Rocker (feedbot)
Platinum Member
Day two of Outbreak 2026 sees the opening of a larger outdoor stage, which subsequently becomes the festival’s main stage. It’s a mixed blessing given the blistering sun which reflects off the surrounding concrete into the melting eyes of an audience of punks. Nonetheless, with three stages and a full day of programming, today has an altogether grander feel.
One of the day’s quirks is the World Cup screening of England Vs Panama that closes out the third stage, which means a number of attendees arrive sporting the peculiar combination of band t-shirt and bucket hat. Many of them attempt to end their evening positioned judiciously between stages so as to simultaneously listen to Converge and watch Harry Kane. Nonetheless, the dedicated fanbase associated with hardcore and metal remains ever-present, as does the supply of innovative festival performances.
There’s something refreshing straightforward about the sludgy riffs that howl from the Marshall amps forming Truck Violence’s backdrop, even if the reality is more complex. The shirtless and tattooed Karsyn Henderson’s feral vocal performances belie the Canadians’ smartly crafted combinations of hardcore and folk. It’s a unique sound that’s further bolstered by the banjo added to ‘Guns buried in the front yard’ – a perfect contrast to the sludgy ‘Drunk to death’, which has the band at their most imperious.
Having recently toured with A Perfect Circle, the duo of Soren Bryce (Tummyache) and musician/DJ Daniel P Carter deliver a balance of soaring melodies and piercing screams that show off Bryce’s depth as a vocalist. ‘Fire With Fire’ offers bite and grit, while some the less heavy moments have a more lugubrious demeanour. For an early afternoon performance in the sweltering heat, it’s an impressively dynamic showing from one of the lineup’s most creative performers.
Bodyweb are insistent. “Get on the fucking stage,” yells frontman Louis Hardy. The band hasn’t actually played a note yet – they’re just that overwrought. Everything about this band is over-the-top, even down to the way their logo pulsates behind them like a radiation warning. Clearly worshippers of nu-metal, there are shades of Korn when we’re told to “get the fuck up” and touches of Slipknot when bizarre and off-kilter jungle breakdowns are shoe-horned amongst two-note riffs. It’s far from the most inspired of performances, especially given just how indebted the band are to their influences, but there’s still something enjoyable about the brute-force of Bodyweb’s antics.
Billed as ‘???’, Outbreak 2026’s mystery act is not Title Fight, despite the optimistic rumours and Static Dress’ decision to cheekily open with the intro to ‘Safe In Your Skin’. To add to the confusion, they jokingly introduce themselves as Guilt Trip (one of the other rumoured bands for this slot) but after much trolling, it is finally understood that the individuals standing on stage – who are clearly the members of Static Dress – are indeed the members of Static Dress. Despite a handful of individuals leaving upon realising this – did they really expect Title Fight? – the Leeds band are monstrously energetic, almost to a fault given the slightly forced shouts of “why the fuck are you standing still” from vocalist Olli Appleyard. It’s an overall consummate performance, but one that is more defined by the band who aren’t there than the one that is, thanks in no small way to Static Dress’ mischievousness.
Ten years on from the release of Touché Amoré’s ‘Stage Four’, the band arrive at Outbreak Festival ready to perform the album in full, much to the joy of one of the weekend’s most ecstatic fanbases. That said, no attendee quite matches the apparent happiness of vocalist Jeremy Bolm, who appears to be positively beaming at the occasion. Guitarist Nick Steinhardt meanwhile braves the heat in a full jacket for the opening portion of the show before eventually succumbing to the heat and removing it. The event brings with it a celebratory feel that’s devoid of the tough-guy nonsense that occasionally belittles the post-hardcore genre. Bolm’s decision to walk into the crowd sees him swamped by his adoring fans like he’s one of The Beatles. One gets the feeling that, while it’s not one for the newcomers, the already-converted will treat this as the weekend’s highlight.
Bret Kaser and Connor Kleitz face each other with a couple of beefy electrics/sampling units between them. Their flanked by the band’s two drummers, whose in-unison bashing forms something akin to the backbeat of New York ‘90s hip hop. – apropos for four Brooklynites. Together, Lip Critic produce maximalist electronic hardcore that stands apart from the festival’s array of guitar-centric bands by offering a pleasingly feral energy. Kaser’s vocals are savage; he sounds more creature than human as he growls his way through songs from the band’s recent album ‘Theft World’. Other songs like ‘Sermon’ are ominous, with the listless Kaser bouncing amongst band members, conducting chaos as he goes.
The high ceilings of the BEC Arena do few favours for Atlanta’s Upchuck. The room gobbles up the intricacies of the band’s music, rendering the politically-conscious lyrics of vocalist KT difficult to hear. While the content of Upchuck’s words don’t necessarily translate, she nonetheless yells through the most savage of punk songs with ruthless aggression. The scraping of guitar against cymbals, a drummer who mid-set becomes the vocalist, and the combining of gritty bass tones and droning guitars remain remarkable, despite the muddiness of the acoustics.
High Vis are one of the weekend’s tightest performers. The band seem to share a telepathic relationship as they traverse songs that contain as much pain as they do hope. It’s all centres on Graham Sayle, a passionate frontman whose honestly between songs is as inspired as his charismatic vocals. He delivers a lengthy speech about friendship and the importance of speaking to others during difficult times, with Sayle drawing upon his own experiences with alcohol with a stark honesty. By framing past difficulties as exactly that – in the past – the future looks bright. It means that his subsequently Olympian-like stage dives become euphoric displays of uninhibited joy.
Canadian pop-punkers Pup offer something lighter than the hardcore that dominates much of the weekend. This, alongside a fleeting downpour, delights a crowd that welcome the rain as much as a singalong. ‘Kids’ and ‘Reservoir’ offer the latter, as does the featuring of a selection of songs from the band’s debut album, ‘The Dream is Over’. The decision to so heavily feature a now decade-old album is in keeping with the nostalgia that has imbued the festival. Nonetheless, there remains an exciting rawness to the music. “I’m not gonna say very much, we’re just gonna fucking rip,” says frontman Stefan Babcock, which pithily summarises the experience.
For not the first time this weekend, a Leeds-based hardcore band take to Outbreak 2026. Having been recommended by High Vis a few hours prior, Higher Power draw from the aesthetics of ‘90s alternative rock to deliver something rather aloof. The band are mostly backlit, making it difficult to see anything more than a few profiles. This combines with the hazy guitars to create a unique atmosphere, over which High power blast through their set with workmanlike efficiency. With drums that are de-tuned to the point of sounding like timpani, and guitars that sounds ready to raw, it sums to an impressive showing.
They’ve consistently performed live in recent years, but Liverpudlian’s Loathe haven’t released an album since 2021’s instrumental and ambient ‘The Things They Believe’. Knowing that another is on the way this summer means that the mere appearance of the band’s on-screen logo is enough to bring a sense that, though they never went away, Loathe are back. They’re old-fashioned in some ways – four musicians dressed in black playing heavy metal music. In reality, these songs are some of the weekend’s most complex. The 6-minute ‘Screaming’ shows off instrumental prowess and crunching riffs, all alongside Kadeem France’s talismanic charisma. “This is our favourite festival to play ever,” says France. It sounds like a trope, but given the symbiotic relationship between band and audience, it’s not so difficult to believe.
Various performers at Outbreak 2026 could be described as chaotic. The Armed, however, take things further. In an unhinged display of madness, The Armed create pandemonium as soon as they clatter their way through the opening moments of ‘THE MUSIC BECOMES A SKULL’. Musicians are crowd surfing (with their instruments), a saxophone is made to sound like a pained animal, and ‘ALL FUTURES’ manages to manifest a mosh pit on the stage itself. Converge’s Jacob Bannon joins for a cover of ‘Homewrecker’ and bedlam ensues once more. For some, it’s sensory overload. For others. it’s a cathartic release. But for all it’s a performance that’s impossible to turn away from.
“Alright,” screams George Pettit. “This is from our hearts,” responds the jubilant crowd, as Alexisonfire launch into ‘Drunks, Lovers, Sinners and Saints’. It’s been twenty years since the genre-defining ‘Crisis’ was released. Two decades on and much has changed. Pettit looks less tough-guy and more avuncular coworker; endearing with his floppy hair and leather jacket. Vocally, he sounds largely unchanged, as does Dallas Green, whose cleanly delivered vocals sound remarkably youthful. It’s a curiously young crowd in attendance, some of whom were likely too young to remember ‘Crisis’ upon its 2006 release. It results in a charming cross-generational audience of students and masters, all standing before Alexisonfire’s titanic presence.
There have been many whole-album performances across the weekend. This penchant for the music of the past brings mixed emotions. At times it is celebratory, while at others it feels regressive. Ideally, bands should remain innovative, with each new release able to sit alongside older songs with seamless integration. Converge are one of very few to get this right. Opener ‘Love is Not Enough’, the title track from one of two albums released this year by the metalcore legends, sends their audience into as much of a frenzy as classics like ‘Conduit’ and ‘Concubine’. Over three decades into what is becoming an illustrious career, Converge eschew nostalgia with new music that is every bit as gutsy as the band they were all those years ago.
One of the day’s quirks is the World Cup screening of England Vs Panama that closes out the third stage, which means a number of attendees arrive sporting the peculiar combination of band t-shirt and bucket hat. Many of them attempt to end their evening positioned judiciously between stages so as to simultaneously listen to Converge and watch Harry Kane. Nonetheless, the dedicated fanbase associated with hardcore and metal remains ever-present, as does the supply of innovative festival performances.
Words: Ben Williams
Truck Violence
There’s something refreshing straightforward about the sludgy riffs that howl from the Marshall amps forming Truck Violence’s backdrop, even if the reality is more complex. The shirtless and tattooed Karsyn Henderson’s feral vocal performances belie the Canadians’ smartly crafted combinations of hardcore and folk. It’s a unique sound that’s further bolstered by the banjo added to ‘Guns buried in the front yard’ – a perfect contrast to the sludgy ‘Drunk to death’, which has the band at their most imperious.
Reclus.É
Having recently toured with A Perfect Circle, the duo of Soren Bryce (Tummyache) and musician/DJ Daniel P Carter deliver a balance of soaring melodies and piercing screams that show off Bryce’s depth as a vocalist. ‘Fire With Fire’ offers bite and grit, while some the less heavy moments have a more lugubrious demeanour. For an early afternoon performance in the sweltering heat, it’s an impressively dynamic showing from one of the lineup’s most creative performers.
Bodyweb
Bodyweb are insistent. “Get on the fucking stage,” yells frontman Louis Hardy. The band hasn’t actually played a note yet – they’re just that overwrought. Everything about this band is over-the-top, even down to the way their logo pulsates behind them like a radiation warning. Clearly worshippers of nu-metal, there are shades of Korn when we’re told to “get the fuck up” and touches of Slipknot when bizarre and off-kilter jungle breakdowns are shoe-horned amongst two-note riffs. It’s far from the most inspired of performances, especially given just how indebted the band are to their influences, but there’s still something enjoyable about the brute-force of Bodyweb’s antics.
Static Dress
Billed as ‘???’, Outbreak 2026’s mystery act is not Title Fight, despite the optimistic rumours and Static Dress’ decision to cheekily open with the intro to ‘Safe In Your Skin’. To add to the confusion, they jokingly introduce themselves as Guilt Trip (one of the other rumoured bands for this slot) but after much trolling, it is finally understood that the individuals standing on stage – who are clearly the members of Static Dress – are indeed the members of Static Dress. Despite a handful of individuals leaving upon realising this – did they really expect Title Fight? – the Leeds band are monstrously energetic, almost to a fault given the slightly forced shouts of “why the fuck are you standing still” from vocalist Olli Appleyard. It’s an overall consummate performance, but one that is more defined by the band who aren’t there than the one that is, thanks in no small way to Static Dress’ mischievousness.
Touché Amoré
Ten years on from the release of Touché Amoré’s ‘Stage Four’, the band arrive at Outbreak Festival ready to perform the album in full, much to the joy of one of the weekend’s most ecstatic fanbases. That said, no attendee quite matches the apparent happiness of vocalist Jeremy Bolm, who appears to be positively beaming at the occasion. Guitarist Nick Steinhardt meanwhile braves the heat in a full jacket for the opening portion of the show before eventually succumbing to the heat and removing it. The event brings with it a celebratory feel that’s devoid of the tough-guy nonsense that occasionally belittles the post-hardcore genre. Bolm’s decision to walk into the crowd sees him swamped by his adoring fans like he’s one of The Beatles. One gets the feeling that, while it’s not one for the newcomers, the already-converted will treat this as the weekend’s highlight.
Lip Critic
Bret Kaser and Connor Kleitz face each other with a couple of beefy electrics/sampling units between them. Their flanked by the band’s two drummers, whose in-unison bashing forms something akin to the backbeat of New York ‘90s hip hop. – apropos for four Brooklynites. Together, Lip Critic produce maximalist electronic hardcore that stands apart from the festival’s array of guitar-centric bands by offering a pleasingly feral energy. Kaser’s vocals are savage; he sounds more creature than human as he growls his way through songs from the band’s recent album ‘Theft World’. Other songs like ‘Sermon’ are ominous, with the listless Kaser bouncing amongst band members, conducting chaos as he goes.
Upchuck
The high ceilings of the BEC Arena do few favours for Atlanta’s Upchuck. The room gobbles up the intricacies of the band’s music, rendering the politically-conscious lyrics of vocalist KT difficult to hear. While the content of Upchuck’s words don’t necessarily translate, she nonetheless yells through the most savage of punk songs with ruthless aggression. The scraping of guitar against cymbals, a drummer who mid-set becomes the vocalist, and the combining of gritty bass tones and droning guitars remain remarkable, despite the muddiness of the acoustics.
High Vis
High Vis are one of the weekend’s tightest performers. The band seem to share a telepathic relationship as they traverse songs that contain as much pain as they do hope. It’s all centres on Graham Sayle, a passionate frontman whose honestly between songs is as inspired as his charismatic vocals. He delivers a lengthy speech about friendship and the importance of speaking to others during difficult times, with Sayle drawing upon his own experiences with alcohol with a stark honesty. By framing past difficulties as exactly that – in the past – the future looks bright. It means that his subsequently Olympian-like stage dives become euphoric displays of uninhibited joy.
Pup
Canadian pop-punkers Pup offer something lighter than the hardcore that dominates much of the weekend. This, alongside a fleeting downpour, delights a crowd that welcome the rain as much as a singalong. ‘Kids’ and ‘Reservoir’ offer the latter, as does the featuring of a selection of songs from the band’s debut album, ‘The Dream is Over’. The decision to so heavily feature a now decade-old album is in keeping with the nostalgia that has imbued the festival. Nonetheless, there remains an exciting rawness to the music. “I’m not gonna say very much, we’re just gonna fucking rip,” says frontman Stefan Babcock, which pithily summarises the experience.
Higher Power
For not the first time this weekend, a Leeds-based hardcore band take to Outbreak 2026. Having been recommended by High Vis a few hours prior, Higher Power draw from the aesthetics of ‘90s alternative rock to deliver something rather aloof. The band are mostly backlit, making it difficult to see anything more than a few profiles. This combines with the hazy guitars to create a unique atmosphere, over which High power blast through their set with workmanlike efficiency. With drums that are de-tuned to the point of sounding like timpani, and guitars that sounds ready to raw, it sums to an impressive showing.
Loathe
They’ve consistently performed live in recent years, but Liverpudlian’s Loathe haven’t released an album since 2021’s instrumental and ambient ‘The Things They Believe’. Knowing that another is on the way this summer means that the mere appearance of the band’s on-screen logo is enough to bring a sense that, though they never went away, Loathe are back. They’re old-fashioned in some ways – four musicians dressed in black playing heavy metal music. In reality, these songs are some of the weekend’s most complex. The 6-minute ‘Screaming’ shows off instrumental prowess and crunching riffs, all alongside Kadeem France’s talismanic charisma. “This is our favourite festival to play ever,” says France. It sounds like a trope, but given the symbiotic relationship between band and audience, it’s not so difficult to believe.
The Armed
Various performers at Outbreak 2026 could be described as chaotic. The Armed, however, take things further. In an unhinged display of madness, The Armed create pandemonium as soon as they clatter their way through the opening moments of ‘THE MUSIC BECOMES A SKULL’. Musicians are crowd surfing (with their instruments), a saxophone is made to sound like a pained animal, and ‘ALL FUTURES’ manages to manifest a mosh pit on the stage itself. Converge’s Jacob Bannon joins for a cover of ‘Homewrecker’ and bedlam ensues once more. For some, it’s sensory overload. For others. it’s a cathartic release. But for all it’s a performance that’s impossible to turn away from.
Alexisonfire
“Alright,” screams George Pettit. “This is from our hearts,” responds the jubilant crowd, as Alexisonfire launch into ‘Drunks, Lovers, Sinners and Saints’. It’s been twenty years since the genre-defining ‘Crisis’ was released. Two decades on and much has changed. Pettit looks less tough-guy and more avuncular coworker; endearing with his floppy hair and leather jacket. Vocally, he sounds largely unchanged, as does Dallas Green, whose cleanly delivered vocals sound remarkably youthful. It’s a curiously young crowd in attendance, some of whom were likely too young to remember ‘Crisis’ upon its 2006 release. It results in a charming cross-generational audience of students and masters, all standing before Alexisonfire’s titanic presence.
Converge
There have been many whole-album performances across the weekend. This penchant for the music of the past brings mixed emotions. At times it is celebratory, while at others it feels regressive. Ideally, bands should remain innovative, with each new release able to sit alongside older songs with seamless integration. Converge are one of very few to get this right. Opener ‘Love is Not Enough’, the title track from one of two albums released this year by the metalcore legends, sends their audience into as much of a frenzy as classics like ‘Conduit’ and ‘Concubine’. Over three decades into what is becoming an illustrious career, Converge eschew nostalgia with new music that is every bit as gutsy as the band they were all those years ago.