Every year I see the absolutely stacked line-up at 2000 Trees festival and every year, I kick myself for not going along. All I ever hear is how great it all is and how amazing the people are there, so finally in 2023 the opportunity arrives for me to travel up to Upcote Farm and experience it myself.
It’s been going strong since 2007 and now in 2023, we are blessed with a perfect blend of the old and the new. You’ve got up and coming acts such as Dead Pony and Lambrini Girls but also newly reformed 00’s acts like Hundred Reasons, Hell Is For Heroes and Rival Schools gracing us with their presence.
The drive up to Cheltenham itself is one that’s filled with excitement. Just heading through the gates you get the feeling that it is going to be a great weekend. Already everybody is friendly, smiling and look as though they don’t want to be anywhere else.
Thursday
The sun is trying to break through behind the clouds at 1pm, but that doesn’t stop Ithica drawing a sizeable crowd first thing, whilst the revellers are still arriving. Their short but sweet set is comprised mainly of tracks from last year’s “They Fear Us”, the title track in particular getting the early mosh pits going. That mixed with the likes of “Camera Eats First” and “Cremation Party” show why they are one of the more exciting metal acts gracing the scene at the moment.
Next is Kid Kapichi who already feel really well established amongst the punk scene at the moment. Frontman Ben Beetham has the swagger of Suggs on stage and even treats the crowd to a selection of chocolate bars throughout the set. “Fool Britannia” in particular is extremely well received amongst the multiple crowd surfers making their way over the barriers (and this is a very common theme throughout the weekend!)
Following in their political wave is Bob Vylan who has really lit up the scene over the past year, already gathering a really avid fan base and a reputation for putting on a display. We certainly get that as he throws himself into the front few rows just a few songs in and keeps that energy pumping non stop. “I Heard You Want Your Country Back” and “Take That” really go hard, with the main man himself even brandishing a cricket bat on stage for some reason. It all goes by so quickly and for a second never fails to feel vital or urgent, he feels like a really important act for the time right now.
Skindred are seasoned veterans when it comes to the festival scene having played almost every one going so they know how to work a crowd well. Whether it’s that wicked sense of humour from the king of Newport himself, Benji Webb, or the groove that goes with their perfect blend of reggae and punk. The music is great enough with your clothes on, but it’s so much better with it off as demonstrated with the famous “Newport Helicopter” during set closer “Warning”. As soon as the song starts, half of the crowd have already got their shirts off in preparation aloft above their heads, just before that breakdown drops and a see of clothing fills the crowd.
It’s then a very quick trip to the Forest Sessions area, which feels like probably the best stage in the whole festival. There’s a real special feeling to the small stage situated at the bottom of the wooded area surrounded by the trees. It might seem like a bit of a gimmick and the same could be said about Bat Sabbath who are performing late in the evening and yet it all works so, so well. You get all of the classic Sabbath hits such as “Paranoid”, “War Pigs” and “Iron Man” with the added energy of Cancer Bats, what’s not to love?!
Now the choices for headline act are tricky as the long awaited return of Soft Play is a big draw. However America’s very own The Bronx get the nod tonight, based purely on their incendiary shows. And I think it’s fair to say that it was the correct choice! From the off the foot is on the gas and it does not let up the entire set. The one-two of “White Shadow” into “Sore Throat” sets a precedent that is never lowered, only upped.
If frontman Matt Caughthran isn’t on stage bouncing then he’s right in the thick of the action down on the floor. “Knifeman” is particularly explosive resulting in this reviewer actually losing their watch in the melee that ensues. “Six Days A Week” has enough riffs in the single song that most bands would have in their lifetime and the circle-pit that fills the entire tent is testament to the appreciation this band gets.
At times it feels as though the sound is going to rip a hole in the tent, be it on “Heart Attack American” or the blistering “History Stranglers” which could equally make a hole in the ground where everybody is jumping. In truth it’s likely that my watch is currently 3 feet beneath the Cheltenham earth right now. The show may have gone down an absolute storm, but to be honest we could all do it over again and just feed off of the energy in that tent as it could probably fuel the whole festival itself.
Friday
There are likely to be a few sore heads on the second morning and with the temperatures a notch under 30 degrees, it’s likely that most were woken up with the blistering sun shining down through their tents. Heriot get things underway early on the Friday and the British metal outfit are sure to clear up a fair few of those hangovers from the night before. It’s visceral stuff and you can clearly see why they are considered one of Britain’s best metal acts from the soaring riffs to Debbie Gough’s screeching vocals.
Now I knew very little about PaleDusk before heading into the Cave Stage early afternoon, other than I was looking for a little respite from the blistering sun. Instead, I’m treated to one of the biggest surprises of the weekend from the Japanese hardcore outfit. Coming on stage to Eminem’s “Lose Yourself” accompanied by the live instruments really sets the scene. But what then follows is a series of spinning kicks, huge breakdowns and moments of pop and dance all performed in a Liverpool FC shirt. The crowd lap every second of it up and for good reason as well.
Some of the most tender moments come during Hell Is For Heroes’ set, be it from the children of the band joining in on stage and singing along, or from a crowd surfing Tigger who bounces along (as a Tigger should). Not only do we get the old school cuts from “The Neon Handshake” and “Transmit Disrupt”, but we’re also treated to a new song in the form of “I Should Never Have Been Here In The First Place”. If there’s more of that to come in the future, then those craving that hit of 00’s alternative music will be eating well soon.
The run of great bands just keeps going and doesn’t stop until the end of the night as one of the UK’s most critically acclaimed bands on the scene, Employed To Serve take to the stage. Their technical prowess mixed with their ability to create a heck of a heavy drop never fails to impress. Be it on “World Ender” or “Force Fed”, the head bangs of approval and the bodies flying in the pits show how well the set is going down today. If there was any justice, they would be one of the premiere metal acts out there right now headlining arenas as their sound needs to be heard in that capacity. In some ways it’s a treat that later this summer we’ll be able to catch them on tour in such intimate settings.
If an award were to go to the heaviest, most balls out set of the weekend, it would probably go to the new outfit fronted by Biffy Clyro’s Simon Neil, Empire State Bastard. It’s 45 minutes of him and Mike Vennart releasing the taps and giving it everything. The songs that have already been released in “Harvest” and “Stutter”, give a pretty good idea of what to expect; but if anything things are even more chaotic in the best possible way. The only exception comes in the form of “Tired, Aye?” which is merely just Neil and the drums playing behind him. It’s totally engrossing and feels incredibly fresh; something to really look forward to when the album comes out later this year.
Following on from their Black Sabbath tribute the previous evening, Cancer Bats are back for a set of their own hits of which it feels as though there are too many to list. We essentially get snippets of their whole career which has spanned almost the last twenty years which is crazy to think. From the early days of “Pneumonia Hawk” to “Lonely Bong” and “Radiate” off of their latest record, even with line-up changes there is still a fizz that resonates with the crowds. So much so that set closer “Hail Destroyer” sees an obscene amount of crowd surfers going over the front barrier. The security guards have had their work cut out for them this festival I think it’s fair to be said!
From the hits of nostalgia that we can get throughout the weekend, it’s fair to say that the return of Rival Schools is definitely up there with the most anticipated of them all. Straight after last years festival, they were the first names announced on the lineup and the rare chance to catch them in a live environment after all this time is too good an opportunity to miss. What we get is a playback of their debut record “United By Fate” played in full from start to finish.
For me personally hearing everything from “Travel By Telephone” to the euphoric “Hooligans For Life” feels me with a lot of joy. “Holding Sand” gets a more slowed down version tonight, so much so that I almost didn’t recognise it at first. Yet “The Switch” still feels like it’s coming at you like a train and “Used For Glue” has the crowd jumping around like we were teens 20 years ago. The set is one of those special moments that feels so great about this festival. There’s a real sense of community that everybody is around for the right reasons and in this together and that’s something to behold.
As I leave The Axiom stage, there’s even chance to catch the closing stages of Bullet For My Valentine on the main stage who appear to have probably the biggest crowd of the entire weekend. It’s at that stage where Cancer Bats’, Liam joins Matt Tuck and the band to perform “Cold” from their “Axewound” supergroup days. “Tears Don’t Fall” starts with just Tuck and the crowd singing along before the whole band come in and that iconic scream fills the fields. It all finishes with “Waking The Demon” and even after all of the times of listening to it, you can’t help but just throw your head along into it.
Saturday
On the final day of the festival, I think it’s fair to say that there are a few tired heads around, but that certainly does not stop anybody from wearing a smile and having an amazing time. Even the frequent showery spells that are falling do not dampen the feelings and the added joy of the “Out Of This World” fancy dress theme for the day never fails to raise a titter.
In terms of the music, it’s yet again another absolutely packed day and the first big hitter is Dead Poet Society from Los Angeles. Immediately from opener “Sound Of Silence”, I’m on board and in for the long run. They have that smoothness to their groove that bands such as QOTSA and Royal Blood have used so well over the years and it’s incredibly satisfying, so much so that I feel myself making those weird faces you do when you appreciate good new music. It’s also very reminiscent of Nothing But Thieves in the form of “.SALT.” and when the all to short set comes to a close, I’m wanting to find and more about them. That’s the sign of a great act.
If there is one band that is going to put a spring in your step then it is Electric Six. Dick Valentine has that wicked sense of humour and there’s something rather surreal about an American talking about getting petrol at a station in Bourton-on-the-Water. Naturally most of the people have come for “the hits”, but they stick around for the joyous fun they bring to their set. Amongst the very large crowd they attract, you can’t help but notice a Loch-Ness-Monster involved in a conga circling the circle pit at the front which only adds to the occasion. It’s obvious that both “Gay Bar” and “Danger! High Voltage” are going to be the big hitters during the set and they certainly do not disappoint. Twenty years on and they are still entertaining in that way that they do.
Holding Absence almost need no introduction as they have been making strides in the scene over the past couple of years and already built up a very established fanbase. In what they say is their last show before the release of their new album “The Noble Art Of Self Destruction” in August, the band play through a number of classic hits, each one being even better received than the last. “In Circles” quite possibly sees the largest number of crowd surfers in any one song and “Afterlife” has everybody suitably bouncing. The sun shines down on them for quite possibly the only moment of the day and from the back of the field seeing all of those hands in the air at the end during “Wilt”, you get the sense they are going places.
It’s been a tricky couple of years for Dream State. Now survived through their only surviving member, guitarist Aled Evans, things could have gone disastrously wrong, however it seems as though they’ve found a new lease of life through the latest EP “Untethered”. “Comfort In Chaos” and “Taunt Me”, showcase the more gravelly vocals of new singer Jessie Powell. This gives them somewhat more of a heavier edge than previously before. It’s highlighted more in older songs like “Open Windows” which have that same melodic tone, but once it gets to the end hits that much harder. You can tell by the end of the set they are extremely grateful for this new life they have been given, after playing to their largest crowd yet in this setup.
Come 7pm and it feels as though the gates of hell have truly been opened in the sky as the thousands of revellers flood their way into the tents to take shelter from the biblical rain. The sounds from Chelsea Grin’s singer Tom Barber that play out, suitably fit the apocalyptic feeling that has come across the site.
The rain doesn’t let up when Hundred Reasons grace the main stage and at first it feels incredibly empty down at the front. However over the course of their opening with “I’ll Find You”, the crowd goes from around four deep, to all of the way past back the sound desk. What then comes in the next hour is a hit of 00’s nostalgia that is one of the true highlights of the weekend not only for myself but plenty of the revellers there.
After a wonderful sing along during “Falter”, Trees gets a surprise for “Silver” with Enter Shikari’s very own Rou Reynolds sharing with the vocal duties. The whole set is filled with adoring fans singing along to everything from their debut which is now 21 years old to their latest release “Glorious Sunset”, which is already one of the best releases of the year. The bass that comes out of the speakers during “Kill Your Own” hits particularly hard and you can’t help but nod along. For those who have braved the damp conditions throughout are treated to an absolute show from a band that still feels incredibly fresh and relevant today.
For the final headliner of the festival, you want somebody that is going to put on a bit of a show and you can’t get much better than Frank Carter & The Rattlesnakes. It’s hard to believe that back in his Gallows days that he would be headlining festivals in this capacity, all complete with pyro and confetti cannons throughout the set. “Bang Bang” and “Go Get A Tattoo” sees pop artist Lynks taking things up another gear on stage.
In classic Frank fashion during “Wild Flowers” he gets all of the women for one song only to get involved in the pits and crowd surfing and describes it as the happiest sight ever. He has also teased that they have been recording a new album which we will hopefully see at some point soon. Allegedly not on the original setlist, “Juggernaut” goes down an absolute storm and sees probably the biggest pits of the weekend, including one that goes around the sound desk in the middle. It all finishes with “I Hate You”, but the sentiment surrounding the field is anything but that. Half the crowd are up on shoulders and the other half are holding them up in the air. It feels a euphoric and happy moment, something that encapsulates the whole feeling of the festival.
This was my very first visit to 2000 Trees festival, but I can certainly say that it won’t be my last. The atmosphere you get here compared to other sites is that much friendlier and more welcoming, despite the heaviness of some of the music that is on show and that is a testament to how it is all run. The ease of getting from one stage to the other and the scheduling of the artists is absolutely spot on. You can see why artists and revellers want to return year on year, because it is a very special place to be.