From dust-choked pits to headline glory, are you ready to dive in and relive the sacred texts of Download 2025’s most epic weekend…
Words by Felix Bartlett | June 19, 2025
Photos by Josephine Best, Felix Bartlett, George Read
If you’re reading this, then congratulations, you’ve survived Download Festival 2025! Yes, the beer was warm, the mosh pits were borderline war crimes, and we’re still digging that dust out of our eyes, but fret not, we’re here to bring you the ultimate roundup of yet another epic weekend of heaviness. So whack that bottle of aftersun out and crack open a cold one as we take a look at just what went down at this year’s Download Festival. From Green Day’s long-overdue political punk sermon to Sleep Token’s otherworldly headliner debut and Korn’s 30-year-in-the-making triumph, this year’s Donington takeover was one for the books. So without further ado, let’s jump into the full, filthy breakdown…
Friday
Before we jump into the big dogs headlining the weekend, let’s dive into the other acts sprinkled across the weekend that we managed to catch or rather, dive into. Kicking off the weekend and officially opening the Apex Stage on Friday afternoon was SiM, who surprisingly opened with a punk-reggae explosion (those missing Skindred got their fix after all, it seems). ‘The Rumbling’ (yes, that Attack on Titan banger) had the crowd losing their minds, while ‘Blah Blah Blah’ and ‘KiLLiNG ME’ brought their genre-defying chaos to new and old fans alike. A perfect wake-up call for anyone still nursing a Thursday-night campsite hangover.
After a quick pint and bask in the sun we prepared for our next venture into the dust bowl for Boston Manor who delivered a blistering mid‑afternoon set on the Apex Stage. Being no strangers to the hallowed grounds the Blackpool felt right at home on the main stage. From the opening notes of ‘Floodlights on the Square, ‘ the crowd surged into mosh and circle pits, with body after body launched skyward as crowd surfers. Proof that their blend of emo, ’90s grunge, and early‑2000s post‑hardcore hits hard and heavy.
Back over on the Apex Stage, Rise Against kicked off the evening wave of legendary punk bands with this set marking their sixth Download appearance since debuting in 2008. With the release of their upcoming tenth album, Ricochet, slated for August 15, 2025, they teased fans with ‘I Want It All’ mid-set, a potent preview of what’s next. While we didn’t need the heat turned up, Rise Against did just that with a barrage of pyro and smoke that lit up the stage during ‘Under the Knife’ and ‘Give It All,’ while a heartwarming moment during ‘Satellite’ saw the father of the year crowd-surfing with his daughter. Their build-up throughout the European festival circuit (peaking at Nova Rock and pivoting into Donington) showcased a band both polished and eager to stamp their influence on Ricochet’s era. With their mainstage momentum and buzz around the new album, Rise Against is shaping up to be a future headliner on the Opus Stage. This performance left little doubt that they’re more than ready for the spotlight.
As we attempted to find some shade amongst the mid-afternoon chaos before the headliners, Graphic Nature provided the perfect escape, albeit through violence early on Friday with their nu-metal-meets-hardcore assault (‘Killing Floor’, ‘White Noise’) turning the Dogtooth tent into a warzone. Frontman Harvey Freeman’s guttural screams and the band’s bone-shaking breakdowns felt like a love letter to Slipknot’s Iowa if it were written in a South London council estate. By the time ‘Vexed’ dropped, the crowd was a sea of flying limbs and spilt pints. Brutal, beautiful, and exactly what Download’s underground stage exists for.
Green Day‘s arrival on the Apex Stage Friday night felt like the culmination of a long-overdue climax. For a band whose ‘Dookie’ and ‘American Idiot’ defined multiple generations, it was puzzling that this was their first-ever Download headlining gig. And yet, here they stood, decade-tested and roaring with renewed relevance, especially off the back of Saviors, arguably their best album since American Idiot.
After a rambling intro featuring a hops-fueled bunny hype-man writhing through ‘Blitzkrieg Bop’ and toy security chasing him offstage, Billie Joe Armstrong and crew hit humans, and hard. They unleashed the explosive triple of ‘American Idiot’, ‘Holiday’, and ‘Know Your Enemy’. Beyond mere nostalgia, it felt like such a scorecard was intended to remind us why they deserved the top slot.
By track two, Billie Joe seized his moment. “We are slipping into fascism. Donald Trump and his administration is a fascist government, and it’s up to us to fight back,” he declared. The crowd responded in unison to a revived “you fat bastard” chant aimed squarely at Trump. He also tweaked lyrics in American Idiot, accusing Musk of being part of the same MAGA agenda. The band could have succumbed to straightforward festival nostalgia, but instead, they leaned into a defence of democracy, a timely reminder that punk is meant to provoke.
Playful touches peppered the set, adding a sense of grandure to the set marking the special occasion: a ‘BAD YEAR’ blimp drifted above the stage, bassist Mike Dirnt and Tré Cool showered Billie with rose petals during ‘Good Riddance’, and even a lyrical flub in ‘Bobby Sox’ drew affectionate laughter. But the true moment to treasure happened by accident: as Billie intoned “Here comes the rain again” during ‘Wake Me Up When September Ends,’ streaks of drizzle began falling from the sky, a perfect alignment of weather, words, and mood.
For me, and for many fans, this felt like an old friend reaching out and pulling us back into our childhood days. Green Day’s long-overdue Download headline slot could have easily been just a greatest hits set, but it wasn’t. It was here to make a statement. From the opening salvo to political rallying cries, nostalgic sing-alongs, and perfectly timed weather poignancy, they delivered a two-hour triumph. Rather than resting on their laurels, they leaned into punk’s purpose: fun, furious, and unfiltered. Whether you came for the classics or stayed for the call to resistance, this set will go down in Download history as a standout moment, one that proves punk is never done evolving, and Green Day remain its fearless champions.
Photos: Todd Owyoung / Download Festival
Saturday
As the dust settled and we approached another scorcher of a day we couldn’t think of a better way to kick off the second day on site than with Loathe kicking off with their freshly released single ‘Gifted Every Strength.’ Despite a slight sound hiccup during their final song (a brief technical snag noted in festival reports) the band recovered brilliantly and powered through to a thunderous finale. Their performance underscored why they’re being tipped alongside the likes of Spiritbox and Sleep Token as future heavyweights of modern metal. If their Saturday morning roar is anything to go by, Loathe are more than ready for larger stages.
Those in search of some tantalising new tunes headed over to the Opus Stage for newcomer-on-the-Download-block Kim Dracula’s festival debut. Expectations were high, especially after Kim Dracla and co. took home the ‘Best International Breakthrough Artist’ award at last year’s HMAs. Their performance was gloriously chaotic, a controlled burst of randomness that left us exhilarated and off-balance. The Tasmanian genre-hacker unleashed a theatrical medley of trap beats, metallic riffs, and unexpected pop sensibilities, a collision that felt equal parts Marilyn Manson theatrics and unpredictable viral energy. As part of the new wave of boundary-pushing artists Download is championing, Kim Dracula, love them or hate ’em, are cementing their place as alt-metal’s uncontainable wildcard and a future mainstage contender.
Poppy and AWOLNATION were both a delightful addition to Saturday’s roster with each delivering standout sets, affirming their status as pioneers in Download’s evolving alternative soundscape. Over on the Apex Stage, Poppy unleashed a theatrical barrage of industrial-pop intensity, blending tracks from ‘Negative Spaces’ and her recent single ‘Ceremony’ with ferocious breakdowns and soaring melodies, closing with an explosive ‘SUCK IT UP’ that had us picking the dust from our eyes. Following this, AWOLNATION took to the Opus Stage, led by Aaron Bruno, who guided the crowd through hypnotic, synth-laced rock, anchored by ‘Sail’ and fresh cuts that show Aaron and co. are shifting toward an electro‑rock renaissance.
Back over on the Apex Stage, things were just heating up (literally) with Don Broco’s Saturday afternoon Apex slot was pure, unashamed fun. The Bedford lads’ “Broco bounce” turned ‘Come Out to LA’ into a festival-wide workout, while ‘T-Shirt Song’ and ‘One True Prince’ had the crowd singing louder than a drunken karaoke session.
Before newcomers Sleep Token took over the site, a storm was brewing. That storm was Frank Carter fronting the Sex Pistols. Subbing in for the perpetually absent John Lydon, Carter took no prisoners. He unified punks of all ages, but his aggression revealed something interesting: the crowd struggled with pit etiquette. At one point, he scolded them: “Do you know what a fucking pit is?” The moment highlighted that, despite their star power, this incarnation of the Pistols felt better suited to smaller, more chaotic venues rather than headlining the massive Opus Stage. The scale worked against the intimacy that Carter thrives on, making their set feel impressive but perhaps just a tidge out of place in the festival’s grand finale slot.
Now for the moment everyone’s been waiting for. Sleep Token’s headline performance at Download Festival 2025. The set was a spectacle of mythic proportions, cementing their status as metal’s most enigmatic force while exposing the growing pains of their festival ascent. As we noted in our review of last week’s Rock im Park debut, the band seemed “poised to transcend history,” and at Download, they edged closer, Vessel’s once-tense stage presence gave way to a prowling, ritualistic command, his masked cadre flanked by waterfalls, petal storms, and a gothic cathedral of light. The production again was staggering: House Veridian flags loomed over the Apex Stage, Even In Arcadia’s motifs twisted into sound towers, and a life-size set piece transformed Donington into a dystopian dreamscape. Opener ‘Look to Windward’ ignited a sea of inflatable flamingos (all named Jerry), while ‘Emergence’, performed at a piano beneath a real waterfall, became an instant anthem, its third-ever live airing met with deafening sing-alongs.
Yet for all its grandeur, the set revealed fissures. A noticeable exodus of fans mid-show hinted at a disconnect, where we praised Rock im Park’s “transcendental conversion,” Download’s sprawling crowd seemed divided. It can be said that Sleep Token’s hypnotic, slow-burn intensity, perfected in arenas, struggled to galvanise a festival audience weaned on relentless energy. The band’s refusal to break character (Vessel uttered no words beyond lyrics) further polarised, a stark contrast to Green Day’s communal banter the night prior. Still, the devotees revelled in the chaos: ‘Caramel’s raw vulnerability (“This stage is a prison, a beautiful nightmare”) and ‘The Summoning’s viral bass drop united thousands, while closer ‘Take Me Back to Eden’ bathed the field in emerald lasers, a defiant crescendo.
Sleep Token left no doubt they’ve earned the headline mantle, their production, mythology, and sonic alchemy are peerless. But as petals settled and sceptics trudged away, the question lingered: Are they reshaping festivals in their image, or must they adapt to conquer them?
Sunday
As we head into the final day, the sunburn is starting to take its toll, but there’s no time to notice. We slap on the aftersun and soldier through the festival’s last (and arguably heaviest) day, making the pilgrimage up to the Avalanche Stage to catch Harpy. Dripping in lust and chaos, she set the tone for the festival’s closing acts. Fresh off her single ‘Last Time’ (a track she describes as “the sin of LUST” and an “apocalyptic” ode to hedonism), the tent was transformed into a darkly euphoric playground. Yes Mummy is here and she’s ready to kick us up in the arse and get us back in gear for the final stretch.
As we rubbed the blood off our faces (cheers Harpy), we headed straight back into the thick of it with Spiritual Cramp igniting the afternoon with their gritty post-punk revival, transforming the Avalanche Stage into a sweat-drenched frenzy as their razor-sharp hooks and anti-establishment fervour rallied the crowd. Followed by the ever-so-epic House of Protection with their hypnotic, industrial-tinged performance, dark synths and pounding rhythms creating a stark contrast to the daylight, yet commanding undivided attention. Then came The Ghost Inside, whose Opus Stage set was a cathartic explosion of hardcore defiance. While the band’s triumphant resilience (a nod to their career-defining comeback) turned the pit into a unified surge of stage divers and crowdkillers.
Now let’s move on to the elephant-or should we say, the ant—in the room. Alien Ant Farm’s Sunday afternoon slot on the Opus Stage was less a performance and more a time machine back to 2001. Kicking off with Movies, the California veterans had the crowd screaming along to every word of Smooth Criminal like it was still dominating Kerrang! TV.
But the real talking point of Sunday? President. The masked metalcore enigmas—rumored to feature Charlie Simpson, though their Fearless video tried very hard to debunk that—made their live debut in the Dogtooth tent, and holy shit, did they deliver. Walking out to a 1950s “I Like Ike” jingle (because of course, they did), the band’s anonymous frontman, dressed like a dystopian politician in a tailcoat and white gloves, launched into Fearless, a BMTH-esque anthem with a chorus bigger than Boris Johnson’s ego. The unreleased tracks ‘Dionysus’, ‘Rage’, and’ Destroy Me’ showcased a band unafraid to blend crushing breakdowns with electro-pop verses, while ‘In the Name of the Father’ closed the set with a sing-along so loud it drowned out the nearby portaloos.
Spiritbox’s Apex Stage set was a revelation. the Canadian prog-metal trio, fresh off their explosive Eternal Blue momentum, fused djent precision with Courtney LaPlante’s seismic vocals, turning’ Circle With Me and Hurt You’ into pit anthems under the afternoon sun. Their hour-long performance, sandwiched between Meshuggah’s brutality and Bullet For My Valentine’s nostalgia, proved why they’re modern metal’s most ascendant force, with LaPlante’s guttural-to-ethereal vocal shifts leaving the crowd spellbound.
As we headed into the final hours of the festival Matt Tuck made sure our tears were falling for Bullet For My Valentine‘s set with their career-spanning barrage on the same stage, their 70-minute set blending early thrashy triumphs (‘Tears Don’t Fall’) with newer melodic hooks (‘Knives’), the Welsh veterans commanding singalongs so loud they nearly drowned out Matt Tuck’s shredding.
Meanwhile, Steel Panther’s Opus Stage closer was pure, unapologetic debauchery—the glam-metal jokesters peppered their set with raunchy banter and hair-metal pastiche, their spandex-clad antics offering a hilarious counterpoint to Korn’s impending darkness. Crowd-surfers piled up during ‘Party Like Tomorrow Is the End of the World‘, while their ‘Community Property‘ sing-along became the weekend’s most ironically unifying moment.
Now for the grand finale…From the moment Jonathan Davis snarled “Are you readyyyyyy?” into the Donington dusk, Korn’s long-overdue Download headline slot became a victory lap for nu-metal’s architects and their legion of misfits. After 10 festival appearances, spanning second-stage climbs and main-stage near-misses, the Bakersfield icons unleashed a career-defining set that proved why they should’ve topped this bill a decade ago. The crowd, a sea of sunburned diehards and Gen-Z converts, roared back the “Blind” chorus like a war cry, beers arcing through the air as circle pits swallowed the field.
While the 90-minute runtime felt criminally short after Green Day and Sleep Token’s marathon sets, Korn’s economy of chaos was truly masterful. Every second dripped with intent: the liquid-metal visuals, the burning forest backdrops, the seismic bass of Here to Stay that rattled ribs like a tectonic shift 810. Even the encore, Freak on a Leash’s primal scream-along, followed by Richard Cheese’s lounge parody over the PA, felt like a middle finger to convention, a celebration of the band’s unshakable identity. As Davis soaked in the sea of “crazy motherfuckers,” his grin said it all: Korn came and reclaimed their thrown. The nu-metal revolution they sparked 30 years ago had come full circle, and no one was leaving early.
Photos: Danny North / Download Festival
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