The big review: 2000trees festival 2024

Weirdly specific as its beloved name may be, there are really countless reasons to love 2000trees. Started by a bunch of mates addicted to going to festivals themselves, it’s grown from a defiantly DIY affair (they ‘forgot’ to book a barrier for their main stage back at the first iteration in 2007) into one of the slickest, most stacked events in the UK alternative calendar. Brilliantly, it’s never lost the sense of an independent festival for fans by fans, with a peerlessly chilled vibe, kids’ play areas and Women’s Institute bake sales dotted between stages, and the kind of loyal core fanbase who’d probably turn up just for the silent disco if there was a blockade on bands.

Fortunately, red-hot acts are in plentiful supply for 2024. With three fresh headliners (The Gaslight Anthem, The Chats, Don Broco) topping a bill stacked with festival favourites (Frank Turner & The Sleeping Souls, Creeper), departing heroes (Palm Reader) and fresh talents (VOWER, unpeople, Burner) there are far more killer sets than you could reasonably hope to see. Still, we did our damnedest with a chock-full clashfinder and ‘beero’ in hand over a ram-packed four days at Upcote Farm…

Bristol boys Blank Atlas have been toiling away on the UK underground for years now. Thankfully, they reap the fruits of those labours this weekend with a feverish, packed-in crowd at their 10:30am set on the NEU stage – and some of the biggest ‘small band’ buzz of the weekend. “I never thought I’d actually get to play this song in front of people in the morning,” grins vocalist Dan Thould before launching into a resplendent Beautiful Morning. But with influences as wide as Biffy Clyro, McFly and Meshuggah, Blank Atlas chart a path with more than enough metallic munch to balance out the prettiness. (SL)

It’s a tough slot, kicking off the Main Stage on the first full day of a festival, but Cherym’s self-described ‘all craic, no crap’ stylings to shake 2000trees out of its hungover stupors. Their feminist punk is both sweet and sour in a live setting, its infectious melodies intertwined with playful fury. Where else would you hear the jauntiest song about killing your husband you’ll ever come across? They’ve got a great sense of humour, too. “I’m having a bit of a wardrobe malfunction, I hope you’re enjoying my arse,” quips singer/guitarist Hannah Richardson, while drummer Alannagh Doherty steps forward to lead the crowd in “aggressive therapy” – deep breathing before screaming “FUCK YOU!” Keep an eye out for this lot – they deserve to go far. (EW)

London punks Shooting Daggers have the potential to be incendiary. Making a majestic entrance amid a giant cloud of smoke, their choppy, thrashy protest tunes sound electrifying and should more than sufficiently rattle the skulls of those who have shown up early. “Take your place, take over!” vocalist and guitarist Sal Pellegrin implores the women and queer folk in the tent, later encouraging those with “voices louder than ours” to “speak up, because men only listen to men”. The problem is that they have a somewhat tough crowd, not helped by the fact that the tent’s arguably too big for them. Nonetheless, they show a lot of promise – a show filled with their own fans is likely a different beast. (EW)

Dead Pony’s Anna Shields looks like a woman to be reckoned with. Buzzing with energy and determination, the always-dancing, always-smiling vocalist leads the Glaswegian rockers in an adrenaline-fuelled set, powered by electro-tinged anthems including the almighty MK Nothing and the bouncing 23, Never Me. They’ve got reason to celebrate when, after all, this is one of their favourite festivals. “I fit in here with you guys!” rejoices Anna, later promising not to leave until the crowd jumps the fuck up. This is the sort of fun you come to 2000trees for. (EW)

VOWER’s brand of proggy, tech-metal expansiveness is still coming into focus. Featuring members of trees favourites Black Peaks and Palm Reader, the Brit-metal quintet have only played a handful of tiny shows up to this point, but with debut EP apricity released specifically in time for the festival this feels like an opportunity to truly introduce themselves. While songs as substantial as Shroud and False Rituals already pack a punch, there’s the feeling of a band still figuring themselves out. Overwhelmingly, though, there’s also enough good stuff tucked in to suggest that far more than the number crammed into The Cave will claim to have been here in years to come. (SL)

“If you stand still you’re a fucking dickhead!” seeths Olli Appleyard at the height of Static Dress’ raucous showing. Safe to say, the mercurial frontman is on one for his band’s 2000trees Main Stage debut. Some of the atmospheric magic of SD’s trademark crackling CRT TVs and anonymous guitarist Contrast’s outlandish attire is lost in the summer sunlight, but it’s replaced by an energy and urgency unlike anything we’ve seen from the Leeds lot before. With Olli hurling himself into Courtney, just relax, then on through the drum kit and into the crowd, the next stage of Static Dress should be ultra impactful. And as we see today, there are thousands of sweaty bodies ready to chuck themselves back, every bit as hard. (SL)

In 2024, 2000trees sits at a curious junction: the unlikely meeting point between the world of family-friendly folk-rock and alt. pop, and that of legitimately violent hardcore. If there’s a band that can bridge those disparate vibes, it’s surely Grove Street. There’s a ton of muscle in Ulterior Motives and The Path To Righteousness, but there’s also a good nature about their chaos that sees kids throwing both shapes and beers, and bodies being carried aloft in an inflatable dinghy alongside the bruisers swinging arms in the pit. This is the Southampton crew’s first-ever visit to the festival, but so ecstatic is today’s reaction that it surely won’t be their last. (SL)

“I’ve smoked fags every day from nine to five and my fitness isn’t what it was,” Cassyette admits wryly to her late afternoon crowd. It might explain why her voice sounds a little huskier than usual, but once she finds her footing, she soars regardless. September Rain sounds deservedly huge out here, as does the crushing When She Told Me, with the Essex artist brimming with a steely kind of confidence throughout. Wrapping up with a mighty Petrichor, she launches herself at the high notes without any trepidation whatsoever, and in half an hour she’s proven exactly why her star has risen as far as it has. (EW)

Los Angeles is a long way from Cheltenham, but California emo favourites Spanish Love Songs look every bit as at home in the Cotswolds as they would in the Hollywood Hills. With bodies about 10 deep outside the tent’s massive span before they’ve even begun, you have to ask whether Dylan Slocum and the crew should really have been bumped up to the Main Stage to allow everyone interested to bask in the gritty, melancholic glory of I’m Gonna Miss Everything and Aloha To No One. For those who make it in to the heat of the pit, however, it’s one of the most heart-poundingly cathartic sing-alongs of the weekend. (SL)

Kids In Glass Houses are back where they belong – on a giant stage, entertaining huge crowds. Their uplifting, nostalgia-tinged energy is perfect for a sunny evening, with frontman Aled Philips rocketing about the stage in a suit, nailing every note. Give Me What I Want is absolutely biblical, the crowd roaring the words back without even waiting for Aled to lead them, while newbie Theme From Pink Flamingo slots in beautifully alongside their bigger hits. They even chuck in a snippet of Three Lions for shits and giggles. It’s just what you want at an event like this – it’s absolutely bloody lovely. (EW)

Headlining 2000trees lower-capacity pre-party to a deafening reception at the Forest Sessions stage on Wednesday night, Boston Manor teased that their Axiom sub-headline this evening could be one of the sets of the weekend. Unfortunately, it’s severely derailed, with technical difficulties leaving the Blackpool lads basically unable to play for the first 15 minutes. When they do get the green light to go, mind, the no-time-to-waste fire with which they fire off bangers like Passenger, Halo and Foxglove – the latter featuring a cameo from Movements’ Patrick Miranda – leaves absolutely no-one feeling short-changed. (SL)

Making one hell of an effort to be here today, beloved Atlanta indie-rockers Manchester Orchestra have crossed the pond just for 2000trees. And that’s clearly a mutual thing judging by their faithful following gathered at the Main Stage this evening, who are nothing less than utterly gripped by this hour-long sub-headline slot. From opener Pride through to Cope and Shake It Out – with a lovely snippet of Biffy Clyro’s Mountains thrown in for good measure – it’s an excellently enthralling showing from a band who fans are desperate to see more of on UK soil. Bringing out their pal Brian Fallon for The Gold only adds to the excitement, and it’s a crossover that we’re going to see more of in less than a couple of hours’ time… (EC)

It’s almost like The Gaslight Anthem know they’re tonight’s perfect headliners. The New Jersey heroes are, amazingly, here for the first time ever, but with an opening one-two-three of Great Expectations, Handwritten and American Slang, they waste no time in giving the 2000trees devotees exactly what they want. It’s total festival perfection, but tonight is also about more than just being a well-oiled rock’n’roll machine. From taking audience requests, to a beautiful cover of Mother Love Bone’s Chloe Dancer, to a guest turn from Andy Hull during “45” (we told you there was more to come), here the band’s triumphant comeback seems to reach a whole new peak. “We are The Gaslight Anthem,” yells frontman Brian Fallon during closer The ’59 Sound, “thank you!” Petition to get them back again and again and again? (EC)

In the long history of painful clashes, few have stung quite as badly as that between Buffalo hardcore crew Better Lovers and The Gaslight Anthem. One upside, however, is that the crowd who turn up to see Greg Puciato, Jordan Buckley and co. are 100 per cent bought-in on the brand of thrillingly unhinged metalcore they’re here to unleash. There’s a gleeful viciousness about Become So Small and Two Alive Amongst The Dead that hits like pure adrenaline for the bruisers smashing each other in the pit and spilling over the barricade. Even their cover of Soundgarden’s Rusty Cage feels weirdly nightmarish. By the time they get to a climactic 30 Under 13, Greg can’t help himself, climbing up the tent’s central beam and dropping into the fray – then running headlong off the stage again as soon as he’s fished out. Getting beaten up never felt so good. (SL)

On paper, it might have seemed like ALT BLK ERA drew the short straw when their Forest Stage slot clashed with both The Gaslight Anthem and Better Lovers. However, the woods at night is the perfect atmosphere for their genre-smashing tunes, from the haunting Catch Me If You Can to the riotous Upstairs Neighbours and spiky new cut My Drummer’s Girlfriend. While sisters Nyrobi and Chaya Beckett-Messam are already commanding, charismatic performers in their own right, they also inspire a genuine sense of connection with the crowd. The support they show Nyrobi as she speaks about her chronic illness publicly for the first time is heartening to see, while they eagerly open the pit up without needing any prompting. If you go down to the woods today, you might just witness some magic. (EW)

This time last year, Mimi Barks played a blinder in a late-night slot on the Forest Sessions Stage, conjuring a caustic urban soundscape that clashed spectacularly with the bucolic countryside setting. In effectively the same slot 12 months down the line, the doom trap pioneer sounds even more cutting, with new songs FSU and BANSHEE showcasing the all-or-nothing mentality of upcoming debut album THIS IS DOOM TRAP.

Unfortunately, this year she’s also one of the guinea pigs for the festival’s Silent Disco live sets, audible only through headphones tuned via the sound desk. On one level, that concept works intriguingly with Mimi’s brand of uncomfortable, electronic punishment. But on another, it leaves some people confused, losing the visceral punch-in-the-chest impact her music delivers through a proper PA, and leaving casual observers confused or cold, with a few right on the forest floor visibly flicking their headsets between the live set and the rock club bangers being broadcast elsewhere on-site. One of alternative’s darkest rising stars deserves more respect than that. (SL)

If you’re not fully awake by the time BEX rocks up to the Main Stage, the huge scream she opens her set with is guaranteed to shake you out of the Land of Nod. Even though it’s still early days, the rising star already has a brilliant knack for owning a stage, filled with energy, sass and lashings of fun, especially when she fires T-shirts into the crowd and brandishes a giant bubble gun during a feisty airing of Sundae. She’s got the tunes to back it up, too, with the bratty Taste Better and foreboding Slave To The Grind landing easily with the punters, some of whom are more than willing to josh around in the pit – and start a wall of death – even though it’s not hit noon. This has been a great way to start the day. (EW)

The Rumjacks have travelled to Upcote Farm from the other side of the world, but they could make a home away from home at 2000trees. For one, they joke that it’s “comforting to play between a pie shop and a sausage roll shop and feel like we’re still in Australia”. At the same time, their sprightly, quirky folk-punk ends up being a massive hit around lunchtime and easily takes the prize for the most wholesome set of the weekend so far, thanks to the number of folks who jig and square dance along to A Fistful O’Roses and Smash Them Bottles. Never underestimate how well whimsical fun goes down at festivals – or how much people like it when a band whip out an accordion. (EW)

Apparently, Friday afternoon’s brutal 2000trees bow over in The Cave is Burner’s first ever festival slot. They absolutely smash it. Rather than wilting in the summer sun, the outrageous blend of death, black metal and hardcore in Pillar Of Shame and Prometheus Reborn seems empowered by it: a black hole that will consume every ray of light. Frankly, it’s a touch too much for even some of trees’ hefty contingent of veteran metalheads, but those drawn to An Affirming Flame are rewarded with a showcase of real dark majesty from a band who’re still to find their highest gear. (SL)

Loads of the people who have shoved into The Axiom in time for Tropic Gold seem never to have heard of them before. ‘Who is this?’ comes the question, repeatedly, between songs. There’ll be no forgetting them after today. The South East trio might have formed all the way back in 2018 – and we at K! haven’t been shy about singing their praises – but their blend of rock and metal, electro and chilled ambience really seems to have clicked over the last couple of months, with this set sitting in a sweet spot between the playful experimentalism of Don Broco and the shimmering mystery of Sleep Token. Expect the transfixing sound of DTTTH, Adrenaline and Breathe to be pulsating from far bigger stages than this before long. (SL)

IDestroy are extremely easy to like. Summoning a very healthy crowd early in the afternoon, the Bristol trio’s rattling, riotous punk fare explodes into life in a small, sweaty space, with oodles of swagger to boot. The amiable, charismatic bunch throw themselves head first into performing while expertly toeing the line between quirky fun with All My Friends Are Plastic, and righteous anger in the form of Headphones ('All we want is to walk home safely at nighttime!'). With their debut album dropping in September, it truly seems that they’re primed to take over. (EW)

“Hiya, thanks for being Other Half’s new mate!” read the fliers handed out by the offbeat art-rock collective prior to their appearance. “If you’d like to pursue this friendship, we’ll be at the following place at the following time…” They work a treat, with a packed tent looking on as noisy cuts fresh off last month’s third album Dark Ageism clatter out across the field, emboldened by the real-world evidence that listeners are into music this uncannily odd. Pastoral Existence, for instance, feels heavier and more discordant than on record when unleashed in front of the beery, sun-soaked masses. There’s still time for a whole bunch of good vibes, too, of course, as their mates in Problem Patterns pile in for a sing-along of Farm Games and a handful of worse-for-wear punters attempt a ‘triangle pit’ at the off-the-rails crescendo. (SL)

Twelve months ago, festival heroes and perennial Brit-rock underdogs Press to MECO signed off with a superb final show here. What a difference a year makes. Guitarists Jake Crawford and Luke Caley aren’t just back at Upcote Farm; they’re playing in one of the hottest new bands in all of alt. music right now. Despite being booked at countless events this festival season – and even having supported Metallica in Vienna – it’s clear that unpeople see 2000trees as a show worth pulling out all the stops for. “We’re gonna have some fun now,” they laugh, before piling into a full-throttle cover of Nirvana’s Territorial Pissings. “Kick each other’s teeth in!” With Going Numb and Moon Baboon in their own arsenal, of course, that’s just icing on a delicious alt.rock cake. (SL)

“We nearly died to get here today!” admits Crawlers singer Holly Minto. They’re not exaggerating – the Liverpool quartet have rocked up half an hour late after a wheel came off their van on the M6. Sadly, this means they only get to play four songs, but every minute feels beautifully urgent, from bombastic opener I Don’t Want It to cinematic closer Come Over (Again). As a performer, Holly in particular is effortlessly cool, moving with both rock star swagger and a real sense of passion, lifting the mic stand up and down like it’s a workout. If they’re this incredible live after such a scary event, on a less chaotic day they must be unbeatable. (EW)

Nova Twins have had a relatively quiet year so far, but they’ve popped round almost as a gentle reminder of their greatness. In matching silvery outfits, Amy Love and Georgia South stomp through their hits with all the energy and vibrancy they’re known for, from the galvanising Cleopatra to a funky rendition of Toolbox, while the jet-fuelled Undertaker makes a welcome return to the setlist. The atmosphere is one of total joy, with bodies barreling to the front while the pit is full of people bouncing – a happy pit more so than a purely violent one. This is a spectacle from one of the most important and best bands the UK has right now. (EW)

There’s already blood on the dancefloor a couple of songs into Guilt Trip’s merciless set. Despite a black eye and claret streaming from his nose, their wide-eyed, Hawaiian-shirted first victim shows no sign of backing down. Instead, he continues to lap up the brutality of rough cuts Surrounded By Pain, Tearing Your Life Away and Thin Ice, before (s)pitting it back out in a hail of swung fists and spin-kicks. It’s a level of violence that leaves some unindoctrinated onlookers shaking their heads and backing away, but you can’t fault the performance on its own uncompromisingly brutalist terms. (SL)

Jordan Edward Benjamin feels slightly out of place today. You can’t fault the politics, precision or polish of this impassioned grandson performance, and Something to Hide, We Did It!!! and Despicable are symbolic of the best of modern rap-rock, too. Meanwhile, the massive onstage banner of Joe Biden kissing Donald Trump is perhaps the most eye-catching and incisive of the whole festival. But even as he waves an inflatable alien during Bury Me Face Down and descends into the crowd in the middle of Blood // Water, it feels like a strange mismatch with trees’ uber-chilled audience and defiantly indie, uniquely English atmosphere. Still, this prominent showing doesn’t fail to delight a single one of his hardcore fans in attendance. (SL)

Nothing says Friday night at a fest like Blood Command set. The adidas-loving Norwegians’ arrival is an instant cue for the pits to open up, and what follows is the heaviest dance party you can find. Between the carnival-ready jubilance of Saturday City, the storming Heaven’s Hate or the vicious A Villain’s Monologue, it’s impossible not to start moving, but there’s heart to it too – vocalist Nikki Brumen is notably touched, even emotional, by just how many people have turned up to have fun. When this lot are about, shake your ass or be damned. (EW)

2000trees is just part of an ongoing UK tour for Virginia Beach rockers Turnover. On one hand, playing this swaying crowd in these sunny surrounds is arguably a far better match for the woozy, laid-back sounds of Tears Of Change and Ain’t Love Heavy than trying to conjure up their sparkling magic in some dank, light-blocked club. On the other, even the more ‘energetic’ cuts at the end of their set – Dizzy On The Comedown, Take My Head, Cutting My Fingers Off – feel like a jarring change of pace up against the breathless bedlam elsewhere onsite. All the same, for the lower energy in attendance, it’s subtle sweetness of the highest order that’ll linger in the back of your mind for days. (SL)

Ready to rave? CLT DRP certainly are, whipping up a vortex of fizzy, glitchy electro-punk noise to warm punters up for the evening ahead. Beyond that, however, it feels like a setting like this is exactly the way their songs should be heard, from thumping, sassy opener Daily Affirmations to the chunky MUTM, while Nothing Clever Just Feelings is a colossal mosh moment. Vocalist Annie Dorrett is an absolute force, bellowing their lines with a touch of theatricality that’s even more powerful than it is on record. If they’ve proven anything here, it’s that they should be known as one of the UK underground’s brightest names. (EW)

“This is our first song, for the last time,” announces Palm Reader frontman Josh McKeown as they pile into Seeing And Believing Are Two Different Things at the emotional apex of their final show. “I’m not pausing for effect, it’s just hard to talk when you’re trying not to cry…”

The Nottingham metallic hardcore crew have always thrived on raw emotions, and they’re overflowing tonight, with a powder keg crowd kicking off from the first smashing notes of Internal Winter. With band and audience leaping over the barrier, there’s massive credit to security for not totally losing their shit. And as painful as it is to see the passing of one of British heavy music’s most abrasive recent exponents, they couldn’t ask for a better send-off. “Thank you for being here,” Josh signs off. “Thank you for always being here.” Safe journeys lads. The pleasure was all ours. (SL)

“Welcome to Vylanfest!” Bobby Vylan crows. Having appeared at 2000trees three years in a row, Bob Vylan have shot up the bill at such an astonishing speed that they’re now laying claim to the entire festival. Nonetheless, they certainly attack it like they own it, bouncing through GYAG, Right Here and Wicked & Bad with fire in their veins. Even as a Palestinian flag hangs solemnly behind them, the focus seems to be on fun, peppered with wit and humblebrags – “We’re the most important band in Britain,” Bobby claims – but a standout moment comes when he brings his daughter up to the stage and gives her the mic. “Can I swear?” she asks, and when given permission, she yells, “LET’S FUCKING GO!” That’s the exact thing a Bob Vylan show makes you want to say. (EW)

Hot Milk are running on fumes today. They’ve hopped over for a quick stop between U.S. tour dates supporting blink-182, and as such, Han Mee is feeling “like a corpse on jelly legs”. Then again, you wouldn’t know that from watching her and her bandmates unite the crowd in a loud, triumphant display of fun and feeling. One minute, she's yelling for a pit “as big as my bumhole on poppers”, the next, the crowd are belting out the lyrics to Breathing Underwater without any prompting. What a jubilant homecoming this has been. (EW)

Where the fuck is everybody? Fair enough, their clash with superstars-in-waiting Hot Milk is savage, but given Zetra are two months out from releasing one of the most intriguing records of 2024, it’s extremely disappointing to see the mysterious duo play one of the sparsest crowds of the weekend. Credit to the ethereal pair, though, they don’t let it affect them one bit. Existing on another, unearthly plane, they allow the shadowy, supercharged alt.rock of Sacrifice and pulsating post-punky live sound of Starfall drag those who have turned up into a beguiling netherworld that few seem in any hurry to escape. If you’ve a taste for darkness and get the chance later this summer, follow the Call Of The Void. Get sucked into it, in fact. You'll love it. (SL)

Empire State Bastard clearly think their crowd’s heads are attached too firmly to their shoulders. In the darkness of The Cave, they play seemingly with the aim of rattling skulls and breaking necks underneath the sort of frenetic flashing lights that have you seeing stars. Simon Neil practically caterwauls over the relentless riffs of Blusher, the growling Harvest is a brilliant racket (and at one point, the guitars almost convincingly sound like a droning wasp), and Tired, Naw? is taken as a rightful opportunity to show ex-Slayer drummer Dave Lombardo and his gigantic kit off to his full extent. (“That’s Dave Lombardo! He’s right there!” Simon points out). The UK’s wonkiest, weirdest supergroup have once again done something genius tonight. (EW)

There are precisely zero surprises over the course of The Chats’ rowdy Main Stage headline show. Jangling garage-punk ran through an overheated amp? Check. Aggressively scum-class anthems to the cracked side of life on Queensland’s Sunshine coast? Check. Drunk and disorderly behaviour on and offstage? Double-check. There’s low-key genius in how the Aussie trio are able to electrify a massive crowd in leafy Gloucestershire with songs as arid, rough and ready as Pub Feed, The Price Of Smokes and 6L GTR, but with an ocean of beers and bodies being chucked about by a fanbase who’ve spent the day getting drunker and more dehydrated, it’s impossible not to be swept along. Subtlety? Complexity? Sensitivity? Face it, none of them are half as satisfying as a schooner of Victoria Bitter and a plate of ketchupy chips. (SL)

Split Chain are having a hell of a 2024. Having already smashed Download and Outbreak and hit the road with heroes like GEL and Superheaven, their grungy, shoegazey hardcore has been relentlessly winning over new fans. 2000trees feels like something of a homecoming for the Bristol boys, and although they’re landed with an early-early tent slot, dozens of their growing faithful (and the first rain of the weekend) ensure they roll out woozy, crunchy thumpers Chalk and Future – as well as their show-stealing cover of Type O Negative’s I Don’t Wanna Be Me – to a wall of applause. It’ll be fascinating to see how far they’ve climbed up festival line-ups by this time next summer. (SL)

Lily Hopkins hits the Main Stage like a force of nature first thing on Saturday morning. With only hyperactive drummer Lewis Copsey for company, The Meffs’ irrepressible vocalist/guitarist stalks the gaping space with punky predatory intent, managing to get freshly rain-damp onlookers singing along to Stand Up, Speak Out, seething through a truly menacing cover of The Prodigy’s Breathe, and injecting a world of smirking dark humour and riot grrrl attitude into Wasted On Women. The Essex duo broke out back in 2019, but on the strength of this anarchic, charismatic showing – and excellent new song Everything’s Gone – we’ve only just scratched the surface on what they’ve got to offer. (SL)

There’s something about ’68’s gritty punk’n’roll that feels pure and simple in its aims, but live, the Atlanta duo’s music really comes to life. Josh Scogin and Nikko Yamada’s performance is a compelling blend of quirky and cool in which they bash out their tunes dressed in suits while standing opposite each other, as if they’re duelling. At one point, Josh promises that they have tricks up their sleeves, and they deliver on that with some eccentric flourishes, including Nikko drumming on Josh’s guitar and a hilarious moment near the end where Josh disassembles Nikko’s kit piece by piece as he’s playing. The underrated gem of the weekend? Quite possibly. (EW)

For all the festival’s bold, genre-hopping brilliance, thrash has always felt a little under-represented at 2000trees. It’s a point hammered home today by Inhuman Nature. Yes, the grimy London crossover crew have one foot in the world of hardcore, but shameless circle-pit soundtracks like Dawn Of Inhuman Man and Beyond The Realms Of Sanity speak for themselves, bowling over The Cave with their unabashed metal might. Hard touring has made them noose-tight and owning the role – even on a hungover Saturday lunchtime – like absolute badasses. The punters respond in droves, with grey-haired veterans in Saxon and Slayer tops bumping shoulders alongside flailing youngsters for an adrenalised onslaught sealed with blood and bruised ribs. (SL)

Inside The Cave, HAWXX are playing like they want to start a revolution. They’re the peak of rock’n’roll on this year’s bill, but they’ve got a message behind them even more powerful than their crunchy riffs. They’re here on a mission for catharsis and empowerment, raging through the moving Death Makes Sisters Of Us All and debuting the freshly written, spoken-word inspired Be That Whore with a feminist speech with something brilliant to say. “The whore has always been feared because the whore has the feminine urge to destroy the world that men have built,” explains Anna Papadimitriou. It’s a set that’ll have you walking just a little taller for the rest of the day. (EW)

Sometimes, all a crowd wants is big, dumb fun. On that basis, they take an instant liking to Australia’s Dune Rats and their rickety, rough punk rock. There’s plenty to make you titter as well – they’re excited to spend their last day of tour with “you weird looking motherfuckers”, while frontman Danny Beus adds that, “I counted 2,018 trees since I got here, not 2,000.” Closing song Dalai Llama Big Banana Marijuana is just the icing on the cake (if you’re a Dune Rats novice, the song’s as silly as it sounds), wrapping up a crowd-pleasing set that might just make them dark horses of the weekend. (EW)

Even the most ardent pit-dwellers are looking a little fragile by Saturday afternoon, but it’s out of the frying pan and into the, er, Cauldron as the beatdowns just keep coming. Not to be confused with the Canadian heavy metallers of the same name, the Birmingham hardcore upstarts’ brand of emotionally-charged savagery is all nerve-shredding high-tension and nightmarish churn. Wiry vocalist Frazer Cassling, dressed like he’s stepped out of a nu-metal show circa 2001, defiantly ramps up the pandemonium of Crossing The Threshold and The Last Word even as the more battered in the crowd look ready to tap out. New heavy heroes on the rise. (SL)

Rattling ears from the very first note of outsized opener GIMME, 2000trees stalwarts The XCERTS are thrilled for this mega appearance. Songs like Daydream and Shaking In The Water sound absolutely massive through the gargantuan PA – just the way they were meant to. And while few bands could convincingly veer between that kind of bombast and the ubiquitous fragility of Aberdeen 1987 over the course of a 40-minute set, frontman Murray Macleod has the crowd in the palm of his hand, awash with real emotion as he dedicates that hometown anthem to his father, who’s been battling cancer for the past 12 months. Unwilling to leave off on any kind of downbeat note, they top it all with a lung-busting Feels Like Falling In Love, with Murray joined out of the blue for the last chorus by You Me At Six frontman Josh Franceschi. The great Scots could play trees every year without wearing out their welcome. (SL)

Teenage Wrist are meant to be here. Not only are they the perfect fit for 2000trees on paper, but in the vast (and rather packed) Axiom tent, they sound tremendous. The bright opening salvo of Sunshine feels utterly epic, as does the fuzzy Stoned, Alone, while Cigarette Two-Step practically bites and scratches when it booms from the speakers as ferociously as it does. Their ultimate weapon, however, is the infectious closer Earth Is A Black Hole, which has an incredible way of sending the energy in the room to off-the-chart levels. Frontman Marshall Gallagher acknowledges that the UK is quickly becoming the LA duo’s “home away from home”. If that’s the case, can we have them again next year, please? (EW)

Oddly, while watching The Mysterines, it’s possible to feel like something is missing from their live show. Technically, they sound flawless – the scuzzy Hung Up and the ’90s-tinged new cut Goodbye Sunshine are the perfect balance of glistening and gritty – but in some ways, it doesn’t have the huge feeling of a Main Stage show. It’s almost like they’re playing a small room rather than a large field, and every so often, they just need to land a bit more of a punch. Opener Sink Ya Teeth, for example, is a great track on record but could easily do with a stronger sense of energy. It’s perfectly watchable, of course, but if they move into a higher gear, they’d be unstoppable. (EW)

Another band on hard rotation for summer 2024, one might have only seen Gouge Away a couple of weeks ago at Outbreak – and they’re currently on UK tour with Teenage Wrist and Angel Du$t – but it’s to their enormous credit that there’s no sense of fatigue today. Instead, Christina Michelle and company seem to glow against the backdrop of the English rurality, harnessing every amp of energy in Stuck In A Dream and Spaced Out for a crackling showcase of noisy post-hardcore. And in the hauntingly agonised Ghost, they have one of the most wrenching tracks to unfurl out across the fields all weekend. (SL)

Hardcore purists have long viewed Angel Du$t as frontman Justice Tripp’s ‘lighter’ side-project: an indie-infused, Lemonheads-inspired antidote to bludgeoning main outfit Trapped Under Ice. As Angel Du$t have gradually overtaken the legendary hardcore collective as Justice’s main focus, though, the black-eyed faithful seem to have happily migrated across, embracing the idea of throwing down to the jangly likes of Brand New Soul and Big Bite. With the musclebound singer (still sporting an absurd fashion-mullet) conducting chaos from the front barrier, it’s a madhouse, with the band’s really crunchy recent hits – Space Jam, Sippin’ Lysol – threatening to send us all explosively over the top. (SL)

If everything were to go right, Blanket’s expansive post-rock could sound properly stunning live. Today, they are perhaps a few notches away from that point, but the way things look now, there are glimpses of brilliance. While early in their set, their soundscapes suffer a little from mixing that could be sharper, once they ease into it their potential bursts forth. The mountainous Euphoria summons the moshers to the front of the tent, while the skyscraping Kaleidoscope has a real beauty about it. If you’re flagging and possibly hungover by this point, this will gently rouse you in a rather lovely way. (EW)

A bit folk, a bit punk-rock, tireless troubadour Frank Turner has been emblematic of 2000trees since its very first edition, which he headlined back in 2007. Honestly, there’s confusion among many as to why he’s not headlining again this weekend – despite having just sold out next February’s 3,000th show at Alexandra Palace in a flash. There are absolutely no complaints from Frank himself, though, who sandwiches a rip-roaring 80 minutes on the Main Stage between packing out a Q&A over in the Forest on Saturday afternoon and almost inciting a stampede in the campsite for his customary acoustic set at ‘Camp Turner’ close to midnight.

Everybody already knows the words to the fresh cuts like Do One, No Thank You For The Music and Never Mind The Back Problems off recently-released, gleefully self-conscious 10th album Undefeated, but it’s the circle-pits for Photosynthesis and defiant pogoing throughout an ever-more-poignant Polaroid Picture that ensure this is one of the weekend’s emotional standouts. There are tantalising whispers that Frank’s seminal post-hardcore outfit Million Dead will be reuniting to mark 25 years in 2025, but tonight is proof he’s long-since eclipsed those songs in the vast majority of fans’ hearts and minds. (SL)

Lonely The Brave inspire a sense of devotion. The Cambridge alt.rockers walk onstage to a hero’s welcome and later on, when they ask who among their congregation has seen them before, it’s no surprise that they’ve got scores of devotees making a repeat visit. They charge through their set with their hearts in their hands, and while sound-wise it’s perhaps not as clean as it could be, there’s something about their easy, emotional charm that means their songs never lose their power, even through a veil of slight imperfection. As the final night of 2000trees rolls on and the sky darkens, this is a wonderful way of setting the mood. (EW)

Well, well – someone put 50p in Kid Bookie, didn’t they? As it’s starting to drizzle in the forest, the London lad bolts onstage with the pent-up momentum of someone who’s been waiting all day to unleash some chaos. Watching him stomp through the surging AI (Save Yourself) and the spiky Stuck In My Ways is enough to forget the day-three festival fatigue, just for half an hour, the crowd still dancing even without much left in the tank. He’s even undeterred by some occasional mic issues and at one point still finds a way to be heard, just about. “I fucked your fucking world tonight!” he yells in characteristically sweary fashion. It’s a fair point – nobody’s forgetting this set in a hurry. (EW)

The Creeper cult have turned up in droves today. You can’t walk 10 feet without running into someone in their merch and, at first, it seems that getting into the heaving tent to see them play is a task requiring advance planning or brute force. Following a hilarious cameo from Darcia the Vampire Familiar (“Surely there’s a better band on a different stage somewhere?”), everyone’s favourite ghoul gang arrive to a sea of people chanting their name. As soon as they begin singing along to spellbinding opener Further Than Forever, it’s obvious that today will turn out to be special. The feeling of love among the fans is palpable, especially for the glorious The Ballad Of Spook and Mercy, and a spine-tingling Misery that the crowd knows so well that frontman William Von Ghould could easily just conduct them and give his voice a rest. Headline set when? (EW)

Those hankering for something with more sex and violence to end their weekend with will find just what they’re after with WARGASM. They're here to start a riot, and their crowd certainly get one. The noisy Rage All Over has hundreds bouncing, while Pyro Pyro sends them circle pitting around a giant pillar in the middle of the tent. There’s a sense that not everyone gets it, though, and some of their newer songs appear to lose people who might have wandered into the tent out of curiosity. The devotees down the front, however, are ready to devour whatever they’re fed. Indeed, juddering closer Do It So Good sends the fans feral. It's a tough slot as one of the last bands of the weekend – not to mention clashing with Don Broco – but they’ve done more than hold their own tonight. (EW)

Banter kings Don Broco feel like the ideal closer to the weekend. Kicking off their headlining (and debut) 2000trees slot with a hail of fireworks and cowbell-packed hit Everybody, Rob Damiani and the lads just seem to keep ramping it up. Throwing out back-to-back Pretty, Technology, Come Out To LA and Gumshield, it’s a hell of an opening salvo from a band who’ve spent the last seven months locked down in the studio writing for their as-yet-untitled fifth album. Indeed, by their own admission this is a breathless reminder of the kind of nights they’ve been working towards: a spring-loaded celebration with thousands of good mates.

There’s an ear-catching cameo from Kid Brunswick for ACTION, but the great pleasure is stepping back to take stock of how Broco have evolved over the past 16 years. Far more straight-faced early cuts Priorities and Nerve are now pumped up with confidence and character. Outrageous hits Bruce Willis and Manchester Super Reds No. 1 Fan drip with a blend of silliness and machismo that other bands of this stature simply couldn’t get away with. Seeing Uber dedicated to the victims of the war in Palestine proves they’re men of substance, too. But they don’t get serious for too long, even bringing out a ‘work experience kid’ who’s apparently been shadowing them over the past week during the encore. This is between a PA-overloading Fingernails and piling into a pyro-laden T-Shirt Song that already feels far too big for a festival as wonderfully close-knit as trees.

If there’s one criticism – and there isn’t, really – it’s that Frank Skinner has been hanging about backstage the night before the Euro 2024 final and they don’t manage to coax him out for a sing-along of Three Lions. But they blare it out over the speakers anyway, ending the night on an unassailable high. It’s an absolute masterclass from a band who understand perhaps better than any other that shows like this are about wringing every ounce of joy from it. Can 2000trees find a headliner capable of topping them in 2025? We look forward to finding out. (SL)

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