Bloodstock

Bloodstock 2021

It’s here, it’s true, it’s real. We are standing in the hallowed ground of Bloodstock, with freshly glittered nails, our entrance has been secured, and the heart in mouth feeling of the past few weeks caused by the pandemic uncertainty can finally start to abate.

“Will it happen?” has thankfully been replaced by “let’s do this.”

There’s even sunshine instead of the biblical squalls we have been used to, and the forecast is looking good too. Never mind the skies though, all the action is down here on the ground, and the air is ringing with the sweet and brutal sound of Metal.

Wednesday

Anakim were the first band on the Sophie stage, the Dorset Death Metallers fizzing with energy and packing in the layers of sounds. Ward XVI impressed with their theatricality, the full show an amalgamation of gothic and horror tropes which didn’t feel contrived and set a mood of danger and intensity, making sure the adrenaline was pumping. Onslaught as headliners were red hot, mainly due to bringing enough pyro to burn your face off, so much so that the pit was cleared as it was way too dangerous to take photos.

The veterans showed no sign of slowing down, maintaining their influential status.

Security reported dragging an astounding 270 revellers over the barrier—no such thing as peaking too soon here.

Onslaught

Thursday

Fury meant business early doors with a beefed-up classic sound guarantee to blow the space dust out of just-woken eyes. They were a last-minute replacement for Mother Vulture.

There have been many changes, unsurprisingly, but the ability of the bands and event organizers to put on a seamless show is legendary.

Ashen Crown gave us our fix of ag-

gressive, dirty growls and melting riffs, pulling a packed crowd despite the early doors. A truly momentous set.

The main site is pretty full. It doesn’t feel like a warm-up day at all. There’s so much going on, with great traders such as Old Sarum tattoos who are filling up their bookings rapidly.

They’re over in the place that’s usually filled by Motley Brew, who are much missed this year. The legendary Bob Moon is here, so all badge and patch needs are covered, especially with a Patch Amnesty here, too, trading patches to raise money for good causes.

Another familiar and welcome face here is Sir Krusher of Joule, who introduced King Witch. Their heady blend of proggy Metal was varied and full of dynamism, with the rich deep voice of Laura Donnelly commanding attention.

At the New Blood Stage, Slave Steel were powerful and dramatic, and Pemphigoid put on a great show, while at the Jägermeister stage, Ghosts Of Men really impressed with their hook-laden high energy. Earlier in the day, Milliner had tried to blast the roof off with their bone-crushing wall of sound.

The Punk Rock Factory replaced the billed Hacktivist. An unassuming-looking quartet, there was nothing standard about their set. As a concept, it’s not that sophisticated – DIY punk versions of fairly well-known songs, but the sheer force of personality and the somewhat eclectic mix was a complete winner.

A circle pit for a Corrs song, anyone? What about a punk version of the Pokémon song? A packed tent with the overflow leading back past the fairground gave it the thumbs up, thousands of Metallers jumping up and down singing every word.

Lawnmower Deth finished proceedings on the Sophie stage. The Nottinghamshire natives with their mad as a box of frogs thrash satire also raised a smile on the grumpiest of souls, with a cast of characters from spacemen to snails and everything in between. From the gloriously bonkers to the seriously gloomy, Bloodstock has it all.

King Creature

Friday

King Creature launched onto the Sophie stage at 11 am on the dot with a roar. What a start from this hard rocking, hard working band. Their second album, Set The World On Fire, is ripe for touring, and Live Forever and Desolation sounded epic. They have a heavier sound now, but some dynamic elements make the whole thing rise and swoop.

Frontman Dave Kellaway commanded the stage, his strong clean vocals resonating from every corner and anchoring proceedings as part of the blistering rhythm section with Jack Sutton-Bassett. Matt Karl Vincent provided solos to blast away any hangover dregs, trad-

ing tasty licks with Mike Stennett.

Power got the packed tent moving with a fist-pumping and headbanging delight to ensure a growing collection of new fans. A rapturous reception was well deserved, and let’s hope they are back before too long, much higher on the bill.

The Ronnie James Dio stage is open for business, baptised by Foetal Juice first thing before Divine Chaos thrilled with a solid technical set. It had thrash, prog and hooks, classic elements to really get your teeth into.

Acid Reign followed, treating us to a high energy set packed full of personality. They sailed through some tech gremlins with good humour, chatting away to the crowd as if hanging out in the kitchen.

Steam was let off with a huge circle pit for Humanoia, and there was a heartfelt tribute to original bassist Ian Gangwer who passed away a couple of months ago.

Higher Power kept up the momentum, providing a huge amount of feedback and distortion, making a great crowd surfing soundtrack.

Over on the New Blood stage, we experienced the next generation with the young band Beyond Extinction, throwing out a wall of sound that belied their age and experience.

Meanwhile, on the Sophie stage, this afternoon’s highlight was the melodic hard rock of Primitai, covering a good balance between old school and fresh.

Devin Townsend

There’s a superb triple whammy coming up on the Ronnie James Dio stage later with The Wildhearts, Skindred and Devin Townsend.

Venom Prison knocked us for six with a sonic assault that rattled right round the nervous system. A cup of tea and a fruity flapjack sorted us right out afterwards, though.

The Wildhearts played Bloodstock incredibly for the first time in 2019,

and they were one of the bands of the festival. There were two questions to be answered – could they repeat this feat, and would Devin Townsend, who was briefly a member back in the ’90s, make a guest appearance? Yes. And No.

Ginger and co were in fine form, delivering a frantic and full-on set where every song was a crowd-pleaser. Ginger was clearly happy to be here again and introduced drummer Rich, as he wasn’t here last time, saying that the set was better without him, “so give him a warm welcome but not too warm”.

There was a DIY approach to tech, too, as the sun was in his eyes, so he couldn’t see the guitar tuner dial. Instead, he trusted the crowd to shout out if it sounded in tune or not.

Ending with Let Em Go from the recent opus Renaissance Men this hit hard. Its biting commentary showed that the band continues to put out excellent music with socially relevant lyrics.

You know exactly what you are going to get with Skindred, and that is one hell of a good time. From the opening Star Wars theme and Darth Vader himself ushering the band on, it was a powerhouse of ragga infused Metal.

Benji was resplendent in a suit with flames and studs and completely held the crowd exactly where they needed to be. Refusing to settle for even the slightest degree under full participation, affectionately chastising with lines such as “fucking wankers the lot of you” if the desired volume level wasn’t reached.

Only when momentum had built to his satisfaction did the compliments come. This set revived any mid-festival flagging, reinforced by Benji’s message of togetherness resonating like never before considering the times.

Kill The Power was followed as a tribute to the fallen and for us all to breathe for those we have lost. Then with a stripped-down Saying It Now, the lyrics searing through the soul with talk of regret and telling people you love them while they are still here. Emotional stuff.

Proceedings were dialled right back up afterwards, with plenty more bouncing around and call and response. So, after all this roller coaster, were they going to call it a day and give the Newport helicopter a rest?

Of course not. From the opening strain of Warning, there were people with their tops off already. The exuberance of thousands vigorously whirling their shirts never gets old—what a triumph. Devin Townsend was clearly stoked to be up on stage, hardly believing it was real. Neither did the legions of fans, many of whom were on the verge of overwhelm.

The set started a few minutes before the billed time with the screens showing excerpts from the Ziltoid The Omniscient animation (Yes. It is as strange as it sounds) before blasting into what was described as “a Heavy Metal spec-

The Wildhearts

tacular rife with Canadian awkwardness”. That sounds just the ticket!

In reality, there was no awkwardness, despite Devin apologising in advance for any mistakes, saying he would pass it off as improvisation. The humility was welcome but unnecessary as the whole thing was a riot of colour, sound and graphics, resulting in a heady, otherworldly experience.

The mystery band for this evening was Steve Platt (Collibus) on guitar, James Leach (Sikth) on bass and Darby Todd (The Darkness, Martin Barre) on drums, all superbly talented.

This was, unsurprisingly, a heavier set, mainly of newer tracks with a mid-set slowing down of pace. It’s futile to pick some highlights, really, but Kingdom, March Of The Poozers, and Spirits Will Collide stood out.

There were plenty of gimmicks throughout, a kitchen sink approach which actually didn’t seem too much in context. There is plenty of audience participation here, too, with cheesy swaying or batting away the giant inflatables described as “farting ball sacks”.

The epic set ended with more pyro and a rousing chorus of Happy Birthday for Bloodstock’s 20th year.

Devin was a completely worthy headliner with a memorable set on a memorable day.

Saturday

Häxan thrilled as headliners on the Jägermeister stage, the Welsh power trio bringing us highlights from their Release The Girls tour stuffed to the brim with hooks, harmonies and hellraising attitude.

Conjurer provided great entertainment on the Ronnie James Dio stage with lush melodic passages mixed with growls so loud the water bottles were bouncing across the stage.

The Sophie stage is also getting a great wake-up call as Netherhall showcased progressive sounds from their debut album. on their way, both bands pulling in a healthy crowd. Wargasm had their set moved around and settled in this slot after Sylosis succumbed to the dreaded isolation. Vocalist Milkie Way seriously impressed with her power and charisma.

While She Sleeps are a completely misnamed act, there is no chance of getting a quick afternoon nap while the Yorkshire Metalcorers are around. The set was full of movement and ambition, managing to get plenty of textures and hooks, enormously satisfying their passionate fans.

First of the evening bands is Paradise Lost, who are revisiting Draconian Times, their 1995 classic, which has been re-issued on vinyl for its quartercentury anniversary.

The band took to the stage entirely dressed in black, but there was a celebratory air as the moody but not glum

songs rang out loud and clear. Perennials such as I See Your Face and Once Solemn instantly conjured the ’90s vibe when Sisters of Mercy and The Cult dominated the airwaves. Paradise Lost have subsequently influenced countless bands in the Doom and Death genre and this reminder of where it all took off hit a sweet spot.

Over on the smaller stages, Hawxx were the shining stars of the New Blood, swooping on their prey with razor-sharp precision and holding the attention throughout with intelligent tracks, superlative harmonies and finely honed Metal instincts. Ones to watch for sure.

Grey Stag also tried tearing the tent a new one with forceful brutality laced with a generous helping of sludge.

It’s Black Metal’s day to shine here, as evidenced by the glimpse of Winterfylleth we caught over on the Sophie stage showcasing their well-crafted portfolio. Memoriam followed a bit later on, as popular and welcome now as they were in their last appearance in 2018 – which is very much so.

Cradle Of Filth are long time festival favourites, and this set supported the new album Existence Is Futile, coming out in October. The theatricality was in full force, packing in the visuals with trademark unrelenting enthusiasm. These guys know how to put on a show.

Kreator were tonight’s main stage headliners, carrying huge anticipation as one of the late 20th century Death Metal pioneers. As the sun set, even the clouds enhanced the atmosphere setting the scene with darkly dramatic formations.

And there was no disappointment at all from the riff masters. With no need for frills, the purity of the old school thrash spoke for itself, cutting through the night air with German efficiency, slicing through any indifference like a bullet.

In contrast, the band themselves were enveloped in smoke and shadow, for the most part, allowing the shockwaves from the impact of their relentless driving and pulsing catalogue to be absorbed without excess distraction. And with the explosion of a giant confetti cannon, the Ronnie James Dio stage closed, clearing the way for Phil Campbell and the Bastard Sons to headline the Sophie stage with their exuberant full-blooded rock ‘n’ roll.

Sunday

All Hail To The Priest! 50 Heavy Metal Years! That’s later on, though. The bill for today is an embarrassment of riches. We are diving in headfirst, only stopping to come up for air, and maybe a bit of Rob Halford’s Hails and Horn Halford Ale, launched this weekend over in Lemmy’s bar.

The first band opening The Ronnie James Dio Stage, promised Folk Metal and girls dancing with fire. We are a basic bunch, and we know what we like, so that was enough to get us scrambling for a place at the front.

drblot started our day with a ritual, the hooded trio invoking the spirits with their traditional Viking music, and the woodland setting providing the perfect backdrop.

Leading us in ceremony with throat singing, shamanic drums and bowed lyres, the enchantment was complete with the appearance of the gorgeous fire wielding duo.

Suitably prepared, it was over to the New Blood stage for Sorceress of Sin, a hotly tipped new band from East Anglia with a wealth of experience and talent.

Vocalist Lisa Skinner’s powerful tones rippled through the tent, operatic and forceful. It’s one of the first chances they’ve had to present the tracks from debut album Mirrored Revenge, and the searing and complex tracks came alive in this setting.

They are finishing up their second album and continuing to work with Tom Maclean (Haken). Another band to keep your eye on.

It’s always a good day when Diamond Head are in the house. Unleashed after many long months, their careerspanning set hit all the right notes and more. Rasmus Bom Andersen was in fine voice, and Brian Tatler was wielding the Flying V in great style.

There’s still a lot of touring life left for 2019’s The Coffin Train, and sandwiching The Messenger between a stunning Heat of the Night and a foot-stomping rocking It’s Electric is testament to the continued quality of the material. One of the originals and still among the very best.

A quick run over to the Sophie stage was rewarded by a satisfying glimpse of hard rockers Liberty Lies, and then Orange Goblin got right down to their 25th-anniversary celebrations.

Following the amicable departure of Martin Millard a couple of months ago, the new bass player, Blind River’s Harry Armstrong, is a perfect fit for their unique blend of crazy humour and in your face Metal.

Ben Ward’s huge presence commanded the arena, revving up the crowd to a fever pitch. They have such a unique blend of sweat, speed and stoner, in an irresistibly bouncy wrapper—quite the tonic.

Back over on the Sophie Stage, Wolf Jaw were a must-see. The Black Country power trio is on the eve of releasing their third album and producing a monstrous sound wall.

It’s all looking very promising, with the new track Nightmare Man all sinister overtones and dark riffs. Tom Leighton’s clean vocals topped the multi-layered groove and thunderous rhythms immaculately.

Gloryhammer are ready on the main stage to catch us up with happenings concerning Legends From Beyond The Galactic Terrorvortex.

These mystical minstrels are here to continue our hero Angus McFife’s story and his battles with evil wizard Zargothrax. There’s been a dimensional rift, and the Kingdom of Fife is under threat from, well, god knows what.

That’s all I could gather before the inflatable unicorns started running amok raining down on my head in the mosh pit. Oh, hang on – they’ve clearly made their way down the country after the zombie invasion of Dundee.

Anyway, it’s the most fantastic bit of bloody nonsense you will see today. Underneath the silliness is Power Metal, performed by a quartet of seriously talented musicians whose storytelling ability is top-notch.

With a huge crowd-pleasing, “Gordon’s alive!” Brian Blessed proclaimed, “Cry God for Saxon, England and St George!” we were then treated to the Barnsley titans’ 40th-anniversary setlist.

Biff and co gave us all the classics, from Motorcycle Man to Denim And Leather to Wheels Of Steel. Of course, there’s no Motörhead, but Lemmy, Eddie and Phil were included in the celebrations with They Played Rock ‘n’ Roll in the set.

With the band loving playing to “a real Metal crowd”, the feeling was reciprocated and by the end of 747 (Strangers In The Night) there was nothing but love all around.

So. It’s Judas Priest. What is there to say?

This most majestic of bands, the ultimate Metal experience, the crowning glory of the genre. After the strains of War Pigs died away, the trident was raised, glowing a menacing red. Already it’s the best sight of the day.

Rob Halford entered the stage looking like the love child of Papa Smurf and Liberace and burst into One Shot At Glory, a live debut. This is familiar and captivating all at once. Any speculation on how early recent album Firepower would appear was put to rest with the second song in, Lightning Strike.

It’s been so challenging to see Judas Priest in the UK over the last few years, with the tour with Ozzy having a couple of postponements even before lockdown, so the enormity of the occasion had not passed by unnoticed.

We’re starting to take it in by now – the Metalworks industrial backdrop, looking like Satan’s living room. Richie Faulkner’s rock god poses. The leather and studs. I can’t think of anywhere else we’d rather be, to be honest.

This setlist, though. No one would complain at the greatest hits of standards, but it’s packed with surprises.

A Touch Of Evil from Painkiller? Invader from Stained Class – when was the last time this was even played? Same for Rocka Rolla? on the ceiling, Rob gently led Glenn Tipton on stage for the final big three of Metal Gods, Breaking The Law and Living After Midnight. Great swathes of the audience had something in their eye, it seemed.

Midnight was also notable for the giant bull taking up half the stage. Devin Townsend may have brought an elephant, but this bull kicked it right up the arse.

And that’s it, all over. A dream setlist, one of those privileged “I was there” moments.

Hopefully, Priest will last for many more years, but this is the way to do it if this really is the last time.