Bloodstock 2026 – Sunday (see also Thursday/Friday)
Catton Hall, Derbyshire
6th-9th August 2026
Sunday at Bloodstock: Local metal icons Judas Priest bring Bloodstock’s 25th Anniversary celebrations to a triumphant close.
It’s Sunday at Bloodstock, a fourth day of baking heat and somehow many of the metal faithful still have energy in abundance. From the off there’s a sense of anticipation in the air. Anticipation for the band that so many seem to be waiting for: Judas Priest. But there’s much more to praise as the event’s 25th anniversary bash draws to a triumphant close.
First act of the day for your reviewer are Castle Rat. They’re great fun and playing under the bright, hot sun seems to suit them. Best described as medieval fantasy rock, they’re very visual. Dark, heavy Sabbath-like riffs are overlaid with melodic vocals by a band who know how to throw all the right on stage shapes. There’s plenty of impressive lead guitar and band interaction, but singer Riley Pinkerton, with her mane of auburn hair, is the inevitable focal point.
A wander into the Sophie Lancaster stage is a walk into darkness. I’m exchanging Castle Rat’s bright, shiny theatricality for Trivax. They’re impressive but very different beasts; brutal, extreme metal, utterly uncompromising and politically aware. It’s a contrast that brilliantly exposes the musical range within Bloodstock’s compass.
Back outside, Kittie are on the Ronnie James Dio stage. Long time stalwarts of the metal scene, there are no frills here; just four Canadians piling riff upon riff, and incisive guitar break upon guitar break.
Orbit Culture and Thrown into Exile follow. They’re bands with much in common musically. For some, Sweden’s Orbit Culture are the face of modern metal. Dressed in regulation black and no doubt sweltering in the afternoon sun, they assault us with visceral power, relentless as riff upon riff hits the mark. Undoubtedly good at what they do, the crowd are suitably impressed. They’re a band with no need for visual distractions. Americans Thrown into Exile follow. Similar in style to the previous act, there’s much to praise and, judging by the crowd’s reaction, both are bands on the rise.
Thrash metal veterans Testament take a different approach. It’s time to enter a world of dragons and pyro. They’re impressive viewing and extensive pyro punctuations are hard to ignore. Yet for me it’s the vocal interactions and melodic interludes over-topping their driving rhythms that set them apart from some of their contemporaries.
There’s so much more to some festivals than acts on the main stages. Wandering around Bloodstock I’m struck by a sense of community and genuine friendliness. It really is proving to be a welcoming festival for all ages.
So what else is happening here?
For the energetic, health conscious there’s a metal rockfit workout each morning and those with VIP tickets can enjoy a daily family film club. Sunday afternoon finds me at the Hellbent Metal Hoedown. Billed as line dancing for metalheads, it’s great fun but perhaps should be re-branded. It actually resembles ceilidh danced to metal rather than line dancing.
Black Label Society and Zac Wilde immediately bring Black Sabbath to mind. Their set’s dominated by guitars, hair, and heads-down riffing. Faces occasionally emerge from behind their manes and Zac’s guitar playing’s obviously a focal point. They’re enjoyable to a point but I’m left struggling by the quality of the vocals. Perhaps Zac’s having an off day, or too focused on his guitar.
Seeking solace I head for RAM, Bloodstock’s rock and metal museum, and it proves an unexpected delight. The curation and presentation is faultless; a blackened tent benefitting from excellent air con. Free to enter and escaping from the blistering heat alone make visiting worthwhile, but there’s so much more on offer. Original posters and memorabilia from previous Bloodstocks adorn the walls. There’s a special feature on Sunday’s headliners Judas Priest, including custom guitars, clothing, and album artwork. Festival founder and fantasy artist Paul Gregory’s work is an imposing and impressive highlight. Huge original paintings are on display alongside sizeable signed prints for sale. The gallery’s a great addition to the anniversary celebrations.
Eventually, and reluctantly, I brace myself for the heat outside, I’ve got bands to watch and review.
Masked metallers Mushroomhead offer something different visually, if not musically. The pounded water drums look stunning in the darkened tent and unmasked vocalist Ms Jackie has great stage presence.
Back outside, a breeze is providing some respite in the early evening heat, and crowds are gathering for Body Count. Hip hop, rock, and metal combine with Ice T inevitably drawing most attention. But this is far from a one man show, with Ice’s son, Little Ice sharing vocals and guitarist Ernie C throwing out visceral licks. We get doses of US politics, and during Psychopath, hammed theatrics too. There’s mock violence, fake blood, and a blood spattered Ice Junior flailing about on the stage floor. It’s all good wholesome family entertainment.
Judas Priest can’t really fail as headliners; local lads and metal icons who’ve sold tens of millions of albums. They’re greeted as local heroes should be and tonight the hits keep rolling out. This gig isn’t just a Bloodstock landmark homecoming, the band have a new greatest hits compilation to promote and they’re here to remind us of just how many anthems are in their arsenal. Sabbath’s War Pigs sets the tone as an intro with Metal Gods and Breaking the Law featuring early. They close with Painkiller, and leave Electric Eye, and Living After Midnight, complete with Harley, to their tumultuous encore.
A few songs in and Bob Halford comments, “Twenty five years of Bloodstock and a hundred fucking years of Judas Priest.” Lost in thought for a moment, my mind drifts to symmetry and dinosaurs; this weekend’s festivities opened on Thursday with dinosaurs (Heavysaurus) and tonight they’re closing with rock and metal dinosaurs. Judas Priest emerged at the dawn of metal; formed in 1969, they’re Brummie contemporaries of Black Sabbath. And yet somehow, despite the odds, these metal dinosaurs have adapted, grown, survived and prospered.
As a Bloodstock virgin, this weekend has been a joy and a revelation. If you’ve got preconceptions of loud, aggressive music watched by loud aggressive people, satanism, and dark arts, and more, forget them. Loud, aggressive sounds? At times, yes, but also so much musical variation than I expected, and so much to smile about. If you ever travel to Glasgow, you’ll find banners declaring, “People make Glasgow.” Well people make Bloodstock too. This is my sixth festival of the summer and the Bloodstock crowd and staff are up there with the most welcoming and friendly I’ve encountered.
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Words and photos by Trev Eales. More work by Trev on Louder Than War can be found at his author’s profile. His photography portfolio is here
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