Download Festival 2019: Part 3 (16th June)

WORDS: Joanne Gray

With the sun setting on what was truly a day for all metalheads to remember on the Saturday of the festival (go and read the review of that over here if you haven't already), it felt quite appropriate that the final day of Download this year would be a more sedate one. I mean, if you can call a lineup full of interesting alternative bands that are either from or sound like they were from the 1990s a sedate day, that is...

This change of pace was accompanied by strangely dry weather and a much quicker queue to enter the arena. Clearly the issues from the previous day had been resolved, and although the mud would remain despite the hay, it seemed like it would be a less tiring day when considering the weather (so far).

Onto the bands then!

______________________

WORDS: Joanne Gray

As we got into the arena just as Cane Hill were taking to the main stage, we managed to watch them just as they were starting their second song 'Lord of Flies'. Standing in a similar position behind the barrier to where we were standing for Alien Weaponry the previous day, it became clear that the audience was a little less busy for Cane Hill. Probably down to the fact that it was 11am on the final day of the festival more than anything, but it was noticeable nonetheless.

As the New Orleans nu-metalcore band went through their set, it became very quickly clear that they wouldn't be playing any material from this year's acoustic EP 'Kill The Sun' (my review for that is here), as they threw out heavier bangers from their two albums Smile and Too Far Gone. As always, the ever present serious nature of the band was in full display here, particularly with vocalist Elijah Witt who scowled moodily out to the audience in a typically aggressive manner. The dedicated crowd at the front of the stage were more than happy to deliver with regards to mosh pits, and Glasgow's own Pit Troll was there to keep things moving on that front (look him up if you haven't already!).

I've got to sadly say that this enthusiasm didn't seem to spread to all of the crowd however, and I wouldn't really be surprised if the quality of the sound didn't at least play a factor here. It became really quickly clear, even standing as far back as we were, that the sound really wasn't good for Cane Hill on that stage. The sheer volume was louder than perhaps anything I'd heard all weekend (headliners and bands playing within tents included) to the point where it was actually hurting my ears to listen to them. 

I'm not sure if this was a deliberate choice by the band or sound techs, but it really didn't do the band any favours at all. Everything bar the vocals was muddy to the point where it was hard to hear the guitars be anything more than a wall of undefined noise. This really sucked as the guitar tone, both rhythmically and within their Alice in Chains-esque lead lines, is something which is usually such a selling point for them. RIP to the ears of the people further down the front than us without any earplugs.

By the time the band closed with 'Too Far Gone', my ears were ringing like mad, and I was quite glad for it to be over. A real shame for Cane Hill as I've seen them play with better sound before, and was quite disappointed that this was the main thing I would remember from their set. Very much hoping they play some headline shows in the near future to show off what they do better than the sound allowed for them that day.

______________________

WORDS: Ray Mondo

Starting bright and early on the Zippo stage at midday, Dinosaur Pile-Up swaggered on ready to melt faces and blow the early risers away. The Leeds new-grunge rockers had just released their newest album Celebrity Mansions, and exuded nothing but endless amounts of confidence in light of this, showing that even a 3-piece band can have a massive stage presence.

Starting off with new album track 'Pouring Gasoline' and classic debut cut 'Traynor', guitarist Matt Bigland was keen to get the party going even if the set was only a criminally short 30 minutes long (hint hint, Download), as he prompted the crowd to get the pit going for the hard-to-resist headbanger '11:11', to which many gladly comply. The grungiest of all riffs unloaded one right after the other, as the crowd were treated to another classic album cut, Nature Nurture's 'Arizona Waiting'.

The set was then rounded swiftly off with the band's three latest singles: 'Round the Bend', a very in-your-face Foo Fighters-esque affair, the pop-metal delight of 'Thrash Metal Cassette', and of course the catchy rap-rocker 'Back Foot'. This one out of the three was definitely going some way to showcase the musical versatility of a group who aren't afraid to try new things while still owning what they are best at.

With this kind of energy and determination to achieve even greater things (which for these guys is an amazing thing to witness as a fan), you’d definitely be a fool to pass up the chance to see Dinosaur Pile Up if you have had the misfortune of not seeing them live yet.

______________________

WORDS: Joanne Gray

Continuing the 90s alt rock vibes, it was over the Avalanche tent to watch the psychedelic grunge Yorkshire band Allusinlove play their first Download festival under their new moniker. Having seen the band play a great show in Glasgow earlier in the year (my review of that is here), I was more than happy to get to see the band play a larger show.

Upon entering the tent, we found it quite empty so were able to get right to the front. I was a bit worried here that the band would be playing to nearly nobody, but thankfully the crowd filled a bit as it got closer to their start time. And then the minutes ticked on. Hovering on and off the stage to do sound checks nonchalantly, the band took their time starting the set. After throwing out a quick blast of something as a unit, Allusinlove went off stage again before re-emerging 5 or so minutes later to finally begin their set 15 or so minutes late. 

The band could be forgiven for their tardiness when they started playing however, as they launched into the fast and dirgy 'Full Circle' with a tone and energy that was to die for. As is a staple feature of the band, the singer Jason thrashed his body and head around while screaming out those high notes. Alongside this, guitarist and bassist players Andrey and Jemal practically threw their instruments around the stage while drummer Connor kept everything locked together perfectly behind the kit. I've always been so impressed by this band's energy onstage, and this was more than the case here.

The whole vibe of the crowd and band seemed to coalesce in a manner here which made the set one of the most fun times I've had seeing this band as well. Songs like 'All My Love' and 'Bad Girls' had the crowd moving about (and for us in the front, singing along with enthusiasm), while the more restrained, trippy songs like 'Lucky You', 'Lover I Need a Friend' and 'Sunset Yellow' had the audience swaying along to those wonderful shoegaze psychedelic instrumental tones. It was a particularly cool moment when the latter song was dedicated to older fans of the band and the lights went an orange colour to symbolise the song's tributary subject of Irn-Bru. Thumbs up from this Scot!

Allusinlove were clearly having the time of their life onstage here, as pointed out by Jason who was grateful that the crowd was bigger than the last time they played here (a time when he apparently puked onstage...). This sense of enjoyment from both the band and crowd was showcased best in the final song 'All Good People'. As with the Glasgow show, the rock n'roll vibes of the song got the crowd moving about, and actually resulted in the first mosh pit I've seen for a show of theirs yet. Perhaps more evident than in any other point in the set was the sheer talent of Jason's vocals which really are something else in the live environment. 

As the set finished, I was certain that I'd just seen the best show I'd seen Allusinlove play up until this point. I can only hope that their new album brings them back up north soon, and finally gets them the plaudits they really deserve. One of my favourite sets of the weekend. 

______________________

WORDS: Joanne Gray

Staying over the Avalanche stage for the next wee while (shout out to the lineup here which was the best it would be all weekend!), it was over to Milton Keynes' metallic hardcore band Heart of a Crowd to heavy things up a bit. I've always quite liked what this band have done but have never had a chance to see them live. I was pretty keen to check them out here then. 

What was immediately noticeable was the size of the crowd as they started their set. We'd decided to move back to the edge of the tent to avoid any chaos that may occur throughout their set, and the tent was almost full when they started with new tune 'Drown In Ruin'. Immediately a large mosh pit started and much of the crowd was screaming and headbanging along. That the set was focused strongly on an album that has only been out for a few weeks ('Drown In Ruin, 'Collapse' and 'Ritual'), with only another three songs from older releases ('Hollow', 'Shade' and 'Deadweight'), it was clear that the newer vocalist was putting his stamp on things, and this worked really well judging by the crowd response. 

This extended to the sound and visuals of the band itself. Kaan Tasan, who's been on vocals since 2017, commanded the stage with a presence that was totally engaging while being incredibly sonically powerful. The rest of the band sounded just as proficient with a killer low end tone that resonated throughout the entire tent.  For someone who hasn't seen this band live before, it became very quickly clear that I was watched a really tight live unit which reminded me of bands like Architects and Parkway Drive. 

By the time the band ended with 2013's 'Deadweight', they really had showcased the scale of their songs. I was sure that Heart of a Coward would be more than capable of taking their huge booming sound out to larger stages next time they're at a festival like this. I know I definitely need to check out their back catalogue in more depth after this one and would quite like to see this band live again.

______________________

WORDS: Joanne Gray

Having plenty of time to spare due to the Avalanche stage now being a considerable 30 minutes late, it was time to watch the last band here before heading quickly back to the main stage. I've had a solid appreciation for Brighton's prog tinged metal band Black Peaks for a few years now and after really enjoying last year's 'All That Divides' (see my review here), I've been dying to see this band live. This performance was therefore one of my most anticipated of the weekend.

And that anticipation truly lived up to the result of this set. 

Walking back over the sweet shaded relief of the tent (the sun had decided to rear its horribly roasting head) just as the band came onstage to the sounds of 'Can't Sleep', I could already hear that their sound was absolutely huge and stunningly heavy. This was only emphasised when I stood inside the tent. Immediately obvious was the sheer power and insanity of Will Gardner's vocals that flipped from huge melodic lines to gentle softer passages to animalistic shrieks and growls that were even more impressive in the live environment. He may just be one of the most versatile vocalists in metal at the moment. Add in the technical abilities of the rest of the band who exude off-kilter stoner metal influences like Mastodon, Tool and Rolo Tomassi and the you have a band that sounds utterly wonderful in a small space like this. 

As shown by the amount of people here to watch them and the sheer scale of songs on display here though, this is a band who are clearly thinking larger than this same tent that they found themselves this year as they did in 2016. This was truly exemplified in one of the most awesome moments of the festival when pyro shot out onstage during that moment in 'Say You Will'. Needless to say, nobody expected this within that stage (I didn't even think it was possible to use pyro there) so there was a audible cheer of excitement when that happened. A Glaswegian 'Yassss!' moment if there ever was one. What a moment from Black Peaks that only showed off just how ambitious they are as a band. 

As they then topped things off with their older, but arguably still their biggest song to date, 'Glass Built Castles', I got the sense that this was a band who should've been higher up the bill this year. An opening main stage slot on Tool's day would've been great for everyone involved for example. It certainly seems that Black Peaks are capable of pretty much anything at this moment in time and I simply can't wait to see what this band do for themselves in the next few years. Look out for reviews of the band when I see them support Gojira next week, and at the Glasgow stop of their UK headline shows later this year (of which you should all definitely go along).

Absolutely wonderful.  

______________________

WORDS: Ross Donald

As the then blinding sun descended over the main stage of the Download Festival (dangerous for those with receding hairlines), onlookers were greeted to a custom viking helmet shaped set in preparation for the biggest viking metal band in all the land. This was pretty special as it’s only usually the headliners that get their own custom sets, but as Behemoth also showed the previous day, a custom stage for an earlier band can make all the difference.

Amon Amarth are a band that know how to make their presence known and it seemed as though thousands of people came forth in droves to raise their horns to the Swedish metal legends. I would have bet some good money on the band opening their set with a cut from their new album Berzerker, but they started off with their 2004 hit 'The Pursuit of Vikings' to get the crowd into it. This was followed by the tracks 'First Kill' and 'The Way of Vikings' from 2016’s Jomsviking. The former gave me a particular feeling of whiplash from the amount of headbanging I engaged in.

It was around this time that some viking soldiers made their way onto the stage and while this almost delved into the realm of cheese, it was all in good fun and the visual aspect did add to the set overall. The next three tracks were arguably the most popular from the latest album release with 'Shield Wall', 'Crack the Sky', and 'Raven’s Flight'. These all showed that the band haven’t lost a bit of their shine in their near 30 years as a band with the viciously catchy choruses designed for a crowd singalong bringing us all the fun we could want.

Thrilling renditions of 'Guardians of Asgard' (my god, that gorgeous chorus), and 'Raise Your Horns' (really wish I’d brought one of my own) drew us to a sadly early close with one of the highlights of the weekend. The stage was suddenly attacked by an inflatable Hydra from the sea while the band devastated the field with arguably their biggest hit, 2008's 'Twilight of the Thunder God'.

If you missed this band on the Sunday, you really missed something special. If you did see it then you’re probably still thinking about grabbing a longship and heading off an a journey with your viking pals. If you get a chance to see these guys in the near future, then I would highly recommend a ticket purchase. 

______________________

WORDS: Joanne Gray

As customary for myself as a sun-hating pale Scot, I found myself utterly drained by the heat during Amon Amarth's set, so it was nice to get inside the darkened Dogtooth stage to watch the French blackgaze band Alcest. Having delved into this sound quite a bit over the last year or so, and being won over by this particular band's gorgeous musicianship, I was looking forward to seeing them live. 

Filling into the reasonable full tent, and wanting to be able to get out early to head back to the main stage meant that we were located just behind a pillar again. Add to this the sloping nature of the tent towards the stage and it felt like I could barely see anything (please rotate the stage set up or something for next year please, Download). Thankfully none of that really mattered once the band started playing though. 

Opening with 2016's self-titled track 'Kodama', I was met with a song I had heard often in the last few months. I was really impressed by the ability of the band to replicate the majestically beautiful lush instrumentals of the album in the live environment. Although I found vocalist Neige's vocals to be quite low in the mix, the combination of the French lyrics and nature of the music meant that this didn't have as much of a negative impact with Alcest as it may have done with another band. With the crowd being totally receptive of the material being played, this felt like a great start to a gorgeous set. 

Stunning as this was though, the fact I was already feel a bit tired meant that I could feel myself wanting to close my eyes towards the end of the song, so it was probably a good thing that the next song played was 'Oiseaux de proie'. This brought back that killer black metal edge to proceedings. It was in this song that I could see and hear the crowd engaging in the most energetic manner of the set as well. The combination of soaring lead guitar lines, spacious yet heavy distortion and versatile vocals was conveyed wonderfully within the tent, I thought.

Onto the last song we would see before having to leave was 'Autre temps' from 2012's Les voyages de L’âme. This was another familiar track that ramped the melodic sensabilities up to 10 with its multi-layered instrumentals and huge choral vocal hook. Really nice song, and I'm really happy that it sounded even bigger in the live environment.

Leaving before the last song, 'Percées de lumière' played, all without hearing much from the vocalist himself meant that the music was really there to speak for itself. There could barely be anything nicer music to have speak for itself either. This was certainly a nice change of pace after watching Amon Amarth and certainly for what was to follow. I'm very much hoping that Alcest can release another album in the next while and tour it around the UK as I'd be there in a heartbeat. 

______________________

WORDS: Joanne Gray

Hoping that the next set from the Virginia groove metal legends would wake me up, I headed back over to the main stage to watch Lamb of God. I've seen this band a few times now, and they've never failed to impress me, so I had high hopes that they would slay Download this time around as well.

With only a monochrome backdrop and US flags onstage, the band got the large crowd moving with the ultra-groovy 'Omerta'. As usual, frontman Randy Blythe was immediately causing havoc as soon as he entered the stage; all flailing limbs, dreadlocks and a spring in his step. As the rest of the band provided that tight, technical riffage, it was evident that Lamb of God were still on top musical form. Throwing out songs like 'Ruin', 'Walk With Me In Hell' and 'Now You've Got Something To Die For' immediately after this then upped the pace, all the while showcasing just how many huge songs Lamb of God have under their belt at this point in their career. Circle pits and squealing vocals from Blythe were plenty here. 

It was only when the two songs from 2015's Storm und Drang ('512' and 'Engage The Fear Machine') were brought out that things seemed to slow down from the crowd, as the more slow, melodic nature of the former meant that people were singing instead of moshing. I felt that the latter fell a bit flat as the crowd didn't really seem to know that one as much, and the energy due to the persistently scorching sun seemed to finally be taking its toll. Probably a good thing that there was this slower section of the set though, as the rest of the songs chosen here were pretty outrageously brilliant. 

The circle-pit inducing 'Blacken The Cursed Sun' with that killer "Hell no" mid-section bled into 'Descending' before the set ended with one of the most colossal three-song endings you'll find from (nearly) any metal band live. 'Hourglass', 'Laid To Rest' built the energy back up again before ending with one of, it not, the biggest pit on the main-stage that day with set closer 'Redneck'. Throw in Randy diving into the crowd while still spitting out the lyrics and you had a killer high-octane end to a show here.

Showing that it isn't always necessary to have an elaborate stage set-up when you have the songs to win over crowds, Lamb of God put on a typically great show here. I only wish that they would get back into the studio at some point so that they can throw out some newer material live in the future. I would've liked to maybe see a Burn The Priest song here as well, but that's just me being picky. 

Stellar live band. As always. 

______________________

WORDS: Ray Mondo

With the crowd gathered at the main stage in their masses before the stage setup could even be completed (or rather specifically in this case, before Corgan's whimsical dream-land creations could be inflated), it was safe to say there was many an eager fan here to see seminal 90s alt-rockers The Smashing Pumpkins. This featured a semi-reformed classic lineup of Billy Corgan, guitarist James Iha and drummer Jimmy Chamberlin, rounded off with the addition of new touring bassist Jack Bates and returning keyboardist Katie Cole.

Kicking off with the as-ever angsty and abrasive riffage of 'Zero', the crowd were all bouncing about in what seemed to be disbelief that this was actually happening - for any band this would be more than a great start to events. However, the high-octane atmosphere steadily reduced as new album cuts 'Solara' and 'Knights of Malta' were then thrown in, and the flow of the set seemed to trail off from the excited energy we were experiencing only a few moments ago.

Things were brought quickly back around with the iconically moody 'Bullet with Butterfly Wings', before again things were slowed right down again with the appearance of some more later songs in the form of 'G.L.O.W' and 'Tiberius'. One can't help but feel many people here were expecting some more classic cuts given this is a festival appearance. With that being said, there were plenty of people singing along to every word, but as a whole the crowd largely stood around watching in slight confusion due to the odd flow and atmosphere of the set. Starting with one of your heaviest tracks to then bring out some slower and more recent additions is a bit of a bold move, even for a festival sub-headline appearance. Thankfully, 'Disarm' received an outing to many a cheer, and hidden gem 'The Everlasting Gaze' even got a look in with some very interesting slight re-arrangement going on with the instrumentation of the latter, due to the band's new 3-guitar lineup.

Corgan, in a rare moment of speaking to the crowd, brought on the Danish folk/black metal band Myrkur's lead vocalist Amalie Bruun for a surprise guest appearance. Some more confused comments floated around the crowd to the sound of a slightly half-hearted applause. I guess the problem here was that most people there to see the Pumpkins would haven't much prior knowledge of Myrkur, but I digress. The band launched into a cover of Black Sabbath classic 'Snowblind' with Bruun on vocals. Musically, the guitar tones were on point and that riff is one nobody can resist moving along to, however the noticeably pregnant Bruun seemed somewhat lost on stage, either appearing to struggle slightly with vocal volume up against the band or simply not really knowing where to stand. It was unfortunately a slightly awkward affair. To any die-hard Myrkur fans, I can imagine this would be a delight to watch but for a general festival crowd, it seemed largely lost on the majority of those in attendance. 

Bruun swiftly took her leave once the cover finished, and you'd be forgiven for thinking it'd be time to round things off with a few hits, but you would also be mistaken. Corgan re-appeared on stage without a guitar and instead free-handing a mic to the electronic art-dub of 'Ava Adore', to which he shuffled along the edge of the stage throwing hand gestures and enticing the crowd to loosen up. A bit of a bizarre sight to those who know Corgan for his excellent and innovative guitar playing. It was perhaps either an exercise in trying out some new frontman-based moves given the redevelopment of the band's dynamic or simply just to confuse the crowd further, as Corgan cracked a few rare sly smiles between lines after looking down to the crowd. The guitar thankfully reappeared though after this, and things were rounded off with the Siamese Dream hit rocker 'Cherub Rock' and the doom-laden 'The Aeroplane Flies High', which definitely got a bit more of a positive reaction similar to the one 'Zero' received at the other end of the set.

Performance-wise and visually, the Pumpkins were on point and put on a great show to watch, however their current set does need a slight rethink to even out the flow and keep the energy more consistent, rather than whip out the hits only to slow things right back down again. The addition of a guest singer would have went down better on one of the Pumpkins' own songs, but you can still appreciate their homage to classic rock and their efforts in doing this. Nevertheless, and I say this as a fan of the Pumpkins, getting to see them was definitely an experience I'll gladly remember for years to come.

It's certainly not every day you get to see them live in the United Kingdom.

______________________

WORDS: Joanne Gray

Having a chance to grab some food, a bit of a sit down to the more chilled out Smashing Pumpkins set and with the clouds rolling over once again, I was starting to feel far more up for Slayer's set over on the Zippo stage. 

As seen by the hordes of people walking over to the stage as soon as Pumpkins finished, the anticipation for Slayer's last ever UK show was sky high. The size of the crowd more than backed up this fact. Making it only as far forward as the barrier for the band starting, it felt like the entire festival was crammed into Zippo's compact field area. What a sight this must have been for the band when they stormed onstage with the standout 2015 track 'Repentless' then. 

Immediately heads were banging from near the front of the stage, and even where I was standing, the crowd was really enthusiastic as the band thrashed through the seething song. Proving that Slayer were on excellent musical form, they then unexpectedly launched into the early punky tune 'Evil Has No Boundary' with all the aggression and technical prowess that has been particlarly prominent within the last few years they've been touring. It was then into the insane 'World Painted Blood' that made me realise I simply needed to be further to the front of the stage. I was practically bouncing with excess energy which seemed to put me slightly at odds with those around me. Screw it, it was Slayer's last show. I was going close to the front. 

Struggling to get past the crowd after I got round the barrier, I was squished between a crammed audience for songs like 'Postmortem' and 'War Ensemble' but I just about managed to get to the outskirts of the chaotic pit for the start of the 1996 rarity 'Gemini'. Needless to say, the whole experience was made even better being this close to the front just from the energy of the crowd along. Add to this the fact I could feel the warmth of the pyro the band had in spades for this set, and could see the utterly immaculate effort being put in by all members of Slayer so close to me. Cue massive singalongs for the "God hates us all" line in Disciple and this was truly it right here. 

And what a show the band had up their sleeve for the remainder of the set. Instead of relying solely on classic hits for their last ever show, the band delved into deeper cuts from across their discography that they played on the earlier UK tour, such as 'Mandatory Suicide', 'Chemical Warfare', 'Payback', 'Temptation' and 'Born of Fire'. The deliverance of the songs and wickedly satanic stage set up really made a statement of intent here. Slayer were going to deliver a set worthy of their legacy, and you wouldn't miss a thing here if you hadn't had a chance to see them earlier in the year.

After this came 'Seasons In The Abyss' which started the feeling that the set would soon come to an end. With a now darkening sky above them, everything was beginning to feel that bit more bittersweet. Songs like 'Hell Awaits' and 'South of Heaven' slowed things down ever so briefly, only to ramp up the tension which is always present before those last few songs. Once the thunderstorm sounds began before that iconic riff of 'Reign In Blood', the crowd began to diverge, resulting in what has to be one of the most intense mosh pits to ever have been seen at that stage. Having built up all my energy for this moment, I finally launched myself in and the collective feeling of release was simply unreal to experience. You've never really lived until you've moshed to one of the best metal songs of all time. I really hope you all got the chance to.

Those feelings only heightened when the band brought forward 'Black Magic' and 'Dead Skin Mask'. All of this was leading to the moment it would all end, and it was all so amazing yet heartbreaking. Then it arrived with the opening breakneck riff of 'Angel of Death'. Cue another huge pit opening up, Tom Araya's still wonderfully on-point high pitched squeal cutting through the frantic instrumentals. A few short minutes later, there was the final scream of "Angel of Death" and it was all over, the whole front audience exhausted with the effort. 

Knowing that this was it, the crowd cheered like their lives depended on it. Then came one of the most emotional things I've ever experienced going to shows. Slayer took their time looking sadly out to the audience, knowing that it was the last time they would see this. After a few minutes, it was only Tom who was left onstage, and he spent a good five minutes pacing up and down looking out mournfully like a lost puppy to cheers of "Thank you Slayer". There were tears in eyes all around me. Finally, after not saying a word to the audience during the entire show, Tom went over to the mic and said "Thank you. Goodnight" before walking off. He was clearly devastated yet humbled by that sheer response. 

What a way for such a legendary band to sign off at pretty much the height of their musical powers. I'm sure everyone who was still there by the end to witness the final moments will remember it for the rest of their lives. What a band, and what an impact they've had on heavy music. Even with Tool playing their first UK in over a decade over on the main stage, I wouldn't have missed this set for the world. 

Thank you Slayer, indeed. 

______________________

WORDS: Ray Mondo

Right off the back of the Smashing Pumpkins' set, Tool were scheduled to appear on the same main stage just under an hour later. The Pumpkins’ crowd had not left right after their set and quite rightly only moved in further for a perhaps once-in-a-lifetime chance to be right up for the front for Tool. This was at least my plan anyway.

With their last Download headline appearance taking place in 2006 in support of last album 10,000 Days and their last UK show happening in 2007, it was safe to say this was not something to be missed. Chances are if you bumped into somebody in the arena that day they would more than likely have been wearing a Tool t-shirt or something similar, having only established more and more of a cult following in their absence from the studio.

Like watching a biblical event unfold, Tool took to the stage to infinite cheers, applause and an endless sea of metal horns. Vocalist Maynard James Keenan (dressed in old-school Doc Martens, painted-on golfing trousers, a Puscifer-brandished leather jacket topped off with comic book style face paint and a spiky mohawk) more than resembled a Guitar Hero character, as he took his place up on the back riser next to drummer Danny Carey. In recent years he has not been one for traditional rock frontman cliches, so instead he made up for this with his trademark angular movements. Of course he also had so much control over those vocals that you'd be hard-pressed in finding another vocalist to compare him to.

Launching with 1996's 'Ænema', a cynical look of the then-parasitic and toxic throwaway lifestyle of Los Angeles, the lyrics hauntingly rang more than true with today's situation all across the world. To a similarly warm-welcome reception, the band broke out 'The Pot' from their last album, before giving way to a surprise appearance of 'Parabola', a song usually preluded with the more ambient intro track 'Parabol'. There were many yells and screams of disbelief from the crowd during those first few notes for this, which was quite unusual even for Tool- it's like being given the keys to a car without ever needing to do your driving test.

Of course with their headline appearance, there was still much buzz around Tool’s new album which has been in the works for many years at this point, as well as the recent live debut of two new songs 'Descending' and 'Invincible', the first since 2006's 10,000 Days. With that said, the band show no hesitation when they rolled out 'Descending', an elaborate song that starts off closer to being a mood piece which then transforms into a complex prog marvel. The crowd went almost completely silent and watched with keen interest in an effort to absorb as much of the moment as they could here.

After a few moments silence to let it all sink in, 'Schism' appeared with the instantly recognisable bass riff courtesy of the superbly formidable Justin Chancellor. The crowd were then treated again to the UK debut of "Invincible", an 11-minute epic that showcases the best of the classic Tool intricacies that have become hallmarks in their songwriting, more specifically the song was reminiscent of the band's Lateralus-era style of writing. Chancellor performed even more bass wizardry as the song went on while guitarist Adam Jones went from his trademark intricate string-picking to heavy palm-muting, never struggling to keep up with the ever-changing time signature courtesy of drumming powerhouse, Danny Carey. Early Undertow track 'Intolerance' made an appearance, followed not too far off by the even earlier Opiate track 'Part of Me', which sounded heavier than ever but still blended in seamlessly with Tool's more recent material. This in itself has undoubtedly always been one of their strong points when it comes to their back catalogue.

Visually, the show was certainly something else to witness - a giant Star of David glowed above the centre stage, spotlights illuminated the band members during their highlight moments, and the iconic Alex Grey art constantly shifted and changed into something else somehow more interesting than the last. With these mysterious and eerie visuals appearing on the screens around the stage for every song instead of the stage cameras showing the typical close-ups of the band, it is obvious to see this was the band's way of using their headline spot to their advantage to provide everyone with the optimal Tool experience.

The band finished off with 1996's 'Stinkfist' (perhaps one of their more popular songs), with many people cheering as soon as Jones' unmistakable feedback intro became audible. In the crowd, pits opened up with not a downturned smile to be seen anywhere. After a blistering performance, the band thanked the crowd before leaving the stage without making anything close to a fuss. There was no encore to be had, in perhaps-typical Tool fashion. However, this wasn't necessarily the worst thing in the world as again something like an encore would be in some part subscribing to the typical rock cliches. After the eye-boggling and simply mind-blowing performance Download had just been lucky enough to witness, no encores are needed.

In many years to come, there will be music fans without a doubt going green with envy as their friends recount the time they got to see Tool headline Download for the first time in 13 years. An amazing performance and an indescribable experience.

______________________

And that all brought Download to a stunning conclusion. Regardless of the weather, and quite frankly, appalling organisation from the festival at times, all of us at RWEI and the crowd at large had an amazing time once the music started. 

Thanks to Ray and Ross for their reviews on this part here, and across the entire weekend. Thanks to you as well for reading. Be sure to check out the first two parts of this bumper Download special if you haven't done so already. Much appreciated if you could leave a comment, share/give RWEI a like on the socials as well and make sure to get in touch for any contributions or submissions.

Cheers!