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And now, the end is near, and so we face the final day of 2000Trees 2026. It’s been beyond a blast, but it’s not over yet: we’ve got new favourites, old friends and one heck of a headliner to mark the close of the biggest little festival in the world!

Words: Kate Allvey // Photos: Penny Bennett and Paul Lyme

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Frozemode

“Chill, It’s Frozemode!” – The shoutout is doubly ironic considering it’s hot enough to cook an egg on your laminated clashfinder today, and Frozemode are anything but mellow. They’re a starting pistol for the day, with hiphop bars and ska beats heard on ‘Stick That’. ‘Vermin’ bring catchy melodies, a carnival atmosphere and a packed-out field of festival-goers ready to get dancing. 

Battlesnake

The power-metal iconoclasts who may or may not have murdered the Devil (at least according to their track ‘I Killed Satan’) are leading a crusade against seriousness. ‘The Battlesnake’ rocks by way of Led Zep and Spinal Tap via the planet Arrakis, and ‘I Am The Vomit’ proves the Aussie world-builders are the scourge of boredom, a source of endless entertainment. 

Heart Attack Man

The Hammy Army are out in force for the sarcastic millennial punks. ‘Pitch Black’ brings the nihilism and arcade guitar, but it’s ‘Spit’ that drags us to the front for the “seasoned veterans” of 2000Trees. Who cares about the UV Index when Heart Attack Man are dropping ‘Like a Kennedy’ or providing a surreal juxtaposition with the fancy dress circle pit during ‘Lay Down and Die’? 

Dead Pioneers

Unflinching and uncompromising, Dead Pioneers are impossible to ignore. The indigenous hardcore punks light a torch with ‘No Kings’, a song which blazes with righteous fury against the systems of oppression. Uninhibited, dissenting street poetry gives way to a Roger Miret energy on ‘Never Alone’, and their unique voice reminds us that the personal is not only political, but also very pit-able.

High Regard

Over at the Forest Stage, the atmosphere is infinitely more serene as High Regard create chaos, only to then rise above it. Their prickly guitar lines and shady sentiment flourish among the trees, and when breakout single ‘Dead To Me’ drops, we’re hypnotised into a compact yet joyful slam as water pistols fire above. Delicacy and fury are delivered with a spin and a smile, and we’re eager to see where they’ll go next. 

Mouth Culture

If we’re talking about bands whose momentum never slows, look no further than Mouth Culture. They “played here two years ago at 11am” and now they’re leading a circle pit around a cartoon shark on the main stage. When they go heavy, they’re brilliant, but today it’s the mellow summertime melancholy of ‘Happier’ that has Mouth Culture at their best. “It’s the first time we’ve played a main stage,” explains Jack Voss, and based on the moody, striking ‘Regret 101’, it won’t be the last.

As Everything Unfolds

As Everything Unfolds provide a hefty dose of heaviness that’ll make you nod in affirmation throughout a tense set. They deliver lightning-sharp crashes on ‘Set In Flow’ that are punctuated with beachballs to a packed-out Axiom. We’ve got big jumping numbers, rare treats like ‘Twilight’ and euphoric vocals on ‘Let Me Go’, all in a show that speaks to everyone across the Trees spectrum.

Marmozets

‘A Kiss From A Mother’ provides a punchy start for the crowd waiting for Marmozets. New song and anti-ballad ‘Closer To You’ sends our hands waving after ‘Play’ provides mighty garage guitar and rebel energy. “I’m the happiest woman alive right now” vocalist Becca Bottomley shouts, and we’ve got to be coming in as a close second due to the sheer joy of seeing Marmozets live on the biggest stage.

Ho9909

The duo promise us a death cult, and they might just get one. Every song thoughout Ho9909’s set feels like a welcome rainstorm, or a portal to another world where the boundaries between hardcore and rave mean nothing. Just when we’ve got a handle on their majestic and complicated beats, they trick us with cheesy nineties samples, but that’s why we’re rammed into the Axiom for Ho9909: the sense of the dark, unknown and fantastic.

The Xcerts 

Let’s calm ourselves down with a rock party that sounds like the clouds parting to reveal a ray of sunlight. The Xcerts beam out ‘I Do It To Myself’ before the rippling guitars of ‘wow” explodes with sensitive lyrics and riffs that sooth like aftersun. Their welcome and genuine emotion is only outdone by how pristine their white t-shirts are.

Glassjaw

Glassjaw give us a set which challenges then inspires from the very start. ‘Tip Your Bartender’ makes us feel like we’re a Rubik’s Cube that they’ve mixed up, and whether you’re tumbling in the pit or picnicking at the top of the hill, you’re enthralled. The clattering whirlpool of ‘Mu Empire’ sucks us in with it’s twists and turns, making Glassjaw one of the most thrilling acts of the weekend.

Dinosaur Pile-Up

Another incredibly full tent plays host to another set that makes us realise how far we’ve all come since the wallflower days of our youth. ‘Bout To Lose It’ shoots grunge prom vibes into the air like confetti before the retro, Ramones-influenced ‘Punk Kiss’ and ‘Stupid Heavy Metal Broken Hearted Loser Punk’ booms out over the nodding heads and inflatable bananas. “This is fucking crazy!” Matt Bigland yells, but it’s only what Dinosaur Pile-Up deserve.

Neck Deep

“True fucking unity” is what Neck Deep are aiming for, and they achieve it. While they’ve graciously adopted their label as “generic pop punk”, the second Welsh headliners of the weekend offer us so much more. Their 90-minute performance, despite protestations that they’d rather be watching the football, is a perfect goodbye that brings together every single corner of the Trees site into one glorious manifestation of the joy of pop punk. 

‘When You Know’ or ‘A Part Of Me’ might be the love songs of the weekend, and ‘Lowlife’ cements them as the successors Blink-182 should acknowledge, but when Neck Deep drop a banger like ‘More Bricks’ or ‘Where Do We Go When We Go’, there’s a enchantment that can’t be replicated or bettered as a goodbye to Trees. We’re feeling the unity through ‘December’ (because why not drop a Christmas song in the middle of July?) before the band take a bittersweet final jump through ‘In Bloom’, because Neck Deep throw a farewell party that hits the right note across the board. Or, rather, across the field. 

Kate Allvey

Six-piece Portland indie rock outfit The Exploding Whales are bringing their signature wry wit and garage rock grit

Emerging from the neon-soaked gutters of East London, dance-punk outfit O Cursa has officially arrived with their feverish

Alternative rock outfit Open Up has returned with a delightfully surreal new single, “Taking Drugs In Space,” released

Underground Muscle Shoals punk outfit The Dismals have officially released their long-awaited debut full-length album, Stability In Motion,

Ren, Chris Webby and JP On Da Track have been dripfeeding components of their collaborative project Inpatient over the last couple of months. Now, the full release is here.

Titled ‘Asylum’ it is 15 tracks, and 15 visuals, that traverse any sort of label, genre or pre-conceived notion about who or what an artist should be. From old school hip-hop to ska-flecked punk, storytelling pop to straight up British culture clashes, it is the sort of record that defines a time and a place, whilst also pushing against everything that is considered safe.

In a partner, Ren has found the perfect counterpart to his vast creative mind in Chris Webby, matching every bar, beat and bold admission to a tee, and pulling even more out of the pot than he ever would have on his own. And that is saying something.

You can listen to the record in full below:

Or you can experience it visually through the various different forms of media that have been created to accompany it:

The post Ren And Chris Webby Release Collaborative Album ‘Asylum’ appeared first on Rock Sound.

“Sparking Waterfalls” is the deeply moving new single from Garrett Anthony Rice, serving as the latest preview of

Punk veterans Dead Pollys are keeping their massive 2026 momentum rolling with the digital release of their brand

One of the hottest young bands in UK metalcore, High Wycombe’s As Everything Unfolds are signed to Century Media (Arch Enemy, Lacuna Coil, Napalm Death) and have toured with Bury Tomorrow. Their new album, Did You Ask To Be Set Free?, is a powerful exploration of grief with filmic scope, inspired by the soundtracks and imagery of The Shining, Blade Runner and plenty more. Talking to Metal Hammer, singer Charlie Rolfe reveals that that love for the cinematic extends to her music taste, as well, with such larger-than-life rockers as My Chemical Romance and 30 Seconds To Mars defining her formative years. Here’s her playlist of the music that made her.

My Chemical Romance – Welcome To The Black Parade (The Black Parade, 2006)

Weirdly, The Black Parade is not my favourite My Chemical Romance album, but it was the album that got me into them when I was 11, and made me realise that music can be theatrical and exciting. I remember watching the music video for Welcome To The Black Parade and thinking, ‘What the fuck is this? I love it so much!’ My Chemical Romance was one of those bands that were known as, ‘Parents hate them!’ My parents loved them. When I saw the band in July, they came with me!

Paramore – Misery Business (Riot!, 2007)

I remember seeing Paramore’s Misery Business music video. Everyone wanted Hayley Williams’ haircut and to be Hayley. She was the alternative it-girl. She opened my eyes to say, ‘I can be in a band and be cool, experimental and alternative.’ She had that chaotic feminine energy. My poor hairdresser at the time: I was 14 years old saying, ‘I want this haircut.’ There’s some horrific photos of my attempt! I’ve always liked that Paramore are not afraid of admitting their growth and mistakes. With Misery Business, Hayley came forward and went, ‘I said misogynistic stuff because I didn’t really understand what I was doing, what internalised misogyny was, and now I understand.’

Flyleaf – I’m So Sick (Flyleaf, 2005)

With Flyleaf’s I’m So Sick, I remember that first scream that Lacey Sturm does and I was like, ‘Oh, we can do that?’ I know Lacey’s super into her religion. I am not a religious person; I respect all religions, I just don’t personally practise. But there’s something about somebody singing about what they believe in. Listening to I’m So Sick, you’re like, ‘Wow, she really believes everything she’s saying, to the point where she’s physically shaking… How do you get to this point of belief in something, and it’s so convincing?’ When I write music, I want to write about something that matters to me so much that when I sing it, it’s convincing to people. As a songwriter, you can’t teach authenticity, and that’s what drew me in with Flyleaf.

Enter Shikari – Sorry, You’re Not A Winner (Take To The Skies, 2007)

Enter Shikari are local heroes for us and have been on my radar for the majority of my life. That song teaches you that there’s no rules. You can do whatever the fuck you want. And the ‘clap, clap, clap!’ It was such a cultural moment! In 2011, I saw them at the Electric Ballroom and discovered moshing. Imagine being at a Shikari show with no phones out, no one’s being funny about being pushed around – everybody was there to have a good time. That’s what I correlate Shikari with: ‘home roots’. Every time Sorry, You’re Not A Winner comes on, I can’t skip. It’s the law.

Asking Alexandria – The Final Episode (Let’s Change The Channel) (Stand Up And Scream, 2009)

The Final Episode is one of those songs that we look back on now and think, ‘What were we all doing?’ But at the time, Asking Alexandria were leading the charge on that new era of metalcore. Pretty boys, but a bit rough around the edges. They were the first ‘heavy’ band that I ever listened to, and if I hadn’t, I might not have found loads of other bands.

Depeche Mode – Never Let Me Down Again (Music For The Masses, 1987)

Growing up, my parents always played Depeche Mode – I’m pretty sure they’ve got all of their vinyl. With my attention span, I need to get better at listening to music and not always wait for the hook. I think that listening to Depeche Mode, especially Never Let Me Down Again, taught me that. Enjoy the moment, the build-up and the craft of the music. I don’t like the instant gratification side of music now, as I’m becoming an old boomer!

Busted – She Wants To Be Me (A Present For Everyone, 2003)

I love Busted. She Wants To Be Me was a slightly punkier song. I remember dancing around my bedroom with my cargo trousers and vest top on, and being like, ‘Wow, I want to be in a band!’ Charlie Simpson has one of the best voices in music, in my opinion. I went to see them at Wembley with my friend. It really takes you back to those formative moments, where you forget about the admin, and think about the dream of being in a band. You think, ‘What I’m doing now is all I ever wanted when I was seven years old.’

Avril Lavigne – Unwanted (Let Go, 2002)

Avril Lavigne was the first female singer where I was like, ‘Oh, she’s an alternative singer, doing rock music.’ Back in the 2000s, you had to be a girly-girl and I didn’t want to be. Then, Avril came along and it was like, ‘That’s what I like!’

30 Seconds To Mars – The Kill (A Beautiful Lie, 2005)

The Kill is a ‘no skip’ song. My list seems to be associated with music videos, because I discovered a lot through music video channels. I liked the idea of the video taking influence from the film world, which was the main inspiration for our recent album, Did You Ask To Be Set Free?. Our track Set In Flow is based on Blade Runner, Gasoline is based on Bram Stoker’s Dracula and Find Another Way is based on Donnie Darko. The Kill was a big concept-driven influence.

Rolo Tomassi – Party Wounds (Cosmology, 2010)

Rolo Tomassi are a mathcore band from Sheffield. Because they’re mathcore, it’s fucking weird. Not my thing necessarily, but I think I was so into it because of Eva [Korman, vocalist]. I mentioned Party Wounds at my old band’s practice and my drummer gave their album, Cosmology, to me. I was like, ‘Oh my God!’ Eva was doing drawn-out screams, lows, highs. They weren’t a big band and I liked it, because I thought, ‘This is an achievable thing.’

This article originally appeared in Metal Hammer issue 415, July 2026, which you can order now. Did You Ask To Be Set Free? is out now via Century Media.

Posted on July 23rd 2026, 11:14am