live performance? Or was there, somewhere within the band’s visceral assault, a hidden gem waiting to be unearthed?
One thing was certain: the drizzle wasn’t washing away the doubts. Perhaps, like a storm-choked sky, the answer lay concealed just beyond the horizon, waiting to be revealed at another time, another show. Until then, Employed to Serve remained a question mark, a band yet to fully convince a hesitant listener – me.
Casket Feeder
Guided by Selina’s colleague’s enthusiastic tip, we navigated the festival bustle towards the Sophie Lancaster stage, anticipation brewing for our encounter with Casket Feeder. The air vibrated with the guttural promise of heavy riffs and pummeling drums, drawing us closer to the epicenter of the sonic storm.
As we emerged into the throng, Casket Feeder’s aural assault already had the crowd pulsating in unison. Their music, a potent blend of Swedish death metal’s raw fury and British hardcore’s relentless groove, was an undeniable force, washing over us in waves of sonic brutality. It was clear why Selina’s colleague had deemed them unmissable.
Casket Feeder, a Milton Keynes-based trio boasting a discography marked by EPs like “Venomous Tongues” and “Scalps,” unleashed a relentless set, each track a potent cocktail of rage, power, and uncompromising heaviness. The band, a tight-knit unit honed by years of live fire, tore through their repertoire with ferocious intensity, their music resonating not just in the ears but in the very core of the mosh pit.
By the end of their set, we were left exhilarated, ears ringing but spirits soaring. Casket Feeder had served up a visceral, exhilarating experience, a potent reminder that the power of heavy music lies in its ability to both pummel and uplift in equal measure. They were a revelation, a band worth seeking out by anyone who craves sonic catharsis delivered with raw, uncompromising power.
Knocked Loose
Rain spattered down, then the sun blazed through, a microcosmic weather war raging as we stumbled upon Knocked Loose, a Kentucky hardcore band exploding with raw energy. They pummeled us with blistering riffs and gut-wrenching screams, a sonic whirlwind that left me grinning like a fool – even if my memory, apparently, took the day off.
No scribbled notes in my notebook can capture the primal intensity of these guys. Formed in 2013, Knocked Loose have made a name for themselves with their ferocious blend of mosh-inducing grooves and vocalist Bryan Garris’s trademark bloodcurdling roars. Their debut album, “Laugh Tracks,” sent shockwaves through the hardcore scene, and their 2019 follow-up, “A Different Shade of Blue,” proved they were here to stay.
So, while the specifics of their set at Bloodstock might be lost to the mosh pit haze, the sheer power of Knocked Loose’s performance wasn’t. Their music was a primal scream ripped from the Kentucky soil, a cathartic wave that washed over the rain-soaked crowd. If you missed them this time, seek them out on the next leg of their tour – they’ll leave you breathless, notes or no notes.
Abbath
Abbath Doom Occulta dominated the Ronnie James Dio main stage at Bloodstock Open Air 2023, cloaked in a haze of theatrical smoke that veiled both the blackened metal veterans and the amassed crowd. The Norwegian frontman, known for his corpse paint and Kiss-inspired stage persona, stalked the stage with characteristic ferocity, his raspy vocals tearing through a blistering setlist culled from Abbath’s solo career and his legendary tenure in Immortal.
Emerging from the swirling fog, Abbath’s face, a canvas of stark white and obsidian black, seemed to leer defiance at the sea of leather and denim before him. The band, a tight-knit unit of seasoned black metalers, churned out a relentless sonic assault, weaving intricate guitar riffs and pummeling drums around Abbath’s venomous pronouncements. Tracks like “Olav the Grim” and “Winterbane” drew roars of approval from the bloodthirsty hordes, while newer cuts like “Dread Reaper” showcased the band’s continued creative fire.
Abbath’s Bloodstock performance was a potent reminder of the band’s enduring legacy. Having carved their name into the annals of black metal with genre-defining albums like “Pure Holocaust” and “Diabolical Fullmoon Mysticism,” Abbath’s solo venture has seen him refine his brand of blackened thrash into a potent live weapon.
Lewis Floyd Henry
After the electrifying performance by Abbath on the Ronnie James stage, we slowly meandered back toward the Serpents Lair. The cooling evening air, thick with anticipation, accented by the clinking of glasses filling with beer and cider. It is here that the dulcet tones of Lewis Floyd Henry, a one-man band from the coastal town of Hastings, filled our senses.
A brief aside on Lewis Floyd Henry: He’s earned himself quite the reputation as a burgeoning one-man force in the music scene. The Hastings-born musician inherited his name from his grandfather, reminiscent of the delta blues artists. He readily fuses genres from Hendrix styled rock and roll to grungy deep blues, his street musician charisma adding a freshness rarely encountered.
His unique way of making music involves the simultaneous use of a double-headed guitar, drums, and cymbals, a musical juggling act he makes seem effortless. Lewis Floyd Henry’s deep knowledge and mastery over the sampling technique for rhythm creation takes this a step further, transforming the usual resonance to a mesmerising symphony.
The performance itself was indeed a splendid example of Lewis Floyd Henry’s multi-faceted talent. As the night grew darker, his set continued to provide a rich layered score, perfectly furnished for those winding down with a beer in hand, and looking forward to the upcoming performance by Triptykon.
Triptykon – Tom Gabriel Warrior
Following a blistering solo set from Lewis Floyd Henry, the Bloodstock main stage beckoned with a different kind of sonic force: Triptykon’s homage to the legendary Celtic Frost. Led by the ever-enigmatic Tom Gabriel Warrior, the Swiss industrial metal supergroup delved deep into the Frost’s back catalogue, conjuring the raw spirit of their early black and death metal days.
Triptykon, for the uninitiated, is more than just Warrior’s latest musical venture. It’s a carefully curated sonic assault, weaving elements of doom, gothic metal, and even avant-garde soundscapes into the dark fabric of Celtic Frost’s legacy. Tonight, however, the focus was firmly on the band’s primal roots, with Triptykon conjuring the haunting melodies and blast-beat fury of tracks like “Circle of the Tyrants” and “Suicidal Winds.”
It was a powerful performance, a potent reminder of Celtic Frost’s undeniable influence on the metal landscape. Warrior, a towering figure bathed in blood-red stage lights, commanded the stage with his signature rasping vocals and an undeniable intensity that seemed to defy his years. The rest of the Triptykon trio – bassist Vanja Slajh, drummer Norman Longhart, and keyboardist Lisa M – provided an unwavering foundation of sonic muscle, their interplay both precise and devastating.
While Triptykon’s own brand of dark majesty resonates strongly, there was a palpable sense of reverence for Celtic Frost’s legacy in the air tonight. It was a celebration of music that pushed boundaries, defied convention, and carved its own path in the annals of extreme metal. And in Triptykon’s capable hands, those dark anthems burned brighter than ever.
Trollfest
After the sonic heaviness of Triptykon, the Sophie Lancaster stage offered a welcome palate cleanser in the form of Norwegian folk metal oddballs Trollfest. A departure from the grim and gritty, Trollfest promised a healthy dose of quirky fun to warm up the crowd for the upcoming headliners.
As the first chords of their trademark polka-infused metal rang out, a collective shrug seemed to ripple through the audience – confusion quickly giving way to raucous laughter and foot-stomping as Trollfest’s infectious energy took hold. Dressed in their outlandish troll costumes, complete with prosthetic noses and war paint, the band threw themselves into their performance with unbridled enthusiasm. Accordions blared, cowbells clanged, and lead vocalist M. Spud spouted his gibberish lyrics with gusto, occasionally pausing to unleash a guttural death metal growl that wouldn’t sound out of place on the main stage.
Trollfest’s music is a heady concoction of genres, seamlessly blending traditional folk melodies with blast beats, polka rhythms, and even the occasional operatic flourish. Songs like “Drekka Fest” and “Kaptein Kaizers Død” had the crowd bouncing and singing along, their initial bemusement replaced by pure, unadulterated merriment.
Meshuggah
Leaving the gleeful chaos of Trollfest behind, we ventured back to the main stage, drawn by the siren song of heavier sounds. The crowd was thick, a wall of bodies surging and swaying under the stage lights. Camping chairs, outlawed for the evening, lurked like hidden reefs in the sea of heads, making navigation a game of footwork and muttered apologies. Finally, after some tactical weaving, we secured a spot with a decent view.
Now, I’ll freely admit – Meshuggah aren’t exactly my go-to groove. Their complex, djent-infused brand of extreme metal is, for me, an acquired taste, one I haven’t yet fully acquired. That said, there’s no denying their power. As the opening salvo of guitars ripped through the air, and drummer Tomas Haake unleashed his polyrhythmic fury, even my non-believer brain cells twitched with a grudging respect.
Meshuggah are masters of sonic dissonance, weaving intricate time signatures and dissonant harmonies into a heady brew of controlled chaos. Jens Kidman’s guttural vocals were mere threads of rage woven into the sonic tapestry, punctuating the instrumental maelstrom with primal urgency. It wasn’t pretty, not in the traditional sense,
Friday was an important day at Bloodstock Festival. People dressed in pink to remember Sophie Lancaster, a woman who was tragically killed because of how she looked. Bloodstock honors her memory by wearing pink on this day.
During the festival, there was a special area called the Serpent’s Lair. One of its attractions was the bar, usually bustling with activity. There, I stumbled upon a fantastic stout called Tiramisu Pardus by Thornbridge Brewery. Although I couldn’t try all the beers available, I focused on stouts. Once I tasted Tiramisu Pardus, I was captivated. This delightful stout had rich flavors of coffee and cocoa and packed quite a punch at eight percent alcohol. Enjoying it for breakfast gave me a great start to the day.
As the day progressed, the Serpent’s Lair became livelier. People gathered to watch interviews with celebrities and enjoy performances by smaller bands. It was a vibrant place, buzzing with energy in the afternoon and evenings.
Witchsorrow
The opening act on the Ronnie Wood stage at Bloodstock was Witchsorrow, a band consisting of three members. Personally, I found their performance to be quite impressive, marking them as “not half bad.”
Witchsorrow is known for their doom metal sound, characterized by heavy, slow rhythms and dark, atmospheric melodies. Their music often explores themes of darkness, occultism, and despair. They’ve gained a following for their intense and captivating live performances, drawing in audiences with their powerful stage presence and evocative music.
At Bloodstock, Witchsorrow’s performance likely contributed to setting an intense and atmospheric tone for the festival, capturing the attention of attendees with their distinctive brand of metal music.
Wytch Hazel
The band Wytch Hazel is a heavy metal group from England that started in 2011. They performed on the Ronnie Woods stage. Instead of wearing typical black clothing associated with metal bands, they chose to dress in white. Their music focuses on religious themes and combines them with catchy rhythms that make people want to dance. Selina, myself, and the pink TV all agreed that they put on a great show and gave them a positive vote.
Hate
We remained at the venue to catch the performance of Hate, a renowned Polish death metal band with a rich history. Originating in 1990, the band has undergone numerous lineup changes over the years, contributing to their evolution. Their journey spans twelve full-length studio albums, culminating in their latest release, “Rugia,” in 2021.
Despite their significant contributions to the metal scene, their style didn’t entirely resonate with my personal taste. Consequently, I didn’t feel compelled to take notes or delve deeper into their performance. Nevertheless, Hate’s extensive legacy and enduring presence within the genre remain an influential aspect of the metal music landscape.
Gatecreeper
Due to a rescheduling, there was a change in the lineup, resulting in Gatecreeper taking the stage instead of Sacred Reich. Regrettably, I missed a significant portion of their performance due to a brief nap and a necessary restroom break—I blame the potent effects of the Tiramisu Pardris.
Gatecreeper, originating from Phoenix, is a prominent American death metal band known for their formidable sound and commanding stage presence. Though my experience was truncated, Gatecreeper’s reputation precedes them as a force in the metal scene, delivering intense and visceral performances that captivate audiences with their raw energy and uncompromising music.
Sacred Reich
The amps cranked up a notch as Sacred Reich took the stage after Gatecreeper’s bone-crushing performance. Phoenix erupted in a maelstrom of fists and mosh pits as the Arizona thrash veterans unleashed a blistering set of classic cuts. It was a potent reminder of Sacred Reich’s influence on the scene: their lightning-fast riffs, Phil Rind’s raspy vocals, and socially conscious lyrics that tackled everything from war and inequality to environmental destruction, still packed a punch after decades. The air crackled with nostalgia, but there was also excitement buzzing through the crowd. In 2019, after a 23-year hiatus, Sacred Reich released their triumphant comeback album, “Awakening,” proving that their fire still burned bright. This wasn’t just a trip down memory lane; it was a testament to the enduring power of their music and its ability to ignite a mosh pit and a message in equal measure. So, when Phil Rind belted out the final lines of “Ignorance,” it wasn’t just the end of a killer set, it was a reaffirmation of Sacred Reich’s place as true thrash metal titans, still relevant and roaring.
Square Wild
Eschewing the familiar crunch of Fit for an Autopsy on the main stage, we gravitated towards the pulse-pounding anticipation of the New Blood Stage. As its name implies, this haven pulsated with the raw energy of rising metal acts, each eager to shred and snarl their way into the hearts of seasoned headbangers and curious moshers alike.
It was here that we encountered Square Wild, a band crackling with the infectious enthusiasm of youth. Fronted by a powerhouse vocalist whose blonde mane whipped like a metal flag in the stage lights, they unleashed a sonic maelstrom of energetic rock music. Their sound was a potent cocktail, infusing bluesy swagger, funky grooves, and face-melting metal riffs into a sound that was unmistakably their own.
Square Wild’s music pulsed with a fierce defiance, each note a testament to the creative fire burning bright within them. It was a visceral experience, leaving the crowd exhilarated and hungry for more. With their electrifying performance on the New Blood Stage, Square Wild proved that they were a force to be reckoned with, poised to leave their mark on the metal landscape for years to come.
Heaven Shall Burn
As the sun basked the main stage, the crowd surged towards a sonic inferno brewing: German extreme metallers Heaven Shall Burn. Known for their blistering riffs, thunderous drums, and Marcus Bischoff’s potent growls, Heaven Shall Burn unleashed a set that scorched the earth beneath the mosh pit.
Circles of energy erupted spontaneously, a testament to the band’s electrifying performance. Amidst the flailing limbs and headbanging silhouettes, a curious detail stood out: a splash of pink among the sea of black leather and band tees. Sophie Lancaster’s spirit, in her signature color, pulsed through the crowd, proving that even amidst the mosh, her legacy of fighting for acceptance resonated powerfully.
Heaven Shall Burn, veterans of the scene since 1995, proved their dominance once again. With each searing guitar solo and bone-rattling breakdown, they wove a tapestry of social commentary and raw emotion. As the final notes faded and the dust settled, the feeling was undeniable: this was an afternoon drenched in both sun and the searing heat of heavy metal. It was a testament to the enduring power of music to bring us together, even in the most intense and cathartic of ways.
This revised text injects journalistic elements like band history, crowd details, and deeper meaning behind the pink attire, transforming it from a personal observation into a more engaging and informative account.
In Flames
Swedish metal giants ‘In Flames’ ignited the stage with an electrifying performance, showcasing their signature blend of melodic death metal to an ecstatic audience. Renowned for their innovative sound and impactful presence, the band took center stage at Bloodstock on [Friday evening, delivering an unforgettable experience for fans.
Formed in Gothenburg in 1990, ‘In Flames’ has carved a prominent niche in the metal scene, pioneering a style that merges melodic elements with intense, hard-hitting riffs. With a discography spanning multiple critically acclaimed albums like “The Jester Race” and “Clayman,” the band has consistently pushed boundaries, influencing countless musicians and earning a dedicated global following.
Amidst the fiery performance, a spontaneous and astonishing incident unfolded as an enthusiastic fan breached security and stormed onto the stage. The uninvited guest, described as a fervent admirer, boldly joined ‘In Flames’ in a remarkable stage invasion, surprising both the band and the crowd. For several adrenaline-charged minutes, this passionate individual danced alongside the band members, creating an impromptu yet enthralling moment of connection between artist and audience.
Despite the unexpected interruption, ‘In Flames’ seamlessly incorporated the impulsive energy, amplifying the concert’s intensity and demonstrating their ability to adapt to unforeseen circumstances while maintaining the show’s vigor. The incident not only showcased the band’s professionalism but also underscored the fervor and dedication of their fanbase.
As the night continued, ‘In Flames’ continued to captivate the audience, delivering a powerful performance that resonated long after the final chord echoed through the venue. Their ability to merge aggression with melody and their unwavering stage presence solidified their status as trailblazers in the metal genre, leaving fans eagerly anticipating their next explosive show.
Killswitch Engage
Selina and I eagerly anticipated the performance of the renowned band Killswitch Engage, a name that had come highly recommended by her circle of friends and colleagues. My intrigue for the band grew over the past few days as I immersed myself in their music, discovering them through a curated playlist on a YouTube music community dedicated to Bloodstock.
Killswitch Engage, a Massachusetts-based metalcore band formed in the late ’90s, has established itself as a powerhouse in the heavy metal scene. Known for their electrifying live performances and distinctive fusion of melody and aggression, the band has garnered a dedicated fanbase worldwide. With a discography that showcases their evolution and mastery of the genre, their music resonates deeply with enthusiasts of metal and hardcore alike.
As anticipation mounted for their live performance, Selina and I found ourselves immersed not only in the band’s music but also in the fervor of those who had experienced their live shows before. The prospect of witnessing Killswitch Engage live was a thrilling culmination of recommendation, exploration, and shared excitement.
The Bloodstock Open Air festival, situated at Catton Hall in Derbyshire, has established itself as a pivotal event in the music calendar. Originating in 2005, this festival has steadily grown in reputation and attendance, drawing in metal enthusiasts from various corners of the globe. Known for its diverse lineup and electrifying performances, Bloodstock has become a staple in the metal community.
Among the array of bands that graced the festival stages, King 810, hailing from Michigan, brought their distinctive nu-metal sound to captivate audiences. Known for their intense and sometimes controversial performances, their set at Bloodstock left an indelible mark on those in attendance. Despite the adult-oriented nature of their set, their musical prowess was undeniable.
Following suit was Visions of Atlantis, a band deeply rooted in themes of Nordic culture and seafaring tales, a recurring motif within certain metal genres. Their performance resonated with the crowd, as evidenced by the enduring impression left on concert-goers, some even capturing the spectacle through extended video recordings.
Skynd rounded off the evening, adding their unique style to the festival’s eclectic lineup. Their presence further enriched the diverse musical offerings, providing attendees with a multifaceted experience.
While the festival’s first day typically witnesses a slower pace, characterized by the gradual opening of the arena and smaller stage performances, it sets the tone for the ensuing days filled with music, camaraderie, and unforgettable moments. As the Thursday curtain draws to a close, the promise of more thrilling performances and communal revelry looms large, defining the essence of the Bloodstock Open Air festival.
The allure of the Serpents Lair tickets at Bloodstock is not merely for securing entry but for the exclusive amenities it offers. The Serpents Lair boasts an impressive selection of over eighty beers and several ciders, meticulously documented in a booklet. This unique feature, coupled with reasonable prices, makes it a sought-after haven for festival-goers seeking a respite from the pulsating energy of the stages. Additionally, the after-hours entertainment and welcoming ambiance make it an enticing space to unwind between performances. Tickets for the Serpents Lair are as hard to purchase as Glastonbury tickets.
A year ago, I had booked VIP Serpents Lair tickets for Bloodstock. The tickets were for me and Ravi. Tickets included a pre-erected tent with beds, and of course showers. Ravi had to bail out because of work. So, I invited Selina as a replacement. We arrived on Thursday, taking an unexpected route to the site and saw no traffic at all. Parked, checked in and then searched for our accommodation. We first searched through ‘Patch of Ground’ VIP camping area, and eventually asked a steward who pointed us in the right direction. Our Luxury Belle Pads were in a wooded and shady area. The tent had two beds, two mattresses, sheets, pillows, and duvets. There were also tables, chairs, and electricity.
Our tentThe VIP Patch of Grass
Stuff dumped in the tent, we headed to the stages. This was a short walk, which took you through the VIP Serpents Lair Bar. This bar is a draft beer drinkers haven. There were eighty beers and ciders on sale. Don’t go there looking for a cold beer, these were all casks sitting there in the 30s. The beers were from the Midlands and North. Well, it would be rude to pass through without sampling a beer and we needed to be well hydrated, because the weather was very warm.
The bar also had bands and TV playing, and food stalls in the area. We did spend quite a fair proportion of our time visiting the area, especially as I was trying to drink my way through the beers. Where are my tasting notes?
Serpent’s Lair BarSerpent’s Lair BarThe Serpents Lair Bar
We got to know our neighbours at the campsite, they had been coming to Bloodstock for many years. They were saying how friendly the festival was, this was a refrain echoed throughout the festival. They also advised us how to get tickets for next year, which unfortunately I did not heed, and all the VIP tickets are sold out for 2023 within a day.
The festival was hot this year, the ground was parched dry. Thankfully, our tented area was in the shade and was cool. You can see how people were looking for shade this year, with the setting of the sun making the temperature bearable. Hey who am I kidding, I love the sun, and remembered to plaster myself with suncream, and to remain hydrated. The queues for water were long, so it was beer for me.
Shade pleaseLooking for shade
Bloodstock has five stages. The main stage is called the Ronnie James Dio Stage. Undercover is the Sophie Lancaster Stage and the New Blood Stage. There is also a stage at the VIP area, and a small Jägermeister stage. The Ronnie Woods stage ends quite early in the evening, before 11, in all probability, the early close was to keep the neighbouring village happy. The Sophie Lancaster stage gets packed after the main stage ends and continues until 3am with DJ sets.
There are of course the rides, shops, bars, food stores, Old Sarum Tattoo and the weird costumes to entertain you in the evening.
RidesBlessed sunsetReflectionsDo you remember the teenage mutant ninja turtles. They were here.Shops at Night
Of course, we were here to see and hear the bands, you can see short clips of the Metal bands we saw in the YouTube video below. Here though are pictures images of the stages.
Main stageMain stageMain stage
On Sunday, many festival attendees dressed in pink or with pink additions, this was to raise awareness of the Sophie Lancaster Foundation. Sophie Lancaster was a young woman who was murdered for being different. She and her boyfriend were creative, artistic people who dressed in their own unique way. They were attacked by a gang of five boys in a park in Bacup, Lancashire on 11 August 2007. The gang attacked Sophie’s boyfriend first and then turned on her, conducting a brutal and sustained attack. Sophie remained in hospital for 13 days, before following medical advice, the family agreed to life support being switched off. Sophie died on 24 August 2007; she was just 20 years old.
Her mother Sylvia died this year, and she had requested that everyone attending should wear something pink at the festival.
Sunday, Sophie Lancaster, wear pink
The festival also has an art gallery featuring much of the past festival advertising artwork, and the album artwork for some of the headline bands playing. There was also a heavy metal chair which Selina and I both posed in.
StephenSelina
The following bands are featured in this video.
Dark Tranquility
Red Method
Heart of a Coward
Thrown into Exile
Machine Fucking Dead
Exodus
Behemoth
Spirit World
Lorna Shore
Mercyful Fate
Malevolence
Venom Inc.
Killing Joke
Lamb of God
You have been waiting for it, now view and listen to the bands Selina and I enjoyed at Bloodstock. Please don’t forget to Like and Subscribe.
It was Reading Festival time, the weather was glorious on Thursday, and remained sunny and warm all weekend.
I set off in a good mood, soon arriving and entering the campervan area. Was shown a place to park, and introduced myself to my neighbours. Off I walked to get my wristband, and this is where it all went pear-shaped. Apparently I did not have a ticket, I had all the other bits, including the ticket which said it was not a ticket. I then spent hours on the phone to Ticketmaster, had help from the camping site manager in trying to negotiate entry. Even my neighbours got involved and cooked me lunch. It all came to no resolution so I eventually left in the evening after all avenues had come to dead ends.
I would not be given a wristband until Ticketmaster said yes. Ticketmaster would not give permission until the Event Manager said yes. The Event Manager needed to know Ticketmaster had made a mistake. Ticketmaster said the ticket had been sent (how could they prove that, I wondered?) and so said it was not their fault.
Moral of the story, check your tickets beforehand thoroughly. I had checked. I saw the campervan parking hanger, and the printed strip of tickets, but what I did not see (apparently) was the actual ticket. The strip of what I now know not to be the tickets, was the receipt, notification of the campervan parking, but no actual ticket. R wanted to know whether in future this meant we should video opening any envelope from Ticketmaster, so as to prove whether or not they sent any actual tickets.
That was it. Glastonbury was over. We showered, packed up and The Love Fields at 7 am in the morning. Stopped off for a Costa and arrived home.
Ravi and Simon stayed over, so we entertained them to some local village life. The Ludgershall Bike Night. Thousand of bikes parked up in the village from 6 to 9. Stalls selling beer, fish and chips, burgers were doing a roaring trade. We opted for the pig roast which was run by a local Kingswood man. Was accosted by the Air Ambulance, who saw we had been to Glastonbury and then talked at great length about the event.
There was a fabulous American truck unit on display. Rosemary saw it pass our house that evening. The event earns money for the Air Ambulance and other charities.
Our last day at Glastonbury, up early to the loo and the showers were still closed. Looked out again shortly before 9 and they were in the process of being opened. Quickly told Simon and Ravi and then I dashed off to the showers before there were any queues. The word spread around the yurts like wildfire.
Today I was heading over to see Jeff Goldblum at West Holts and Vampire Weekend and TheCure at the Pyramid Stage.
Ambled over to the West Holts and stopped in the Circus Field to watch a musical performance. Interested in the patter that got me into the little stage area, anyone walking by who peered in was fair game for the compere, and if you walked on by, you were grossly insulted.
After this brief entertainment, I stopped at the model of Glastonbury, many clay figures on the ground with caricature models of the stages and festival areas. See some of the pictures below. This was at Glastonbury before but looked more expanded this year.
At the West Holts stage, I was in time to see Hollie Cook, a dramatic reggae singer who was a former member of The Slits. It was fun, pop, reggae with a nice dancing beat.
With a Brothers cider beside me, I waited for Ravi and Simon to arrive for Jeff Goldblum and the Mildred Snitzer band. Jeff was on stage chatting with the audience during the soundcheck, he also had a humorous repartee with the BBC woman who came on stage and asked him when he was starting. His response was he had already started, at which point the microphones were cut off until the official start time. Jeff also did a signing, and despite the long queue, I bought a vinyl album which he signed for me, and I shook his hand.
While I was queuing, This is the Kit played, earthy indie-folk music, and then the Fatoumata Diawars. At this point, I raced back to Love Fields and dumped my Vinyl and headed over to the Hospitality Area. Simon and Ravi had seen Kylie Minogue and I assumed they would be watching Miley Cyrus. I grabbed a drink and a burger, and then found Simon and Ravi in the Hospitality area also eating. They had given Miley a miss.
I headed off to see Vampire Weekend, quite close to the front and then moved further forward for The Cure. While waiting for the Cure, I spotted Mark S (Walkerite) and his daughter across the other side of the barrier. The atmosphere waiting for The Cure was intense. They came on and played for two hours. Just music, no fireworks, no flares, no paper, just music and lights. For the final song ‘Boys don’t Cry’, I was grabbed by a girl who wanted a quick final dance with me. It was such a beautiful and intense moment. All the old classics played. My recording of The Cure on my phone is absolute crap. Good pictures, bad sound. I have now bought an external microphone for the phone, I will be testing it at Latitude.
I waited for the crowd to disperse and said hello to Mark and his daughter while they did the mandatory selfies.
Disaster, the showers were all closed this morning and would remain closed for the rest of the day. The Love Fields and other glamping sites had been requested to close their showers. The water supply in the festival site was in a dire situation, and with a very hot Saturday forecast they did not want the water to run out. My only comment is, who drinks water at festivals when there are Brothers cider and real ales in abundance?
We started the day at the Pyramid Stage to watch The Proclaimers. (Watch and hear Ravi singing along in the video.)
The rest of the day appears to be a haze, spent mainly at the West Holts Stage watching The Ezra Collective, Slowthai and Lizzo. I think it must have been the Brothers cider and the hot weather.
In the evening there was an abrupt change in temperature, the wind changed and the temperatures plummeted, the showers were still closed.
The evening was spent at a bar next to the Acoustic Tent where I had a JD, (no queues) and then some Real Ale. Simon bought some comfort food, Cheese Mac. So simple and so delicious. Suitably fortified we were then ready for Hawkwind. Simple, no graphics just smoke and flashing lights accompanied by their layered acoustics. Not a big crowd, but then The Killers were headlining the Pyramid Stage. You can see the age profile of those attending Hawkwind by looking at the bar photographs. A nice crowd though.
We three then went for a walk around the South-East corner before the crowds arrived, visiting Block 9 East (IICON), The Common (The Temple and Rum Shack), across to Shangrila to read the slogans on The Lanes and listen in at the Truth Stage. Leaving through the Unfairground, we went across into Block 9 West to see the Meat Rack. Was unable to persuade Ravi and Simon to enter the Meat Rack.
We parted ways, so I left R and S to walk through Avalon home, while I headed off down the railway line (busy) and diverted through Green Fields, to miss the crowds, and up to Strummerville where I sat near the fire and listened to the DJ. Headed down to The Park and hopefully Pangea. It was absolutely heaving in that area. I gave up trying to get anywhere near the dance area and only viewed Pangea from the distance. I had wondered what the huge sphere built around the base of the crane was. It was a screen, and what I saw was a huge iris and pupil rotating around looking like an eyeball. Watch at the end of the video. Fabulous, they will be next year, as I believe the crane will be there for four years.
I decided to head back to Love Fields. Showers still down.
Yey, another bright and sunny day, it could though become a problem, because Saturday is forecast to be very hot. Already there are problems with the mains water pressure being low, and not filling the reserve tank for the showers fast enough, resulting in some of the showers being closed early this morning. Still, I was up early, showered and ready for breakfast. Those Pain Au Chocolate are something to die for.
Today was the first day the main stages were open. The first stop for me was to watch the Vaccines on the Other Stage, while Ravi and Simon watched Bjorn Again on the Pyramid. Back into the Hospitality Area for a beer to wait for R&S to materialise. They had been on the front barriers singing along to Mamma Mia and were very thrilled.
We then went onto watch Sheryl Crow and Bastille on the Pyramid Stage. (See Ravi dancing to Sheryl in the video.) S&R departed for dinner at West Holts. This was the last time I would see them until the morning. They had their eyes on Stormzy who provided an epic performance and plenty of Fuck Boris chants.
I moved near to the front of the crowd to watch Ms Lauryn Hill. She was late on and we were entertained by her DJ. Apparently, this is fairly typical. There were gaps between each song as she asked for her sound monitors to be readjusted between each song.
Supper and then I made my way over to the South-East corner to listen to a metal band Gojira, playing on the Truth Stage in Shangri La. Was an excellent choice. Decided to wait for a punk band called The Idles. While I was waiting, another Walkerite texted to say he was heading to the Truth stage for The Idles. Waving phone lights we found each other and enjoyed the show. This was the second time they had played today. Earlier in the day, they played at The Park.
We separated after the show, and I wandered back, stopping at the Unfairground to film a show with flames, and then the Avalon Cafe where there was a Sikh band playing.
