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Photo Credit:
Photo cred: Jez Pennington
August 4, 2026| |LIVE REVIEW

2000 Trees Festival 2026: The Review – Wednesday and Thursday

As the festival kicks off, temperatures soar to ‘get that goddamned orb away from me', Celsius, but the faithful have amassed once more. Take it from Bruise Control’s vocalist, who said, 'It's a bad day to be a warm can of Magners.' Welcome home. Words by Cece Lawless & Paul Stephenson.

Wednesday

Love Rarely
Love Rarely begin their set without introduction; instead, they erupt into bursts of screams that ignite the Word stage. Emo energy pours forth as they play their opening song, immediately proving why the packed crowd believes the hype. When the first song ends, the introductory intensity gives way to a quiet ambient passage before they move into the second song, ‘Will.’ The track showcases singer Courtney Jade’s impressive range, with soaring melodies replacing the raw ferocity of the opener. The contrast lands beautifully, creating an early emotional high point that balances vulnerability with power. Bathed in warm sunlight, the moment draws the audience even deeper into the set and hints at the emotional depth that defines the rest of the performance. – CL

Karen Dió

Karen Dió and her band turn the woodland-based Forest stage into a full-blown party from the moment they arrive. Midway through the set, a Chappell Roan cover echoes through the trees. The sound is crystal clear, and the atmosphere feels perfectly suited to the setting. It doesn’t take long before the first crowd surfers emerge, flanked by sprays from water guns and a rowdy moshpit. The band comfortably plays fun party vibe punk rock, packed with rapid-fire riffs, relentless energy, and shout-along vocals. Karen Dió throws everything into the performance, capping it off with a cartwheel that perfectly sums up the chaotic, joyous set. – CL

Hyphen
Introduced by Abba’s Gimme Gimme Gimme, Hyphen immediately engages the crowd with an energetic and confident performance. The audience responds enthusiastically, shouting the lyrics back to the band and creating a strong sense of connection throughout the set. The atmosphere remains lively as the band combines powerful musicianship with a clear message. Their songs are political, unapologetically left-wing, and delivered with conviction, reflecting their beliefs without compromise. Rather than shying away from controversial themes, Hyphen embraces them, encouraging the audience to think as well as participate. The combination of infectious energy, crowd interaction, and socially conscious songwriting makes their performance memorable and reinforces their identity as a band with both passion and purpose. – CL
Venus Grrls
There’s more than a touch of the old goth about these reinvented riot grrls and an admirable dedication to donning all black in this punishing heat. Sadly, a ten-minute delay to an already short set means that just as the crowd are being won over by the sonic majesty, it all comes to a bit of a halt. Before they depart, however, we do get treated to a new single, which is some excellent witchy shit, wrapped up in a great big riff. – PS
The Dirty Nil
At first, it seems like Canadian rockers have got great big Canadian balls, kicking off their set with Metallica’s ‘Hit the Lights’, but then it soon becomes clear that this is a covers set to warm things up ahead of their set proper tomorrow. It’s an eclectic mix, from Jawbreaker to The Police, Van Halen to The Misfits, and even a rollicking rip through Nirvana’s ‘School’. As they crack into a blistering ‘Let There Be Rock,’ and the sun finally starts to bugger off back where it belongs, it’s a reminder that there really is nowhere like Upcote Farm and no place like Trees. It’s a joyous time but also a testament to the Dirty Nil’s catalogue that you’re left wanting them to blast out some of their own. Maybe tomorrow. No, wait, they didn’t cover that. – PS
Sprints
Ireland’s post-punk heroes Sprints hit the Forest stage harder than Count Binface is going to hit Clacton, a band singularly on a mission to wrest every bit of noise out of the PA. With a set that leans heavily on their newest album, All That Is Over, there’s a reason they seem the band most likely to break away from the Trees faithful to the wider world, namely their incredible knack for a crossover pop hook that sounds born to live on Radio 1, but the fact they can still blow the bloody doors off with such venom means they’re always going to have a home with this crowd. – PS
PUP
Canadian punks and Trees regulars PUP bring a 10th-anniversary set of their breakthrough second album The Dream Is Over for their first set of the weekend. There’s an irony to the fact that this is the album about the fact this is an album about vocalist Stefan’s blown vocal cords, because weeks of touring it have clearly wrecked them all over again, but the Forest Stage crowd take up the slack, singing along to every chorus, particularly on album Pine Point, which demonstrates their depth in a way you don’t get in a normal PUP set. They close out with a couple of bangers and leave the crowd wanting more, which they’ll luckily get tomorrow. – PS

Photo Credit:
Gareth Bull

Thursday

Highdrive
10.30 is an ungodly time to be playing, let alone listening to live music, especially when the heat inside the Marshall Stage tent is already set to ‘bake a casserole’, but the grungy fuzzgaze of Brighton’s Highdrive actually seems like the ideal way to kick off Trees proper: sweaty, luscious, and baked in waves of distortion that work almost as well as a misting fan. Ones to watch. – PS
Long Goodbye
The moshers are out in full force from the moment the first riff hits as Long Goodbye unleash pure, unapologetic noise. Every crushing breakdown and jagged riff feels deliberate, and the intensity never lets up. The pit erupts, with the crowd throwing themselves into every moment. Music fans deserve the chance to experience this band at a barrier-free show, where the energy can truly be free without restraint; sadly, it isn’t the case here. But vocalist Patrick Morton does rush the barricades, lending the mic out to fans who know every word. As the set draws to a close, the contrast is almost surreal as light jazz drifts through the venue while the band retune, rehydrate, and prepare for the last song. Pure filth. – CL
Hammok
Norwegian noise merchants Hammok come bursting out the gates with a fury almost as tantalising as singer Tobias’s see-through top. With newest album When Does This Place Become Our Scene barely a few weeks old, it soon becomes clear that, for the Cave Stage at least, the answer to that question is ‘right now’. They beckon the crowd forward to get involved, and then bassist Ole has hurled himself right into the fray, somehow managing to ride the circle pit without garrotting anyone. Speaking of the bass, it’s frankly unfair for anyone to get a bass tone that good, and by the time they close with the insanely catchy ‘Gooning for Free’, with its detonation-level riff, that tone has got the entire tent shaking their rump. – PS
Stress Positions
It’s a shame that one of the sparsest crowds of the day turns up to see Stress Positions, because those not tempted by Mariachi El Bronx over on the main stage are treated to a blistering set of old-school DC hardcore powered by some of the most thunderous drums you’re likely to hear this weekend and a bewildering, brilliant performance from vocalist Stephanie Brooks: stomping, slut-dropping, spitting, a 40-minute howl that deserves a much bigger audience. All this with nary a beatdown in sight, a true masterclass on the art of hardcore. – PS
Bleech 9:3
These Dubliners are such a throwback that for a moment you’d think you’d switched out The Cave for the Reading main stage circa 1998, possibly sandwiched between Radish and Bush. This is pure grunge revival (how many waves of that are we on now?), but that’s no bad thing, especially when you have the songs to back it up. There are certainly a fair few converts by the time they drag their blond curtains, baggy jeans, and low-strung Strats off the stage. – PS
Truck Violence
If the vibe at 2000 Trees is generally one of affirming positivity, then Canadian sludgesters Truck Violence are here to burst the absolute shit out of that bubble. This is dark, oppressive hardcore built around the singular presence of frontman Karsyn Henderson and his poetic, visceral performance. But amidst the bleakness, there is beauty, too, much like the single sad balloon that traverses the crowd, fleeting as it may be before they bring the world crashing back down in another onslaught. A truly breathtaking experience. – PS
The Bronx
‘The world’s going to hell; might as well have some fun,’ Bronx frontman Matt Caughthran says, beaming at the rammed Axiom crowd, and they’re not messing around. One of the most consistent live bands around, The Bronx are here to deliver a non-stop punk rock, hardcore, and goddamn American rock and roll roadshow. Well, non-stop until some chancer climbs one of the central poles, drops back into the crowd, and the sound cuts out. ‘They’ve told us to tell you not to climb the poles,’ Caughthran says, with a smile so wide it’s visible from the back of the crowd. ‘We don’t give a fuck. But if you’re gonna climb, jump. This ain’t no fireman’s pole.’ He’s not alone in smiling; by the time they take us ‘Around The Horn’, there’s nobody in the tent who’s not smiling, sweaty, and delirious. An early contender for the set of the festival. -PS
Native James
Native James and his live band are an inspired booking for the Forest Stage. Achingly cool and overflowing with charisma, he thrives on the sizeable crowd rather than shrinking from it. This is the type of fresh artist 2000 Trees is known for championing. His guttural growls and fast rapping blend seamlessly with crunching guitars, creating a sound that feels fresh and powerful. Behind him, the talented band is never passive, matching his intensity with seasoned confidence. Notably, they leave the stage to the tune of ‘Return of the Mack’, by Mark Morrison, ending this party on the perfect note.

Photo Credit:
Magda Campagne

Thursday

Superheaven
Long live post-hardcore. Superheaven prove exactly why their influence continues to resonate, delivering a set that feels both immersive and effortless. Every element works in perfect harmony, with dreamy melodies and understated vocals all blending into one another. The seamless transitions between songs keep the momentum flowing, ensuring time is dedicated purely to the music. For a band with such a revered catalogue, it’s easy to understand why the setlist feels so stacked. Across the crowd, little ones dance away alongside long-time devotees, offering a hopeful reminder that great post-hardcore continues to find new generations. Maybe Gen Alpha really is going to be just fine. – CL
Static Dress
Static Dress presents, on first inspection, as exactly the sort of thing to be braced against: modern ‘metalcore’ that sounds more like someone crossed Papa Roach with My Chemical Romance, fronted by a singer in a jacket that appears to have a strip of toilet paper stuck to the back of it, even though a t-shirt feels overdressed in this heat. Openers questioning and Pharmacy Film rather wash by. Easy to file under ‘not for everyone’ and drift towards the bar or some giant fan. Except then something intangible happens. It’s hard to say whether it’s the songwriting or the Arbor ales applying post-hardcore beer goggles. There’s something about them that calls to mind that moment when nu-metal briefly looked like it might be something more than just a fad, those last few moments when some halfway interesting bands came out. Frontman Olli Appleyard even looks a bit like the bloke from Spineshank had Spineshank burst straight out of Yorkshire. Yorkshank, perhaps. Most of the set draws on this year’s Injury Episode, and it’s the newer material that shines brightest. A phone-lights-up ballad moment tests the patience, but by closer human props, a truce has been reached. not everyone’s thing, done well. Grudging respect, earned the hard way. – PS
Hyro The Hero
A ripped but dimunitive form stumbles onto the Forest stage, flanked by a full band. Seemingly out of sorts, Hyro The Hero takes a breath before high-kicking the air and rapping at a pace most brains cannot keep up with. Unfettered chaos ensues, with the crowd matching the band’s energy, throwing themselves around with abandon.
Hyro admits to drinking a few beers that day, to which the audience cheers, and proceeds to continue to stumble around between songs. This seems slightly untrue, as he smashes through the setlist perfectly and is able to spin kick and flip around the cramped stage with the agility of a man half his age. It would seem that Hyro has protested too much.
After some mild acrobatics, the rapper leaps over the barrier into the crowd, creating a wall of death. Not one to shy away from getting physical, he joins in the rabble, still mic’d up, and looks like the happiest person alive. A wonderfully insane set from an artist that needs much more recognition from the alternative scene.

Photo Credit:
Magda Campagne

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Our reviews of Friday & Saturday to come soon…

 
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