There are two distinct points where you feel like you’ve truly arrived at Download. The first is that moment when, having trudged from the car park, you are able to shrug off the monstrous backpack (that somehow weighs a tonne despite containing only the absolute essentials like pants and beer) and collapse on the grass. It’s the calm before the storm – a moment to grab a beer before rolling out the tent, and also a chance to say hi to your invariably friendly neighbours. It’s a moment filled with expectation, especially having been away from the hallowed fields of Donnington for two long years.
The second moment is when you emerge from a bend in the racetrack to walk across the oh-so-familiar, stony entrance ground. Pass through security and suddenly you’re there, looking out over the arena, with its myriad stalls, bars and stages set up and ready to go. It doesn’t matter how many times you do it, it’s still a special moment and, from that point on, you’re lost to the weekend.
The enforced gap between Download 2019 and 2022 may have been onerous for fans, but it’s clear that the organisers have not been idle. Much has changed, and a number of improvements make for a much better festival, rain or shine. The most obvious change is that the Village is now entirely on hard standing. As it transpires, the campsite does not turn into a quagmire but it’s a brilliant move, allowing for a much more comfortable experience rain or shine. The Village has also been upgraded in countless other ways. The awesomely industrial Crucible provides a space for bands (The Dogtooth and Sidesplitter stages may be found here) and DJs, who entertain the energetic long into the night. The fairground is also much bigger, lending a hellish carnival atmosphere to proceedings; and there’s also more in the way of shops, stalls and even seating, so the weary can enjoy their coffee in relative comfort. All round, the Village is much improved, and it’s also much more accessible than previously.
Other changes are less immediately obvious, but just as important. Mindful of the variable weather that afflicts the festival, the major routes in and out of the campsites are now also on hard standing and there’s been a major redesign of how the festival sits on the racetrack overall, showing that a good deal of thought has gone into making it as weatherproof as it is possible to be.
The arena, however, is much the same as it always was. Both the Apex and the Opus stages remain well-sited, with decent viewpoints, although the Avalanche stage has moved a little further back, making it both more accessible and less liable to sound bleed from the other stages. Also in the Avalanche field, a craft beer area has popped up, which offers shade and a touch of calm amidst the chaos. Alas, it largely runs out of ale come Sunday (a better supply next time please), but the space is a welcome one. Finally, a much-appreciated change is the way the timetable now allows far fewer clashes than previously. Stages don’t exactly, alternate, but it’s close, while the headliners are now predominantly unopposed, meaning you don’t have to make the formerly heart-rending decision of Apex or Opus headliner (Slayer Vs Tool was particularly galling). On the downside, this does mean that if you don’t dig the headliner, your day is done rather early, but there’s enough happening elsewhere, that you’re unlikely to get bored.
Friday
And so, with the introductions out of the way, on to the festival… Kicking off Apex stage,
Wayward Sons bring the southern charm, offering up huge riffs and tight vocal harmonies. They pull a decent crowd, despite their early stage time, and their airy melodies are perfect for the blazing sun and good time vibes from a crowd simply delighted to be home. The band have a great sound, great banter and they even offer up the day’s first singalong, with the aptly named Feel Good Hit demonstrating the Wayward knack for writing sunny music for sunny weather.
Next up, it’s over to the newly named Opus stage for Kris Barras, one of our picks for the weekend and a fast-rising star making his Download debut. There’s something so cool about seeing a deserving artist moving up the ladder and Kris has long had the potential to engage a rock crowd, despite having emerged from a primarily blues background. The consummate showman, Kris makes a great entrance, his band laying the foundation before he emerges, blazing fire from his fret board. Kicking off with Hail Mary is quite the act of bravado, but it quickly becomes clear that Kris has a veritable army of supporters in the house, and the singing comes from across the field and not just the front. From hereon in, he can do no wrong and tracks like Dead Horses and These Voices showcase the cracking riffs and hook-laden harmonies for which Kris is justly famed. Clearly aware of the Donnington legacy, Kris comes out all guns blazing, and it makes for a bruising, yet memorable set. We bet he’s higher up the bill next time!
Staying on the Opus stage, we catch Myles Kennedy next and, while the crowd are clearly enthused, he lacks something. Like Tremonti, who plays on Sunday, you can’t fault the professionalism of Myles and his bands, and you equally can’t doubt that he’s one of the vocalists of his generation. That said, unlike his work with both Slash and Alter Bridge, there’s just something missing from his solo work, which sees him hit a groove and stick to it. Reference points abound – Alter Bridge (of course), a touch of Alice in Chains and a hint of Jeff Buckley, but ultimately it lacks the fire to really ignite in the way that, say, Kris Barras’ set did, despite the strong opening of Wake Me When It’s Over.
Over on the Apex stage, The Black Veil Brides put on a surprisingly brutal showing, energising their sizeable fan base with their rock ‘n’ roll moves, throat-ripping anthems such as All Your Hate and, of course, the more melodic fare of The Legacy. With their Motley Crue and Kiss influences proudly worn on their leather-studded sleeves, The Black Veil Brides highlight the enduring popularity of greasy rock ‘n’ roll, and the packed pit positively swelters in the heat.
Back over on the Opus stage, something dark is stirring. With arguably their heaviest album to date under their collective belts, Lacuna coil arrive in a swirl of dry ice (or whatever bloody substance they use these days) and zombie make up. They seem absolutely delighted to be back and tracks like Trip The Darkness and Reckless (the latter with Christina sounding more like Kate Bush than ever) taking on new shapes in the live setting. Of course, there’s plenty of room for classics, and the likes of Heaven’s A Lie are greeted like old friends. While bright sunshine may not be Lacuna Coil’s natural setting, they pull a good crowd and deliver a strong showing.
Meanwhile, on the Apex Stage, the unstoppable Skindred do what they do best – stir the crowd into a frenzy with great tracks and ridiculous banter. Benji remains one of the most engaging frontmen in the UK, and his manic presence is enough to encourage an entire field to do The Newport Helicopter… that is when they’re not bouncing along to the band’s massive anthems. And anthems Skindred have in plenty. Pressure, Big Tings, That’s My Jam, Smile Please… these are songs designed for a huge crowd and, as Benji says, they’re songs to make people smile. A band that never fails to connect, Skindred excel in this sort of environment, and they very nearly steal the day… there’s still Kiss to come, though.
Another band who guarantee a good time, Antipodean rockers Airborne have unashamedly modelled themselves on AC/DC, and their whiskey-fuelled grooves go down smooth with a crowd who, like the band, are Ready To Rock. As anthems go, it’s a belter and it sets the tone for a set that includes plenty of opportunities for the packed-out crowd to test their singing voices, not least Back In The Game and Breakin’ Outta Hell. Never a band to give any less than their best, Airbourne know what the crowd want, and with shirts off and alcohol flowing, that’s exactly what they deliver
It’s been a long time coming, but the day belongs to Kiss (as the myriad t shirts in the crowd attest), and the Apex Stage is suitably crowded as the band’s long-standing intro tape rumbles into life. Noticeably louder than any other band on the stage today, Kiss were never going to let their final appearance at Donnington (and, probably, in the UK) be anything less than legendary and, in this, they fully succeed. With Kiss statues adorning the stage, the band are lowered from the stage roof in a shower of fire and sparks, making for the festival’s most gloriously over-the-top entrance. It’s straight into the timeless Detroit Rock City, complete with enough pryo to level a city block, and we’re off. Mindful of Donnington’s legacy as a heavy metal mecca, the band stick to the heavier side of their catalogue, and the opening run sees the band tear through Shout It Out Loud, Deuce, War Machine (YEESSSSSSSS!) and Heaven’s On Fire, before the crowd even have the chance to draw breath.
With enough explosions to keep even the most manic fan happy, the band head into the wonderfully ridiculous I Love It Loud, which features a classic singalong chorus, plenty of whiplash from Gene’s heavy metal and, to cap it all off, a fire breathing finale. Cold Gin, a stone-cold Kiss Klassic gets both a lengthy intro and Tommy taking out the stage lights with rocket fire and, while Tears Are Falling and Lick It Up get a great reaction, it is the underrated Psycho Circus that sees the drumkit launched skywards as Eric Singer delivers a perfectly pitched drum solo.
From there, we’re into home run territory. Kiss are more or less flawless as they indulge in the proto-doom of God Of Thunder (complete with eerie, Demon intro and blood-spewing antics), the cheeky Love Gun (complete with Paul Stanley, of course, playing from the sound desk), and a massively rocked-up I Was Made For Loving You. They may flub the intro to Black Diamond a touch, but that only adds fire to their performance, and the main set ends in an orgy of fire and smoke.
Kiss, of course, aren’t done just yet and they offer up a three-track encore of Beth, Do You Love Me (during which the audience are showered with Kiss Balloons) and, of course, Rock ‘n’ Roll All Nite, the latter featuring a confetti storm that obliterates the stage. It’s an epic, emotional farewell to the band, and it more than lives up to the myth making, which has been the band’s trademark since they started. People are too ready to dismiss Kiss and they have (by their own admission), lost their way on occasion, but, you don’t get to have so long a career, if you don’t have some truly great music to back it up, and it is this aspect of Kiss’ legacy that gets a thorough showing tonight. We wanted the best, and we got the best – Kiss will be missed, but what a send-off.
Saturday
Opening second stage – Dirty Honey push out a strong AC/DC vibe but, while the same charge could be levelled at Airbourne, the latter are far more energetic in their delivery, and Dirty Honey simply don’t seem to connect. The small crowd seem to love them, though, so perhaps it depends on how invested you are in the current classic rock revival.
In contrast, over on the main stage, The Raven Age sound both confident and powerful. With a good sound and plenty of riffs, the band’s appeal is clear, pulling a decent crowd. Still somewhat in thrall to their influences, not least with the Maiden-esque Salem’s Fate, the band are, nonetheless, finding their own identity and they ooze potential. It’s easy to imagine them ascending the bill, with each subsequent appearance.
Back over on the Opus stage, Malevolence prove themselves aptly named. As brutal as their name implies, they evoke memories of the much-missed Pulkas, alongside more standard influences – Pantera and Lamb of God spring to mind. With the sun beating down on the exposed slope, they offer up a sinus clearing dose of heavy metal, with tracks like Malicious Intent and the crowd are clearly into it. For those looking for the heavier end of the spectrum, Malevolence tick all the right boxes and their final exhortation, to Keep Your Distance, provides a fitting conclusion to their intense set.
For those seeking an easier time of it, Monster truck offer up bright grooves and southern vibes. The band look like guitar playing yetis and play in a manner reminiscent of Zak’s own Pride and Glory, and they fit right in on the Apex Stage. It’s the band’s 4th Download, not to mention their first time in UK since the pandemic, and you can tell they’re excited to be back. Mixing things up with plenty of old favourites such as Livin’ Free as well as the brand-new Gold Woman, the band offer up trippy keys and a Deep Purple vibe that perfectly suits the sun-dappled arena.
Meanwhile, over at the doghouse, an eerie intro paves the way for the much-touted Dana Dentata. Billed as industrial / rap, the overwhelming vibe is nu metal, precision tooled and amped up to eleven. This, perhaps, should not be too surprising from an artist signed by the compelling, if slightly incongruous, duo of Marilyn Manson and Kanye West. At any event, the sound in the confines of the tent is oppressively loud and the sweaty darkness provides the perfect setting for Dana Dentata’s explosive performance.
On the main stage, festival veterans Black Label Society draw an enthusiastic crowd. Zakk, of course, knows how to rock the Donnington stage, having both played with his own outfit and headlined with Ozzy, and he arrives on typically bullish form. Songs such as Bleed For Me and Destroy And Conquer are perfect for the mid-afternoon slot, although it does all start to feel of one tempo as the set progresses. Nonetheless, it’s always a pleasure to see Zakk Wylde, an enthusiastic performer who never gives less than 100%, rocking Donnington and there are a lot of BLS fans down at the fornt.
With Shinedown vastly popular but far too slick for our tastes, it’s off to the craft beer tent for a brief break before the packed evening takes off. It’s the only part of the weekend that comes with difficult decisions, and we have to split our forces to cover the majority of what we want to see. On the Apex stage, Deftones are on fiery form. Opening with Pompeji and Genesis, the band are an arty proposition, and they seem to polarise the crowd. Tracks like Be Quiet And Drive (Far Away) and, of course, My Own Summer reward the faithful, but they are dispatched relatively early into the set, and you wonder if the band wouldn’t have been better placed to focus a touch more on the hits for so prominent a slot. That said, Deftones are a band who have always prioritised their art over mass appeal, and the set is perfect for fans who have waited a long time to hear tracks from the stunning OHHMS.
In stark contrast, Napalm Death offer up a bludgeoning of the brave in the packed Doghouse. On the one hand, you could argue that the dark, sweaty interior is very much Napalm’s ideal setting, yet every time they play here, the crowd spilling out of the door is several deep. While the competition of Deftones, Mastadon and Megadeth (all overlapping) means that Napalm Death is slightlyclamer than last time, it still feels like they deserve a bigger space. For those who do make it in, it’s rather like being trapped in an industrial grinder, as the band unleash a mix of old school classics and belligerent newcomers from Throes Of Joy In The jaws Of Defeatism. Proving that the line between artistic force and musical endurance test is a fine one, Napalm Death are refreshingly honest and perpetually uncompromising, leaving the audience dazed and confused by the time their half-hour set has concluded.
Over on the Opus stage, Dave Mustaine leads Megadeth to victory as they headline to a massive audience. Megadeth rarely, if ever, put a foot wrong and Dave has an enviable catalogue from which to draw, making them the perfect warm up for the legendary Maiden. Opening with Hangar 18, the sort of track with which most bands would encore, Dave and his band are simply devastating, and it’s notable that relative newcomers like the Eastern-tinged The Threat Is Real fit in right alongside the classics. Throughout, a chatty Dave appears relaxed and happy and Megadeth deliver a pitch perfect set, filled with some of the most dextrous guitar playing you’ll see all weekend.
Back to the Doghouse, and Sepultura deliver one of the sets of the day, if not the weekend. Given far too little time, Sepultura simply bulldoze the crowd with a compelling mix of old and new material, echoing in part the brilliant Sepulquarta release. Thus, we get an opening barrage of Arise and Territory, followed by the dense and claustrophobic Means To An End. Capital Enslavement is nothing short of a masterclass in metal, while old-school fans rejoiced in Propaganda. An absolutely ferocious cut, it sees fans streaming from the packed mosh pit, and yet the Seps still have more up their sleeves. Following an epic, even cinematic, Agony Of Defeat, the band return for a victory lap of Refuse/Resist and Roots Bloody Roots. They deserved longer but, in the event, their set was an utterly perfect mix of old and new, blessed with a crystal-clear sound and delivered with maximum conviction. Flawless.
And so, back to the main stage, for Iron Maiden. These Donnington veterans never disappoint and, although they arguably take a few songs to hit their peak, when they do, time flies by at lightning speed. With impressive deference to the fact that they are still a creative entity, Maiden open with three tracks from Senjutsu, including the title track, Stratego and The Writing On The Wall. It is these songs that feel just a little less polished than what is to follow, but they are impressive nonetheless and The Writing On The Wall, in particular, feels like a future anthem.
A short set change, which sees Senjutsu’s backing swapped out for The Legacy Of The Beast’s setting, and the band positively explode into Revelations. From here on in, it’s hit after hit after hit. Blood Brothers (more poignant than ever in the light of recent events), the epic Sign Of The Cross, the gloriously ridiculous Flight Of Icarus, it’s all here – delivered with power and precision by one of the best bands to ever grace the stage. You want Fear Of The Dark? Well, you better scream for it, and Bruce will deliver. Hallowed Be Thy Name (one of the best metal songs of all time) races by, while the cheer that goes up for The Number Of The Beast’s creepy intro makes you thrill to be alive. And then, just as you can’t believe that some ninety-minutes have flown by, it’s Iron Maiden and we’re done.
Hey, of course, we’re not really done. The band are simply having too much fun to stop now and, despite the fact that the whole damn set has basically been any other band’s encore, Iron Maiden still have The Trooper, The Clansman and Run To The Hills, all of which remind the audience of the remarkable quality and consistency of their back catalogue. Explosions, giant Eddies (taking a right royal kicking during The Trooper) and waves of adulation from the audience – this is what the Donnington crowd live for, and it’s immense. This time, however, the band do have us fooled. Having left the stage, the crowd start to drift away, only for Churchill’s speech to blaze forth from the PA. And there Maiden are once more, performing beneath a life-size spitfire that ducks, dodges an dives as the band spit fire one more time. It’s a phenomenal conclusion to a brilliant day of metal and the conclusion is inescapable: up the irons!
Sunday
Bypassing Wargasm, whose primary success seems to be based on shock value and, perhaps, the ability to channel Limp Bizkit and Drowning Pool, we start our Sunday at the Avalanche Stage with the quite excellent Dead Posey. A band with a wide range of influences, from Garbage and Depeche Mode to P J Harvey and Nine Inch Nails. They have a tough groove, attract a decent crowd, and put in a passionate performance that is irresistible. Even a cover of New Order’s indelible Blue Monday is neatly tethered to the band’s own identity, although it’s the band’s own material (especially Sorry I’m Not Dead) that really ignites – Dead Posey are definitely a festival highlight, and it’s easy to imagine the band gaining a much higher slot next time.
Over on the Apex stage, Powerwolf bring their huge-lunged anthems, and the crowd sing along gamely, but it’s all a bit much after the first few songs. Maybe it’s the weekend taking its toll, but power metal too often seems to cloy, and despite the tongue in cheek glory of Demon’s Are A Girl’s best Friend, we wander off before the set concludes. That said, the cheers of the crowd that echo across the arena suggest there are plenty of Powerwolf fans in the house, and you absolutely cannot doubt the near operatic intensity of their performance.
From tongue in cheek to outright foolishness, Alestorm are perennial festival favourites and yes, of course there’s a fucking giant duck on stage – why would there not be? With keytars to the fore, Alestorm emerge like conquering heroes and do what they do best – blast the audience with vaguely nautical-themed metal, swearing like dockhands all the while. Thus, the band open with Keelhauled, keep the party going with Treasure Chest Party Quest and spend a good deal of time instructing the audience to Drink. By the end, we’ve been Fucked With An Anchor (it’s not the size that counts etc. etc.) and the band leave the stage with the potty-mouthed Shit Boat. Always a solid bet for the middle of the day, Alestorm cheerfully entertain a crowd who are clearly in the mood to party.
Over on the Opus stage, Altar Bridge / Creed axeman Tremonti is leading the charge for hard hitting, melodic rock.An exceptional guitarist and a capable vocalist, Tremonti kicks things off with Thrown Further, a track that seems to connect nicely with the massive audience basking in the sun. Throughout, Tremonti and his band offer up a strong showing, but the focus is a little too much on mid-tempo tracks like My last Mistake and A Dying Machine, while the blistering Cauterize is represented only by Another Heart. Nonetheless, the crowd love it, and it is arguable that Tremonti needs a longer set time to really show the breadth of his catalogue.
Who doesn’t love Volbeat, the crazed Johnny-Cash-Meets-Metal outfit, whose sound remains defiantly original? Taking to the mainstage, they open with an intro tape showcasing their live fury on stage, before emerging to continue the job. With a massive catalogue from which to choose, the band easily tear through tracks like Pelvis On Fire and Sad Man’s Tongue, although it’s Shotgun Blues that sits as the set highlight. With crunchy riffs galore, the band up the ante on the main stage, and it’s noticeable that they garner one of the largest crowds of the day.
Speaking of large crowds, why in the name of all that is holy have Korn not had a chance to headline? It’s certainly not for the lack of classic material, as their all-too-short set goes to prove. The band are on fire and Jonathan Davis even seems cheerful as he drags Donnington, kicking and screaming, into his heart of darkness. With an excellent run of albums behind them, two of which have never been toured in the UK, Korn simply blaze away, offering a mix of new cuts and massive hits to the enraptured crowd. Props, meanwhile, go to the massively talented (and gleefully theatrical) Ray Luzier, whose musical approach to percussion has really helped to take Korn in new directions.
The music meanwhile is surely headline worthy, certainly in terms of the sheer weight of classics deployed, Korn open with Dead, Falling Away From Me, Got The Life and Here To Stay, barely drawing breath between each. When the new cuts do come (an emotional Start the Healing and a blistering Cold), the crowd are baying for more between every song, while the band interact more than ever before, whipping us into a frenzy. There’s more – the stunning single Worst Is on Its Way is sandwiched between Y’all Want A Single and Coming Undone, while a medley of the band’s early material only reminds us that time is not on our side. An unforgettable set, Korn bought headliner class to their perennial second-from-the-top slot, and they leave the field shattered and drained in their wake.
For us, the final band of the day is over at the Avalanche tent, wherein legendary act The Descendents play a set of punk classics to a packed tent. This is by no means meant as a slight against Biffy Clyro who, by all accounts, turned in an immensely impressive set to an adoring crowd, but rather the necessary (and sometimes unavoidable) calls of work that require us to leave the field of battle earlier than we would otherwise like. As far as headliners go, however, The Descendants are no mean end to an awesome festival. Kicking off with the somewhat nihilistic Everything Sux the band are on ferocious form, and their sharp humour and scything guitars give tracks like Hope, Coolidge and ‘Merican a serrated edge that underscores just why they are considered so influential. The crowd, while not as densely packed as the Doghouse so often becomes, is close to boiling point by the time the band’s all-too-short showing comes to an end and it’s something of a relief to emerge, blinking into the light once more.
And so it is that Download 2022 comes to an end. With a varied line-up featuring a fantastic mix of classic acts and up and coming bands, the festival truly had something for everyone. Changes to the site mean that it is better organised and laid out than ever, with The Village more accessible and queues at the beer tents considerably reduced from previous years. With the news that next year’s Download is set to be a four-day extravaganza, we end on this thought: for two years, Download lay dormant, and in that time, the organisers could have done nothing and still have been assured of a strong showing from fans who keenly felt the absence. That so much was done in terms of organisation is a testament to the spirit that has kept Download as one of the largest heavy festivals on the UK circuit, while the friendly vibe was further enhanced by the sheer joy that we all felt to be back. No words can easily do justice to so immense an event, suffice it to say see you in 2023 for the biggest Download yet!
Words: Phil Stiles & Jola Stiles
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