Slam Dunk North – Festival Review

Slam Dunk North
Temple Newsam, Leeds
26th May 2024

With the promise of a great line up, but ominous dark clouds on the horizon, Louder Than War’s Dave Beech (words) and Rebecca Bush (photos) went to check out this year’s Slam Dunk North.

It’s common knowledge by now that Slam Dunk ’23 left something of a bad taste in the mouths of those of us that were present; both an impressive and ironic feat, given just how long it took to get anything to eat that year – and that’s if you succeeded. As such, it’s obvious that organisers need to pull something out of the bag for this year’s festival. It’s for that reason that when we find out the car parks for the festival have been completely closed, alarm bells start ringing. Especially when it’s suggested by the festival’s social media that those with specific accessibility needs are probably best requesting a refund.

Thankfully, for us at least, only one wrong turn within Leeds’ infuriating one-way system and a painless shuttle bus journey stands between us and the festival grounds, and arriving at Temple Newsam we, and everyone else, are in good spirits. For now at least, the weather is holding, and the queue we soon join as we make our way into the festival poses no problems.

So far, so Slam Dunk.

Indeed, once in, we’re even able to make a quick trip to the bar before heading across to the Monster Energy stage to catch our first band of the festival, SNUFF. Though veterans of the UK punk and ska scenes, we only have a passing knowledge of the band and their legacy, so as they finish up a soundcheck and declare that they’d like to play a song, the lack of fanfare takes us somewhat off guard.

It soon becomes clear that this is part of the band’s shtick. Having formed back in the mid ’80s, jokes about bus passes and old age come thick and fast. The lack of rain sees the band taking credit for the dry spell, however it’s short lived, and as the drizzle begins to fall again, a woman starts to samba as a couple of Pokemon wander past. An upbeat and irreverent start to proceedings that’s perfectly in-keeping with the festival.

From there, we navigate across a still dry festival site to the Key Club stage for the double-header of Arm’s Length and home-town heroes Beauty School. Having seen both bands on their recent tour back in February, we know it’s going to be 90 minutes of the festival well spent, and as Canadian emo kids Arm’s Length take to the stage, we know we’ve made the right decision. A blistering and cathartic set that rattles towards it’s conclusion, we were fans of Arm’s Length the first moment we saw them, and this morning’s outing only solidifies just how exciting they are. With just an eight song set, it’s a short and sharp introduction to the band, but the burgeoning crowd that only grows as the set progresses is testament to just how good the band is, and how quickly their profile has risen.

Of course, it’s Leeds’ Beauty School the vast majority of the crowd are here for. Having first discovered the band at Download Festival last year, and then seeing them at least three more times since, it’s clear they’ve made an impression, and today’s set shows exactly why.

Another eight song set, and the local quintet couldn’t have picked a stronger set-list; the perfect introduction to the uninitiated, but comprised of nothing but crowd-pleasers for us already established fans, an impassioned outing of Take It Slow kicks things off perfectly. A couple of cock-ups on the band’s behalf are taken in good humour both by the five guys on stage and the crowd, whilst a triple assault of Oak, Monster and Evergreen prove just how strong Beauty School’s songwriting chops are. As expected, however, it’s the band’s biggest song, Pawn Shop Jewels, that elicits an undeniable sing-along, making it clear just how much this band has come to mean to so many people in the few short years they’ve been together.

Sticking at the Key Club stage, we’re in for a noisy half hour next as Manchester hardcore collective, Guilt Trip, promise to blow away any cobwebs lingering from Saturday night, here straight off the back of a European tour in support of Landmvrks. It’s the first time the sun truly makes an appearance, and you’d be forgiven for thinking its presence imbues the band with a hefty dose of energy.

Jumping from one enigmatic track to the next, with regular calls for bigger pits and more two-stepping, we see our first baby in ear defenders of the day, a regular and fantastic occurrence at Slam Dunk. Each song brings with it a chunky breakdown, and we make a promise to catch Guilt Trip again, if not at one of their many festivals this year, then on one of their promised UK tour dates.

Over on the main stage, Head Automatica draw a hugely impressive crowd, in no small part thanks to sheer length of time it’s been since they last played the UK. It’s a shame then, that despite an impressive crowd so early in the day, the band seems lacklustre at best, and half-arsed at worst. The polished pop of Daryl Palumbo’s vocal is nowhere to be seen; instead, it sounds more like his vocal delivery in Glassjaw, providing a gruff, gritty and off-kilter vocal that feels at odds with the band’s trademark emo-pop.

As a result, we call it a day sooner than planned, heading back across site to the somewhat muddier GoPro stage for something rather more theatrical, delivered by Set It Off for the second of their only two UK shows this year. They’ve drawn a large crowd, and the reaction when they walk on stage shows that this is a band with a dedicated following. Frontman Cody Carson channels one of the Lost Boys in his white and black trench coat, and by track two of their nine-song set the whole crowd is eating out of the palm of his hand.

Letting us know that this is their last show of an 83-day run, the band launches into a cover of Linkin Park’s Points of Authority, a track which becomes all the more impressive knowing how long the band have been on the road, especially with Carson taking on both parts of the vocal duties.

With the announcement that they’ll be back in the UK in 2025 for a headline tour, and an obligatory crowd-led ‘Yorkshire’ chant for good measure, the band launches into gospel infused Why Worry and finishes strong with crowd favourite, Punching Bag.

Well, almost.

Around halfway through the finale, the sound on the GoPro stage completely cuts out. However, the band seems determined to finish and drummer Maxx Danziger plays the crowd out as they sing one last chorus.

Elsewhere, Mad Caddies take to the Monster Energy stage. Having not seen the band since we were in high school (something which is starting to seem a distant memory), it’s a set we make sure we catch. Another set comprised of crowd pleasers and irreverent humour, it’s the perfect accompaniment to the unexpected sunshine that makes an appearance, bathing the stage in light. Indeed, this is the only set during which we’re able to find some dry grass to sit down for the entirety.

From an excellent reggae cover of Green Day’s She, to the expected inclusion of Road Rash and Monkeys, it’s the perfect reintroduction to the band after almost 20 years. And while last time our knees were able to withstand 90 minutes of skanking, this time we’re resigning ourselves to the floor. It’s not a reflection on the band however, merely on our age. Weird Beard proves deliciously upbeat and irreverent as always, and by the time the band closes with Baby, we know we’ve been treated to one of the best ska sets of the day.

From here, it’s our first and only visit to the Kerrang! Stage (the only covered stage at this year’s festival), to catch one of the best live acts in the UK at the moment, Bob Vylan.

Only we can’t.

Waiting outside to hear the not so dulcet tones of the duo, the band that takes to the stage isn’t Bob Vylan at all, but As Everything Unfolds. Indeed, it seems the two-piece have been scrapped from the northern iteration of Slam Dunk due to issues that unfolded on the previous day.

Unsure of what went on, and unwilling to cast aspersions, from here it’s back over to the Slam Dunk stage for Mallory Knox. Performing together for the first time as a five-piece since before singer Mikey Chapman left the band in 2018, it’s a much-anticipated appearance for fans, who have been clamouring for a return. After a tongue-in-cheek intro of Taylor Swift’s We Are Never Getting Back Together, Eminem’s Without Me and the obligatory Back In Black, the band takes to the stage and launches into first song, Beggars.

Only, there are no vocals.

And part way through the song, the sound cuts out completely. A frustrating start, but the band keeps playing and the sound does come back in. Unfortunately, the whole performance is plagued by sound issues, with it cutting out completely several more times during almost every track of the band’s eight-song set. “We’re gonna make this work!”, Chapman tells us. And despite the extent of the sound issues, we can only applaud the band’s attitude and professionalism, carrying on playing with smiles on their faces, and even managing to announce a 10-year anniversary tour for their Asymmetry album for October 2024.

We’ve witnessed bands at other festivals kick off over a lot less when it comes to technical issues, and what we did get to hear from Mallory Knox filled us with both confidence and excitement to catch them later in the year.

From there, it’s back over to the Monster Energy stage; a stage that this year feels like it sums up our early teenage years perfectly. This time, it’s Bouncing Souls’ turn to take to the stage. And while the rain that’s been threatening all day makes an appearance with zeal, it does nothing to hamper the spirits of a swollen crowd which, bedecked in ponchos and under the umbrellas that supposedly aren’t allowed, manages to embrace the New Jersey band’s sun-kissed skate punk.

Kicking things off with a raucous rendition of Hopeless Romantic, throwing in a beautifully summery version of Lean On Sheena as a lightening bolt strikes the hill behind the stage, to closing on an anthemic double-header of Gone, and a truly life-affirming outing of True Believers, there’s no amount of rain that could have ruined what is a stand-out set.

Soaked, but utterly uplifted, it’s time to head back to the GoPro stage for both Asking Alexandria and Funeral For A Friend.

Arriving at the stage, it’s clear they’re running late. No problem, as this gives up time to nip to the portaloos. Annoyingly, though, as we get to the toilets, we hear the opening of Closure ring out. And what a way to open. Vocalist Danny Worsnop wastes no time in showing the crowd that he still has one of the strongest vocals in the scene when it comes to the diversity of pitchy screams, guttural growls and melodic choruses.

Sadly, due to the late start the set has to be shortened, but the band finishes strong with a double whammy of The Final Episode (Let’s Change the Channel) and epic sing-along Alone In A Room.

Making sure we keep our spots for Funeral For A Friend, we brave the rain which, thankfully, has eased a little bit. Having announced last year that vocalist Matthew Davies-Kreye would be leaving the band and not joining them for their Slam Dunk performances, we are initially unsure what to expect from the set. However, vocal duties have fallen to fellow South-Welshman, Lucas Woodland of Holding Absence, who makes it clear early on that he is as big a fan of this band as anyone watching in the crowd.

He makes for a perfect replacement for Davies-Kreye, and the band starts strong with a euphoric outing for This Year’s Most Open Heartbreak, quickly followed by Juneau, which we’re not scared to admit brings a tear to the eye of the softer of the two of us (it’s Dave). It’s during Rookie Of The Year, however, that we begin to notice how much the sound bleeds over from the Key Club stage (and presumably the other way too). In fact, during every quieter moment of the set we can hear Mom Jeans playing, and realise just how close together these two stages are. It’s a shame for both bands, as it does somewhat take away from the atmosphere. Given the gripes of last year, however, it’s a small price to pay.

The intro to Streetcar provokes a huge reaction, and despite the crowd starting to thin (perhaps as people head over to catch the start of All American Rejects on the Slam Dunk stage) those who remain are shouting every word back at the band.

Those that hang about witness a storming set which sounds flawless; the energy on stage not dropping once. Into Oblivion (Reunion) is followed by emotional thank yous from those on stage, both to the crowd and one another. Indeed, Woodland’s gratitude and humility in getting the chance to front one of his favourite bands is touching, and he introduces their last song, Roses for the Dead, by proclaiming, “If you’re a hardcore Funeral For A Friend fan like me, this one’s a fucking banger!”

As the evening winds down, it’s over to the Slam Dunk stage for the highly anticipated All American Rejects, hoping for a bit of a feel-good nostalgic singalong. Getting there towards the end of their set, and admittedly never having seen the band before, we’re unsure what to expect; but frontman Tyson Ritter’s beige children’s entertainer getup, and Freddie Mercury-esque call and response mixed with vocal scatting, absolutely isn’t it.

The opening piano of ballad It Ends Tonight chimes out across the field. The crowd, though stretching wide doesn’t reach much further back than the sound desk at this point. It’s clear, however, that those near the front, at least, are in their element. As Gives You Hell comes to an end, Ritter declares, “Come on you motherfuckers, we raised you, whether you like it or not. You’d better scream for this one!”. We’re not sure whether this patter is endearing or obnoxiously self-serving. Either way, what follows is a slightly underwhelming rendition of (arguably) the band’s biggest hit, Move Along.

A somewhat heartfelt speech about how it’s touring musician Scott Chesak’s last ever show with the band after 13 years sees the man behind the keyboard presented with a sponge cake, before he takes to the crowd to surf during the aptly named The Last Song. Given that the band hasn’t been to the UK in years, the somewhat diminutive crowd shows that many people are still enjoying the diverse music on offer on the other stages. Or perhaps the festival has also been slightly undersold this year after the issues that plagued last year’s festival.

Either way, it’s back over to the Monster Energy stage for probably our most anticipated band of the day, The Interrupters. Now veterans of the festival, it was Slam Dunk 2019 that introduced us to the band, and the preceding years have seen us follow them more and more.

It’s also at this point things begin to get a little hazy, with the heady cocktail of mud, beer, rum and ska punk making for a true festival experience. Looking around, the same could be said for many of the crowd who, despite being caked in mud (and beer, and rum, and ska punk) refuse to let the worsening weather ruin a well-earned top spot set from a band that has graduated through the Slam Dunk ranks, earning their place as the stages headliners.

There are points in the set at which the levels seem off; the bass and guitar sounding a little loud, and occasional moments of silence between songs does seem to stymie the pace of things somewhat. Weird, given that for the most part the band’s interaction with the crowd leaves us feeling a vital part of their time on stage.

And with tracks such as Gave You Everything, In the Mirror, and Take Back the Power all coming within the first half of the set, it’s obvious we’re into something special. Indeed, by the time Raised By Wolves and She Got Arrested signal the halfway point, the crowd are in a state of rain sodden bliss, and all too aware of any foibles of previous years, 2024’s Monster Energy stage, and of course the bands that have graced it, have made this year’s festival truly special.

A penultimate cover of Rudy, A Message to You is a fitting nod to the genre that gave birth to the stage, whilst closing track She’s Kerosene finds the entire crowd braving the slippy conditions for a final skank of the evening.

And it proves to be just that. With ours, and everyone else’s, cars parked off-site, we forgo the final stages of You Me At Six’s headline set; with a degree of regret, certainly, knowing it’s their last UK festival appearance, but safe in the knowledge we’ll back at the car sooner rather than later.

At least so we think. In one last frustrating, but at least understandable throw of the dice, the shuttle buses back to Leeds are thin on the ground, and as such we wait over an hour, for what we can’t be sure of, but might very well have been the same bus I got to school every year in the early ’00s.

Either way, it’s little time before we’re back in Leeds, in clean clothes and back on the M62 to Manchester, safe in the knowledge that despite both last year’s issues, and this year’s setbacks, Slam Dunk made good on the promises made previously. However, in order to be as inclusive a festival as the genres of music on offer, there’s still work to be done when it comes to accessibility. Overall though. Slam Dunk have pulled off another excellent iteration of the UK’s premier pop-punk festival.

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Words by Dave Beech, with additional words by Sally Hirshman. Dave is a music writer based out of Manchester. Links to his work can be found over at his blog, Life’s A Beech, as well as his Louder Than War Author Archive. He also tweets as @Dave__Beech.

Photos for Louder Than War by Rebecca Bush