Review by Gary Spiller for MPM
The Sold-Out signs remain hanging proudly for all to see as the lucky ticket holders wind their way into Catton Park for Bloodstock’s final day – a fourth day of moshing mayhem awaits. The thermometers sizzle into the high twenties centigrade with the mercury rising to its highest point of the festival. It’s been perfect weather for this year’s edition; we’ve been well and truly spoiled rotten meteorologically!
Matching the weather’s achievements so the weekend’s bands have been of a consistently elevated level too. That, of course, comes as no surprise whatsoever given the pedigree that Bloodstock has built up since its inception at the beginning of this century. No-one amongst the 700 or so who gathered in Derby’s Assembly Rooms could have envisaged a four day, twenty thousand capacity event with a nationwide battle of the bands in the then fledgling festival’s future.
First up, in the Sophie Lancaster Tent, are Apathy UK a band who are typical of Bloodstock and its unwavering commitment to the tomorrows of metal. This extremely talented quadrumvirate won the Devon / Cornwall Metal To The Masses back heats in 2023 and thus, an appearance on the New Blood Stage.
Being my old neck of the woods recommendations referencing this as ‘a band to watch’ came through from Mike Snook – organiser of the Devon / Cornwall heats – and from brothers Ben and Zach Cornish of fellow Bloodstock alumni Ethyrfield. From the moment this quartet step on stage to their exit to loud cheers a half hour later I’m, without a shadow of doubt, impressed.
Like several bands this weekend they’ve taken me outside the parameters of my musical comfort zone and succeeded in ensuring that an expansion of those boundaries is required. Sirens dripping in doom lead to a furious acceleration and the rasping despatch of ‘Root’. Impressively, for the early hour, a rapidly rotating circle pit opens up. Remember this is Sunday morning!
From one of their recent releases to their very latest in the brutalistic form of ‘Dredge’ – released just a few days prior. Skulls are rattled and Bloodstock begins to morph into molten state. This pulverising thrasher exhibits explicit savagery that contrasts excitedly with gentle haunting segments; an ebb and flow that’s tidal in nature coming from an inner sanctum unto which only this four-piece possess the key.
Frontman Oscar Lockwood thanks the crowd and proceeds to dedicates the, as yet, unreleased ‘Web’ to both Ozzy and Sophie; a befitting manner to get the day underway. From its gentle, shaded intro tones the track builds up tornadically with bpm right off the end of the scale.
Not just content with swinging the wrecking ball these Devonians can do both grooving and melodic breakdowns as they show as they introduce Bloodstock to last year’s debut album ‘Phasing Through The Layers’ via the mediums of ‘Thirteen’ and ‘Devour’. Demonic lave spews forth glowing darkened hues as ‘Gravewalker’ emphatically wraps up Apathy’s second Bloodstock appearance. Chalk up yet another success.
It’s late Sunday morning and the thunderous rumble of percussives provide the accompaniment for the arrival of metallic outfit One Machine. This quintet is the creation of virtuoso Californian guitarist Steve Smyth. Formerly of Vicious Rumours, Testament, Nevermore, and Forbidden Smyth has a lengthy distinguished career stretching back to the late 80s and his teens.
This is basically a second coming of the project with last year’s handful of shows, mainly in Germany, the band’s first live appearances since 2018. Smyth, upon release of 2024’s single ‘New Plane of Existence’ attributed the extended absence to a number of matters including the sad loss of his wife to cancer as well as finding a new vocalist and not being able to tour during Covid. It’s testament to Smyth’s durability that in the last few minutes of this Sunday morning One Machine take their bow on the Ronnie James Dio stage.
The Eastern flavour of the introductory ‘The Grand Design’ serves as advance notification to the freneticism of opening track ‘Forewarning’. Hyper speed Priest tangles with accelerated Maiden with a banshee-like wail. The twin seven-strings of Smyth and Jamie Hunt (Biomechanical) – the sole remaining members of the original inception – converge spectacularly following traded solos.
The hard gallop of the title track of the 2014 debut release ‘The Distortion of Lies and the Overdriven Truth’ follows punchily. Recently added vocalist Tasos Lazaris raises the symbolic horns at the commencement of the uncompromising despatch of ‘Screaming for Light’. One Machine surge forth as the stiff breeze incongruously kicks up last night’s confetti. Lazaris enquires as the warmth out in the arena before threatening “We’re gonna make it hotter!”
With its mournful early moments ‘The Final Cull’ flames up right from the cathedral’s considerable interior. Its brooding spectre enshrouded by misty obsidian shades. Amidst the balanced inspection of the band’s two albums last year’s singe ‘New Plane of Existence’ proves to be an absolute screamer with Smyth warping his strings into a hitherto undiscovered dimension.
One Machine are definitely rooted in the NWOBHM era but revel in bringing their inspirations right into a 21st century setting as ably demonstrated by the sabre-rattling ‘Armchair Warriors’. The machinegun etiquette of ‘Crossed Over’ gets an outing before the set is concluded with, the yet unreleased, ‘Into My World’ which packs a meaty carnivorous bite. In spite of life’s trials and tribulations One Machine is back and seemingly stronger than ever, I wish them well as future endeavours are eagerly awaited.
Although our schedule hasn’t permitted straying from the two larger stages Bloodstock has so much more to offer and thus after lunch, we nip down to the New Blood Stage to catch Somerset hard rockers Rizen in mid-afternoon action. Five extremely likeable Yeovil lads they tear through an action-packed half hour full of good, honest rocking delivered without the merest hint of any egos.
The polished output of ‘Chicken Little’ sets the tone with a focus of the denim and leather of the 80s that appeals to an extremely healthy sized crowd. Whilst not the standard Bloodstock outfit the Somerset quintet quickly begin winning new friends with their lively, affable approach. The Primal Fear inspired ‘Shout’ is hooky and well received. Adrian Miles’ gritty vocals in ‘Comatose’ shine before the heartfelt gentleness of ‘Hollow’ illuminates the darkest of recesses.
The snappy despatch of ‘Psycho’ engages the crowd as its punky fringe ensures a catchy contagion. This is a multi-faceted outfit which can swerve one way then the other with outright metaller ‘Dreamchaser’ roaring like a pride of lions. Released at the tail-end of last year ‘M.I.K.I.A.’ tap-dances in a minefield with a raging storm within.
Channelling the likes of Saxon and Maiden it’s unashamedly NWOBHM in its genetics, rightfully standing tall and proud. Thirty minutes has elapsed in the blink of eye and Bloodstock is won over.
Comparatively speaking, whilst the quality hasn’t diminished, the number of lighter shades amidst the darker dominance has dropped off a bit here at Bloodstock this year when compared to last year. Continuing to plough the slightly tongue in cheek furrow that All For Metal had begun on Thursday German folk metal troupe Feuerschwanz veer off in a Medieval course for a careering helter skelter fun-filled 45 minutes.
The Bavarian’s vibrant power metal base is about to be unleashed on a largely unsuspecting Bloodstock arena. There’s a few about proudly sporting Wacken, Graspop and even a couple of Feuerschwanz t-shirts who, like me, know what’s in store. Incredibly 20 years since forming this is the sextet’s first ever visit to English shores.
Bringing the Scandic sounds beloved of Sabaton and Powerwolf but blending it with the folky blend of their kin such as d’Artagnan, Faun, In Extremo and Orden Ogan Catton Park is in for one heck of an awakening! We haven’t even mentioned their sense of humour, yes whoever it was who once said that Germans don’t have a sense of humour is so very sorely mistaken.
Assembling behind the lithe physique of their flag maiden the horde waste little time diving into the fray with the rollickingly fantastic lines of ‘SGFRD Dragonslayer’ that rides upon high. Twin armoured plated frontmen Hauptmann and Hodi share the lead vocals duties whilst their compatriots serve some seriously uplifting power metal. The enigmatic top-hatted Hans scorches a solo with no fuss or show, just pure metal.
From ‘Fegefeuer’ to ‘Memento mori’ – both chart-topping albums in their native Germany – and the thumping title track of the latter. With its Orden Ogan undercurrents there’s a tsunamic addiction that is impossible to not get swept along by. The German’s lively energy lifts jaded spirits and Bloodstock is firmly onside.
Hauptmann picks up a mandolin (not exactly a common instrument in these parts) for the joyous romp of ‘Untot im Drachenboot’. Possessing a Gloryhammer vibe the arena ensemble punches in unison. The screaming bagpipes of Honi and equally screaming vocals from Hauptmann ‘Bastard van Asgard’ raises goosebumps. Hans’ searing fretwork is followed by the violin of Johanna taking centre stage; this is most certainly a multi-faceted gemstone.
The lead single and title track of the latest album
(due for release in a couple of weeks) ‘Knightclub’ sees Bloodstock erupt. It’s bouncing Euro-pop foundations are reminiscent of Dragonforce’s collaboration ‘Doomsday Party’ with Elize Ryd (Amaranthe). So highly addictive it should come with the appropriate warnings.
Honi looks out across the arena, surveying the scene “We sing in German and people go crazy!” he notes. The Powerwolf underpinning in ‘Ultima Nocte’ goes down well as the stampeding circle pit grows and grows. The folky metal stomp of ‘Schubestanz’ accelerates the afternoon towards the rousing ‘Bezerkermode’. The bagpipes and violin, of Honi and Johanna respectively, face off, to the victor the spoils.
The party is well underway and ramps up even further with a stellar metalling of O-Zone’s Eurodance smash ‘Dragostea din tei’ before the Scandinavian poundings of ‘Valhalla’ bring the roof down. As the band outros to their cover of PSY’s ‘Gangnam Style’ Honi and Hauptmann jointly state “Our first time [in the UK] and not our last!” Clearly, they feel there is unfinished business on these shores; it would appear that there’s several thousand voices roaring in agreement.
The tragic passing of frontman Trevor Strnad aged just 41, in May 2022, could have quite easily, and understandably, derailed The Black Dahlia Murder. This sudden loss brought with it the end of a decade-long period of stability for the Michigan melodic death metallers. The balance was addressed, in good time, with Strnad’s fellow co-founder Brian Eschbach stepping into the vocal duties and announcing the return of Ryan Knight, the singular departure in that aforementioned decade.
Once a fairly regular part of the UK festival and touring circuit the band’s second Bloodstock appearance is just their third post-Covid visit to these shores. Live commitments have been pretty sparse in 2025, but the latter part of the year sees TBDM hit the road for a full North American tour in September and October before some South American dates ahead of the festive period.
With a thunderclap of Alan Cassidy’s drums and some dirty riffs courtesy of Knight and brand-new guitarist Wes Hauch TBDM announce their arrival. Eschbach enquires “What the fucks up Bloodstock?” before the quintet launch into the hammerblow of 2005’s titular track ‘Miasma’ that shatters the very existence of the underworld. Mid-track we get one of Bloodstocks more bizarre comments from Eschbach, “Get that pitchfork up in the air!” he requests.
The doomy ‘Contagion’ takes us back to 2003’s debut long-player ‘Unhallowed’ before the technical gremlins strike. Eschbach begins to relate to an occurrence at yesterday’s appearance at Alcatraz in Belgium, but his recollections are cut short as the ‘dark arts’ of the technical crew comes up trumps for the troubled Knight. The snarling ‘Cursed Creator’ brings us right up to date afore the heads down metalcore of ‘Kings of the Nightworld’. Invaders of darkness swarm the banks of the Trent as the afternoon shudders.
An effervescent concoction ‘A Vulgar Picture’ swerves back to the ‘Miasma’ and its track listing is raided further by the tectonic forces of ‘Statutory Ape’; a gorilla donned in matching red vest and shorts combo memorably apes it up. “You guys are out-fucking-rageous in the best way!” compliments Eschbach.
The doom-fringed ‘Mammoth’s Hand’ lowers the tempo but not the levels of intensity, this is truly a band with an inner density to equal that of osmium. Bloodstock simmers nicely having been brought to the boil. Brooding behemoth ‘Nightbringers’ unleashes the harbingers of chaos, the pit erupts.
An unholy rage continues apace with the wondrously titled ‘On Stirring Seas of Salted Blood’ before the lights are extinguished in the heavyweight ‘Everything Went Black’. The earthquaking ‘Warborn’ brings a storming set to a slightly premature and unexpected end. “We gotta go” notes Eschbach, “Our time is up” he adds in a slightly dismayed manner. A really positive reception surely means that the band’s return to the UK in February supporting Heaven Shall Burn is an eagerly awaited one.
A chiming intro, much like a haunted musical box, strikes up. A second German band of the afternoon Lord of the Lost take to the Ronnie James Dio stage with an elevated level of expectancy about them. Spectral corridors toll in doomy tones. Awaiting the arrival of the vocalist and frontman Chris Harms the band charge headlong into the dark gothic symphonics of ‘Moonstruck’. The first peak into the crepuscular landscapes of the very recently released ‘OPVS NOIR Vol. 1’. The journey into the first part of the ‘NOIR’ trilogy continues with the imperious majesty of the darkened hues of ‘I Will Die In It’. Harms leads the compelling dynamics atop the ferocious of Niklas Kahl.
Like Sisters of Mercy on performance enhancing substances the raging force infernal of ‘We’re All Created Evil’. The six-string pairing of Pi Stoffers and Benji Mundigler hi-five after untethering hurricane energies back-to-back. Rolling directly into ‘The Love of God’ via Gerrit Heinemann’s harem-scarem keys we’re treated to the track’s rat-a-tat despatch. It’s a compelling enthral with a pseudo-glam vibrancy that scatters vivaciously across Catton Park.
What follows next turns things upside-down, and tears matters inside to out spinning into another dimension; the heartfelt emotives of Bronski Beat’s multi-platinum dancefloor smash ‘Smalltown Boy’ remain as strong as they did in the mid-80s. Striking a resonant chord with the inclusivity of the metal community LOTL effortlessly deliver the haunting, and simultaneously chilling, expose on the prejudices that demonise homosexuality.
The ultra-uplift of ‘Bazaar Bizarre’ possesses so many hues, in fact within the first 30 seconds there’s touches as diverse as Faith No More and the Eurythmics. This is a track I foresee becoming a signature of the band; yes, it’s that good! The hard-driving electronic bulldozing of ‘Drag Me To Hell’ impels, in part, impressions of the low-tuning of Neue Deutsche Härte kin Oomph! and Rammstein. Harms drops into the photo pit engaging enthusiastically with the front row before emanating a mighty roar atop the barrier itself.
The theatrical atmospherics continue into ‘Morgana’; Heinemann’s tranquil intro keys appear to contain a nod of Andreas Johnson’s ‘Glorious’ before the tempest hits. Segueing into the nocturnal tubthumping excite of ‘Die Tomorrow’ Bloodstock follows the memo and dances like there’s no tomorrow. Mundigler partners Heinemann upon keyboards for the electronica opening segment of ‘Blood For Blood’. The arena bounces to the addiction and Harms introduces the concept of the single person circle pit. Vivid and sombre ‘Loreley’ is a gothic metal masterpiece that sucks you into a swirling maelstrom.
Emotional anthem ‘Light Can Only Shine In The Darkness’ rises in symphonic clouds, a beacon for the lost and misplaced that raises hope in the most hopeless of situations. It’s striking and possesses a vivid shade of attainment. “Without you we’re nothing” states Harms as he introduces the stirring anthem ‘Blood & Glitter’ that ensures Lord of the Lost’s hour at Bloodstock is concluded upon the highest of highs. This afternoon we have twice witnessed Germany’s next generation of festival headliners following the likes of Rammstein and Powerwolf. I am not alone in looking forward to their upcoming UK tour in the autumn.
Into the final week of a hectic European tour Atlanta prog-metal horde Mastodon are in top-gear by the time they reach the hallowed turf of Catton Park. Several weeks of hitting festivals such as Romania’s Rockstadt Extreme, Germany’s Wacken and Belgium’s Alcatraz plus supporting Slayer and appearing at Ozzy’s ‘Back to the Birmingham’ ensure that the sold-out Bloodstock gathering is treated to a stellar hour-plus of one of metal’s enduring 21st century entities.
Stability is a key ethic at the heart of all things Mastodon. The departure, in March this year, of guitarist Brett Hinds the first major line-up change in some 24 years. The tribute intro of Ozzy’s ‘Crazy Train’ pays respectful homage – a continuing theme of the festival’s four days – with bassist Troy Sanders donning a Sabbath t-shirt and drummer Brann Dailor selecting an Ozzy design. Tragically less than a fortnight later Mastodon were paying tributes much closer to home following a traffic collision in which Hinds was sadly killed.
Drawing upon six of their eight studio albums in a career-spanning set Mastodon apply a gold-standard throughout. Commencing with the proggish-metal offering ‘Tread Lightly’ and the earth-flattening forces of ‘The Motherload’ – the opening brace of 2014’s ‘Once More ‘Round the Sun – showcase one of many lofty pinnacles achieved by this fine outfit. Sanders expresses gratitude “Beyond honoured to be invited back to play here” he notes – tonight, in fact, is a reverse reprise of 2016 when Gojira played immediately prior to Mastodon’s headline slot – before the throttle is pulled right back for the damburst of ‘Pushing The Tides’.
Atramentous kinetics abound within ‘Crystal Skull’; smiles are shared between Sanders and Dailor at track end. Acknowledgment, perhaps, of a job thus far done well. The Sabbath influences flood through in ‘Black Tongue’ with a heavied groove that Iommi would, undoubtably, approve of. Mastodon can employ the ethereal too as exhibited in ‘Megalodon’, the spectral overdrive is activated mid-track with a divergence into a more thrashier realm.
Dailor announces ‘Ember City’ in hushed tones. It’s a tight as performance and Mastodon thunderously rampage through this number where the Foo Fighters is raised to the power of 100. A serene, keyed intro precedes the application of powerage. With all the subtly associated with a feral rhino stampede ‘More Than I Could Chew’ regally marauds.
Unrelentingly doomy and heavy-arsed ‘All The Heavy Lifting’ sees Mastodon strike the richest of ore-bearing veins. Bloodstock draws breath for the anticipated finale. The veritable ‘Mother Puncher’ gets in the first blow ahead of the cloudburst of ‘Steambreather’ that graces us with touches of an Opeth / Clutch crossover.
Further peaks are ascended in the closing moments with the mightily conflagrant ‘Blood and Thunder’ providing a rocket-launch style ascent. Dailor raises a pint “It’s time to do one for Ozzy and the mighty Sabbath!” he declares. Befitting as a tribute can possibly be Mastodon’s respectful ‘Supernaut’ – aired at Villa Park’s ‘Back to the Beginning’ – brings the curtain down on a totally consummate set.
For us a superb four days comes to a glorious end with annual leave running out the day-job is calling loudly in the morning and with a four-hour drive home we bid our farewells to Bloodstock for another year. Metal Hammer, reverentially, declared this performance in their killer review as Mastodon’s “finest ever open-air performance on UK soil”. High praise indeed and which I wholeheartedly support. Thank you, Bloodstock 2025!
Photography by Kelly Spiller for MPM
