“Your will, consumed in fire, guarded by the serpent.“
Tasked with shaking off any lingering cobwebs was London hardcore unit Clobber, who delivered with grit, humour, and an infectious energy that made it impossible not to buy into their performance. A rapid-fire one-two of “Clobber Rock’n’Roll” and “Hardcore Hive Mind” gave early-bird moshers their first chance to move, punctuated by frontman Longman cracking open two beers Stone Cold style. The recently released “Be Someone” also made the setlist, introduced with Longman’s barked mantra: “Make sure you show up for yourself before anyone else.” Backed by their frantic guitar work, Clobber’s energy was more than enough to blast away any early morning grogginess.
Longman made a point of drawing in the crowd with sharp observations, including the statement that the South is better than the North. The band even threw in a Bad Religion cover, inviting mic-grabbers to the front before scaling the stage rigging. With rage, passion, and intensity in full force, Clobber proved to be the perfect band to kickstart the day. While a hardcore punk act at 11 in the morning might seem like madness to outsiders, Clobber made a strong case for this being the best way to start any day, festival, or otherwise.
After a dose of Clobber, it only made sense to keep the punk energy going. Enter Split Dogs, bringing a more 70s-flavoured strain of punk that was joyous, bombastic, and completely magnetic. Dressed the part in glam and glitter, their flair caught the eye as much as their sound drew in curious passersby. Raspy, hoarse vocals added a distinct edge, helping Split Dogs stand apart from much of the current punk landscape. Like Clobber, they’re likely more used to playing cramped function rooms and side venues, but both bands fully rose to the occasion, delivering performances that felt right at home on the larger stages of The Cave and Neu.
It wouldn’t be a festival without at least one band that made absolutely no sense, right? Enter Eville, the self-proclaimed “brat metal” trio. A relatively new project by all accounts, they were slotted into The Cave, perhaps to draw a crowd thanks to the stage’s otherwise stacked lineup, or maybe because they simply wouldn’t have fit anywhere else. Performance-wise, there wasn’t much to get excited about, but it’s clear the band is still finding their footing. Going from tiny rooms to a festival stage is no small leap, so credit where it’s due, but The Cave felt like a step too far too soon for them.
Their lyricism, in particular, left a lot to be desired by the standards that were seen across 2000trees. The drops of lyrics about “serving c*nt” were in stark contrast to those of the their peers, and left onlookers confused as to their purpose. it was also clear that we were not the band’s target audience, and that’s absolutely fine. Like adjacent projects Delilah Bon, and Wargasm (UK), we struggle to truly understand why mediocre, crudely written tracks find any traction, but then judging by the amount of people wearing their merch, there is clearly something that people are tapping into. Perhaps people love projects like this for their message rather than their sound, a sentiment we felt true of Kneecap who headlined the day prior, or perhaps they’re just looking to support a project whose morals are clearly well aligned. Either way, musically at the very least, we just don’t get it, but hopefully one day we will.
Thankfully, we had Oversize taking over The Axiom to reset our senses and get the day back on track following a less-than-exciting set. A band we’ve had the pleasure of seeing grow steadily for some time now, we were all quite excited for this performance. Making jokes about clashing with the headliner on Twitter/X (their set clashed with a Coheed & Cambria acoustic set), the band’s attitude was known many weeks before the festival, and this tongue-in-cheek branding had worked in their favour as plenty gathered to experience their unique grungegaze stylings.
Playing a slew of tracks from their recently released debut album, Vital Signs, the band had a clear penchant for imbuing emotion and energy into every single facet of their sound. Particular standouts were “Salt” and “fall apart”, which, whilst sounding distinct, were both equally packed with emotion. Fans in attendance could feel this, with some singing along, and others swaying in time with the beat. Our only real comment on this set, which may have paid off in the band’s favour, is the booking choice. With the clash they were given, and The Axiom being the second largest stage, it did at times feel somewhat bare. Perhaps it would have made more sense to have them play The Neu stage, which is more intimate and would have made for a better experience all around. No slight on the band as they smashed their set, and we’re thrilled to have had the opportunity to see them play, and to then interview them later in the day.
Much like Terminal Sleep, who we saw shortly after, Press Club had made the long haul from Melbourne, Australia. With the city and the country as a whole currently producing some exceptional bands, it only made sense to see whether they had also tapped into that same creative streak. Bursting into action with the shouted lines, “Who said I can’t do this better? Who said I can’t live forever?”, their performance carried a sense of purpose, almost as if driven by a chip on their shoulder.
Their sound strikes a neat balance between the indie rock tones heard on The Forest stage and the heavier, grungier textures of The Neu and Cave stages, making them feel right at home at 2000trees. Frontwoman Natalie Foster delivered an emphatic performance, leaping, dancing across the stage, and eventually making her way to the front of the crowd barrier. Press Club served as a reminder of one of the festival season’s greatest joys: stumbling across incredible bands that might otherwise slip through the cracks of the release cycle.
A short walk away, Kaonashi were making their 2000trees debut down at The Cave. Renowned for their peculiar vocal style, this was a band that had amassed a cult following over the course of their career, and now, making their 2000trees debut, those who get it were about to be separated from those who did not. Funnily enough, before their set, we took a moment to cool off in the blaring heat. It was here where a member of the bar staff asked, “What the hell is that scream?” during the band’s soundcheck. A funny interaction for us, it put into perspective just how divisive their sound is.
When the time came, their performance was nothing short of mesmerising, with vocalist Peter Rono captivating the audience from the moment he took to the stage. Predominantly playing tracks from their recently released album “I Want to Go Home.”, the crowd hung on every word. Every track was full-on energy from start to finish, with the crowd taking every feasible opportunity to get involved with the madness unfolding on stage. Infusing peculiar meme-worthy samples throughout the performance, interspersing snippets of lore throughout the set, and generally being weird on stage, they were more than just a band; they were entertainers.
Ending their set with the fantastic “I Hate the Sound of Car Keys”, The Cave erupted into a frenzy of movement. Limbs flying around the pit, moshers showing their best moves, and swathes of people rushing to the front to scream the lyrics back at the band. It was something out of a movie. It’s hard to critique this band; their music is fun yet deep, the performances are impeccable, and they truly know how to command a crowd. I will, however, add that whilst I understand that they’re a lore-based band, it would have been nice for one or two of the lore snippets to have been dropped in favour of a longer set. All things considered, though, as far as festival sets go, they were truly something special, and we can only hope that they’re given the opportunity to return in the not-so-distant future, next time with a longer slot.
Then followed what was a main event of the weekend for some of us, it’s no secret that we’re huge fans of Terminal Sleep, and the opportunity for us to see them live was one we would not miss. For the die-hard fans among us, it probably would have taken death itself for us to miss this set. Ripping the set open with “Tried and True,” the pit became an entity unto itself, a force of its own filled with two-steps, spin kicks, and cartwheels. The adrenaline-charged rage of Terminal Sleep took hold of the crowd early, with “Spineless” and “Elicit Fear” delivered with raw power and intensity by vocalist Thorwesten. Every two-step and screamed lyric felt like a shared ritual.
“They Circle Below”, their brand-new single released just days before the festival, was a standout. Whether heard through headphones or in a live setting, its fearsome energy and dynamic shifts hit like a brick wall. It’s their most nuanced track to date, while still retaining all the grit and aggression that defines Terminal Sleep. Closing the set with their debut track, “Death Therapy,” they proved their ability to sustain that intensity right to the end.
There’s a palpable feeling that Terminal Sleep is on the cusp of something bigger. Around the festival grounds, their presence was unmistakable; their merch, emblazoned with a fierce Aussie spider, was spotted often, including on the vocalist of Hidden Mothers during their Saturday set. Nobody can predict exactly where Terminal Sleep will go next, but one thing’s for sure: it is going to be one hell of a ride.
After a day and a half of heavy music, both emotionally and sonically, we felt that a departure was needed to switch things up a bit. Enter Trash Boat, taking over the main stage, a pop-punk band rooted in the genre’s much more hardcore-leaning stylings. Taking the opportunity to perform a mixture of material, predominantly from their 2024 album Heaven Can Wait, the band’s performance was nothing short of brilliant. Possibly one of the worst-timed slots due to the heat, Trash Boat still managed to pull off one hell of a performance, getting the crowd moving in the beating sun in little to no time. There’s something to be said for their inclusion on the lineup, as traditionally pop punk of this style is something rival festival Slam Dunk specialises in. Perhaps just dipping their toes into the water to feel things out, their inclusion was a resounding success and showed, to us at least, that 2000trees is perhaps ready for a bit more pop punk to be woven into the lineup.
We then moved on to one of the most anticipated sets to take place on The Forest stage over the festival weekend, La Dispute. Nobody quite knew what to expect: would they play a stripped-back, acoustic set? Would they throw caution to the wind and perform as normal, or would they do something else entirely?
Starting things off lightly with vocalist Jordan Dreyer and guitarist Chad Streyenberg, who read poetry from a notebook, the tone was immediately set; this was going to be a much tamer affair than their usual performances. As the band gradually joined them, the set then opened up into a full-bodied sound, with the group delivering their more subdued material. With deeper cuts like “Woman” and “Andria”, those who had taken the time to walk over to the more secluded stage were more than rewarded for their efforts. Even performing the calmer-sounding tracks, the emotional weight behind them still hit with the weight of a freight train. Perhaps it was Dreyer’s vocal delivery, or maybe it was the erratic movements across the stage, but every second was soaked in pure, visceral emotion. A welcome change from the much more physical sets we’d seen prior in the day, we still left feeling somewhat worn down by the emotional toll that this had taken on us, but with smiles on our faces nonetheless. One question remained, however, how would their set at The Axiom the following day compare?
The chance to see Graphic Nature again was never one we were going to pass up. As one of the most earnest and genuine bands in the UK scene, and responsible for some of our favourite tracks in recent years, their set was a must-see. Given the intense heat, it was a little surprising that their trademark windbreakers lasted even a few songs. Drawing from both A Mind Waiting To Die and Who Are You When No One Is Watching?, tracks like “Sour” and “N.F.A.” ignited the crowd into constant motion.
By this point in the day, the heat and swirling dust had created one of the grimmest mosh pits of the weekend, personal hygiene well and truly abandoned for some. The dust made for a challenge for most of us, with vocalist Harvey Freeman particularly struggling but pushing through despite suffering with asthma, a feat that deserves serious recognition. His onstage message about mental health was deeply moving, particularly when he dedicated a portion of the set to the memory of a school friend who recently lost their battle. This truly struck a chord with many in the crowd who are facing their own personal struggles, or have lost others to mental health. Closing the set out with “Killing Floor,” Graphic Nature’s set became a test of both mind and body. But like any band of their calibre, it’s that intensity, the emotional and physical release, that makes their performance unforgettable.
The solo project of Tonight Alive’s Jenna McDougall, Hevenshe, marked a quiet coup for 2000trees, this being her first-ever international performance under the moniker. There was a genuine sense of joy and gratitude radiating from McDougall as she took to The Forest stage, easing into fan favourites like “Wild Wild Heart” and “Trying Not to Feel.” Her sound, laced with a country-tinged warmth reminiscent of Angel Olsen or Sharon Van Etten, felt perfectly at home in the intimate, wooded setting.
Long-time fans of McDougall will already be familiar with her vocal prowess, and here, her voice soared with gorgeous grace, filling The Forest with ease. Alongside those familiar tracks, new material was also introduced, hinting that whenever the follow-up to debut EP Wild Wild Heart arrives, it’s bound to be another defining chapter in an already remarkable journey for Hevenshe. Having never caught McDougall live with her previous projects, finally seeing her in this setting felt like one of 2000trees’ more understated but deeply special moments.
After a short but needed break, it was time for the first co-headliner to take to the stage. A legacy act that needs no introduction, Coheed and Cambria had to have been one of the most anticipated bands across the entire event, with waves of branded shirts cascading down the embankment into the ocean of fans, patiently awaiting the band’s performance. Whilst personally none of us within the Boolin camp knew the band that well, we’d all heard of them, and had heard great things, and for this reason alone, we decided that we’d give them a shot.
Perhaps it’s our fault, but going into their set knowing virtually nothing, we were caught off guard by how basic the tracks themselves were. Of course, that’s not to say there’s no charm to them, and fans of the band loved them, but as outsiders experiencing them for the first time, especially knowing that the band has such a large following, it was surprising. It was tough to find the performance particularly interesting. Vocalist Claudio Sanchez was impressive, with a strong vocal range and great charisma, but sadly, even that wasn’t enough to quite win us over.
All of this to say, whilst we personally found little enjoyment from this set, we were once more in the minority. Moving towards the top of the embankment and looking down, it was clear that fans of the band were having a fantastic time, enraptured by the performance, start to finish. Singing along to every chorus, the band’s presence was undeniable. Plenty of dancing and crowdsurfing backed this up and proved us truly wrong. So, whilst the band may not necessarily have been to our taste, they certainly have something special going on, and if their music clicks for you in the studio setting, there’s no doubt you’ll have a blast seeing them live.
The closing of their set was soon followed by Witch Fever, bridging the gap between headliners on the main stage. Admittedly, we were a little confused as to why the band was booked to play The Neu stage versus The Axiom, but they made the most of it nonetheless. Easing into their set with a selection of slower tracks, the band knew exactly what they were doing. It was “Congregation” where the band fully came into force, following a disruption due to a fan collapsing. Here, their confidence was in full force, and the Witch Fever that we’ve come to know and love were on full display.
For some of us, having seen this band perform in support of My Chemical Romance several years prior, it was a peculiar experience; however, one thing was paramount: they truly honed their sound into something special in that time. Performing with a backdrop of the Palestinian flag and trans flag, there was as much visual solidarity with the causes as there was emotionally, with vocalist Amy Walpole taking the opportunity throughout the set to speak on the importance of supporting these causes, whilst also calling out larger acts for not using their platforms as a means of support.
Highlights of the set, for us at least, were “Blessed Be Thy”, “Bully Boy”, a punky feminist anthem, and “NORTHSTAR”, taken from the band’s upcoming album Fevereaten. Witch Fever have quickly established themselves as icons within the scene for empowering so many important causes, and show no signs of stopping. With such an incredible delivery through their music and stage presence, there’s no doubt that their messages are being heard. Witch Fever, you are truly something special, and at your current rate, we expect to see your name emblazoned on the main stage in no time.
In many ways, Heriot are hometown heroes, given their origins are firmly in Swindon, and via Birmingham later on. There is a genuine enthusiasm for Heriot around these parts, donning their merch will invoke conversation in bars and at gigs of people simply telling you how much they like the band. That energy was more than present for their headline set at The Cave, a full-circle moment, having opened the same stage just three years ago. Now a unit with their performance sharpened to perfection, there were few in the tent who weren’t either headbanging or moshing along to Heriot’s crushing industrial soundscapes. When fists went up to the bark of “Siege Lord,” it was clear; this crowd was fully invested in everything the band has become.
The range within Heriot’s set remains staggering. From the fierce brutality of “Foul Void” to the divine, melodic sweep of “Opaline,” the band executes every shift in tone with jaw-dropping precision. Even after years of watching them evolve, their mastery still amazes. Coupled with a lighting setup that flashed in reds, oranges, and greens, recalling the hellish visual identity seen in their videos and artwork, the performance carried the weight and scale of a true headliner.
Throughout the set and long after it ended, chants of “Heriot… Heriot…” echoed from the crowd, a clear show of admiration and support from the 2000trees faithful. Now, with their first American tour on the horizon, supporting Trivium and Jinjer, Heriot appears more confident and emboldened than ever. One of the region’s finest heavy exports is ready to win over a whole new wave of followers across the USA.
Closing out the day, early 2000s post-hardcore icons Taking Back Sunday took over the main stage, promising to bring waves of nostalgia along with them. A band whose live performances have come under fire in recent years due to their unpredictable nature and questionable quality, it’s safe to say that we had no idea what to expect. Silently optimistic, we found ourselves, amongst thousands of others, waiting with bated breath to see if we were catching the band on a good day.
Our prayers were answered when the band took to the stage, kicking things off with the iconic anthem “A Decade Under the Influence”. Instantly reigniting that emo streak in many, the crowd erupted in cheers of glee, with the band lapping up the praise and imbuing it right back into their set. Progressing through a mixture of material spanning their entire discography, one thing did quickly become clear, however: there was a clear preference for the band’s earlier material.
Their newer material from 2023’s 152 still saw a decent amount of love, but when compared to the pop tracks from the band’s seminal releases Louder Now and Tell All Your Friends, this was dwarfed. Taking Back Sunday holds a special place in the hearts of many, being a formative band that shaped who many have become today by being a crucial part of their childhood and teenage years. Now, with a crowd full of festival goers, many of whom have likely moved on from the band, it was clear to see that the mass appeal comes from their nostalgia factor. Not that it’s a bad thing by any means, and it’s more than commendable that vocalist Adam Lazzara is still trying to give it his all, but the instrumentals alone weren’t quite enough to fully evoke the same childhood wonder that these tracks once possessed. Having, by his own admission, blown his voice, the live vocal style is starkly different from that on record, and whilst it’s not bad, it feels like an imitation of sorts, a ghost of what once was.
All of that said, though, some tracks were able to transcend this pitfall, with the crowd treating it as group karaoke and making the most of it. “Liar”, “Cute without the ‘E’”, and “MakeDamnSure” are perhaps the perfect examples of this. Songs that have become so well-known that, realistically, anybody would be happy to hear them live. It left us feeling remarkably conflicted. On the one hand, being able to say that we’ve seen these tracks live feels like an achievement that our younger selves would have been proud of, and on the other, it’s hard to say that the entire performance was worth seeing. So, where does this leave the band then? Well, it’s hard to say, but given the crowd they drew and their upcoming co-headline run with Coheed and Cambria, there’s no doubt that they’ll continue to sell out shows for some time now. Hopefully one day, we’ll get to hear some of these older tracks in their true glory, however, as it stands, it’s a blessing to be able to hear them at all, and the fact that the band is still doing their damned best to play them as true to form as possible is something we should all be thankful of.
There is something about 2000trees that is remarkable, given how easy it is to navigate the site and just have a good time. While it might sound somewhat on the nose as a statement, the festival is made up of people who have a sense of wanting to be there. A rare pleasantry is the security who will often be seen nodding along to the bangers on stage, and will do their duty of catching those who make the short journey crowdsurfing over the barrier. The bar staff who provide a smile that other festivals rarely do, who you can trade references of Don’t Hug Me I’m Scared as they pour a pint.
This goes alongside what is another day of an immense line-up. Some bands we were able to see live will sit in the memory for a long time. This all might have been helped by the Tacos on stand being some of the best food we’ve had this year, across the jackfruit and meat variants. All in all, though, 2000trees is a festival that provides a small escape from the outer world and all its horrors. Even if we would rather not pay ten notes plus for some Mac and Cheese, at each point of interaction with the festival itself, it’s difficult not to have a moment that embraces the joy of the festival.
Shot on the 11th July by Joe Steven Hart – contact before any use. Words by Jack W, Joe E and Hayley W.