The big review: 2000trees 2025

As festival season hits full swing, it’s time to head to Upcote Farm for the biggest 2000trees to date. The sun’s out, which is already a good start, but this year’s edition of the UK’s largest small fest is a particularly hum-dinging one. You’ve got the returns of letlive. and Million Dead, as well as Alexisonfire, PVRIS, public enemies Kneecap, plus a full crop of killer British bands: Hot Milk, Employed To Serve, Heriot, HIMALAYAS, unpeople, Hidden Mothers, RØRY and loads more.

With over 100 acts spread across four days, it’s a packed riot. Here’s all the best stuff that went down on the farm…

What’s that lovely racket rustling through the woods? It could only be Haggard Cat, so beloved by Trees that they can proudly declare themselves an unofficial house band. They’re a natural choice to pull the cork on this year’s revelries, and between the glassy squall of the guitars and Matt Reynolds’ positively corrosive screams, they’ve struck the perfect ratio of dirty to polished. “How does it feel being at the best festival ever’s first set?” yells Matt. It feels fucking good, if the crowd reaction is anything to go by. Beers are lobbed, the punters jostle in the pit, and someone even runs in there clutching a stool. This is the mayhem they were craving. (EW)

There’s something unexpectedly beautiful about watching VOWER in the forest. Surrounded by the towering trees, their mountainous yet graceful sound finds a natural home here, but they really light a fire under themselves by throwing their entire selves into it – particularly impassioned frontman Josh McKeown. But for all their hugeness, their humility seeps through. Josh is genuinely awestruck when he asks who’s seen them before and an impressive proportion of the crowd cheer – “I was not expecting that,” he admits. It’s a contrast to his one-year-old daughter’s reaction – “It’s her first VOWER show and she does not give a shit.” Luckily, plenty of others do, and it’s testament to what an extraordinary band they are on their way to becoming. (EW)

Marking their first set of two this festival, unpeople aren’t taking themselves too seriously with a mashup of covers and classics. Kicking off with Beastie Boys’ Fight For Your Right, they quickly conjure up the sort of mayhem that leads to a busted ankle. The Forest is packed out with people lapping up their party vibe, and their take on Weezer’s Hash Pipe is excellent. Though they joke this is just a taste of what’s to come, with a real unpeople set to arrive later this weekend, it’s still well worth the time squashing in among the trees and trying to avoid any broken bones. (RR)

Other Half admit at one point in their set that they’re “very well versed in playing to absolutely no-one”, but Trees brings them better fortunes. In front of rows of revellers soaking up every riff they can get, they’re a delightful din at times and masters of carefully calculated chaos at others. Guitarist/vocalist Cal Hudson and bassist/vocalist Soapy Porter bounce eagerly on the balls of their feet, full of coiled spring energy, and trading lines on subjects as varied as their cheap merch, messy number twos (“I have a bit of a thing about germs so I sanitised my arse,” quips Soapy) and the discomforting privilege of playing in a band when violence devastates Gaza. But within the safe space of the festival walls, they’re a wonderful welcome back for those who have just got here. (EW)

You know a band mean business when they’re dripping in adidas and most of the members don an intimidating moustache. Getting messy Scandi style, Blood Command call for constant pits and crowdsurfing, with vocalist Nikki Brumen getting in on the action herself and eventually ending up on someone’s shoulders. Villain’s Monologue is possibly the most lively moment of their set, and throughout Nikki embraces her power and presence onstage by swishing her hair and blowing kisses among her stomping use of the space. (RR)

The anti-piracy campaign from the ’00s probably scared the shit out of you at some point as you were drifting to sleep after a movie back in the day. Believe it or not, it has the same startling effect as it introduces Panic Shack to the Forest Sessions Stage. The Welsh punks might be self-deprecating between songs, but they revel in their self-assured lyricism. As captivating as they are naturally funny, the band drink tequila, dance together in a choreographed line, and celebrate the joy of boobs with unreleased track Tit School. Finishing up with their viral hit The Ick, it’s a raucous rally from beginning to end. (RR)

The Wednesday throwback set is a time-honoured Trees classic, and Kid Kapichi are taking the reins at the perfect moment. Tonight’s the first instalment of a week-long leaving do for guitarist Ben Beetham and drummer George Macdonald and poignantly, they’re returning to the place where they first felt, in vocalist Jack Wilson’s words, “like people cared”. Although not every deep cut gets the rise out of the crowd they’d have hoped for, when they deploy their bigger songs, the air crackles. The punchy Death Dips rolls back the years with glee and Rob The Supermarket is as riotous as the name suggests, but it’s not without bite. Violence feels especially pointed after a speech about Palestine, while Jack remarks at how well Party At No. 10 has stood up half a decade after Downing Street’s infamous COVID parties – “It’s funny how we wrote this song in 2020 and it’s just as fucked, isn’t it?” As they sign off with the explosive Smash The Gaff, they’ve made it clear what incredible party starters they are. (EW)

The magic of The Meffs lies in their simplicity. Their two person set-up, with Lewis Copsey on drums and Lily Hopkins on guitar and vocals, is all there is to it. No backing tracks, no extravagance, and it’s all intentional. Harking back to old-school punk, The Meffs are far more about what’s happening with us as they play, rather than them. It’s a sentiment that’s proven as the band send The Word tent into a whirlpool with two pits merging into one. Upcote Farm shrieks back in a call and response to Stand Up, Speak Out, and a cover of The Prodigy’s Breathe oozes with Keith Flint swagger. (RR)

As the sky darkens in the forest, things are getting rowdy. Serving as a natural follow-up to Kid Kapichi, Hot Milk are putting the party into party politics and play with a determination that can easily be considered ravenous. Feisty opener Insubordinate Ingerland opens pits quicker than you can snap your fingers, while the security are left to dash from left to right to catch the crowdsurfers tumbling over the barrier during I JUST WANNA KNOW WHAT HAPPENS WHEN I’M DEAD. Co-vocalist/guitarist Han Mee in particular is a firecracker today – “Open it up!” she yells. “I want it wider than my asshole on poppers!” They’ve got the spirit, they’ve got the massive songs, and they’re as perfect for this slot as they sound on paper. Simply joyous. (EW)

The morning shift on Main Stage can be a tough one, but it’s perhaps even more tricky for an act like Meryl Streek. His spoken word styling is a difficult one to weave into the festival environment, and though Trees is a little sluggish (with most still attempting to sleep somewhere in 30 degree heat), he doesn’t give up. Expressing gratitude for our presence throughout, Meryl – real name Dave Mulvaney – is constantly moving, the frustrations behind his songs alive in his bones. Taking us through their real life stories, he vents about the unethical powers of landlords, corrupt politics and grief. Finishing with If This Is Life, he unpicks what it means to dream big when the world makes you feel small. (RR)

Karen Dió operates like she has fireworks in her knee-high Converse pumps. Despite being plagued by technical hitches and not being able to hear herself properly, she still gives it her all. You can’t get more gutsy than performing a 30-second power track simply titled Buy My Merch, and her cover of Chappell Roan’s Casual ups the tempo and even sprinkles in the word ‘vajayjay’. Nice. After closing out with Sick Ride, the crowd sing happy birthday to guitarist Matt Bigland who turns 40 today, as he receives a cake topped with a whopping sparkler. It’s a birthday bash we’re so glad we got invited to. (RR)

Pissed off by the state of… everything? Grief Ritual are too. Luring in curious punters craving an escape from the already-punishing sun, they attack their ears with stampeding drums, thick slabs of riffs, and an astute yet anguished political stance. Throughout their ferocious half-hour, vocalist Jamie Waggett calls for the government to “tax the wealthiest people in the country, tax the businesses that afford to pay”, before they dive into the dungeon descent of Spiral. His cry of “defund and abolish all police” precedes a tremendous breakdown that feels like a sledgehammer hit to the temples. It’s nasty, but within that, there’s a ton of catharsis. (EW)

Emanating an ultra-cool aura, HIMALAYAS are dressed in smart black outfits, and breeze through their set like it’s no biggie at all. Vocalist Joe Williams decorates his vocals with an Arctic Monkeys’ Alex Turner-like twang, and though little crowd interaction sets this one aside from a typical Trees set, the music is snappy. Afterlife is especially beautiful, and a closing rocky cover of Coolio’s Gangsta’s Paradise makes for an excellent watch, displaying the confidence that rallies this band. (RR)

Trees has taken quite a shine to unpeople, hosting their first-ever gig and then booking them three years on the bounce. Young they may be in band years, but already they are owning the Main Stage. Frankly, with songs as brilliant as the crunching Waste, the soaring Smother and the ebullient Moon Baboon, it's exactly what they deserve. Meanwhile, their airing of new material kick open the door to an inevitably exciting future, showing glimpses of a suave, chunky rock’n’roll sound. Meanwhile, their closing song The Garden already feels like a real anthem for Trees if ever there was one. With the crowd chanting their name as they walk offstage, they feel like legends already. (EW)

Axiom has gone to sleep, but it’s time for Dream Nails to dig their claws into Trees. Doing their bit to keep the next generation of music coming, drummer Lucy Katz dishes out a pair of sticks to an audience member with the encouragement that they’ll come to one of their future shows. Swimming Pool gets folk swishing along, like part of one little community, while Ballpit amps up the vibe with its lyrics on ambition and desire. It’s a small set, but still sweet, and a real shame more bodies aren’t here to create the atmosphere this band deserve. (RR)

“We aren’t fucking about!” jests SNAYX vocalist Charlie Herridge under the increasingly merciless afternoon sun. He speaks the truth – they’re not exactly going soft with their jagged party spirit. The buzzing Sink Or Swim and the larger-than-life Strut ooze swagger, and dancing becomes impossible to resist even as sweat coats punters’ limbs. Every so often, however, their anger bleeds through. “We stand against war, we stand against censorship and we stand against genocide,” Charlie affirms before snarling his way through Boys In Blue, while a fiery cover of The Prodigy’s Breathe is dedicated to the late Keith Flint. They’re a multifaceted bunch, but when watching them at this early stage is so much fun, it’s easy to envision them as a festival must-see in the making. (EW)

It’s in the name, and it’s in the game. Vexed attack Trees like it's done something to them personally. And thank god they do, because what a fantastic riot they are. The opening blast of Anti-Fetish feels like it could knock the roof right off The Cave, with Megan Targett taking no prisoners as she calls for more movement. Fuelled by headbanging and a let’s-’av-it determination, they’re on a non-stop energy train that blasts through some of the best of 2023’s colossal record Negative Energy. They’re without a doubt one of the hottest rising heavy acts right now. (RR)

“It’s a real privilege to be here,” acknowledges Puppy vocalist and guitarist Jock Norton. “It’s been a minute.” Three years have passed since their last album Pure Evil and though their momentum has flagged a little since – it might have been packed in here if we rewound to 2022 – but they’re on fighting form. The trio’s stomping metallic punk is barbed yet crystal-clear for the most part, save for a technical error which has them awkwardly backpedaling, but they are cheered when they regain their stride. They had the perfect space to reaffirm themselves, given they almost epitomise the Trees sound if there ever was one, and they’ve absolutely seized upon it. (EW)

The Hunna are marking their first 2000trees today, and to do so they deliver a set that feels both fresh, and delivers the classics. The band are officially back after a three-year pause, with new single Hide & Seek getting its live debut with a gloriously airy chorus. Hunna fan-fave Bonfire brings unbridled joy, and Bad For You slows things down with its dirty riffs. Marking an exciting Trees debut, one hopes they come back again soon. (RR)

Now here’s some riffs to get you beating your chest. Bristling with energy, Australia’s DZ Deathrays are raring to go and their enthusiasm seems to lure in plenty more punters outside, their crowd slowly filling outwith each sun-bleached chorus. Across the full throttled Blood On My Leather and the adrenaline-fuelled First Night Fever, their energy proves infectious – well, until they encourage the crowd to do a ‘jump the fuck up’ and there’s a collective groan across the tent as the punters’ knees creak. Ah well – it doesn’t stop them going nuts when they get jumping again. (EW)

Alice Guala is trying to convince the NEU tent that moshing will actually cool us down. Seemingly, the Lake Malice leader is widely believed, or at least humoured. She’s Alice freaking Guala after all, and with a roar like hers, it’s kinda impossible to ignore her command. Joined by their usual team of back-up dancers, Alice and guitarist Blake Cornwall work the space in tandem, both bouncing and buoyant like they’re on the moon, never daring to be still. They use their time to create a space for those who have ever felt unsafe at shows, particularly with track Creepers, and feel just as electrifying as ever. (RR)

If you go down to the woods today, you’ll find… a guy with big gold horns? Anyone stumbling into the Forest without knowing what’s happening might think they’re in a fever dream, faced with seven Australians in white Jesus-like costumes, but the world they’re plunged into with the janky, curdling introduction that is Battlesnake's opener I Am The Vomit is as brilliant as it is bonkers. Added to that, the glam rock wig out of BeezleBanquet and the wickedly fun Murder Machine make this display seem like cartoon villainy in heavy band form, but with the quality of songs to back it up. It may be the weirdest thing you’ll see this weekend but it undeniably works miracles. (EW)

For their second show of the weekend, Kid Kapichi’s turn in the Axiom feels like an even bigger event. The tent becomes a hive of energy as they unleash the bombastic Artillery and the jittery Can EU Hear Me?, while New England commands a hearty sing-along. While, of course, they’re as pissed-off as the rest of us, decrying censorship as they introduce older cut Violence, the underlying tone is one of celebration as two of their members play their final festival set. “I don’t want any bad vibes,” says Jack. “This is a celebration. I love them from the bottom of my heart.” This truly is the send-off they deserve. (EW)

Vast swathes of Upcote Farm are buzzing for Kneecap. Thanks to the level of controversy and fanfare around them, perhaps them and PVRIS are perhaps not on the equal footing that they were when they were first announced. Nonetheless, Lynn Gunn is not about to be eclipsed.

Stood coolly in an all-black outfit (of course) and shades, she conquers with a quiet yet assured confidence, commanding effortlessly. Favouring live instruments as opposed to backing tracks, these songs metamorphose into powerful beasts, from the crunching Burn The Witch to the mellifluous White Noise, the elegant Smoke and the hulking HYPE ZOMBIES. Meanwhile, Nightmare transforms into an almost funk-laden floor-filler, firmly quashing any doubts over how well their songs could work in the festival’s most coveted slot. Vocally, Lynn sounds better than ever, moving fluidly between raspy commands to the crowd and her docile, almost musical talking voice.

PVRIS are a different kind of headliner – maybe even a little atypical, having built a cult fanbase as opposed to a more generalised, far-reaching one – but at 2000trees, different is good. It’s modern, stylish, formidable at every second, and at their iridescent best, they threaten to have you drooling down your front. Indeed, closer GODDESS feels like the signature on a declarative statement of intent, a celebratory mark of greatness that becomes especially significant given how important it is that a woman is headlining a rock festival for a change – and Lynn is perfect for the job. In one word: sublime. (EW)

“It’s festival season, baby!” yells Sam McTrusty. That it is, and though Trees is a place driven by guitar music of all kinds, Twin Atlantic’s features some of the most captivating axe work thus far, despite there being minimal solos and shredding. This is a band with their own unique tone, and as the day finally starts to cool into evening, their time here with us fits perfectly with the mood of the moment. Mixing both anthemic rock belters like Free with the soft, acoustic Crash Land, Upcote Farm unites in a gorgeous a capella sing-along, as Sam beams on proudly in what will likely be a core memory for a lifetime. (RR)

Bambie Thug is not merely a singer, but a born performer. Watching them in the forest is like stepping inside a music video, where they move in tightly choreographed lockstep with two backing dancers in leather masks featuring Medusa-like tentacles. Within their set, they rummage through a grab bag of genres, from the riff-laced pop of Egregore to the menacing nu-metal of Red Rum Rave and 11:11 (Tsunami), and yet it works beautifully. They’re feisty, they’re horny – at one point using their dancers as a chaise lounge they joke they “got from IKEA” – and often cheeky, hosing down the sweaty crowd with water pistols to finish their set. Fun is an understatement – it’s impossible to glance away for even a split second. (EW)

Despite the controversy swirling around them, Kneecap have made it to 2000trees, a festival they proudly declare as their favourite in England as they crown the lot of us as “sound c**ts” for being a top-notch crowd. It’s a badge Trees wears with honour. They start with the softer side of their catalogue, with a play through of the ambition-hungry Better Way To Live as its collaborator, Fontaines D.C.’s Grian Chatten, appears on a display below DJ Próvai’s desk.

They assure us that their beefier tracks are coming, but before they get to them, Trees begins a chant of “free, free Palestine”, lending Mo Chara the perfect window to speak out against the horrors occurring in Gaza. He thanks 2000trees for standing in support with them, and not backing down when asked to remove them from the line-up, and affirms that as long as bombings continue to occur in Palestine, they will never stop speaking up for its people.

As things go on to get lairy, Trees is hungry for it, and not a single body remains still. Even literal children in Irish flag balaclavas are letting off coloured smoke flares. As they wrap with THE RECAP, it’s viewed as one last chance to let off some steam with the trio, and the stage completely erupts. (RR)

On paper, Stick To Your Guns have chosen the short straw. Clashing with Kneecap isn't an enviable position to be in, but the turnout, while on the modest side, is still decent. Whether they have 10 people or 10,000 in front of them, the California bruisers are hyped to be here and are sounding positively cutthroat as Jesse Barnett growls commands as a pit yawns open around The Cave's central pillar. It's vicious, but some of their biggest moments have more emotional heft, from the staggering Keep Planting Flowers to the huge-hearted ‘Whoa-ohs’ in Forever Us Against Them. It’s a cathartic call to arms that reaffirms that, even against a name like Kneecap, STYG can more than hold their own. (EW)

The striking thing about seeing Mallavora live is that they're willing to cut deeper than most – and in different ways from the rest of the pack. Of course, their towering alt. metal riffs are tremendous and vocalist Jess Douek boasts some hair-raising gutturals, but the red-raw emotions suffusing them make them stand apart. An unreleased song tackles the rarely-touched subject of radicalisation, heralded with an impassioned, “Disinformation is a parasite. Don’t be its host.” Their songs about disability powerfully strike a chord, especially as Jess reaches for her cane during the closing song. Watch them closely – they could be something special. (EW)

The first sound that is heard when Jools play is the stomping of boots onstage. Co-vocalist Mitch Gordon is angrily jumping up and down, and as their set begins, he periodically paces back and forth as if spoiling for a fight. His vocal compatriot Kate Price is equally powerful, oscillating between vicious and glamorous as the pair exchange lines. Together, they are as magnetic as their shape-shifting punk is visceral, but when they speak to the crowd, it’s enough to knock the air from your lungs. Kate introduces 97% by excoriating violence against women, snarling that, “Society should feel lucky that women like me want equality and not revenge.” Later, Mitch tells the devastating story of his father's death brought about by addiction just two months ago to introduce Dunoon, which he howls through with a reddening face, fighting tears. Their show is like nothing else on the line-up – and frankly, it ought to be unmissable. (EW)

Off the back of debut album Vital Signs, OVERSIZE take to The Axiom with a setlist of their finest shoegaze tracks. With influences reaching back to the ’90s, their sound is a mix of dreamy guitar and forlorn lyrics. As vocalist Sam McCauley tells us, many of their songs surround grief, but despite the subject matter, they don’t sit too gloomy and are easy to drift away with. The right balance of heavy and ethereal, they’re surely going to be climbing the ranks even further for future sets at Upcote Farm. (RR)

“Everyone’s a bit sleepy right now,” observes Press Club vocalist Natalie Foster, looking out at the revellers drained of energy by the sun. “You ready to party?” Watching her zip about the stage, blonde hair whipping around her face, is a welcome distraction from the punishing heat, and the enthusiasm pours through in the songs as well. To All The Ones That I Love is beautifully jubilant, Separate Houses is breezy and bright, and closer Suburbia is the anthemic ending their set deserves. Yeah, we're awake now. (EW)

When it comes to Kaonashi, one person’s idea of genius is another’s bewilderment. But regardless of the divisive nature of their heavy and disjointed soundscapes, it’s hard not to have a ball as they tear apart The Cave. They’re naturally quite hilarious, filling their time with pop culture sound bites which makes the whole thing feel like a fever dream, from a portion of Rihanna singing to the ‘oh’ sound from Kelly Rowland and Nelly’s Dilemma. Peter Rono brings his signature high-pitch vocals, which are a little difficult to get attuned to to begin with, though he’s a brilliant character to watch. It’s a set that walks a fine line between insanity and uniqueness. (RR)

“BLACKGOLD in the house!” yells Spookz as his masked band of nu-metal freaks hit the Main Stage. Possessing a sense of bounce far surpassing the average trampoline, their riffs are sounding especially meaty today, with the frontman happily goading the crowd into turning up the dial on the mayhem. “Trees, that was crap!” he says at one point, getting just the rise out of them that he wants. It’s larger than life, it might be a little goofy, but that’s not to say it’s done without tact. After all, their airing of social media clapback anthem Social Blackout might still make you stop banging your head and think for just a second. Still, it doesn’t feel like an eat-your-veg moment – just another side of their irresistible sense of fun. (EW)

Terminal Sleep are a very long way from home, so it’s down to us to make it worth it. Ready to appease the Melbourne crew, Trees is happy to cause a bit of chaos. Their new single They Circle Below is percussively brutal, with the pit spreading wide open to go ham for its double-pedal bonanza. Still early in their career, but now signed to Nuclear Blast, their Trees appearance sets the tone for their building potential: a band of brutality, with much more to come. (RR)

Leeds noiseniks Thank are idiosyncratic sorts to say the least. Layering wonky riffs and sometimes discordant electronics, they’re intriguing yet perplexing figures, especially when their music takes on the quality of madman rambling – 'You’ve got to speeeend money to maaaake money,' mumble-sings frontman Freddy Vinehill-Cliffe. Later, he jokes as the tent gradually fills up, “I can talk bollocks to 30 people but here it is diminishing returns.” Eyebrow-raising it may be, but gradually, the curious crowd loosens up and begins to dance. Their brain-breaking mayhem is paying dividends. (EW)

Julia Wolf is just as serene as you’d expect her to be onstage. Softly spoken and bringing the exact yodelling tones heard on her recorded music, she makes an ideal fit for the idyllic set-up of the Forest Sessions Stage. As she swoons through oldie Wishbone, it’s clear this is a performance to allow for a stop and pause among the chaos of the weekend, just as it is for Jennifer’s Body. “This one is dedicated to Megan Fox,” she says with a smile, before recounting its confessional lyrics on body image. Finishing with viral hit In My Room, Julia cements herself as a symbol of divine feminine power. (RR)

AJ Perdomo says “maaan” a lot. It’s quite endearing. The Dangerous Summer are ultra chill, embracing of the beating sun and ready to hang out with us all. The tones of the ’00s come right out in their sound, and even in their more recent tracks like Where Were You When The Sky Opened Up, where there’s still a twinge of bittersweet nostalgia in its character. Before they head off, they recruit As It Is’ Ben Langford-Biss to take over bass duties as AJ comes down to experience the vibe of being in the crowd at one of his own shows. (RR)

It’s a wonder Tayne’s Matthew Sutton hasn’t given himself neckache. When he’s not singing, he is swivelling his head almost aggressively in time with the drums, his hair windmilling around his face. Between this and the menacing flash of red lights behind them, the London-via-Dublin industrial merchants create an intense yet enigmatic atmosphere, their music pulsing with a pitch-black sense of coolness. It might have been a shock if you expected the Foo Fighters or Alter Bridge-esque sound mentioned in an erroneous bio – “Wrong fucking band,” Matthew jokes – but it’s impossible not to be drawn in. (EW)

Trash Boat are back, and though Toni Duncan argues they never really left, making it to Trees is a marker for the start of a clean slate for the St Albans lot. After cancelling tours amid a period of struggle, Tobi not only apologises to those who got tickets but promises that there is more coming on the horizon. And with such great news, bangers Filthy, Righteous and Be Someone particularly slam, as his face screws up into a picture of release, while James Grayson dances in funk with his bass. Long sail the unsinkable vessel… (RR)

FIDLAR are intentionally messy. A band of pure chaos and fuckery, they somehow manage to shoehorn a Wonderwall cover in the middle of their set, and argue that they’ve fixed it. It’s a good job Oasis’ bucket-hat mob are busy at their reunion shows, hey? All jokes aside, FIDLAR cause bedlam onstage, with the lairy soundscapes of Cheap Beer and On Drugs blasting across the arena. With a women-only pit (and permission granted to punch any dude who dares to join), plus one last joke that they’re called Taking Back Sunday, their time with us is a hoot. (RR)

Graphic Nature seem like the best version of themselves right now. Drawing an impressive crowd to The Cave, their set feels like a moment of detonation, with the chilling nu-metal of Locked In and the filthy-sounding Something I’m Not sounding sharper than ever. Vocalist Harvey Freeman has noticeably become more confident and he’s even grown a slight sense of swagger, but it doesn’t mute his more vulnerable side. He offers a dedication to a schoolfriend who took his own life just two weeks ago, while the white-hot Fractured represents a powerful moment of connection with “my neurodivergent motherfuckers”. Given how much they’ve stepped up, where they go next could be hugely exciting. (EW)

As Hevenshe, former Tonight Alive singer Jenna McDougall taps into her spiritual self. “Thanks for bringing me home,” she says to those who manifested her set here today. She feels the universe plonked her right here intentionally, and she follows suit with a similarly transcendental performance. Among a set packed with tender guitar-led ballads, Floor Bed glimmers with Tonight Alive grit, and as I Wish I Had A Friend plays out, the ethereal creative soundtracks a late afternoon in the forest, made for holding friends and loved ones close. (RR)

“Coheed’s always been left of the centre,” acknowledges vocalist Claudio Sanchez midway through the band’s golden hour co-headline slot. It’s fair comment given the innate nerdiness to the New York rockers’ sprawling, fantastical output – how many other bands have songs about demonic bicycles, anyway? – but they don’t seem quite so fringe now when so many people have turned up to watch them. Helpfully, they were also world-building before it got cool.

As such, there’s a beautiful sense of victoriousness to their hour and a quarter in the sun. The set is front-loaded with new material, from the snapping Blind Side Sonny to the bombastic Searching For Tomorrow, but there’s still space for classics including the jubilant, crowd-pleasing A Favor House Atlantic. Wherever in their discography they’re drawing from, this is non-stop magnificence, and they’re relishing it. Claudio is a tornado of movement at the best of times, rocking out with gleeful determination. The apex is saved for the end, as it always is, with the traditional and not to mention truly massive closer of Welcome Home, in which Claudio wields a 12-string guitar and shreds behind his head. If Taking Back Sunday have seen them and started nervously sweating, there’s no blaming them – Coheed’s set is not one you’d want to follow. (EW)

As Witch Fever's Amy Walpole swoons through Congregation, it feels religious. The controlled warbles in her vocals are dizzying and delicious. She and her band are true pros when it comes to creating an enchanting performance, fuelled by scorching hot fury as well as dark clairvoyance. A playthrough of THE GARDEN from their forthcoming second album is perhaps the most special, feeling like one giant, shoegaze-tinted groan of release. Before they go Amy comes down to be with us, splitting the crowd in two and looking truly alive as she skips along, eyes-wide and gleaming. Their new era is already sounding scrumptious. (RR)

Million Dead are not quite so dead anymore. They’ve reignited the engine on their beloved band two decades after splitting up, representing an opportunity for Trees poster boy Frank Turner to touch base with his scabrous punk rock roots. He’s raspier and gruffier in his erstwhile bandmates’ company but just as self-deprecating. “There are a coterie of lyrics where I was like, ‘The living fuck am I talking about?’” he admits at one point, also jesting at drummer Ben Dawson no longer to be able to pull off harsh backing vocals “like a gerbil being murdered”. Funnily enough, tuning up I Am The Party “to make it even harder” leads him to butcher his falsettos, but besides that wince-worthy moment, this return to 2005 has been a rough, ready yet joyous one. (EW)

There's no more perfect act to close out The Cave than Heriot. Despite clashing with Taking Back Sunday, a boiling cauldron of loyal heads are gathered beneath the Brit metallers' synonymous orange hue, as Debbie Gough’s voice morphs into goblin mode. “Show me what you’ve got, Trees!” she demands. As they break into the stompy beat of Foul Void, they’re completely on form. Later lifting the veil from their vicious attack to express their gratitude and cool back down to, well, normal humans, they say their thank yous and wave goodbye, with Dizzie Rascal’s Bonkers aptly beginning to play over the PA. (RR)

Theoretically, Taking Back Sunday are, and should be, every inch the Trees headliner. They have the songs, they have the sound, and the two combined should create a giant, beautiful moments. This, however, might seem idealistic given their notoriety in recent years for being inconsistent live at best. As tightly as you can cross your fingers for the cards to fall a different way, they struggle to outrun that reputation tonight.

It's by no means a car crash, and they’re buoyed by vocalist Adam Lazzara’s endearing enthusiasm – “I am thoroughly enjoying myself, ladies and gentlemen!” and off-kilter stage chat. “I counted the trees and I got to 1,996 but then I got distracted.” Still, it’s scuffed instead of shiny. The sound seems oddly quiet, while Adam’s voice wavers in places and careens off-key in others. In fact, it almost feels unfocused. While moments like Liar (It Takes One To Know One) are elevated by the joy of the crowd, others are missed opportunities – The One, for example, could have been gorgeous but just feels too wobbly.

As time goes on, the crowd appears to be thinning, the attention of some further back gradually ebbing away. They deliver a saving throw as they sign off with a crowning one-two of Cute Without The ‘E’ (Cut From The Team) and MakeDamnSure, but getting there is a bumpier journey than it should have been. Consequently, it means the night is missing the fully triumphant note you'd want. (EW)

As one of the most tongue-in-cheek bands around, Gen And The Degenerates bring a niche brand of flippance and deviance to the Main Stage for the early morning slot. Throughout, band leader Genevieve Glynn-Reeves lies across the monitors onstage extravagantly like they’re posing for the Gen And The Degenerates calendar: 2000trees special. They chuckle their way through their set, infectiously joyous and equally as wound-up, as Gen encourages us to not just make a habit of writing to our MPs, but to annoy them into action. Big Hit Single is perhaps the most fitting song of their time with us, taking aim at the music label machine, and doing so with vivaciously loud style. (RR)

The morning of a festival’s final day might seem like a tricky slot, but it oddly works in Hidden Mothers’ favour. There’s a very healthy turnout to The Cave where they prove an unexpected tonic for the sun-beaten, hungover attendees with their iridescent, skyscraping riffs and soothing touches of shoegaze, leaning into the kind of heaviness that’s beautiful instead of punishing. Meanwhile, bassist and vocalist Liam Knowles’ huge screams are a welcome antidote to the drowsiness-inducing heat outside the tent. This deserves to be the start of a long love affair between them and Trees. (EW)

Old-school punk is clearly having a moment at Trees this year. Young sibling duo The Molotovs – comprised of Mathew and Issey Cartlidge – appear in similarly colour-coordinated get-ups, and bop along to their simplistic beats and power through their time with little interruptions. Their attitude is frank and to the point, but they certainly feel their music, with Issey grooving non-stop. Though still a way to go in developing their stage presence, the retro appeal of More More More and Today’s Gonna Be Our Day is enjoyed by a range of ages. (RR)

Does your skull need a shake? EYES will sort you out. The Copenhagen bruisers take plenty of joy in slamming riff after nasty riff at the crowd, while also relishing the amusement of seeing the UK wilt in a heatwave. “We know the weather doesn’t make it suitable for running around and killing each other…” jokes vocalist Victor Kaas, before slowing things down to a sludgy pace that makes jumping into the pit hard to resist. At least it’s not too hot for some stank face – and these guys’ riffs are formidable whatever the weather. (EW)

There’s something ominous about the sounds of Humour, with their menacing guitar tones and the fraught vocal stylings of Andreas Christodoulidis. The grunge-y Neighbours booms across The Axiom, showcasing just that, with its galloping riffs and manic vocal gasps. Though sounding tip-top, Andreas stays planted to the floor and looks sort of unbothered. Be it part of the concept or just plain and simple introversion placed on a public stage, a little more movement certainly wouldn’t go amiss at a festival like this one. (RR)

Uh-oh. After a technical error that forces them to restart mere minutes after they arrive onstage, Love Is Noise have a battle ahead of them. They valiantly persevere even when their backing tracks aren’t working, but in the end, they’re forced to tap out less than halfway through their set. “It has been a pleasure to play for about four seconds,” a noticeably upset Cameron Humphrey says. They briefly regain their footing by having a crack at the atmospheric Movement without their click track, and while it sounds great, it’s an unfortunate reminder of what could have been. What a shame – hopefully, next year they can have a do-over. (EW)

Bristolians Split Chain have gathered quite the adoring bunch at Axiom, a loyal following that they’re amazed to see following an early set at the NEU stage during their last time at Trees. With an old, boxy TV sat among their backdrop which randomly plays a clip of Ozzy Osbourne declaring himself The Prince Of Darkness, their live aesthetic taps into the early 2000s, despite their sound reaching into the shoegaze era with effects-drenched guitar sounds. They certainly know their audience, and have free merch down at the front ready to bribe crowdsurfers to come forward. It’s a set full of constant moshing and no remorse. (RR)

Ever been to your local and stumbled across actor Paddy Considine having a sing-song? Probably not, but Riding The Low’s Forest set is the closest you might get to that. Running the gamut from the easy-going folk rock of Carapace Of Glass to the thrumming punk’n’roll of Above And Beyond, they offer a rejuvenating afternoon pick-me-up in the trees. Although Paddy is a slightly awkward frontman, there’s plenty of space for him to embrace his quirks, alternatively picking up both a melodica and a large maraca as he settles into a rhythm. There’s something simple yet effective about it, and it’s a balm on a day like today. (EW)

Justine Jones gets cooler every time we see her. Today, the Employed To Serve shouter is effortless and natural underneath the blistering afternoon sun. With the band’s latest album Fallen Star having landed just a few months back, the Woking metalcore lot are of course dishing up some of its new offerings, with Atonement delivering the best of both their melodic chops and their heavy side. ETS are well-deserving of their Main Stage slot, and they prove it in their balance of enthusiasm and joy, and their opposing drive to wreak havoc among us. (RR)

Anxious definitely haven’t been cooking in the sun for three days, we can assume. Over for what is only their second ever UK show, vocalist Grady Allen is bounding all over the place as the drums clatter and the guitars morph from soft on the breezy Some Girls to hard on the propulsive Call From You. “If you are standing with your arms crossed, you’re probably doing the wrong thing,” he says, making a compelling point. He even starts reading the shirts of people further down the front to get them to muck in. It’s a lovely time all-round, including for Anxious as they wrap up their tour. “I can’t think of a better way to send it off.” Same. (EW)

Future Of The Left have only had “one-and-a-half” practises, according to vocalist Andrew Falkous. He’s sort of a menace, in a low-key way that slips off the tongue, but what else would you expect from the mclusky member? Joking throughout that he may well forget the lyrics, or that he’s not quite sure if he’s going to get the riff right in deadpan way, the sprinkles of humour are dotted between delicious textural feasts, with the gloopy thick bass of You Need Satan More Than He Needs You and the kooky, synthy staccato of Manchasm feeling even more eclectic in a live setting. Future Of The Left are one of the most inventive bands at Trees. (RR)

“I need a pair of shoes! My feet are on fucking fire!” VUKOVI singer Janine Shilstone’s habit of going barefoot onstage is working against her when the floor feels like lava. Someone chucks her some Crocs, and she presses on, sashaying through the likes of the brooding GUNGHO and the hot-blooded MISTY ECSTASY with the drool-worthy confidence she always has. It’s a more chaotic set than usual – at one point, the sight of someone in a fridge costume gives Janine the giggles, but there’s something warm and human about it. Elsewhere, Jake from unpeople pops up during MY GOD HAS GOT A GUN and his screams in the bridge only heighten its prickly impact. They’re always a joy to watch, and it feels deserving that they get to do this show in such a high slot. The graft has really paid off. (EW)

French hardcore trio Birds In Row are the poetic sort of heavy. They’re melancholic and solemn, providing solace in a sense of belonging and shared grief in a miserable world. They make you stop and think, with an overall sound that is entirely hypnotic. Their longer offerings step well over the typical three-minute mark, evolving into vast sonic paintings delving into shame, rage and sorrow. A performance of Rodin feels emotionally charged, riled up with desperation on a bed of glitchy guitars. They’re not a light or casual watch, and that’s certainly the point. (RR)

‘We buried our son today,’ is a brutal line to hear just minutes into a festival set, but opening with a song as harrowing as I See Everything is La Dispute’s idea of not fucking about. A huge congregation has assembled to see them emotionally devastate at every turn, vocalist Jordan Dreyer beautifully translating his style of speak-singing as if on the edge of tears live. Between songs, he’s an earnest and eloquent figure, talking at an almost nervous pace. “Festivals as a place of refuge are increasingly important. The only way we turn the tide is by banding together,” he says. Although every song’s leaden emotional weight is heavier than the last, there’s a chance to expel it all at the end for the mighty King Park, where the crowd yell, ‘Can I still get into heaven if I kill myself?’ at an almost concerning volume. As intense as it is, it’s impossible to not remain transfixed by them. (EW)

“Sorry you’re missing La Dispute,” jokes LOWLIVES singer Lee Downer. No apology needed, as the NEU tent is still packed out and overspilling at the edges. The ’90s alt. leaning outfit pull out a number of favourites from their FREAKING OUT album, with SWAN DIVE lilted with a Kurt Cobain vocal swagger and a gorgeously reverbed outro. Closing out with Hate, Greed, Liars, Thieves, it goes to show how this band packs in a multitude of full and anthemic sounds into their music – it’s a rich musical tapestry to see us out. (RR)

This is not an ordinary festival sub-headlining slot. This is an event. Eight years after their much-mourned abrupt split, the reunited letlive. are burning brighter than ever. “We didn’t understand what we had when we had it,” admits livewire vocalist Jason Aalon, and though they’re as incendiary as they’ve always been, they are cherishing this.

Watching the feverish Renegade ’86 and the kinetic rush of fury that is Banshee (Ghost Fame), is an electric experience, but it’s counterbalanced with intelligence and emotion, particularly when Jason introduces Muther by speaking so beautifully, and in a way men rarely do, of the struggles women face – “Women don't need your protection; they need your respect, they need the courtesy they deserve. It took me a minute to learn that.”

By the end, he’s back in his chaotic old ways, going down to his boxers (you read that right) to scream his lungs dry from the top of the stage’s scaffolding – a moment so intense that you wonder if you’re about to witness to him fall. This is a vital time to have one of our most important bands resurrect themselves, and it is everything. It seems almost unfathomable that letlive. could fade into the aether again after this run of shows – but this doesn’t feel like an ending. It can’t be. What if, unknowingly, it is a new beginning? (EW)

For the first half of Calva Louise’s set, you're completely in awe of Jess Allanic’s magical sliding keyboard that she zings in and out of her way throughout songs. As she stops to chat with the crowd, she reveals that actually, the rather snazzy feature was actually built entirely by bassist Alizon Taho. A band that truly embraces all things DIY, they sound immense, serving up both pockets of melodic elements with much heavier chunks. With origins stretching from across the map, but a band made in Britain nonetheless, Calva Louise show the true power of musicians who can take things into their own hands. (RR)

The As December Falls family have turned out to the Forest Stage in their droves today, hoping for a shot of their effervescent fun. Of course, the Nottingham pop-rockers bring that in spades, from the sassy For The Plot to the electronic scuzz of Bathroom Floor, with vocalist Beth Curtis becoming a kinetic whirl of energy. They even throw in a new song in the form of the title-track from their upcoming album Everything’s On Fire But I’m Fine, bringing everyone together in an existential dance party. Moreover, it’s lovely to see how much they clearly adore being here, and the connections they’ve made – “I think we know all these crowdsurfers by name,” guitarist Ande Hunter remarks. They’ve got all the feel-good energy you could possibly want. (EW)

Sprints have been quite literally sprinting all over the festival circuit across recent years, and their set now feels uniformed. With the release of their second album looming, they bring a playthrough of recent single Descartes, featuring racing guitar work and a massive mash up outro. In true Sprints style, the Dublin rockers utilise their platform to talk about Palestine, and to show their support for trans rights. Annoyingly, the sound isn’t too great, with vocals coming out of the PA seeming fraught and garish, which is certainly not representative of Karla Chubb’s powerhouse belt. Even so, they’re a lively watch as always. (RR)

Nobody could envy Imminence for having to go up against Alexisonfire, but their luxurious symphonic metal is made for the inky nighttime. Besides, the Swedes’ all-black outfits aren’t exactly seasonable. Against the shadowy atmosphere of the darkening Cave, electrifying opener Temptation’s rumbling undercurrent contrasts the artistic touch of Eddie Berg’s elegant violin, while Desolation reaches some stunning peaks and valleys and Beyond The Pale is an especially fiery cut. It sounds magnificent, but it’s a gorgeous spectacle too, and it almost seems a shame that more people don’t witness it. Worst clash of the weekend? Maybe. For those who are here, though, this is an epic conclusion to Trees. (EW)

Turns out Trees offers group therapy in the woods. Well, not quite, but a RØRY show is near enough the same thing. Under the twinkling lights, she offers a place of joy and solace with the touching Help Your Friends Get Sober and the wistful Uncomplicated, while the devastating Jesus & John Lennon leaves mascara streaks down many a fan’s face. As deeply candid as they are, admitting she “never got that acceptance” of her mum’s death 18 years ago, Rox is funny and amiable. “Thank you for checking out the weird ADHD lady,” she jokes, genuinely moved that so many people have turned up. RØRY brings it home with the triumphant Sorry I’m Late, not just a moment for huge sing-alongs, but for inspiring a real sense of hope. This has been a beautiful, cathartic ending to a beautiful festival. (EW)

Alexisonfire are ravenous for a rager to close out Trees. They’re quite the sight to behold from the very beginning: George Pettit is throwing himself around with force, and for some reason, guitarist Wade MacNeil is wearing chain mail like a majestic knight. A sign they came to conquer? It certainly feels so, as George makes his way down to the crowd and ends up crowdsurfing on an inflatable chair that has made its way down to the front.

Their set spans the best of their comeback tunes and AOF classics, with the whole of Trees singing along to the ‘whoa’s of Accidents, made even more exceptional with coloured smoke plumes decorating Upcote Farm, people sitting on shoulders, and crowdsurfers having their main character moment. As the band lead up to an encore – with Happiness By The Kilowatt morphing into Neil Young’s Hey Hey, My My serving as the grand finale – George shreds up his shirt and bends the mic stand over his head, going full-on feral. The atmosphere? Sensational. The chain mail? Exquisite. 2000trees? Mastered. (RR)

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