Download 2026: “Bigger, better, louder than ever.” With the capacity increased by 20,000, it seems the punters agreed. For me, this journey started decades earlier, a one‑day Monsters of Rock in the early nineties, headlined by AC/DC and Metallica, plus a 14‑hour round trip from Penryn in Cornwall. So how would a four‑day camping marathon with ten times the number of bands stack up? We set off in the rain on Thursday to find out.
Thursday
Arriving painlessly and pitching the tent with military efficiency, we headed straight to District X, already heaving and buzzing. Liam and the Cancer Bats were in full “Bat Sabbath” mode, feeding off the crowd’s energy. Chants of “Ozzy!” rang out as they tore through Sabbath classics, the pyros firing hotter with every chorus. They peaked with War Pigs, the crowd belting out the first verse with confidence… and the second with enthusiasm if not accuracy.
Friday
After a surprisingly good night’s sleep under clearing skies and the flight path of some enormous jets, we hit the main stage for Scene Queen. A vision in pink and glitter, she strutted through her adult‑themed set, warning children to cover their ears while the crowd lapped it up. A perfect party‑starter.
P.O.D followed with a punchy, nostalgic, rap‑rock blast, saving the big hitters for mass singalongs and even celebrating the guitarist’s new baby mid‑set.
Backstage, we caught up with Native James, fresh off his Avalanche Stage performance with Professor Green. He was buzzing — and repeatedly reminded my colleague that she “dropped him” when he played Torquay last year. True or not, I’ll leave that to the courts of memory.
Pendulum were my number‑one bucket‑list band until last year, when I finally saw them in a Plymouth rainstorm. But this? This was something else entirely. Huge key swells, seismic bass drops, and a sound so massive it challenged the PA. The crowd erupted into joyful moshing, and Rou Reynolds (Enter Shikari) joined for a collab delivered with style — and some excellent dance moves.
Electric Callboy brought Eurovision‑grade weirdness to the main stage. I’d been warned about costume changes, but nothing prepared me for glitter‑ball helmets, matching bowl cuts and more shell suits than an 80s sports shop. High energy, relentless fun, and crowd surfing galore. Hot weather, silly clothes, banging tunes — job done.
Limp Bizkit closed the day despite tragic news involving members of their crew. They pushed on professionally, delivering the hits, but understandably the spark felt dimmed.
Saturday
The day began emotionally at the Opus Stage with The Wildhearts. Ginger, the band — and Ginger’s dog — delivered a cracking sunshine‑soaked set. I last saw them 35 years ago in Bristol; time really does fly.
Back at the main stage, South Arcade transported us straight to the early 2000s with bouncy energy, crystal‑clear vocals and a graffiti‑themed stage setup complete with spray‑can dry ice. Highlights: the car‑alarm breakdown in How to Get Away With Murder, the very British stage banter, and the drummer’s hair — Hellraiser via blue rinse.
Landmvrks hit the Apex Stage looking razor‑sharp. In a world of sound‑alike metalcore, they stand out: trebly, tight guitars, huge vocal range, and choruses that refuse to leave your head. Pop vocals, French rap, screams upon screams — all delivered with precision. If you haven’t seen them yet, fix that.
We caught up with Jack and Becca from Marmozets backstage. With their new album Cowardice on repeat for me, it was great to talk future plans, Primus, Mr Bungle, and the fact they keep bumping into bassist/YouTuber Danny Sapko because he lives nearby. Small world.
Guns N’ Roses played for over three hours, giving us plenty of time to explore merch stalls and side arenas, soundtracked by Slash solos echoing across the site.
Sunday
Unpeople opened the main stage with a huge sound and an even bigger crowd. Their alt‑rock harmonies twisted beautifully through each track, and the choruses were built for mass singalongs. Luke’s trip into the crowd — guitar in hand, perched on someone’s shoulders — during The Garden was a highlight. With a new album finally on the way, excitement is high.
Wolfgang Van Halen and Mammoth delivered a polished, powerful set full of soaring vocals and impossible‑sounding solos. The crowd were just warming up when the set ended; I’d happily have taken another half hour.
Then things got surreal. Keanu Reeves and Dogstar walked on almost apologetically. Despite constant heckling, Keanu handled it with grace. Their mellow, QOTSA‑tinged set went down well, but the biggest cheers came when Keanu spoke — once to say “We need to do a line check,” and once to say “thank you.” We got Ted “Theodore” Logan, not John Wick.
Back at the Apex Arena, Bloodywood unleashed one of the most powerful sets of the weekend. East‑meets‑west metal, traditional instruments, and animated graphics that were genuinely stunning. The crowd were feral — in the best way.
After catching up with Conjurer and Annisokay, we headed to the top of the arena to prepare for Linkin Park’s headline set — and managed to secure a spot on the infamous Ferris Wheel (Google it, but maybe not at work).
Suspended above the site, we watched 120,000 people erupt as the band opened with Emptiness Machine. Much was made of Download’s first female‑fronted headliner. It shouldn’t matter — but it did. The performance was masterful: tight, emotional, powerful, and absolutely deserving of the moment.
A perfect end to a festival I loved from start to finish. Here’s hoping I don’t leave it so long next time.
Words - Phil Bales
Pictures - Martha Fitzpatrick
