Download Festival 2025: A Pilgrimage of Noise, Nostalgia & New Blood
Review By: John A Gilman
Download has become something of a pilgrimage now. After attending for the three days back in 2022, I’ve since been converted to the full five-night experience—and honestly, it’s a far better way to immerse yourself in this melting pot of metal and alternative mayhem. There’s so much happening even before the main arena opens that the early arrival has become essential.
The campsite marquee sets the tone beautifully, and this year was no exception. The Scratch brought their unique brand of folk/metal chaos, triggering the first pit of the weekend and kicking things off in feral style. But it was The Vengaboys who truly blew the roof off. It might sound bizarre, but it was one of the most fun sets of the entire festival—cheese-fuelled madness at its absolute best. The marquee was bursting with 4,500 fans, but easily another 15,000 gathered outside to join the chaos. Thankfully, the organisers finally provided a big screen for the marquee, making it all the more accessible. After years of fans begging for the Vengabus to stop at Download, the payoff was worth it: crowd surfing, circle pits, inflatable flamingos, and absolute carnage. Some missed the joke, but for those who got it, this was peak pre-festival mayhem.
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Day 1: Rise, Pits, and a Rain-Called Ballad
My Download Friday began in the Avalanche tent with Karen Dio setting the early pace, quickly followed by the sharp and stylish Unpeople. I’d seen them once before and forgot how much energy they bring—definitely a band destined for bigger stages. Then came one of my most anticipated acts of the day: Dead Pony. Brash, loud, and absolutely infectious. Opening with the brilliant MK Nothing, they incited the first pit of the day and left us hungry for more. Sadly, as with many early-day sets, their time was short, but closing with Mana was a perfect note to end on. They deserve a bigger slot next time around.
After a brisk walk to the main stage, I settled in near the front in anticipation of later acts (spoilers ahead!). Boston Manor delivered a solid set, though I found myself slightly distracted as I maneuvered closer to the pit for Rise Against, one of my must-see bands. They opened with Re-Education (Through Labor) and launched into a relentless barrage of anthems—Prayer of the Refugee, Satellite, and an extended Ready to Fall, closing triumphantly with Savior. It’s been too long since they played the main stage, and next time, they surely deserve a higher slot.
Unfortunately, Jimmy Eat World and Weezer struggled to maintain that momentum. Both had their moments—The Middle and Buddy Holly getting huge reactions—but following Rise Against was always going to be tough.
Then came the long-overdue Download debut headline set from Green Day. It still boggles the mind that they’ve never topped the bill here before. Kicking off with American Idiot, the energy was electric from the start. Their set was a masterclass in hits and showmanship, mixing anthems with heartfelt moments. The fan brought onstage to scream Know Your Enemy brought pure chaotic joy. One magical moment stood out above all—during Wake Me Up When September Ends, Billy Joe crooned “Here comes the rain again” and, as if on cue, it started to rain. Whether coincidence or sorcery, it felt like a perfect, cinematic moment. Ending the night with Good Riddance (Time of Your Life) and fireworks, we left the arena sunburned, buzzing, and dry—unlike last year’s mud-drenched affair.
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Day 2: Secret Sets, Punk Royalty & A Dreamlike Headline Set
Day two began with one of the funnier Download “secret set” rumours: whispers that Trivium would appear at 11am on the Opus stage. It wasn’t true, but the crowd was massive. Eventually, a roadie broke the bad news, and the space emptied just in time for Sophie Lloyd to take the stage. Despite the awkward start, she rallied with a tight, fun set, bringing out the vocalist from Inglorious for a strong finish.
Then it was off to the main stage for Hatebreed, who brought balloons, brutality, and savage riffage. Then came the enigma that is Poppy, striding onstage with a swagger and delivering an unexpectedly heavy, commanding set. The transformation from quirky pop experiment to genuine alt-metal force is now complete.
Next up, one of my modern favourites: Shinedown. Opening with Cut the Cord, Brent Smith and the crew were in top form. The middle of the set dipped slightly with a few newer tracks, but the emotional punch of A Symptom of Being Human and the intensity of Enemies and Planet Zero kept the energy alive. A band destined to headline someday soon.
While waiting near the barrier for Eagles of Death Metal, I caught Polaris, who turned out to be a real surprise—tight, aggressive, and full of energy. Sadly, EODM were the only real letdown of the weekend. Too many covers and not enough classics meant the crowd never really locked in, despite Jesse’s energy.
But redemption came quickly with Frank Carter & The Sex Pistols. This unlikely pairing delivered one of the most ferocious sets of the weekend. Frank is a natural frontman—an agent of chaos, completely in control. Bodies snarled, Pretty Vacant exploded into a pit so intense it had to be restarted. Steve Jones, Glen Matlock, and Paul Cook were visibly loving it. Punk royalty, re-energised and relevant.
Then came the most divisive headliner of the festival: Sleep Token. Many questioned the decision, but as the lights faded, and their ethereal, atmospheric sound filled Donington, all doubts melted away. No stage banter, just sheer immersive performance. From the soaring The Summoning to the closing epic Take Me Back to Eden, they delivered an experience that was beautiful, powerful, and unforgettable. Their fanbase is rabid and devoted—and after this set, I can see why. Expect them to return with even more acclaim.
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Day 3: Clashes, Chaos & Catharsis
Sunday leaned heavier, and Orbit Culture opened with the kind of brute force that set the tone. Jinjerfollowed with another majestic set—Tatiana’s ability to shift from melodic vocals to guttural growls never ceases to amaze. Pisces, the track that first hooked me, came last, and standing in the pit for that moment was nothing short of cathartic.
Bleed From Within kept the energy high, but it was Spiritbox who shocked me most. I wasn’t sure what to expect, but they delivered a confident, passionate set that turned me into an instant fan. Definitely one to watch.
Then came Bullet for My Valentine, who played The Poison in full… again. It’s a great album, and tracks like Tears Don’t Fall and All These Things I Hate still hit hard, but I’d hoped for a more varied set. Still, the energy was intense, and I can’t complain too much—just means I need to see them again soon for a different experience.
Then came the hardest decision of the weekend: Korn vs. SikTh.
I chose loyalty, heading to the Dogtooth tent for SikTh to finally watch my mate Graham Pin Pinney in action. After catching a bit of Fit for an Autopsy and being impressed by Whitechapel, SikTh delivered a blistering, math-metal masterclass. Tight, frantic, and fun—with the occasional cheeky nod to the “school disco” band on the main stage. Bland Street Bloom closed their set and validated my choice.
Still, I legged it back down the hill and caught Korn’s four-song encore—closing with Freak on a Leash, no less. The best of both worlds.
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The End… Until Next Time
As the night faded and the arena emptied, we wandered slowly back to the campsite, reluctant to let it all go. The tents were disappearing, the stages silent. But the memories? They’ll echo for a long while. We stayed for one more night, soaking it all in.
Next year’s already booked. As Brent from Shinedown said: It’s not goodbye, just until next time.