Outbreak x All Points East | Victoria Park, London – The Review
The heat trap dust bowl that is Victoria Park opens its gates to a very Outbreak coded line up with a mix of modern hip hop with shoegaze and hardcore. Deftones top the bill amongst a range of artists, including IDLES, Deaf Heaven and Basement. Words by Cece Lawless and Bill Gillman.
The first band of the day, Show Me The Body, keeps it simple with white flowing lights and the iconic three-coffin logo hanging behind them. Despite the early start, the tent is already packed out. Bass-heavy and relentless, the three-piece fills the enormous stage with their sound. The pit erupts, and from there, it’s every person for themselves.
The setlist mixes older hits with tracks from their latest release, showcasing their more tailored, tighter sound. Any curious onlookers leave wanting to know more, as their particular brand of hardcore/noise is intriguing yet listenable. – CL
Sadly, the crowd is lacking in numbers for shoegazers Basement, but the true die-hards show up ready to sing and show their commitment. As All Points East virgins and Outbreak veterans, and fresh from headlining Outbreak North this year, Basement are confident and feel right for a stage this big. Despite the smaller crowd, those in attendance remain mobile, creating small two-step pits and throwing their arms in the air during the bigger hits. The band’s confidence and experience are evident throughout, with their sound translating well to the larger setting. While the turnout may not match the scale of the stage, the fans who do show up bring plenty of energy and prove their dedication, making Basement’s set feel worthwhile. – BG
Enclosed is the perfect setting for Deafheaven. Containing the sound and ensuring the audience feels every note is paramount for a band as austere as this. They drift between black metal and ambient passages, filling the tent with a vast, immersive sound.
While there are moments for the crowd to mosh and dance, simply standing back and taking in the performance feels just as valid. The vocals sit perfectly in a semi-whisper against the grand, overstimulating instrumentation, creating an immense sonic wall that completely envelops the tent. – CL
Photo Credit: Sarah Tsang
Bringing the house beats to bring the house down. YØU$UK€ ¥UK1MAT$U has the crowd moving from start to finish. Headbanging, gun fingers and full on bass faces are seen throughout the tent as the set delivers serious genre whiplash. ¥ØU$UK€ drops versions of Korn, Slayer and The Prodigy, keeping the crowd happy by treating them to familiar tracks but with an unexpected twist.
Having a DJ like this at an alternative festival is definitely welcomed, offering something different from the heavier sounds elsewhere across the site. It is a reminder that there really is music for everyone, with the crowd embracing the shift in style and energy. The set creates an atmosphere that feels completely different from the rest of the day, proving that variety is one of the festival’s biggest strengths. – BG
The issue with having a song featured on Guitar Hero or going viral is that some festivalgoers are waiting for that one song, some are there with friends, and the rest are your dedicated fans. This rings true when AFI takes to the stage. A supreme talent feels almost wasted on a semi-motionless audience that does not seem as enthralled as expected for a band as legendary as this.
Despite this, they deliver the hits alongside tracks from their newer release with tenacity and an assured energy. Vocalist Davey Havok’s hair is truly something to behold as he stomps across the stage, looking every bit the rockstar. They sound great and perform with genuine heart, making the lack of crowd movement feel less important. Here’s to the rest of their tour and to better audiences. – BG
Photo Credit: Sarah Tsang
One of the many legendary bands on this line-up, Interpol play a selection of fan favourites and sound like they haven’t skipped a beat. Their performance is more restrained than some of the other acts today, but they fit perfectly alongside the dreamlike acts elsewhere on the bill.
Reserved and deliberate, they deliver a technically fantastic set, playing every chord and every section in their signature style. There’s no need for theatrics, as the music speaks for itself. Meanwhile, the sun beats down relentlessly, making standing still something of a chore. Despite this, the die-hards remain firmly in place, soaking up every riff. This performance was a love letter to the fans; those coming in halfway or not au fait with their sound may have been put off by the lack of vivacity from the stage, but technically, they sounded great. – CL
Photo Credit: Sarah Tsang
Running five minutes late, the rapper from Liverpool keeps the packed-out tent waiting. But EsDeeKid’s reputation precedes him. Footage of his notoriously chaotic mosh pits regularly goes viral, which is a bonus here as everyone in the tent already knows exactly what they’re in for.
From the get-go, the audience moshes, raps along and screams every lyric perfectly in time. They’re passionate, aggressive and full of energy. The tent erupts as EsDeeKid looks out from the top of his literal castle. Yes, the set takes place on an inflatable castle. Stage design is clearly a must for a sensation like this. Gravitas needs to be added at all times.
Used to arenas and huge festivals, this is one of the most intimate UK crowds the rapper is likely to experience for a while, and his constant movement around the stage seems to reflect his excitement. Clad in large black spikes and a mottled metal mask, running up and down throughout the performance is no mean feat in this heat, but he gives everything. Sadly, the set ends slightly early. But when you’re as big as this, apparently time doesn’t exist. – CL
Coming onto the stage to Benny Benassi’s ‘Satisfaction’, Amyl And The Sniffers set the tone for a party from the get-go. The crowd this band pulls in is massive, looking more like a headliner audience than an early-set crowd. “You know it’s gonna be a great show as I’ve already lost an eyelash,” lead singer Amy Taylor says after the opening song, perfectly capturing the chaos.
The performance is relentless, with the band bringing an infectious energy that quickly turns the set into a sweatfest. The audience dances, jumps and throws themselves around to the funky 1970s-styled rock band. From the opening notes to the final song, the atmosphere remains electric, proving this band has the presence and following to command any stage. – BG
The stage is theirs. IDLES’ presence alone commands movement, demands involvement and insists that you listen. This is a show. From the moment they arrive, the energy is undeniable, with waves of ecstatic cheers erupting after every song, and each one is well deserved.
The gritty mess of Joe Talbot’s vocals perfectly complements the emotions running through the crowd. There is something raw and visceral about the performance, with every song feeling like an outlet for frustration, excitement and release. The band owns the stage completely, feeding off the audience as much as they feed off the music. The guitarists end up in the crowd, and the moshers swallow them up. They emerge sweaty and grinning a few minutes later, continuing to play throughout. Talbot also leads the crowd in a ‘Free Palestine’ chant. Shying away from politics is not something this band is known for.
This is more than a set; it feels like a collective experience. Every movement, shout and scream adds to the chaos, showcasing how the phenomenon of IDLES aggressively commands their audience. – BG
Photo Credit: Sarah Tsang
From the first chord of ‘Be Quiet and Drive (Far Away)’, Deftones are completely at home. They do not command the stage with bravado or unnecessary theatrics; instead, they possess a cool, calm confidence. Their softer approach makes them feel accessible rather than distant, allowing the crowd to become part of the performance rather than simply watching from afar.
Vocalist Chino Moreno moves continuously across the stage, making his way from one side to the other and connecting with every section of the audience. There is a sense that no one is being overlooked. This is a well-seasoned act with nothing left to prove, and that confidence is evident throughout the set.
Fans hoping for more from the 2025 release ‘Private Music’ may be disappointed by the limited representation in the setlist. However, with such an expansive back catalogue and a festival crowd to satisfy, pleasing everyone becomes an impossible task.
Due to sound restrictions, this is certainly not the loudest Deftones have played. At times, this feels slightly strange and arguably takes away some of the intensity that their heavier moments deserve. Still, Victoria Park’s neighbours are probably grateful for the restraint, especially as thousands of attendees spill out onto the street once the band finish with the more raucous song of their set, ‘7 Words’. A fitting finale, sending thousands into the balmy summer night with a last burst, and on a high. – CL