Download Festival 2026: The Review – Saturday
Despite everyone either nursing suburns, hangovers, bruises or even broken bones following yesterday, the Saturday of Download was anything but gentle. Here's what happened on day two of Download 2026.
With the Earth still littered with Halestorm-branded confetti and the early morning sun struggling to break through a hungover overcast, it almost feels like a crime for The Wildhearts to be delegated to such an early slot set such as this, especially with all things considered. But in true Wildhearts fashion, Ginger and co couldn’t give a flying fuck.
Treating this as a headline slot, the UK punk firebrands seem spirited, sound flawless and radiate an air of good-natured defiance this morning, something the early morning revellers are relishing. Even with the news of Ginger’s cancer diagnosis no doubt hanging in the minds of the countless fans who have scrambled out of their tent early for this set, today, The Wildhearts are life-affirming and perform as the embodiment of the ceaseless resilience that has long characterised their career. A wonderful set that shows you are never just your diagnosis. Plus, any set that sees the stage invaded by the frontman’s dog will never fail to get praise.
With the afternoon failing to bring the temperatures up, Lowen are on hand to manifest the heat of ancient Persia instead. Delivering what is essentially an audiovisual exercise that enlivens the splendour, mythos and esotericism of the nations of their collective heritage, the prog metal icons set is less of a standard festival performance and more a ritual in storytelling. There are backup dancers, rituals regarding holy blades and sacred iconography galore. Sure, many not familiar with this act may initially see this as a gimmick, but as the band progresses through this set, it’s impossible not to get fully engrossed in Lowen’s ability to retell history and myth via punishing prog metal. There’s little wonder many see this band as one of the most immersive names in UK metal at the current time.
Photo Credit: Download Festival
Meanwhile, back under the blue shade of the Avalanche, Die Spitz fully showcases how they’re in the early stages of becoming a household name. Arguably a lot bigger band now than when they originally booked, the US grunge icons rely less on their burgeoning reputation to carry them through this set and more on their musical chops and tangible chemistry. The result is a set that perfectly shows how there’s more to them than internet hype. Cuts from Something To Consume sound suitably blissed-out whilst carrying all that tangible rage that has turned heads over the last few months, and the band’s take on the genre sounds rich with a sense of dystopian frustration that feels ever relevant. Expect this band back at Download soon, probably on a way bigger stage.
Speaking of excellent bands, it’s time for Conjurer. Playing before a respectfully large crowd, it appears the UK post-metal juggernauts are also a band that has a reputation that now precedes them, and for good measure. Today, like always, Conjurer sound utterly phenomenal. Tracks from Unself sound both emotionally ravaged and furiously bestial, with frontperson Dani infusing the howls of infernal demons with human emotion. Of course, it’s the crucial demand for inclusivity that is ‘Let Us Live’ and the pelagic pressure of ‘Let Them Hang’ that become the highlights of this set, with these tracks hammering home the intensity of this act with the force of a ten-ton hammer. Once again, this is a set that reaffirms Conjurer as one of the best names in UK extreme music.
As for Babymetal on the main stage, it’s kind of hard to ascertain just what is happening. Opening their set with an incredibly melodramatic video on how the band have been chosen by a divine entity to usher in a new era of heavy metal before lurching into a pastel-tinged blend of metal and kawaii aesthetics that’s characterised by key changes and what feels like an endorsement by Funko Pop, this is a bewildering encounter. Even after all of their appearances in the UK since their debut at the long-defunct Sonisphere, there’s something just surreal about seeing thousands upon thousands of battle-jacket-donned punters totally engrossed by Japanese schoolgirls dancing to chugging metal. But perhaps the most notable factor is how, after years of exposure and repeated sets at this festival, the novelty factor of this band has begun to wear thin. But fair play to them, the girls seem to be living their best lives, and at least they didn’t bring a monsoon with them this time.
Photo Credit: Download Festival
Immediately following on the main stage, Trivium are a band that are more or less synonymous with this festival. Should lore be believed, it was the band’s set at Download 2005 that propelled them to become a household name across the UK and Europe. Lofty expectations behold them, and as they play their biggest ever slot at Download, subbing to none other than Guns N Roses, can this set uphold the reputation that has been set upon this band? Of course it does. Opening with the iconic intro of ‘Pull Harder On The Strings Of Your Martyr’ before moving on to the likes of ‘Strife’, ‘Down From The Sky’, and all the classics, Trivium’s set today feels like both fan service and confirmation of their legacy. And clearly, everyone in this field is loving this.
Much like Sammy from Drain, it’s hard to confirm if Matt Heafy or his fans are smiling more here. Even the early-summer wind that lashes the sound more than the band lashes the circle pits doesn’t carry away the hype, excitement or energy. Trivium are very much one of those bands you forget just how good they are until you see them live, and whilst they may never get to headline this festival outright, this set feels like a monumental occasion anyway.
Back up on the Dogtooth, Elder sounds just as brilliant. Riding high off the release of their new record Through Zero, the heavy psychers treat the small crowd before them to an absolute treat of transcendent prog that lulls passersby into a hypnotic state. There’s certainly a contrast between their patient and layered sound and the more instantly gratifying sounds on offer today, but it’s clear all those under the crimson tarp of the tent are loving it. Download Festival isn’t exactly the place one would expect to hear meditative music such as this, but regardless, there’s no doubt that some are going to demand more bands like Elder following this blissful and explorative set.
Back over on the Opus stage, it’s time for tonight’s headliner. Facing a crowd of a similar size to that before Guns N’ Roses, Architects have their work cut out for them this eve. Recent shows have been the subject of discussion due to Sam Carter’s vocal ability, and many have been publicly discussing whether the frontman will be able to deliver the goods tonight. Turns out he can’t. Sounding more akin to stereotypical perceptions of Axl Rose, Sam Carter’s vocals are totally shot. ‘Whiplash’ and ‘Gravedigger’ sound like Mickey Mouse in a Stone Island shirt and designer sunglasses fronting a metalcore band. And speaking of the band as a whole, whilst they’re technically proficient, there’s an element of lifelessness to it all that can’t even be resuscitated by the push-pitters injuring themselves en masse.
Honestly, this is a mess of a set. Between the vocals, stage stops for injuries and overarching sense of frustration, this entire thing feels like a write-off. There’s no denying that Architects have helped build the modern metalcore scene, but this feels so far removed from what one expects from a band of this calibre. Instead of this being a victory lap that headlining a stage should be, this feels like a band trying to catch up with their own ghost.
Photo Credit: Download Festival
At least there’s something brilliant in the Dogtooth stage. They may be up against some utter juggernauts and playing before a minute crowd, but Blood Incantation are treating this stage headline slot like they’re playing atop the bill of the main stage tonight. Performing their latest record, Absolute Elsewhere, in full, the celestial death metallers perform like they’re playing for the elder Gods themselves. The result is a genuinely flawless performance. Call it people showing their appreciation or people being dragged towards the band by the sheer density of their sound, this set sees crowd-surfers galore, with Blood Incantation invoking both bedlam within and atop the crowd itself as they tear through their psychedelic-tinged progressive death metal sound with all the blinding fury of a solar flare. Come the end of this set, there’s a genuine sense of awe amongst the crowd as they filter out the sounds of tonight’s main stage headliner. Arguably the best band of the weekend.
Speaking of tonight’s main stage headliner, goodness me. When Guns N’ Roses last played Download, there was a sense of shared wonder to be had that was comparable to what was felt come the end of Blood Incantation just previously. Axl and company were on time. They seemed spirited. The crowd was utterly colossal. They warranted their lengthy slot. This time, there’s none of that. In comparison to their last headline slot back in 2018, this feels like a reheated rash presented to the smallest crowd a headliner has had in years. This isn’t quite a car crash of a set, far from it, but there’s no doubt many, if not all, are wondering not if this band requires a three-hour set, but if there’s any need for them to be here at all tonight.
Opening with ‘Welcome To The Jungle’, Axl, for the most part, sounds somewhat decent. The high notes sound rough, but as long as he’s in the lower range, it’s passable. But of course, a lot can change in three hours. As the band circumvent a set full of hits, some covers and the occasional dawdling solo, the wonder that comes from seeing a borderline mythological band such as this fades in parallel with Axl’s vocal ability. As the set progresses, the worse it gets; whilst Axl started the set in relatively fine voice, two hours in, he makes Sam Carter sound pristine. Near the end, it’s a warble. Not even ‘November Rain’ can wash away the sense of disappointment. In a fashion not unlike Architects’ set, whilst Guns N’ Roses as a group are capable of the stamina required for a marathon set such as this, this ultimately becomes a performance characterised by a vocal performance that’s borderline meme-worthy.
Still, to see Guns N’ Roses in this day and age feels remarkable, and let’s face it, no one isn’t belting the words to ‘Sweet Child O’ Mine’ after a few pints, even if the man leading the song is now only audible to the sniffer dogs. But even with that in mind, you have to wonder what this set is trying to achieve. Download is now catering towards a younger demographic, and there’s no denying that this change of tactic is working brilliantly for them. After a few years of languishing pre-pandemic, the festival feels revitalised, and like the larger-than-life event its legacy and reputation herald it as. Of course, the team behind the festival can’t quite drop the old guard suddenly, but sadly, this set doesn’t bridge the gap between yesterday’s demographic and the Download of tomorrow. As ‘Paradise City’ plays to a thinning crowd, both long-established festival-goers and young attendees filter into District X alike, a place more in line with the interests of the new target audience and away from the fading sounds of a band that feels like a relic of the kind of Download this brilliant festival no longer is.
Photo Credit: Download Festival