{"id":69169,"date":"2018-09-07T11:00:39","date_gmt":"2018-09-07T10:00:39","guid":{"rendered":"https:\/\/alreadyheard.com\/staging\/?p=69169"},"modified":"2018-09-07T19:15:58","modified_gmt":"2018-09-07T18:15:58","slug":"live-review-reading-festival-2018","status":"publish","type":"post","link":"https:\/\/alreadyheard.com\/staging\/live-review-reading-festival-2018\/","title":{"rendered":"Live Review: Reading Festival 2018"},"content":{"rendered":"
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Photo credit: Sarah Bennett<\/figcaption><\/figure>\n

Reading & Leeds<\/strong> is a festival where each year, the line up is still topic of fierce debate. As the bill sees the increasingly noticeable additions of worldwide pop stars – welcoming genres across the boards – \u00a0the fact is that Reading & Leeds<\/strong> is an ever-evolving event, suiting the times of the teens that revel in the weekend.<\/p>\n

With this being noted, once you shift through the somewhat controversial acts, the Reading<\/strong> line up still boats a plethora of bands for those who long to grasp on to the rockier roots of the festival\u2019s legacy. As always, the Already Heard<\/strong> team touched down in Reading to explore what the weekend had in store.<\/p>\n

Friday<\/b><\/h2>\n

Wearing some dazzling sparkly shorts and a shirt emblazoned with the word \u201cantifascist\u201d, Ren Aldridge of Petrol Girls<\/b> (3\/5) warmed up the small crowd gathered at The Pit\/Lock Up, playing the opening set of the weekend. With plenty of energy and passion, the self-declared “feminist post-hardcore” four-piece hailing from Austria and Bristol helped set the tone for the rest of the day at Lock Up. (BS)<\/p>\n

Moving across to the BBC Introducing stage, an unusually large crowd for a Friday morning at Reading had formed for the South Welsh outfit Himalayas<\/b> (3.5\/5). Bringing their slick riffs of new wave rock\u2019n\u2019roll, pits formed for the quartet with \u2018Thank God I\u2019m Not You\u2019,<\/em> demonstrating they\u2019re a band on the cusp of a huge career. (FA)<\/p>\n

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Photo credit: Phoebe Fox<\/figcaption><\/figure>\n

Now to SWMRS<\/b> (4\/5). Although having been around for years under different names, had a roaring reaction to their debut album \u2018Drive North\u2019<\/em> in 2016. Its safe to say they had an equally roaring reception on the Radio 1 Stage, with an enthralling performance of Californian punk. When playing their new single, \u2018Berkeley\u2019s On Fire\u2019,<\/em> it became apparent that the outfit have taken to a grittier sound, as frontman Cole Becker\u2019s animated leadership paired with the band’s energetic spirit made for an enticing show with the question of what\u2019s to come. (FA)<\/p>\n

By the time it came for The Xcerts<\/b> (3\/5) set, the tent was a little busier, and the band\u2019s brand of jangly upbeat pop-punk tunes had people dancing and bopping away happily, pulling a decent crowd despite having to compete with BMTH\u2019s \u201csecret\u201d set. A strong choice for a mid-afternoon slot, the band seemed relaxed and confident during their set, obviously enjoying themselves and the reaction from the audience.\u00a0(BS)<\/p>\n

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Photo credit: Sarah Koury<\/figcaption><\/figure>\n

With the not-so-secret set being mentioned, Bring Me The Horizon<\/b> (4\/5) displayed a triumphant return opening with their comeback track \u2018Mantra\u2019.<\/em> A silk-shirted Oli Sykes beamed as the Radio 1 Stage became a continual rampant pit, welcoming back the Sheffield boys back to the scene with a glowing reception. Unsurprisingly, BMTH<\/strong> have matured in performance, but what was really brilliant to witness was how the \u2018Count Your Blessings\u2019<\/em> screamo kids have graduated to a headline-worthy band of euphoric belters. (FA)<\/p>\n

Like some wild badass cross between RATM and Stray From The Path, The Fever 333 <\/b>(5\/5) quickly established themselves as a hard act to follow as they proceeded to absolutely slay The Lock Up tent. With pits aplenty and calls for solidarity amongst the misfits and marginalised, this was energetic punk with a message which ensured everyone left feeling sweaty and pumped. (BS)<\/p>\n

Although they begin later than scheduled on The Lock Up, fans of La<\/strong> Dispute<\/b> (4\/5) clearly didn’t mind the wait as they were treated to their unique brand of frenetic punk energy. With maximum audience participation, lead singer Jordan Drayer continually leaned right over the barrier, yelling in the delighted crowd\u2019s faces. (BS)<\/p>\n

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Photo credit: Sarah Bennett<\/figcaption><\/figure>\n

Sticking in The Lock up, the next band delighted crowds with a verse of Shakespeare where pits ensued. Yes, that is correct, Reading hosted its first Shakespearean circle pit (probably) and the band that were able to do so were The Used <\/b>(3.5\/5). The nostalgic set saw the Utah screamers generate fun throughout, where tracks like \u2018Pretty Handsome Awkward\u2019<\/em> cemented why the band are so adored this side of the pond with a wall of death appreciation. (FA)<\/p>\n

Headlining The Lock Up was Underoath<\/b> (3.5\/5), where it was (unbelievably) their first time pitching down in Reading. With the band re-emerging earlier this year, their set came with a sense of urgency – as if they had a point to prove – where they certainly delivered in reinstating their prominence. (FA)<\/p>\n

As the Friday fix of AH favourites seemed away from the Main Stage, Fall Out Boy<\/b>\u2019s (3\/5) headline slot felt somewhat important to cover, as their pop-punk beginnings had secured them as the bill toppers after years of returning to Reading. As graphics of an apocalyptic world filed the mainstage, they began with \u2018Thriller\u2019,<\/em> where from then on, their setlist leaned more heavily towards post \u2018Infinity On High\u2019<\/em> classics.<\/p>\n

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Photo credit: Sarah Bennett<\/figcaption><\/figure>\n

As pyrotechnics illuminated the sky and spurted from Pete\u2019s bass, appreciation of the opportunity poured out in abundance, as Pete heartwarmingly mentions, \u201cIt\u2019s so wild we\u2019re headlining Reading, it\u2019s like a dream come true\u201d<\/em> as the rain started to pour. With a particular nod to \u2018Centuries\u2019<\/em> and \u2018My Songs Know What You Did In The Dark\u2019<\/em> their set solidified that the former Illinois emo-kids are more than worthy of headlining Reading, as they encompass what it means to produce alt-pop goodness that appeals cross-generationally. (FA)<\/p>\n

Saturday<\/b><\/h2>\n

Fittingly kicking off day two were Trash Boat <\/b>(5\/5). Having released their second LP, \u2018Crown Shyness\u2019<\/em>, in July, the quintet proved that they are frontrunners in redefining a new wave of pop-punk. The early Main Stage slot didn\u2019t seem to phase them, as they furiously tore apart the early clusters of pits. Finishing with \u2018Strangers\u2019<\/em>, Tobi\u2019s vocals soared across the field, where it’s certain to say that they\u2019ll deservingly be returning to the stage in years to come. (FA)<\/p>\n

Heading to the Festival Republic Stage, grunge quartet BLOXX<\/b> (3\/5) played a set that was bursting with promise. They possess a balance alt-rock brushed with pop that attracted a commendable crowd for the time of day. With an EP on the horizon, BLOXX<\/strong> are a band that left you wanting more head boppers. (FA)<\/p>\n

After a morning of the new, pitching up at the Main Stage for ragga-metal veterans Skindred<\/b> (3\/5) was met with a sea of merch old and new. With their following out in full force, Benji\u2019s swagger seemed ever greater, especially when they covered The Prodigy\u2019s \u2018Out Of Space\u2019.<\/em> (FA)<\/p>\n

As the dust from the Newport helicopter settled, the crowd grew extensively bigger in preparation for the return of Mike Shinoda<\/b> (5\/5). With his three-piece band platformed behind, Shinoda took to centre stage with Fort Minor\u2019s \u2018Introduction\u2019<\/em> into \u2018Petrified\u2019,<\/em> where from then on the set progressed into embracing his journey as an artist. The combination of FM, Linkin Park – with the intensely moving piano rendition of \u2018In The End\u2019 – and his latest material from solo album \u2018Post Traumatic\u2019<\/em>; Shinoda<\/strong> demonstrated how versatility pours out of his creations whilst being a gatekeeper in the hip-hop rock hybrid. Shinoda<\/strong>\u2019s performance honestly felt as if it were Reading\u2019s equivalent of the legend’s slot at Glastonbury, where Linkin Park fans were rejoicing in his return whilst celebrating his new venture as a solo artist. The atmosphere was truly thick with admiration. (FA)<\/p>\n

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