Main Stage
It speaks volumes to how phenomenal 2000trees is when its consistently-dubbed ‘least impressive’ stage still turns out like this. It’s regularly been spoken of how this is a festival that’s far more than its headliners, and while that’s undoubtedly true, The Gaslight Anthem have been cropping up on wishlists for donkey’s years, now finally coming to fruition. Their status as alt-punk elder statesmen has the perfect vibe for first-night headliners, as does the deep catalogue that got an extensive look-in on their headline tour earlier this year. It’s something of a moment that this has come to pass, honestly, as if hoping against hope actually means something. Maybe Weezer, Deftones and the elusive AFI actually coming to pass don’t seem too far-fetched, eh?
The other two headliners, meanwhile, fall on very polarised parts of the spectrum. Don Broco are the more obvious ones—big, British alt-rockers capping off a bill custom-built (in most parts) to celebrate big, British alt-rock. The Chats, on the other hand, have never screamed ‘headlining material’, nor does their scrappy, roughshod Aussie-punk feel all that equipped for it. Maybe this is one of the shots in the dark that ‘trees often dips their toes into, which in the past have been fairly hit-or-miss. Perhaps there could genuinely be something here; only time will tell. (And if your fill of larrikins running amok still hasn’t been slaked, Dune Rats are on less than 24 hours later, for more of basically the exact same.)
Going back to British alt-rock, though, it simply wouldn’t be the done thing if, at a time of such prosperity among the converging scenes, at least a few of them weren’t put up to let loose on the Cotswolds’ biggest stage. If you’re focusing on the knife’s edge of right now, Dead Pony, Static Dress, Nova Twins and SNAYX have been running the show for the last few years, with respective approaches to alternative music encompassing of essentially anything and everything each. For something just a step outside of that purview, Cassyette and BEX have been the prime flag-flyers for the nu-gen crowd, and Bob Vylan’s fire-starting hip-hop / punk hydra has been tearing up wherever it’s set foot on lately. (You might as well toss in grandson as the representative from across the pond, albeit far, far less good.)
For something more strait-laced, though, you can’t go wrong with Kids In Glass Houses, continuing their reunion by showing themselves off as one of the Britrock Age’s most enduring strikers. Similarly, The Xcerts and As December Falls have distilled catchy-as-sin alt-rock to a science, and Crawlers and The Mysterines arrive on loan from the indie scene, though with the legs to stretch out into this most hallowed of counter-mainstream grounds. Admittedly they’re both a bit striking on a bill like this (especially the former), though their presence isn’t a questionable one, by any means.
The cool thing is how 2000trees feels like the only festival where both of those ideals—in their purest forms, at that—can coexist. Sure, you’ve got Britrock heavy-hitters and pop-rock risers where they should be, but there’s also the punk and garage-rock that’d never get this sort of platform anywhere else. Perhaps Frank Turner & The Sleeping Souls aren’t that anymore—as Main Stage staples everywhere and former headliners of this very festival—but they remain true of the ethos. So to have punk bands as ragged and unpolished as The Oozes or The Meffs in the grand open air is a bit insane, but really encouraging at the same time. The exact same is true of Cherym’s jubilant indie-pop-punk, or the insular indie-rock of Sløtface, or Panic Shack with their rabble-rousing post-punk.
Finally, there are the outliers to even that, though not quite as plentiful. There’s cleopatrick and ‘68 for some rougher, noisier garage-rock, and The Rumjacks as a cursory thread to the indie- and folk-rock roots that 2000trees has always held a candle for. Finally—and without question most significantly—is Manchester Orchestra, as indie-rock and emo heavyweights that represent the kind of get that this festival so regularly excels at. They’re a niche act courting a dedicated fanbase, which might as well be a microcosm of 2000trees itself. It exists in its own world, free from the guiding hand of railroading trends and free to do its own thing. With a bill like this, it’s continuing to pay off handsomely.
The Axiom
As a de facto ‘second main stage’, the Axiom has seldom felt closer to its tent-less counterpart in terms of heavyweights. Perhaps not in terms of out-and-out headliners just yet, but some seriously aren’t far. Of course, the honour would go to Creeper first, with both a flair for the dramatic that a salt-of-the-earth 2000trees doesn’t indulge in that much, but also one of the most watertight catalogues of any band in the 21st Century. Be it punk, glam-rock, hard rock, slow-burning Americana, whatever—they’re going to knock it out of the park regardless. Not far behind them are Hot Milk, wunderkinds of hard-edged pop-rock that they are, with a similar fondness for giant slobberknocker tunes and terrific live prowess. Perhaps that leaves Hot Mulligan as a bit of third wheel headlining, but don’t count them out. They did drop on of the best albums of last year, after all, and a bit of math-y pop-punk and emo can go a serious distance when it wants to.
They’re also firmly lodged in the DIY sensibility that 2000trees likes to indulge in, especially with its punk. That’s not a conversation that goes by without including Spanish Love Songs, and their firm stance right at the top of the pile. Also in that orbiting scene, Turnover are yet to set the world on fire like they did with Peripheral Vision all those many moons ago, but there’s still an audience for their lounging emo and shoegaze. Boston Manor are never a bad shout either, for grittier emo fare caked in British cynicism. In fact, there’s a decent spread all across the alt-punk and emo worlds, from indie leanings from Michael Cera Palin and an always-pleasant appearance from Into It. Over It., to Press Club’s ragged but deliriously anthemic punk, to some regularly great stuff from scene rising stars Death Lens and Sweet Pill.
The rest is dominated by a who’s who of alt staples and scene-stealers, with a light sprinkling of off-kilter picks for good measure. In that camp, it’s largely where Cosmic Psychos are segmented, celebrating their 40th anniversary as a band for one of ‘trees’ stranger bookings in some time. They’re touring with The Chats (with whom they sound a lot alike), so maybe that explains it. Your attention is likely to stray to another big birthday, however, that being 20 years of Death From Above 1979’s You’re A Woman, I’m A Machine. It absolutely still holds up this far down the line, paving the way for many a power-duo to rip them off without entirely besting them, and a relatively rare appearance is the perfect opportunity to, at last, realise the magnitude of that.
As far as the wider alternative net that’s been cast, though, you really are spoiled for choice. For some obvious highlights, Teenage Wrist are currently among the dons of ‘90s-flavoured all-rounders; Bears In Trees are one of the best and brightest indie-pop band currently operating; and Enola Gay snagged a spot last year as a surprise showstopper thanks to their brutal, roughneck noise-rock, of which this will likely be no different. More buzzy post-punk comes from Knives and Shooting Daggers, while alt-rock brings about Indoor Pets, King Nun, Mouth Culture and The Sleeping Souls (sans Frank Turner this time) to bolster its hold. Finally, Tropic Gold serve as a glimpse into the world of Bad Omens-esque alt-metal but actually, y’know, okay, and snake eyes have been plugging away with scruffy, shabby indie-punk for a while now, long being worth some extra attention.
The Cave
Back with another prime selection of heaviness is The Cave, maybe more consistently so than ever. At least in recent memory, it’s hard to remember a time when this stage has gone this far in its rubric. Maybe Wargasm don’t live up to it, but them being headliners is easy to disregard; more impressive is the return of Empire State Bastard (in which Simon Neil’s hardcore / grindcore vehicle courts even more devastation on a smaller stage than last year), and the Every Time I Die / The Dillinger Escape Plan / Fit For An Autopsy ultra-group Better Lovers. Turns out it is indeed possibly to tie a line between gigantic rock all-stars and the most brutally relevant heavy music out there, and you’ve got two heaping helpings of it over the space of two days.
That’s just the very top, too; it’s not stopping there. For one, there’s the final ever show of Palm Reader, the UK hardcore icons that never properly got their dues, and will be sorely missed always. At least there’s a bit of rebirth taking place with Vower’s proggy post-hardcore, as one of two acts on this stage linked to another dearly departed fave, Black Peaks. The other is Every Hell, a decidedly more melodic affair, but repping the other side of the coin in terms of inventiveness and true, uncompromised vision. Between both of them, that original ethos remains in exceptionally rude health.
Also worth noting is the footprint that Church Road Records has cast, as the proprietors of UK hardcore’s most exciting crop of names, bar none. This time, some of its bubbling-under names are given the chance to shine, with each one already feeling so ready to blow with the right audience. Cruelty are pushing top-end blackened hardcore; Burner operate on a tighter, brusquer axis of punishment; Inhuman Nature bring some thrash revivalism to the fore. This is the kind of heavy stuff that leaves an impression, in the forms of ripples in the scene and bruises on skin. Might as well throw in the non-Church Roaders doing similar work, too, like Cauldron’s vicious metallic hardcore and further thrash two-hander from Overpower and Negative Frame.
Beyond that, the bases of hardcore go genially covered. There’s plenty of space for some swifter bludgeonings, spearheaded by Blood Command and filled out by hardcore punk from Single Mothers; street-level drubbings from Grove Street and Fangs Out; and another addition to the pantheon of ETID-alikes in Arson (though that’s not a complaint). Branching out further, the return of Gouge Away has produced some top-end work in visceral emotional hardcore, while Pizzatramp opt for some more levity in their hardcore punk, though with much less to speak of in effectiveness. Still, it’s the variety that counts, right?
Speaking of which, the crop of more melodic acts to round things out does a lot to fill in some of the colours and shades that might otherwise be missing. One or two can feel a little too far out the ‘heavy’ jurisdiction—Lonely The Brave, which exceptional at what they do, are still ostensibly just Britrock, and Angel Du$t are far more indie-oriented these days, though capable of fun regardless. Otherwise, various brackets of post-hardcore are occupied by Movements, Caskets and a leftfield return for Midasuno; Knife Bride bring some fine-tuned alt-metal; and HAWXX come indebted to classic hard rock muscle. Last, but by no means least, unpeople look to continue a streak as one of British alt-rock’s most iridescent newcomers, a year on from their debut appearance that planted the seeds for their legend to blossom from. Here’s hoping there’s more of that to come this time.
The NEU Stage
Bit of a weird one, this one. In keeping with the NEU’s theme of acts who are predominantly, well, new, there’s never an obvious choice for a headliner that falls out. This time, though, they feel very…arbitrary. Maybe you can rationalise Zetra as having groundswell in more underground, gothic spaces (plus, there’s a debut album coming this year), but The Pale White aren’t exactly ripping a tear through indie-rock at the minute, and Holy Wars as one of the only metalcore representatives on the whole bill feel as though they’ve been fast-tracked to this point remarkably prematurely. It’s even stranger when you don’t have to go too far to find suitable candidates for their place—blanket have been going from strength to strength as they’ve moved deeper into doom and crushing noise, while CLT DRP’s electro-punk has had some fantastic longevity, starting out fully-formed and only growing further from there.
At least they’re still getting their time to shine, which is true of everyone here, really. Among the usual bulwarks of the 2000trees sound, you’re guaranteed to find something to pique your interest here. It’s a particularly good year for grunge, with Split Chain being the name currently setting the most tongues wagging. They’re joined by the desolate noise of Mould and the threadbare intricacies of Peach, all running in a row to highlight just how multifaceted this sound continues to be.
Punk is similarly having a good time, maybe even more so when you consider how many of its players on the NEU are already causing some ripples. Problem Patterns, NOBRO and IDestroy are all rising up the ranks with The Menstrual Cramps not far behind them, with a fiercely defiant, feminist standing that has done well in these spaces since time immemorial. For some real ferocity, though, look no further than Meryl Streek, the spoken-word punk firebrand who’s one of the most unique voices in alternative music at the minute, and to see real airtime on a lineup like this is a genuine joy. Alongside further bouts of noise from Other Half and Naked Lungs, an unapologetically visceral crop of acts (especially the weekend after a general election) is exactly what an independent festival like this should be platforming. The efforts never go unnoticed, especially this time.
There’s still plenty to go for in a less pointed mindset, mind. Lovebreakers’ indie-rock is practically the antithesis of that, and the new wave flavour of Bowen can easily slot amongst them. If something more feral in its debauchery is what you’re after, Shelf Lives’ dance-punk fits that bill excellently, as another band just waiting for their moment to truly explode. Honestly, the same is true of everyone who’s left—bands on the cusp of absolutely massive things, with this being the latest valuable stop to getting there. Pop-rock from Artio, gothic shoegaze from The Nightmares and indie-rock from House Of Women are all currently teetering on it, likely to tip incredibly soon. Meanwhile, there’s plenty for whom the groundswell is still picking up nicely—post-hardcore from Swear Blind; indie-punk from Buds.; towering alt-rock from Gallus and Blank Atlas; emo from awakebutstillinbed; and some Queens Of The Stone Age worship from Ramkot.
The Forest Stage
Watching the Forest Stage balloon from a stripped-back festival novelty to a key piece of ‘trees infrastructure year on year has been truly fascinating. Now fully-fledged as its own stage, it seems as though every time it shows back up, there’s a new little feature being added in, or something to make it stand out even more (as if an intimate space in the middle of the woods doesn’t already). This time, it’s all about the live silent disco sets, presumably in which the participants’ performances are funnelled directly into the headphones without sound elsewhere(?) It’ll likely make more sense when it happens, but the list of names lending their talents to it is tantalising on its own—SNAYX return for their second set of the weekend, along with exclusive appearances from Mimi Barks, The Hara, NOISY, Delilah Bon and Calva Louise.
And yet, when it comes to special experiences, we still ain’t done! They’ve just been piled on rather than replaced, which means that the early-doors special on Wednesday afternoon—in which a bunch of bands more accustomed to way bigger stages kick off proceedings on here—is still in place. Appearing across the weekend are Boston Manor, The Xcerts and Dead Pony, albeit nothing close to this intimately. There’s also room for exclusive sets among that, coming from Dream State, Lambrini Girls, Pet Needs, and the final live show from Exit Child.
As for others taking a stroll down to the woods to bring things in a little closer (which was once the sole appeal of this stage), it’s not exactly a light load. Frank Turner is the obvious huge one, not only for a set but a Q&A session, in a fitting display for a man who has lent his name to a campsite here. On top of that, it’s frankly astounding to see Spanish Love Songs pull something like this out, as well as similar from The Rumjacks and grandson. Regardless of how little the latter would convince this writer to make the trek, it’s still the kind of experience you only get at 2000trees.
And then…the rest. There’s still a lot going on, at what’s essentially become the home for the genre-blenders, the singer-songwriters, or the ones on the fringes of everything else. That actually sounds a lot more dismissive that it’s supposed to, given you’ve got indie-pop legends Los Campesinos! making an appearance. You could absolutely put them anywhere on this bill, but having them here specifically is another ‘trees-brand ‘I was there’ moment that there’s always a few of each year. Their alt-rock compatriots aren’t quite as impressive, but there’s still decent stuff—Tigress, Cold Years and Interlaker sit proudly among the newer generations of Britrock, while post-punk from Loose Articles and alt-metal from Kite Thief are great little finds in their own right.
Beyond all of that, though, it’s good to see how the soloist’s beating heart remains a fixture on this stage. Lauran Hibberd, Katie Malco, Tom Jenkins and Seán McGowan feel among the expected crowd (with Skinny Lister and, of course, Thrill Collins being the equivalent for bands), but there’s a couple worth highlighting, even then. First is Liam Cromby, the We Are The Ocean frontman embarking on a solo journey of his own at the moment, which what feels like a concerted push that’ll be fascinating to see play out. The other is Amigo The Devil, for the notion of outlaw country being a new border that the 2000trees remit has crossed into, in what now feels as though no territory is out of bounds.
That’s just as true when you consider the healthy crop of nu-gen, waiting to properly break into the lineup proper, but testing the resolve of the floodgates to their absolute limit. Of them all, ALT BLK ERA might have the strongest shot of getting there, thanks to an interesting nu-metal-ish sound, a considerable boost in traction and a debut album out early next year. Kid Bookie isn’t far behind, though, with Kid Brunswick, Bobby Wolfgang and Harpy among the others gunning for greatness. Finally (because there’s literally nowhere else to include them in a way that’d seem logical), there’s Thumpasaurus, with an off-the-wall brand of funk / dance-rock zaniness that feels simultaneously entirely alien to everything else here, but also so self-assuredly unique that it’s right at home.
2000trees Festival takes place on 10th-13th July at Upcote Farm. For more information, visit 2000trees.co.uk.
Words by Luke Nuttall
