Saturday at Bloodstock. By now, the campsite is absolutely fucked.
People are sunburnt, dehydrated, covered in dust & running on whatever combination of beer, caffeine & pure stubbornness has kept them alive since Thursday. But this is Bloodstock. Nobody is going home. And Saturday has one hell of a lineup.
From the crushing heaviness of Bound In Fear through old-school death metal, hardcore, groove, modern metalcore, filthy death metal & one of the biggest deathcore bands on the planet, this is another day where there is absolutely no excuse for standing around doing nothing. And with Slaughter To Prevail headlining the Ronnie James Dio Stage, there is a big question hanging over the day. Can they deliver? Before we get there, though, there is a lot of work to do.
Let’s fucking go… Saturday starts exactly how a metal festival should.
London crossover kings Inhuman Nature are a force of unfathomable power. Having spent months roaming the endless highways of the UK and Europe, these road warriors have spent the last 5 years sharpening their steel and becoming a formidable live force. They have toured with such diverse and heavy-hitting allies as Crowbar, Green Lung, Heriot, High Command, Grove Street, Puppy, as well as festival appearances at the likes of Bloodstock, Mystic Festival, Damnation and 2000 Trees, among many others.
With their new album Greater Than Death still ringing in everyone’s ears, these servants of aural annihilation will bring their singular attack, which harnesses the classic crossover sound of their debut LP, and incorporates a melange of extremity, with influences from hardcore to crust, death and doom metal. Live they are an absolute beast, rippinig the cobwebs off the faces of the war-torn bloodstock faithful as they wonder what have they got themselves into and have they walked into an alternative reality this early Saturday morning? No, this shit is real, in your face and so worth the early start! It’s only gooing to get better from here on in, so strap on your big boy pants and enjoy the ride!
As the band says themselves, Live victims will be possessed to headbang – or die!
Photography: Artur Tarczewski
Over the past few years, Imperial Age have risen from underground symphonic metal upstarts to one of the most talked-about breakthrough acts in the European scene. Originally formed in Moscow and now based in the UK, the band is led by founding duo Alexander “Aor” Osipov and Jane Odintsova, whose versatile dual vocals, combined with heavier-than-usual modernised symphonic metal, have become the band’s signature sound.
With a revitalised new British-based lineup and a heavier, sharper live presence, Imperial Age have been winning over crowds across Britain and Europe – most recently on their 2025 “Return of the Atlanteans” European and UK tour, where they headlined packed venues from London to Krakow, igniting a surge of fan-driven momentum.
Known for their unique blend of cinematic grandeur, metal force, and occult Atlantean themes, Imperial Age have independently racked up millions of streams and views, hundreds of thousands of followers as well as tens of thousands of physical sales globally. Their latest single “Gnosis” continues their creative evolution, following the success of their fan-funded album New World.
With each triumphant step, Imperial Age carves deeper into modern metal’s stone tablets, proving that symphonic metal is not just alive – it’s evolving and rising. And this band is leading the charge. The live performance is a thing of beauty: elegant, flowing vocals and the band’s melodic vibe against the brutality and chaos of Inhuman Nature make for a welcome palette change for all who have gathered in the blazing sun. Bloodstock does love a good symphonic band, and they do love the cinematic, dramatic quality these bands bring to the live stage. Imperial Age are no different; they have the crowd eating out of the palms of their hands and bring a joyous vibe to the early-morning gathering, putting everyone in fine form before we make a change of direction once again!
But for an early Saturday morning, their fans were out in force, fists in the air, appreciating the duelling vocals on display and getting lost in their beautiful soundtrack. Mighty impressive!
Photography: Artur Tarczewski
The Scratch are a band that don’t seem to fit in anywhere—yet, somehow, have managed to fit in everywhere. Born in Dublin, Ireland, the band has grown from a few friends armed with acoustic guitars and a wooden box into one of the most original and unpredictable musical forces to emerge in recent years. From the beginning, their stripped-back setup created a buzz in their hometown, but it was the raw energy and fearless creativity behind it that made people stop, listen, and never forget.
What sets The Scratch apart is their refusal to be confined by genre. At any given moment, they might charge forward with the aggression of heavy metal, drop into the rich storytelling of Irish folk, erupt with the scale of stadium rock, or twist into the edge of post-punk. This intentional genre-meandering has become their signature, blurring lines and defying expectations while always sounding distinctly like The Scratch. Each new release builds upon the last without ever standing still, showcasing a band in constant motion—evolving, experimenting, and pushing themselves sonically and creatively.
Despite their growing reputation, The Scratch remain grounded. They never take themselves too seriously as individuals, often injecting humor and spontaneity into their shows, but when it comes to the music, their commitment is total. Every note, lyric, and performance comes from the soul, and that sincerity is exactly what has turned curious listeners into die-hard fans.
It is on stage, however, where The Scratch truly become unstoppable. Their live performances are equal parts chaos and communion, a celebration of sound and spirit that leaves audiences buzzing long after the final chord. Whether in a packed Dublin club, a festival tent in the UK, or new territories across mainland Europe and North America, the response has been the same: the crowd leaves converted. Their following has taken on a cult-like devotion, built through word of mouth and unforgettable experiences that can only come from being there in the moment.
Now, their journey takes them to one of metal’s most legendary stages: Bloodstock 2026. Known for bringing together the best, boldest, and most uncompromising acts in heavy music, the festival is the perfect setting for The Scratch to unleash their unique brand of genre-defying chaos. With their reputation for captivating performances and their ever-growing international fanbase, their set promises to be one of the highlights of the weekend—an electrifying collision of sound, spirit, and sheer unpredictability that will win over the Bloodstock faithful.
The Scratch have proven they don’t belong in a box. Instead, they’ve built a world where every influence, every emotion, and every audience has a place. At Bloodstock 2026, they’re ready to show once again why they’ve captured so many hearts—and why this is only the beginning of their rise.
Photography: Artur Tarczewski
With a fucking beating. Bound In Fear (Sophie Stage) is not here to ease anybody gently into the day. The Birmingham deathcore crew bring the sort of low-end heaviness that makes your chest vibrate before you’ve even had your first proper drink. The riffs are huge. The breakdowns are disgusting. And the vocals sound like someone has just discovered the gates of hell and decided to open them. And honestly, you don’t need a massive crowd for this sort of music to work. You just need a few people willing to get involved & do they get involved. There is movement from the start, with heads banging & bodies throwing themselves around as Bound In Fear throws one monstrous riff after another at the crowd. The band has that distinctly British deathcore sound that sits somewhere between hardcore aggression & absolutely ridiculous heaviness. It’s not complicated. It’s just fucking heavy. And sometimes that’s all you need. The early crowd might still be waking up, but Bound In Fear makes sure that doesn’t last long. Saturday has officially started.
Photography: Artur Tarczewski
If there is one thing Celestial Sanctuary (Sophie Stage) know how to do, it’s make death metal sound fucking good.
The Cambridge band have been steadily building themselves a reputation as one of the UK’s most reliable old-school death metal outfits, and their Bloodstock appearance is another chance to prove why. And they do. Where Bound In Fear was all about the breakdown, Celestial Sanctuary is about riffs. Proper death metal riffs. The kind that sound like they were excavated from some forgotten late-’80s tape, cleaned up just enough to make them hit harder & then thrown through a modern PA. It’s filthy. It’s fast. It’s fucking good. There is a proper pit going within minutes. And that’s one of the best things about the Sophie Lancaster Stage at Bloodstock. You can have a band playing early in the afternoon, with the main stage attracting thousands of people, yet still get a crowd who are absolutely committed to what is happening in front of them. Celestial Sanctuary get that crowd. Recent live appearances have shown exactly how effective this material is in a festival environment, with their old-school death metal quickly turning into circle pits & serious headbanging. The guitars sound enormous, the drums are crisp & the whole thing feels much heavier than a band playing in a tent should. By the end, the crowd is properly warmed up. Another win for the Sophie Stage.
Now we’re getting into some serious UK hardcore history. Stampin’ Ground. (Sophie Stage)
If you’ve been around the British hardcore & metal scene for long enough, you know exactly what this band is about. No fucking messing around. No fancy tricks. Just riffs, aggression & songs designed to get people moving. And that is exactly what happens.
There is a huge difference between watching a band perform heavy music & watching a band make a crowd physically react to it. Stampin’ Ground does the latter. The pit opens. People are throwing themselves around. The front rows are singing along. And the band looked completely at home. There is a certain nostalgia to seeing them at Bloodstock, but it never becomes a nostalgia act. This isn’t a bunch of guys getting together to play old songs for the sake of it. The music still sounds fucking relevant. The riffs still hit. The attitude is still there. And when the band get the crowd involved, it feels like the whole tent knows exactly what is expected.
Stampin’ Ground are one of those bands who remind you that hardcore doesn’t need massive production. It needs energy. It needs attitude. And it needs a crowd willing to get stuck in. Bloodstock provides all three.
Photography: Insta madeinerror.media
From hardcore aggression to something much bigger. Urne.
The British titan has become one of those bands that are difficult to categorise neatly, which is exactly why they work so well at Bloodstock. There are elements of metal, sludge, progressive metal, classic heavy metal & plenty of big fucking riffs. And today they sound massive. Especially considering how early we are into the day. Urne have moved onto the Ronnie James Dio Stage following a change to Saturday’s schedule, with the festival moving them from the Sophie Lancaster Stage to the main stage. It’s a good move. They deserve the space. The songs need room to breathe, and when the massive riffs kick in, they sound exactly like they belong on a stage this size. There is less frantic movement than with Stampin’ Ground, but that’s not what Urne is about.
People are watching. People are headbanging. And there are plenty of horns in the air. The band have a confidence that suggests they know they are ready for bigger stages. And this is a great opportunity to prove it. There is a big, warm sound to the whole performance, with the guitars doing most of the talking. The crowd reaction is strong, particularly when the heavier sections kick in. Urne is not the band that causes the biggest pit of the day. They are the band that makes you stop, listen & think: “Yeah, these guys should be playing here.”
Photography: Artur Tarczewski
Right. Time to turn the volume up again. Vended arrive with something to prove.
The band have inevitably spent a lot of their career dealing with comparisons to their famous family connections, but the longer they continue, the more obvious it becomes that Vended are building their own identity. And live? They are fucking energetic. There is no standing around. No polite nodding. No waiting for the next song. The band is constantly moving & the crowd follows them.
Vocalist Griffin Taylor has the kind of frontman energy that makes it difficult to look away. He spends the set working the crowd, screaming, moving around & pushing the performance forward. The material has a modern metal feel with plenty of groove, aggression & nu-metal influence. It works. Especially with a festival audience. The crowd is bouncing around, and the audience feels much younger than that of some of the older-school bands playing the Sophie Stage. That is important. Bloodstock needs bands like Vended. You need the old guard, but you also need bands bringing younger fans into the festival. And Vended clearly have them. Vended are about momentum. And they have plenty of it.
Photography: Artur Tarczewski
Now this is where Saturday gets fucking serious. Bleed From Within. Glasgow’s finest. And judging by the reaction around Catton Park, this is a band that has gone from “great UK metal band” to something much, much bigger.
They are fucking enormous today. The reaction is ridiculous. Before the band even properly gets going, you can feel the anticipation.
Then the riffs hit. And that’s it. The crowd goes absolutely mental. Bleed From Within have the ability to combine modern metalcore precision with the sort of huge riffs that make thousands of people move together. The choruses are massive. The guitars are huge. And Scott Kennedy sounds fucking brutal. This isn’t simply another good festival set.
This is one of those performances where you start wondering why the band aren’t already headlining. The crowd clearly thinks the same. Later in the weekend, fan reaction was almost unanimous, with multiple Bloodstock attendees describing Bleed From Within as one of the weekend’s best performances and some even arguing that they felt like the real headliners.
And watching them, it’s easy to understand why. They have the songs, they have the performance & they have the audience.
And most importantly, they have that fucking feeling. The feeling you get when a band walks onto a stage and suddenly the whole festival feels smaller. Whatever your favourite Bleed From Within song is, chances are the crowd are screaming it back. The pits are massive. Crowd surfers are everywhere. And the band just kept pushing. There is no sense that they are treating this as a support slot. They are treating it like a headline show. And that’s exactly how the crowd responded. This isn’t just good. This is fucking brilliant.
Photography: Artur Tarczewski
How the fuck do you follow Bleed From Within? Easy. You get Sanguisugabogg (Sophie Stage). And then you make everything disgusting again.
The Ohio death metal crew are one of the most perfectly named bands in extreme metal, even if nobody can pronounce the fucking thing. But you don’t need to pronounce it. You just need to understand one thing. Sanguisugabogg are fucking filthy. The band’s latest album “Hideous Aftermath” has pushed them even further into brutal death metal territory, with the band themselves describing it as their most focused & brutal record to date. And live? It is fucking nasty. The riffs are ugly. The vocals are monstrous. The drums sound like they are trying to murder the rest of the band. And the crowd absolutely loves it. There is something wonderfully old-school about Sanguisugabogg. They aren’t interested in looking pretty. They aren’t interested in making death metal comfortable. They want it nasty. And the Sophie Lancaster Stage is the perfect environment. The pit is absolutely mental. People are throwing themselves around. Bodies are flying. And every time the band hits one of those massive low-end riffs, you can physically feel the reaction. This is death metal doing what death metal should do. It’s ugly. It’s aggressive. It’s fucking fun. And despite the ridiculous name, there is absolutely nothing silly about the music. The band have clearly stepped up another level with “Hideous Aftermath”, and Bloodstock gives them the opportunity to show just how fucking nasty they can be. One of the day’s biggest surprises? Not really.
If you’ve been paying attention, you already knew.
So here we are. Saturday night. The dust is everywhere. Everyone is fucked.
Bleed From Within have just delivered what many people are already calling a headline-worthy performance. And now it’s Slaughter To Prevail‘s turn.
This is the one that has divided opinion since the lineup was announced. Some people have been desperate to see them. Others have questioned whether they were ready to headline Bloodstock. There have even been plenty of online arguments about the booking. But there is only one way to settle that. Put the band on the stage. And let them fucking play. The intro hits. Alex Terrible appears. And the place erupts.
Slaughter To Prevail have built their entire live reputation around making breakdowns feel like natural disasters. “Bonebreaker” hits. “Viking” hits. “Baba Yaga”, “Demolisher”, Every one of them gets a reaction. And yes, there are plenty of people who have decided this isn’t for them. You can see them around the field. Some are drinking. Some have headed back to the campsite. Some are watching Leprous instead. That’s fine. Because the people who are here? They fucking love it.
The crowd is massive enough to prove that the pre-festival talk about Slaughter To Prevail pulling a tiny headline crowd was massively overblown. Even Louder’s post-show review specifically pushed back against suggestions that they would draw one of Bloodstock’s smallest headline crowds. And visually? It’s huge. Fire. Smoke. Big screens. Massive breakdowns.
Alex Terrible standing in the middle of it all looking like someone has designed a deathcore final boss. This is a proper headline production. And that matters. Slaughter To Prevail aren’t playing like a band that has been given a slot above their level. They look like headliners. This is a show built around extremes. Quiet? Not really. Subtle?, Fuck off.
Heavy? Absolutely. There is a certain simplicity to what Slaughter To Prevail does. The band knows what their audience wants. They give it to them. Breakdowns. Fire. Huge vocals. More breakdowns. It isn’t going to convert everybody. But judging by the reaction in front of that stage, it doesn’t need to. Slaughter To Prevail has passed the test.
Maybe not everyone wanted them there. Maybe not everyone will suddenly become a fan. But as a headline performance? It’s difficult to argue that they didn’t bring the fucking show.
Review: Joseph Mitchell
Photography: Artur Tarczewski
