There was an earlier start on Day 2 of Takedown Festival but at least I knew where everything was now and my leg muscle memory kicked in as I started to dart between all the musical goodness on offer across the three stages. From a punter’s point of view, this festival was extremely well organised. There were plenty of staff on hand to help people find the stages or places to get food and drink, etc. All of those I spoke to across the weekend were friendly and chatty too, which is not always a given at venues. Whilst there was plenty of room to move about, the main stage area probably seemed a bit too big for most of the bands playing it. On the plus side, this made it more comfortable for the audience as we never felt hemmed in and there was the option of sitting at the back if things started to get too hectic for you.
Tribe of Ghosts are not your usual metal band but, rather, an eclectic mix of post-metal, industrial and electronica. They herald from Brighton but I think my only previous experience of them was at Bloodstock. The introductory bleeps and bloops of “False Gods” hinted that this was going to be a quirky musical experience and the dual vocal attack of Beccy Blaker (cleans and screams) and Adam Sedgwick (dirty growls) added to the dystopian nature of their sound, as the heavier instrumentation dictated. They certainly had their fans here today but I think it will take a few more listens for me to really get to grips with them. The first act on the main stage was the appropriately named Wide Awake Club. I was secretly hoping for Timmy Mallett and Michaela Strachan to jump out from behind the cheesy backdrop (the 1980s kiddie’s show had a logo with a similar font) but no shakes on that front. Google tells me that they are a pop-punk band but I wouldn’t describe them as being that heavy even. It’s a nice sound, it’s a happy sound, and it’s not going to offend anyone. I am sure they are lovely lads but telling an early-doors festival crowd to “sing along if you know the words” may be a bit over-ambitious. I am sure I heard them (and others) refer to “Take That Festival” at one point but that must have just been my hearing – I blame Thuum (see Day 1).
Brighton’s Glass Grave brought their highly energetic and emotional hardcore to the We Are Trxsh Stage and tore it a new one. Lead vocalist, Adam, sported a snazzy camo jumpsuit and striking orange beenie for most of the set, which must have been boiling hot. Glass Grave are emotional and hardcore without being traditional ‘emo’ in my view (if that makes sense). The drummer had a slightly shaky start but was soon back on track, along with the rest of the band, as the set progressed and audience energy levels ramped up. The band generated a lot of crowd movement through their ionate performance, from opener “Disarm You”, through to “Alive” and “Death of a Dream”, with Adam pausing to pat someone’s dog part way into “Alive”. Now you don’t see that every day… I do like a bit of pop-punk now and again, especially when they are top tier songs performed well, and that’s the bottom line. Speaking of The Bottom Line, they were up next on the Laney Stage and injected a huge amount of positive energy into the ears of those gathered. I really enjoyed their set of pop-punk bangers, drawn mainly from the, newer, Life Lately album. Definitely a band I will be looking out for in the future. The internet tells me that Lastelle are ‘post-hardcore’, whatever that means? What comes after hardcore? I don’t really know but the few tracks I caught at the beginning of their set were pleasant enough without blowing me away, particularly. I know it’s all part of the plan to generate a bit of excitement from an audience but when bands make demands like “I wanna see some headbanging” from people who clearly don’t know who you are, don’t be surprised if you get comments like “play the right songs and you will”. Quite. Shooting around to the We Are Trxsh Stage, I caught the second half of Swear Blind’s set of shouty, grungy and groovy alt-rock. You can do worse than check out the likes of “Waster” or “Dancing With The Devil” to get a good idea of their craft – very catchy. They made me glad I made the effort to try and catch a part of all the bands that clashed across the smaller stages, rather than choosing one of them and settling in for the whole set.
About a million years ago (well, twenty actually), I buying an album entitled Drive By Monologue by a hardcore/metal band from Tunbridge Wells, called The Hurt Process. I really got into that album and I seem to it getting glowing reviews in the music press. Not long after that, poooof… they split. Listening back to it now, there were a lot of emo elements but today’s live show was a lot heavier. As lead vocalist, Daniel Lawrence, put it, they are now playing shows just for the fun of it and any interest they get is a bonus. They made much reference to the age of the band (and the audience who saw them “the first time around”) but if you didn’t know their history, you would not have guessed the vintage. They bashed out songs from their repertoire with aggressive abandon and hit a lot harder than many of the younger whippersnappers on the bill. They played a thoroughly enjoyable set, stuffed with nostalgia (for me at least). I only had a brief amount of time to spare for blanket and they had only just got into their set when a broken snare drum skin temporarily scuppered proceedings. Unfortunately, this meant I missed most of their ‘atmospheric post-rock’ but it did give me more time to Save Face, as it were… All dressed up in matching red boiler suits, this alt-rock/emo combo originated in New Jersey and channel the spirit of My Chemical Romance through a punk rock filter, whilst maintaining their own upbeat identity. Frontman Tyler was absolutely hyper and bounced around the stage, rallying his troops through a frantic and enjoyable set.
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Hertfordshire’s Fort Hope then graced the main stage. They actually formed some twelve years ago but went through something of a hiatus before deciding to tour again quite recently, making something of a comeback. They play chart-friendly pop rock that veers into harsher territory now and again. They played well and were appreciated by the slowly growing crowd on this Saturday afternoon, Jon Gaskin’s vocals being a particular highlight. Harbinger were a totally different outfit, proceeding to demolish the Metal For Good Stage with a savagely chaotic onslaught of aggressive metal and shredding guitars. Put it this way, they were the only band that appeared to have security ON stage with them during their set, as well as off. I wasn’t sure if it was steam or dry ice oozing out of the room as I approached but they certainly kept things hot and heavy with a very lively pit. Brutal (but in a good way). Over on the We Are Trxsh Stage, Kite Thief (what a name!) were slightly depleted in number due to one of their member’s work commitments. You wouldn’t know it though, as they played a fine uplifting set of empowering pop-infused metal that had everyone bopping along. Elements of dancey electronics were soon smothered by overdriven basslines and guitar leads, all acting as an effective foil for Elin’s alluring vocal performance. She writhed and cavorted across the stage, teasing the crowd with a super-confident display during songs like “Judge Judy and Executioner” and “Pinky Promise”. Her intonation reminded me a little of Bex, one minute, and Gwen Stefani the next, but always maintaining her own distinctive style and sense of self. Kite Thief are a band I will be keeping an eye (and ear) out for in future.
Homecoming queens Seething Akira are Pompey lads and they played an absolute stormer on the Laney Stage. They performed their brand of mashed-up electronic beats and chugging metal riffs with maximum enthusiasm, forging powerful rave-infused metalcore, peppered with machine-gun raps, as well as clean vocals. Massive choruses make for metal anthems and the Seething Akira sound is as much fun as The Prodigy partying with Rage Against The Machine. They treated the substantial crowd to a good selection of old and new tracks, including the infectiously catchy “Metaphors” and “Ixnay”, the latter from the latest long player, Cancel Estate. Kit, Charlie, Stu, Richard, Simon and John exuded huge waves of positive energy resulting in a constantly bouncing pit. My only gripe – the volume was so loud that some of the intricate catchy hooks and inflections were lost in the wall of sound at times. Having said that, they were still my band of the day and I knew there would be a sore neck booked in for Sunday morning. Southampton trio Slackrr provided some fast-paced and cheerful palate cleansing pop punk on the We Are Trxsh Stage. They were good fun and I think bassist (and backing vocalist) Caitlyn probably pogoed throughout their whole set. That kind of energy is infectious. I darted off to catch part of Black Coast’s show, as I had seen them play a powerful and angry mix of pumping groove-metal at Hammerdown Winter Militia late last year. I was impressed by their hooks and cool time changes, whilst Charlie’s brutal vocals were just as intense and impactful as I ed. Another moving and imioned display!
I saw Brighton’s Lake Malice ing Bloodywood back in 2023 and I have to it they didn’t really do it for me at the time. All I can say is they have come on leaps and bounds in a short space of time! Alice Guala’s stagecraft has become really well-honed (through touring?) and her vocal range and style are right up there with the best, both in of power and musicality: from angelic ‘proper’ singing one minute to devilish throaty growls the next. They are another band that combine dance elements with very heavy guitars and drum-and-bass-based drums and I really enjoyed their set this time around. This was a cracking performance of well-crafted alt-electro-metal played with confidence. The Nightmares certainly looked the part in their blacktastic outfits and shades – very goth indeed. They played poppy goth rock, dripping with synths, which isn’t usually my kind of thing but it worked pretty well I thought and they did have some catchy songs.
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Dream State is a band that, by their own ission, have been slowly creeping up the bill of events like Takedown Festival. Originally formed in South Wales a decade ago, they have seen their share of line-up changes over the years but their career seems to be gaining traction recently and good luck to them. Whilst I didn’t find their songs particularly memorable, their metalcore influenced hard rock filled the room well, singer Jessie putting in a ionate and energetic shift while founding member Aled injected metal flourishes into some of the tracks with his shredding. I only caught a glimpse of InVisions’ melodic metalcore (before a bit of quiet time ahead of the headline act) but they seemed to be keeping the Metal For Good Stage highly entertained with their crushing breakdowns and powerhouse vocals. And so to the headliners, take a deep breath now…
Elvana are a Nirvana tribute band, formed in Newcastle upon Tyne, England in 2014, who then decided to perform dressed as Elvis… with an Elvis impersonator lead vocalist. They then incorporated Elvis songs into their set and mashed them up with the Nirvana tracks. As you do. Having never seen them before, I expected this to go one of two ways: a total car crash or the best thing I’d ever heard in my life. However, the results were… something in between, actually. From the bowels of Disgraceland (natch), Elvana paid homage to The King and Kurt in equal measure and whilst I am sure there are some purist fans who wouldn’t be able to hear their set over the sound of their heroes turning in their graves, on the whole I would say things went over pretty well. I wasn’t completely convinced by the slow drawl of Elvis and the ladies singing “Rape Me”, given the gravitas of the subject matter, but Elvana seemed to be at their best when blending Elvis songs into Nirvana songs, “A Little Less Conversation” morphing into “Smells Like Teen Spirit” being the best example. Elvis the frontman itted that he sounds more like Nicholas Cage or Matthew McConaughey much of the time but that didn’t detract from the fun and frivolity at all. Some of the Elvis songs seemed to be played at a glacial pace, compared to the originals, but they did at least stamp their own style onto them rather than just playing straight covers. Shout outs to the guitarist Danny Cobain, drummer Bobby Grohl and bassist Rob Novoselic too, not forgetting the talented backing singers, who packed a helluva wallop and did a grand job. I particularly enjoyed Rachel Farago’s solo song too. That aside, Elvis’ crowd-surfing (and other forays into the crowd) and the big balloons which appeared at the end of the set, provided a fun spectacle for the final night of a hugely enjoyable Takedown Festival. And would I be prepared to see Elvana live again? Definitely… maybe.
Photos by Shells coming soon
