Throughout day one, rumours started swirling that there could be a secret set from Download favourites Trivium. As the day progressed, these rumours swelled, and singer Matt Heafy did nothing to quell them with a cryptic message on his social media. The PR at the festival denied it, but it didn’t stop the rumours spreading like wildfire. This served to encourage those campers who had a heavy day one out of their sleeping bags and into the arena promptly for day two. Although the set never came, the early risers were treated to a blistering set from shred queen Sophie Lloyd on the Opus stage. From my vantage point on the stage standing next to the band, we looked out onto the amassed crowd and not a space could be seen all the way back to the sound desk. The 25,000 in attendance were in for a treat. In what is becoming a trademark entrance, Lloyd entered to the Top Gun theme before launching her aviators into the crowd and launching into “Battleground.” Joining her on stage as guest vocalists were longtime collaborator Marisa from Marisa and the Moths and Nathan James from Inglorious. As well as her own material, Lloyd played “Enter Sandman,” and the crowd could be heard in full voice singing along, taking the place of an on-stage vocalist. In what was an all-too-short 25-minute set, the highly talented guitarist definitely presented her case to be a regular at the hallowed festival.
Next up for us were Palaye Royale on the Apex stage. The Las Vegas rockers entertained the main stage crowd with their high-energy performance. The self-proclaimed “Fashion-Art” rockers delivered stage theatrics such as singer Remington Leith’s leap into the air (I do love a good jump shot) and guitarist Sebastian Danzig making full use of the extended runway. The group were well received and were “grateful beyond words” for the experience.
Moving back to the Opus stage, we waited for the highly entertaining Eagles of Death Metal. Captivating vocalist Jesse Hughes turned on the charm at the start of the set and had those assembled eating out of his hand. Starting with old-school classic “We Are Family,” the singer oozed charisma as he made his stage entrance. At one point he made his way down to the barrier, much to the delight of his fans. One in particular was delighted to hug her favourite artist.
Next up was my first visit of the weekend to the Avalanche stage. Playing were Scottish alternative rock band Twin Atlantic. The band, who are on tour this year, took to the stage to a great deal of interest from those in the tent. In what was a break from their heavier material, the group performed tracks such as “No Sleep,” with many singing and dancing along. The group’s stage presence and energy were clear for all to see.
Moving back to the Opus stage, The Darkness awaited. The band, known for their stage theatrics and energy, had the crowd anticipating the performance they were about to see. The expectations of the group led by the Hawkins brothers were not misplaced, and it didn’t take long for the crowd to be eating out of their hands. Highlights included Justin Hawkins doing handstands, crowd dives, and jumps off the drum riser. The set was also accented by well-timed pyrotechnics, and the overall set left people wanting more. After a performance like that, I would expect the band to be rewarded with a longer set next time they grace the Donington turf.
As mentioned in my article about day one, it is always special to see a band or artist perform at festivals of this magnitude when you have seen them before becoming famous, and the next band is one of those. Whilst many of my media colleagues moved to the main stage to watch Shinedown, I made my way to the Avalanche stage to see Mallory Knox. I had first seen the band as support for Lower Than Atlantis at the Tunbridge Wells Forum 12 years ago. The band, who came out of hiatus to play Slam Dunk last year, did not disappoint. The crowd participation for the Cambridge-based rockers was among the best seen at the festival. The crowd were in full voice for many of the songs, and the tent erupted during “Lighthouse.” During their last track, there was a steady stream of crowd surfers, and the passion of those in the front row was unmatched.
Transferring back to the Opus stage, I had my first taste of the legendary Sex Pistols. Now fronted by Frank Carter, the band have lost none of their passion for the music that made them famous in the seventies. The highlight of which was “Pretty Vacant,” with Frank going into the crowd. The song had to be restarted twice due to crowd security issues, which only helps promote the group’s iconic punk status.
Last up for the day was the most controversial signing of the festival, Sleep Token. When initially booking, Andy Copping explained: “I think it’s important for the festival to bring new bands through to headline. Back in the day, I did it with Slipknot. I did it with Avenged Sevenfold and Biffy Clyro. In 2023 we did it with Bring Me The Horizon. Now, every one of those bands across the world is perceived as a festival headliner,” he told the publication.
“That’s what I felt this time with Sleep Token. It feels like we’re the first major festival that’s taken the bull by the horns and gone, ‘Okay, it’s time. It’s Sleep Token’s moment.’ I know it’s going to be amazing for them, amazing for the festival, and amazing for the fans.”
Sleep Token are well known for their on-stage presence and elaborate set work, and this performance was no different. The set featured a cascading waterfall and saturated lighting, which was very artistic in nature. Their set started taking into account their audience, commencing with the heavy elements of their catalogue such as “Vore.” The set weaved between genres with softer tracks such as “Damocles.” Overall, a theatrical masterclass, but the divided opinion on the music remained, with many old-school Downloaders returning early to their tents.
The day blended the old with the new and set the stage for the final instalment, where the devout metal fans would get to see Korn as the final first-time headliners.
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