Rocker (feedbot)
Gold Member
It is not all too often that nu-metal powerhouse Korn graces the UK with their presence, let alone London – it’s been seven long years – so Punktastic had to be here to witness their largest show to date in the capital. The sold-out event had seemingly every alt fan trying to find a way into the heavy metal congregation, but after the disappointing cancellation from sub-headliner Denzel Curry on the day, the line-up has some work to do to ensure we are satiated. So, let’s dive into the chaos and catharsis of the day’s performances.
The day kicks off with Loathe whose metalcore sound is served up with tight precision, undoubtedly earning them some new fans among the crowd. Vocalist Kadeem France has a way with his vocal delivery that lets him transition between guttural screams and hauntingly clean vocals throughout the set as needed. ‘New Faces in the Dark’ is a prime example of the band at their best, a gritty song that sparks crowd engagement, defying the trap of the early slot with ease. A wall of death soon follows, and a Sunday afternoon in the sun surrounded by black-clothed, tattoo-clad fans doesn’t get much better. Concert etiquette has been circling the drain for the last few years, but let’s not count metalheads in that discussion if this set is anything to go by. By the end of the performance, the crowd that has amassed is a sure indication that the day is well and truly underway—and that Loathe are one to keep watching.
Next up is Wargasm, whose anarchic chaos shifts the atmosphere dramatically, but the crowd welcomes it. It is in the differences across these artists where the nuances of the day’s genres come into the fold. Milkie Way and Sam Matlock’s chemistry is transfixing when onstage; the pair feed off each other and their bandmates like no other. Opening with ‘Venom’ from their latest album sees the riot begin. Their infectious punk attitude makes for a thrilling live show, relentless from start to finish. The set culminates with ‘Do It So Good,’ a lyrical mash-up that balances comical irreverence with sharp, biting edge—driven home by Milkie Way’s playful delivery. Wargasm proves to be an irreplaceable pick for the undercard, pulling no punches and coming good with energy in spades.
Due to schedule changes caused by some absences, Spiritbox find themselves in a perfect transitional slot as the sun begins to set. The band takes full advantage of this twilight moment, where the fading light and lengthening shadows create an atmosphere ripe for transformation. Their performance feels almost otherworldly, thanks mostly to Courtney LaPlante’s voice, which is breathy and angelic in places where it needs to be, but also commanding, like a visceral growl to carry crowd-pleasers like ‘Jaded’ and ‘Holy Roller’. The crowd surges throughout, drawing in more and more numbers with brutal renditions from their discography. You have to applaud the guitar work of Mike Stringer, whose delicate ownership of the instrument matches LaPlante’s stage presence, ensuring that every note cuts through like an ambush of metallic touchpoints. The sonic landscape that slowly unfolds across the stage’s horizon blends both beauty and brutality.
Now night is finally upon us, and the 25,000-strong crowd merges into one as we await the arrival of the day’s headliners. The atmosphere settles into a hush as the subtle strains of ‘Rotting In Vain’ create a serene prelude, only to be shattered by the opening riff that erupts through the field, captivating everyone in its wake. Witnessing the pioneers of nu-metal is nothing short of breathtaking; with thirty years under their belt, their experience manifests into a ravenous machine on stage.
Pits open up, drinks are tossed, lyrics are chanted with fervor. Frontman Jonathan Davis approaches the set with a seemingly instinctive presence, allowing him to roll darkly across the stage with a menacing temperament, all while wearing metallic trousers which is no easy feat. His vocals oscillate between rapid, intense phrases scattered throughout songs and brash vocal prowess.
Settling into the rhythm, we get ‘Good God’ followed by ‘Blind’ in quick succession, leaving the crowd utterly spent. The deep and resonant riffs crafted from their signature down-tuned guitars seem to emanate from the very earth, creating a sound so uniquely Korn that it’s almost as though the notes didn’t exist before they first played them. The band is battle-hardened, and it shows; with raw mastery, they bridge past and present while reigniting the nu-metal flame.
The show’s high point happens just before the encore, with ‘Y’all Want A Single,’ that leaves the crowd screaming “Fuck that” in unflinching response every time the question is asked. Metal is made for these moments, putting whatever frustrations and rage we have into a singular lyric. Looking around at fellow audience members, we all come together and, for a moment, unite in anguish, experiencing a cathartic release.
The encore, heralded by the haunting strains of bagpipes in ‘Shoots and Ladders’, is a grand finale that leaves nothing on the cutting room floor. The continual interplay of visuals across the stage’s screens change with each song, like chapters in the set. ‘Twist’ and ‘Freak On A Leash’ are no surprise to this segment, and with all their momentous production, the crowd clearly finds it a prime way to close the evening.
The final moments linger on fingertips, and a now darkened arena is alive with the hum of significance; Korn are a force like gravity, holding us in a space of profound musicianship.
JESSICA MCCARRICK
Words: Jessica McCarrick and Photos: Penny Bennett
Loathe
The day kicks off with Loathe whose metalcore sound is served up with tight precision, undoubtedly earning them some new fans among the crowd. Vocalist Kadeem France has a way with his vocal delivery that lets him transition between guttural screams and hauntingly clean vocals throughout the set as needed. ‘New Faces in the Dark’ is a prime example of the band at their best, a gritty song that sparks crowd engagement, defying the trap of the early slot with ease. A wall of death soon follows, and a Sunday afternoon in the sun surrounded by black-clothed, tattoo-clad fans doesn’t get much better. Concert etiquette has been circling the drain for the last few years, but let’s not count metalheads in that discussion if this set is anything to go by. By the end of the performance, the crowd that has amassed is a sure indication that the day is well and truly underway—and that Loathe are one to keep watching.
Wargasm
Next up is Wargasm, whose anarchic chaos shifts the atmosphere dramatically, but the crowd welcomes it. It is in the differences across these artists where the nuances of the day’s genres come into the fold. Milkie Way and Sam Matlock’s chemistry is transfixing when onstage; the pair feed off each other and their bandmates like no other. Opening with ‘Venom’ from their latest album sees the riot begin. Their infectious punk attitude makes for a thrilling live show, relentless from start to finish. The set culminates with ‘Do It So Good,’ a lyrical mash-up that balances comical irreverence with sharp, biting edge—driven home by Milkie Way’s playful delivery. Wargasm proves to be an irreplaceable pick for the undercard, pulling no punches and coming good with energy in spades.
Spiritbox
Due to schedule changes caused by some absences, Spiritbox find themselves in a perfect transitional slot as the sun begins to set. The band takes full advantage of this twilight moment, where the fading light and lengthening shadows create an atmosphere ripe for transformation. Their performance feels almost otherworldly, thanks mostly to Courtney LaPlante’s voice, which is breathy and angelic in places where it needs to be, but also commanding, like a visceral growl to carry crowd-pleasers like ‘Jaded’ and ‘Holy Roller’. The crowd surges throughout, drawing in more and more numbers with brutal renditions from their discography. You have to applaud the guitar work of Mike Stringer, whose delicate ownership of the instrument matches LaPlante’s stage presence, ensuring that every note cuts through like an ambush of metallic touchpoints. The sonic landscape that slowly unfolds across the stage’s horizon blends both beauty and brutality.
Korn
Now night is finally upon us, and the 25,000-strong crowd merges into one as we await the arrival of the day’s headliners. The atmosphere settles into a hush as the subtle strains of ‘Rotting In Vain’ create a serene prelude, only to be shattered by the opening riff that erupts through the field, captivating everyone in its wake. Witnessing the pioneers of nu-metal is nothing short of breathtaking; with thirty years under their belt, their experience manifests into a ravenous machine on stage.
Pits open up, drinks are tossed, lyrics are chanted with fervor. Frontman Jonathan Davis approaches the set with a seemingly instinctive presence, allowing him to roll darkly across the stage with a menacing temperament, all while wearing metallic trousers which is no easy feat. His vocals oscillate between rapid, intense phrases scattered throughout songs and brash vocal prowess.
Settling into the rhythm, we get ‘Good God’ followed by ‘Blind’ in quick succession, leaving the crowd utterly spent. The deep and resonant riffs crafted from their signature down-tuned guitars seem to emanate from the very earth, creating a sound so uniquely Korn that it’s almost as though the notes didn’t exist before they first played them. The band is battle-hardened, and it shows; with raw mastery, they bridge past and present while reigniting the nu-metal flame.
The show’s high point happens just before the encore, with ‘Y’all Want A Single,’ that leaves the crowd screaming “Fuck that” in unflinching response every time the question is asked. Metal is made for these moments, putting whatever frustrations and rage we have into a singular lyric. Looking around at fellow audience members, we all come together and, for a moment, unite in anguish, experiencing a cathartic release.
The encore, heralded by the haunting strains of bagpipes in ‘Shoots and Ladders’, is a grand finale that leaves nothing on the cutting room floor. The continual interplay of visuals across the stage’s screens change with each song, like chapters in the set. ‘Twist’ and ‘Freak On A Leash’ are no surprise to this segment, and with all their momentous production, the crowd clearly finds it a prime way to close the evening.
The final moments linger on fingertips, and a now darkened arena is alive with the hum of significance; Korn are a force like gravity, holding us in a space of profound musicianship.
JESSICA MCCARRICK