Following on from Thursday nights rather extensive festivities in District X (read our review here), it’s time for the first day proper of Download Festival 2026! After some horrible conditions until about 4pm Thursday, the Donington skies are filled with blue and glorious sunshine, so let’s get down to the action!
From the way P.O.D. (8) burst onto the main stage you’d never think they’ve been going for 34 years. They have all the energy, power and excitement of bands half that age. Here comes the Boom indeed!
Bizarrely, the nu metal legends have only graced the Download stage once before, back in 2013. With thousands in the crowd thirsty to hear classics from breakthrough album, Satellite, they have to be one of the biggest nostalgia bands on this year’s line-up. But in reality, they’re so much more than that. The San Diego four-piece are sharp and bursting with energy, as vocalist Sonny Sandoval demonstrates by bounding across the vast stage.
Boom and Rock The Party (Off The Hook) get us moving, before pits begin to open up for the irresistible bounce of Drop. During Southtown, Sandoval instructs the crowd to get down before commanding everyone to jump up. The move has been seen many times before at Download, but some of us are perhaps a little too old for such antics these days. Particularly this early on day one.
All too soon, the set is over. Closing with the one, two punch of fan favourites, and absolute bangers, Youth of the Nation and Alive (dedicated to guitarist Marco’s newly born daughter, Scarlett) we’re reminded exactly why P.O.D remain so beloved. The songs hit just as hard as they did 25 years ago, with thousands of arms raised to the sky. For a few sublime minutes, we really are the youth of the nation once again, just like we were in the noughties. And, as the final beats ring out across Donington, we feel, truly, alive. (LFB)
Creeper (7) in the Sunshine just feels wrong on a spiritual level, yet none of us are complaining about the lovely conditions on the Opus Stage (and in general). They are suitably sparkling form for a band with some vampire lore, and the likes of Headstones and Be My Parasite go down a storm. Both William Von Ghould and Hannah Greenwood are in fine fettle vocally, and 40 minutes absolutely flies by in the blink of an eye.
The only down note is that the wind plays havoc with the sound somewhat. Things end on a superb rendition of Cry To Heaven, before Will has his head chopped off once again by a masked executioner. It is the first of many doses of Creeper this weekend, and if they are all like this, they won’t outstay their welcome. Suitably enjoyable macabre stuff. (JG)
Whoever decided to schedule Pendulum straight into Electric Callboy (10) deserves a raise. It’s a stroke of utter genius. What follows is a Saturday evening party in the sunshine like no other.
By the time the German party kings take to the Apex Stage, a ginormous crowd has assembled, stretching as far back as the eye can see. Electric Callboy waste no time launching into Tanzneid, wearing suitably fun space age outfits that immediately set the tone for the chaos to come. They quickly follow it up with Still Waiting, their take on the Sum 41 classic made all the more pertinent by the presence of Frank Zummo behind the kit. The first of many costume changes sees the band emerge in the fluorescent shell suits and oversized wigs that have become synonymous with Hypa Hypa, delighting the rapturous crowd. It’s joyous throughout. When the track finishes, shell suit bottoms are ripped away Full Monty style before the band rips into Pump It. Somehow the field manages to shift into an even higher gear as the crowd responds enthusiastically.
The band briefly bring proceedings to a halt during Mindreader when someone in the audience needs help – something you don’t often see at Download (words that will be demolished by Architects on Saturday). To the bands credit, they react instantly, ensuring the situation is dealt with safely before continuing the party. Elevator Operator proves another huge crowd pleaser, while RATATATA lands with such force it makes the ground shake, even if Babymetal are sadly absent (we’ll see them do the same song tomorrow). Spaceman sees another costume change and another fevered crowd response. By this stage, everyone seems to be bouncing, dancing and singing along.
After one final costume change, the band return with We Got The Moves. Everyone is grinning, and the atmosphere is euphoric. Electric Callboy don’t just play Download. They throw the biggest party Donington has ever seen. Looking across a field full of people dancing without a care in the world, we have to wonder if we’ve just seen the set of the weekend. (LFB)
Stampin Ground (8) start with the force of Slayer driving a Bradley Tank through the Dogtooth Stage and don’t let up from this approach for the length of their set. The riffs get heavier and heavier with each passing song, culminating in the frankly ridiculous Officer Down. This prompts frontman Adam Frakes-Sime to climb down the front and crowdsurf while trying to finish the song while a circle pit whirls around.
There are only 2 minor gripes with this performance – one it’s not long enough. Two, the Dogtooth is not nearly full enough for what this performance deserved. Appreciate comebacks by veteran bands like this while they are taking place, as who knows how long they will last. (JG)
Another packed field gathers at the Opus stage for one of rock’s favourite festival performers. This is the sixth time that Halestorm (9) have graced the hallowed turf of Donington, and judging by the size of the crowd, their popularity shows no sign of slowing down.
From the moment the opening chords of Fallen Star ring out, Lzzy Hale has us in the palm of her hand. It crashes into I Miss The Misery and is swiftly followed by Love Bites (So Do I), absolutely phenomenal. Few bands blend grit, melody and outright power quite as effectively, and the crowd laps it up like hungry puppies. Then, the irresistible pairing of Freak Like Me and I Get Off only raises the energy levels further, with thousands of voices singing along. Lzzy remains one of rock and metal’s best frontwomen, effortlessly switching between soulful melodies and earth shaking screams, commanding every inch of the stage. Guitarist Joe Hottinger delivers a masterclass in rock riffage. Josh Smith’s bass beats provide a thunderous yet charismatic backbone to proceedings, while drummer Arejay Hale attacks the kit with his customary enthusiasm. Whatever your feelings on Halestorm’s regular drum solo interludes, there’s no denying the man’s talent, precision and seemingly endless energy.
A cover of Lady Gaga’s Bad Romance is a surprise delight. What could easily have felt like a studio novelty instead becomes a genuine moment of joy that really shows Halestorm’s versatility. They transform the pop classic into a rock anthem with relative ease, while retaining the song’s infectious hooks.
Lzzy emerges draped in a stunning cape, abandoning her guitar to prowl the stage with microphone in hand for Rain Your Blood On Me. Back From The Dead lands with immense force, while a rousing rendition of classic Mz. Hyde shows the full range of Lzzy’s vocal power. The crowd is enthralled by the time I Am The Fire arrives, accompanied by blasts of pyro and a sea of raised hands. Closing with Here’s To Us, it’s impossible to take your eyes off the stage. Thousands of voices scream “”tell them to go fuck themselves”” in a moment that many will never forget. Halestorm are already performing like main stage headliners, surely it can’t be long now… (LFB)
It finally happened. Once a mid-to-late-2000s Kerrang! Radio staple and the soundtrack to countless Myspace profiles (“Take Me Back”, from 2005 anyone?), it’s wild to think that in a career spanning more than two decades, Story of the Year (7) had never played Download – until now.
The band struck the match with opener ‘Gasoline (All Rage Still Only Numb)’ before diving headfirst into ‘Page Avenue’ territory with ‘And the Hero Will Drown’, mega ballad ‘Anthem of Our Dying Day’, and ‘In The Shadow’. Emo anthem ‘Until The Day I Die’ rounded off a thrilling 30 minutes of post-hardcore heaven on the Avalanche Stage with millennials transported straight back to their teenage years, screaming every word back at the band. (CF)
Did somebody order the London Symphony Orchestra? Possibly while high? Cypress Hill (8), I’m looking in your direction… Oblique Simpsons references aside, we’re all looking in Cypress Hills direction when they bounce out into the sunshine to ‘How I Could Just Kill a Man’. Because while we’ve seen plenty of crossover artists over the years, including B-real’s own side project, Prophets of Rage. Cypress Hill are arguably the first true hip-hop act to grace the Apex stage.
All our concerns that Sen Dogg and co. might not fit in among a line-up packed with high gain guitars and pyrotechnic wizardry are quickly laid to rest though. Between the duos undeniable charisma and a set list packed with classics like ‘Hits From The Bong’, ‘A to the K’ and ‘I Ain’t Going Out Like That’, they keep the audience in the palm of their hands throughout.
Cypress Hill have more than a freshly rolled blunt up their sleeves for the finale too. Dropping a fearsome cover of Rage Against the Machine hit, ‘Bombtrack’. Following it up with a triple threat of ‘(Rock) Superstar’, ‘Insane in the Brain’ and ‘Jump Around by House of Pain’. Bringing their Download Festival debut to an impressive end and hopefully leaving the door open for more hip-hop artists to follow. We don’t know if this means we’ll ever see the likes of Denzel Curry or Run The Jewels at Donnington but we can hope! (JL)
Cypruss Hill by Leora Bermeister / Fanatic
It’s time for tonight’s main event over on the Apex stage and this year, it’s the turn of nu-metal comeback kings Limp Bizkit (8) to bring Friday night to a close. After pulling out of what should have been their first headline performance here all the way back in 2003. The band have ridden the wave of 00’s nostalgia all the way back to the top of the bill for a show that’s been twenty years in the making.
Looking at the arena full of red Yankee Snapbacks, white tee’s and sharpied on soul patches, you’d be forgiven for thinking that version of events was the result of some strange alternate reality. The arena is absolutely buzzing with anticipation and it’s only Fred’s wig; which looks like it was modelled on Bill Connolly. Coupled with the ocean of smartphones that emerge from the crowd as Wes Borland teases opening riff of ‘Break Stuff’ that gives away the fact two decades have passed since Durst & Co dominated the charts.
For those of us that saw them in 2024, the first half of the Jacksonville rap metal outfits set plays out in much the same way. Albeit with a little extra energy. John Otto takes us to the Matthews Bridge, Fred still allegedly keeps a spray can for the tagging even at the age of 55 and 95,000 people are over the moon to confirm that they too did it all for the nookie. It’s only really the inclusion of special guest, Lauren Sanderson, who spices things up on the mic during ‘Hot Dog’ that marks a massive departure from the set lists of years gone by.
That’s not to say Limp Bizkit aren’t on great form though. Richie Buxton does a remarkable job on bass filling in for the late Sam Rivers and the crowd cannot get enough of the band in general. With an army of rap metal disciples from three different generations spitting out the lyrics to ‘Faith’ and throwing every dance move down in perfect time during ‘Rollin’. It makes for quite the spectacle. There’s even a couple of curveballs thrown into the set for good measure, with ‘Eat You Alive’ and a touching cover of ‘Behind Blue Eyes’ by The Who, which definitely add something different to the mix. Somehow though, it doesn’t feel like quite enough. Lacking that spark that turns a great performance into a truly memorable headline show.
We’ll never know if Limp Bizkit had much more in store to help tip that balance, as unfortunately an unlucky fan has to be stretchered out after ‘My Way’, leading to a lengthy stoppage where Fred looks gravely concerned. Which, considering the nature of tonight’s show being something of a memorial for fallen founding member Rivers, as well as Dougie Miller, a member of the bands team who passed away earlier in the week, is more than understandable. There was a hint of the intro to ‘It’ll Be OK’ just before, which would’ve added yet another deep cut for hardcore fans. However, what was to come will always remain a mystery. As once everyone is safe and sound and the band are ready to play on, they’re only left with just enough time to sign off with a full and suitably chaotic rendition of ‘Break Stuff’. Leaving us on a high that all too quickly wears off and leaves us wondering what might otherwise have been. (JL)
Limp Bizkit by Danny North / Fanatic
If you passed on witnessing Max and Igor Cavalera (8) performing Sepultura’s legendary 1993 album ‘Chaos A.D.’ in its entirety, then you may need to seriously reevaluate your life choices… or maybe we’re just showing our age here. They even had an upside-down mummy draped from the tent ceiling, folks!
The gloriously groovy ‘Refuse/Resist’ rocked Dogtooth as heads banged and a sea of metal horns yelled ‘Refuse… Resist’ so loudly that any noise carrying over from Limp Bizkit on the Main Stage was well and truly drowned out. Backed up by the mighty chuggfest of ‘Slave New World’ and the crushing riffs of ‘Amen’, the Cavalera groove train was in full swing from the get-go.
There were a few adjustments to the album’s running order and, thankfully, ‘Territory’ wasn’t omitted – Max simply saved it for the blistering encore triple threat, which also featured a cover of Black Sabbath’s ‘Symptom of the Universe’ before ‘Chaos B.C.’ closed proceedings.The album may be over 30 years old, but its riffs still pack a deadly punch… or, as Max Cavalera alluded to in his mid-set speech, continue to make the same “big splash” they did in ’93. Long may the Cavalera chaos continue. (CF)
