Bring The Noise headed to the fields of Catton Hall for Bearded Theory’s 15th birthday, boasting a line-up of punky goodness and big energy. While the weather hit the festival with more mud than campers would have liked, Bearded Theory successfully kicked off festival season for many with a diverse range of acts, its beautiful Derbyshire setting and feel-good atmosphere.
Thursday
Nottingham quartet Cucamaras opened our weekend, regaling Convoy Cabaret (the least waterlogged part of the festival grounds) with slick post-punk riffs. Opening with Bleachers Yard, the standout song from their 2023 EP Buck Rodgers Time, they proceeded to motor through their latest work, interspersed with some intriguing unreleased cuts. For a band still in their infancy, Cucamaras seem impressively assured in their sound, mixing the foreboding lyricism and vocals of their Nottingham contemporaries Do Nothing with punkier guitar lines. Whilst it would be brilliant to see them diversify sonically, there is no denying the tried-and-true effect that a good punk number can have on a festival crowd, even one as sodden as the brave campers at Bearded Theory. By the end of their set, the packed tent was on the verge of being won over, and the band relied on two tracks from their debut EP Soft Soap to seal the deal. Winners Chapel, a warning in song form against taking advice from unsavoury characters, beats you over the head with its noisiness, outshined only by frontman Oliver Bowley’s shouted delivery. Following that, and closing the set, was Death of the Social, a track that combines pulsing drums with an anthemic, repeated cry of “where did all the hate come from/for your sons and daughters sons and daughters”, before exploding into the most riotous guitar solo that the band has concocted. It is a triumph of a track, one which is guaranteed to be a field-filler if the group can capitalise on their potential and break out of their Midlands homebase. 7/10 (AG)
Seven piece Australian metal band Battlesnake came at their first ever UK performance with quite some force, and of course, absurd golden monk-esque gowns to match. The band delivered chunky basslines, driving riffs and sometimes even choreography. With other-worldy visuals projected behind them to draw you into a fire-breathing fantasy world, combined with snarling vocals from Sam Frank, the perfect balance between nerdy silliness and genuinely exciting and powerful distortive heaviness was achieved to form a captivating set. This is a band best experienced live, and should be one to get in your diaries once their upcoming September and October European dates go on sale. The band’s bright pink keytar was offered to the crowd as its wielder, Billy O’Key paraded around the stage in Battlesnake branded tighty whiteys – the exact spirit of fun you come to escape from the festival. Offering tales of evil warlocks and wizards in tracks like Nightmare King, and possessed declarations as can be found in I Am The Vomit, Battlesnake are an experience to behold for fans of Dungeons and Dragons, King Gizzard and the Lizard Wizard looking for more of a cult metal edge. 9/10
Bristolian queer punk trio, Grandma’s House presented an enjoyable display of throaty and gravelly punk meets post-punk, with a good dose of fuzziness and bite. Yasmin Berndt’s vocals are uniquely gritty, pairing nicely with a punctuating attack from Poppy Dodgson on drums, and delicious basslines from Zoe Zinsmeister. While it did feel as though the energy levels could have been pumped up a little bit further for a truly electrifying set, it wasn’t a bad taster for the band who have managed to generate a significant buzz after just two EPs. Plus, battling a couple of technical difficulties after scheduling changes and a whole lot of mud – it’s understandable why spirits may not be on top form. It did, however, help to convey a very endearing and engaging DIY feel to the band that shows a great deal of promise moving forward. All they were missing was that extra spark of wow factor. 6/10
Going into SPRINTS’ Pallet main stage set, we were unsure what to expect. The Dublin group are midway through touring their debut album, Letter To Self, which is a record positively riddled with anxiety, both in sound and lyrics. This isn’t an emotion that you’d naturally associate with big festival anthems, but they managed to make it work through the sheer power of their performance. Their garage-punk noise has proved exceptionally popular and for good reason, with gruff and catchy tunes that speak to audiences in an incredibly personal way. Adore, Adore, Adore was a particular highlight with a delightfully memorable chorus and shredding guitar to accompany and drum up that centralised anxiety in the bridge. Plus, as a cheeky bonus, the band played a grungy version of Le Tigre’s Deceptacon which perfectly fit the SPRINTS style. A triumphant performance from one of the most exciting emerging Irish acts, who belonged on that main stage despite not originally being billed to play it. 9/10 (AG)
Bleach Lab offered an incredibly dreamy set as the festival headed on into the evening. Their sound offers a delectable lightness, emanating beautiful 80s and 90s dream pop from bands like The Cure and Mazzy Star. It hit the atmosphere perfectly, under twinkly festival lights, with the rich and immersive soundscape reverberating around the walls of the tent to create a truly enchanting experience. Jenna Kyle’s voice is deeply enchanting, with a haunting aspirance to send shivers down your spine in the best way. The rest of the band fused together in what feels like always the complete right measurements, to construct an all-encompassing and perfectly overwhelming wave of emotiveness to both simultaneously sober and intoxicate audiences with its beauty. A reverb-soaked wave of twinkly nostalgia washed over the crowd as the day turned to night. While one of the more understated bands on the line-up, this delicate experience was much appreciated amidst the punky powerhouses experienced for much of the rest of the weekend. 9/10
Friday
Opening up the main stage for the first full festival day at Bearded Theory, Hotwax brought their jagged, riff-tastic post-punk for an audience entirely ready to lap them up. An excellent choice for a wake-up call, Lola Sam’s rockstar energy on the bass, chugging along in such an addictive way, conjured movement from many hungover festival goers, and tent building conquerors. Tallulah Sim-Savage gave her all to the vocals, so much so that it looked at times like the flower in her hair might escape as she danced along with the crowd. Their grungy, up-beat and fun-infused sound hit the nail on the head for fans, singing along to tracks like Rip It Out and Phone Machine. Hotwax live up to the hype, and are certainly ones to keep an eye on as they continue to pump out banger after banger. There is still room to grow though, which makes it all the more exciting to see what comes next. 7/10
Returning to the fray after the departure of long-time band member and friend Gini Cameron, with a brand new electro sound, Pip Blom continues to impress live. Their set embraced the genre-shift the band is experiencing, punctuated by shiny new synths and drum pads, but still managed to capture the sense of easy-going, youthful indie that fans have come to know and love. Despite teasing longtime fans by using older fan-favorite Babies are a Lie in their soundcheck, the band are future-focused, embracing the new sonic changes and coming at their performances with just as much energy. The now three-piece were all smiles on stage, in particular Tender Blom, who seemed to power the drum pad not just with sticks but also movement. For a blast of dopamine, Pip Blom is always the answer. 8/10
Incredibly tightly-knit indie-rock band The Big Moon dazzled on the main stage, constructing a gorgeous melodic atmosphere that both managed to soothe and excite. Despite employing such delicate harmonies, and revelling in the simplicity of songwriting, the band manage to create such a big sound that perhaps you wouldn’t quite expect. It’s a sound that feels right in an open field in the sunlight, with the weather cooperating for a magical experience. Your Light and Wide Eyes are ripe earworm candidates, and even where this was their first exposure to the band, festival goers were welcomed into singing along. There’s nothing intimidating about The Big Moon – they offer pure joy, with a real sense of depth especially as the band have grown into the incredibly cohesive powerhouse they now are. As the band huddled together to harmonise, the connectedness in the audience only grew. Truly beautiful. 9/10
Panic Shack have become a Bearded Theory staple after kicking off the main stage in 2023, to rave reviews from audience members. After that impeccable performance and dozens more performances around the UK, they’ve built themselves quite the reputation as a live act. They continue to be a dominant force on stage, with fully planned choreography to tracks like Mannequin Man and plenty of memorable hooks for the audience to shout back. Debuting a new track that immediately felt at home in the set list, it’s clear that there is more excitement to come from the band. Donning shirts that read ‘Dangerous Gigs for Men’, subverting the incredible charity Panic Shack regularly works with called Safe Gigs for Women, they managed to humorously convey their bite and their anger in an impressively tight and addictive package. Before and after their set, there were many rumblings of praise from fans, showing the quick cult following that has been amassed. 9/10
Speaking of acts with a reputation that precedes them, Bob Vylan rounded up one of the most packed crowds of the weekend in anticipation of boisterous anarchistic punk music. ‘Bob Vylan is Killing Punk Rock’ illuminated behind them on the projector as Bobby Vylan and Bobbie Vylan burst onto the scene in full Fred Perry outfits, ready to serve up energy and then some. Despite the daylight, this could easily have been a headliner set, and one day, most likely will be. The pair attacked the stage with full force, and injected the festival with huge energy. It was clear that they’re at home on stage, with tracks like Wicked and Bad and Hunger Games going incredibly hard live. There was headbanging galore, and a captivating, important political spirit to match. Interestingly, they did do a whole bit about reverberating the C word around the festival grounds, which for the most part landed well with the audience, despite the many, many young faces. Hopefully, they weren’t inspired language wise, but without a doubt Bob Vylan’s biting punk energy will have struck a chord. 9/10
While the nostalgia factor Future Islands offered to the Bearded Theory audience is not to be downplayed, Future Islands failed to offer the grandiosity one hopes for in a headliner. While the band made a good soundtrack for a festival dinner from the surrounding food vendors, the set wasn’t grasping or captivating in the way you’d perhaps expect a headliner to be, especially after enjoying energetic performances such as Bob Vylan’s, or even the beautiful soothing atmospheres of The Big Moon. They manage to construct light grooves with their synth-pop melodies, and the technicolor backdrop did help the band build the euphoric atmosphere they were going for. But there was no wow factor, and no going above and beyond here. Radio-friendly hits like Seasons Change (Waiting for You) were pleasant to hear under festival lights, if you were ready to wind down for the evening, but still didn’t deliver either an emotive cohesiveness or that very special oomph to drag us in. 5/10
Furthering the laid-back winding down atmosphere on the gorgeous Woodlands stage, constructed of wood, bunting and fairy lights, was psych-pop enchantress Jane Weaver. Her rich vocals and poetic storytelling was wrapped up in a breathtaking package of fuzzy guitars, jagged synths and driving basslines, all perfectly measured. While much of Jane Weaver’s work is constructed in quite a motorik and esoteric way, the performance at no point felt convoluted or uninviting. The Revolution of Super Visions and Perfect Storm are both infectiously danceable hits, in particular, which combine her magic but also remain entirely accessible for all audiences. This set was an absolute treat, and conjured a widespread outbreak of hip-swaying. Jane Weaver provided a wonderful dose of escapism, with a fully fleshed out, colourful sonic world, swirling throughout the trees. Definitely a great way to round out the day for many, before wandering into the night. 8/10
Saturday
Day two started out with a set from emerging gems Prima Queen, an indie rock duo that deliver heartily with their catharsis. Eclipse is a festival-ready track that went over extremely well, and showcased some wonderful, emotive vocals in a danceable package, while some of their slower, ethereal pieces provide some well-calculated light and shade to their sets. The pair were happy to joke about on stage, and engaged well with their audience, demonstrating a real potential going forward. Beautiful harmonies characterised the set, furthering the personal and raw songwriting of Prima Queen in a captivating way. As they grow into their own, and grow their catalogue, this will be a band to keep an eye on. 7/10
Filling in for Divorce, who unfortunately had to pull out due to injury, PET NEEDS put on a display of energising punky spirit to bring in the sunshine. You could never accuse this band of not being enthusiastic, after offering their services for three different sets across the whole weekend, much to the delight of their cult fans. After touring with Frank Turner (an artist, though not at the festival, felt present with the amount of merchandise worn with his familiar FTHC logo on it), The Lottery Winners and Skinny Lister, PET NEEDS are at home on the Bearded Theory line-up and despite being a relatively small band, carried themselves with a humble yet large presence met with strong support from the crowd. Frontman Johnny Marriott leapt across the stage with an amount of energy festival campers could only dream of, in what was an incredibly rousing set. Their songs are simultaneously jam-packed with rambunctious guitars and tongue-in-cheek lyricism in particular on tracks like Separation Anxiety and Tracey Emin’s Bed. A great stand-in choice and a great big blast of fun to help get the day in swing. When it’s a hundred percent, without a doubt, clear that a band wants to be there and is excited that you’re watching, it makes the audience fall in love. The enthusiasm is very much appreciated. 8/10
Ever wanted to hear a pop-punk rendition of your favourite Disney tracks? Punk Rock Factory might be the band for you. This was an excellent booking for the little rockers and their minders alike, who got to engage in pool floatie crowdsurf races and some immense headbanging to some unlikely sources. Their version of the Pokemon Theme Song was particularly fun, while hit songs like Let It Go lended well to shredding guitars and rough and ready rockstar vocals. At this point in the day, the sun was radiating throughout the fields, providing a perfect festival moment for all. Punk Rock Factory’s quirky gimmick shows that life just doesn’t need to be that serious. Let your hair down, and rock out to some cartoon classics. 7/10
One of Nottingham’s best recent exports, Do Nothing, returned to Bearded Theory this time with some more songs in their arsenal after the release of Snake Sideways last year. In a freshly pressed suit – quite the contrast from the mud-covered crowd – frontman Chris Bailey poured everything he had into the microphone, alternating between a brand of highly emotive, desperate snarling which is just oh-so enthralling. There’s so much passion in every single word. This band plays around a lot with dynamics and sonic shading, capable of both softer, delicate crooning, which works particularly well with the new cleaner sound the band have been heading towards, and rougher, grittiness to get the crowd going. While there’s some tightening up and some sharper angles within their post-punk style, they’re definitely still a force to behold, and the new music that was teased definitely suggested the same. Expect big atmospheres and a whole lot of emotional depth. 8/10
Now to completely switch up the vibe, it was time for WARGASM to crash onto the scene. Their set was a complete and utter blast in the face of nu-metal, electronica, heavy goodness that was sorely appreciated by a huge, huge crowd. Milkie Way, in a stunning bikini two-piece, flung herself around the stage like she owned it, while Sam Matlock spat fiery energy into the crowd, churning out one of the festival’s best pits for PYRO, PYRO – a WARGASM set staple. It was particularly fun to see the inflatable dinosaur trying its best to stay upright within that circle pit, and just as funny to watch Milkie and Sam battle an inflatable flying saucer frisbee which kept threatening to hit their drummer throughout their set, no matter how it was thrown. Their Fred Durst collaboration and electrifying hit Bang Your Head went down smoothly with the crowd who heeded their advice and absolutely went for it with the headbanging. The duo commanded the Pallet stage, and truly set the roof on fire. 9/10
Sleaford Mods are definitely not for everybody. To many, it’s shouty abrasive nonsense. But, at Bearded Theory, where DIY punk spirit and experimentation is on the menu throughout, Sleaford Mods absolutely make sense as a booking. In the Catton Hall fields, the duo were able to thrive, enjoyed by a crowd just as drunk as they were. They’re veterans at this point, so it should be no surprise that cult classics like TCR, Nudge It and Tweet Tweet Tweet got heads bobbing and hips shaking. DJ Andrew Fearn danced along, beer in hand to his bouncy beats, while Jason Williamson shouted, screamed, and kept threatening to pull down his trousers in his usual peculiar fashion. The teasing that the band were able to do for the next day was also quite lovely, playing guest vocals from Florence Shaw of Dry Cleaning and Amy Taylor of Sunday headliners Amyl and the Sniffers, celebrating more off-piste musical trailblazers within the set. While for many, WIlliamson looks like a possessed, crazy old man, for those that get it and resonate with the anti-establishment songwriting and the punchy delivery, it gave just what the doctor ordered. Plus, for those that needed convincing, some familiarity with their take on West End Girls by Pet Shop Boys gave a boisterous Notts edge to a classic. 8/10
It’s become a tradition now for Saturday Woodland stage lineup to be curated by cult folk legend Beans on Toast. Jay McAllister performed two sets to book-end his picks for the day, and for the evening set, the day-drinking had definitely settled in. But that’s okay – the same could also be said for his audience. Constantly referring back to his set-list on a comically large piece of cardboard, Jay travelled through his back catalogue to round out the day, celebrating all the places he’s been in Back Out on the Road, the simplicity of lazy sundays in I’m Home When You Hold Me and optimism for the future, in the spite of all the doom and gloom in Not Everyone Thinks We’re Doomed. The crowd also got to enjoy a powerful poem about womanhood from festival poet, and member of the band, Bassie Gracie. It wouldn’t be a Beans set without some rough around the edges song re-starting and lyric blanking, so of course there was a sprinkle of that in there. While BC Camplight was still to come as the Woodlands headliner, there was a celebratory spirit in the air ready to close out day two as the band broke out into On & On, letting their cares breeze through the trees and into the night air. After closing the day out similarly last year, this song has become a familiar, friendly experience to commemorate a great day of music, which is ultimately what Jay’s Woodlands occupation is all about. Moments like that make the mud worth it. 8/10
After many, many years plugging away in the music industry Brian Christinzio aka. BC Camplight is finally properly getting to enjoy his flowers, after the release of The Last Rotation Of Earth last year which was met with unprecedented acclaim, even more so than 2020’s Shortly After Takeoff. Christinzio’s performance was dizzying, with painstakingly beautiful and intelligent songwriting, groovy bass and synth lines and a sense of humour that perfectly breaks the glass. While the 6 Music dads in the room let loose to Kicking Up a Fuss (of which Bearded Theory has many), die-hard fans were utterly magnetised with butter-smooth vocals and swirling distortion with tracks like Fear: Life in a Dozen Years. Christinzio seemed humbled to be there, repeatedly thanking his audience, and celebrating his first live set of the year with an audience more than ready to receive his powerful songwriting. One for fans of John Grant and Hamish Hawk, for personal writing that still manages to deliver the funk, and the light to balance the rich depths. 9/10
Sunday
Threatening thunderstorms, Sunday saw a return to a little bit more of a drizzly Catton Hall. With raincoats at the ready, festival goers flocked to the Pallet stage to catch BODEGA. Hailing from New York City, these American art rockers brought two sets to Bearded Theory – one consisting of originals, and one in celebration of Bob Dylan. Their anti-corporation messaging, as indicated by the title of their last album Our Brand Could Be Yr Life, presented with delightfully poppy instrumentation was well-received by the soggy Bearded Theory early crew. Their Cheekface-esque sardonicism makes for relatable fun with a real DIY college rock feel to add that necessary crunch and fuzziness for authenticity. This rough feel is a clear choice though – the band is fully cohesive, even after battling with soundchecks beforehand. Ben Hozie and Nikki Belfiglio on vocals engage in delightful back and forths, complemented by the driving force of the rest of the band making for a slick performance. If they’d have had a perfect run at the set, the impact would have been stronger, but regardless, their set served as a great wake up call. 7/10
Regardless of the sudden downpour of rain, this set was always going to be received by a tent absolutely filled to the brim with punters. It’s hard to look anywhere in the indie post-punk scene in the UK without somehow stumbling across the work of English Teacher – darlings of the scene, and the masterminds behind instant hit album This Could Be Texas. Their conversational, guitar driven stylings create a nice dose of catharsis while still allowing for a heap of energy to keep the engagement going. Lily Fontaine’s delicate vocals weave between soft declarations to impressive soaring stretches on tracks like The World’s Biggest Paving Slab, which was met with plenty of musical shuffling about in the mud from listeners. Lily and drummer Douglas Front weaved between their primary instruments and the keyboard in line with the demands of the set list, creating some beautiful moments without that percussion before returning with a bang and a much larger atmosphere for some of the grander tracks. It’s not easy to face up against the amount of hype a band like English Teacher have, but they managed to impress with vigour. 8/10
Bearded Theory was in for another trip from outside of our borders with Germany’s answer to the Beastie Boys; Slope. Easily, one of the best discoveries to be found at the festival, the hardcore-punk five piece packed a punch with their set, which called back to the 90s in a very much welcomed way. While on this occasion, they were on the smaller, low-key Woodlands stage, it should not be long before we’re inviting them back for something much bigger. Highly moshable, big energy spattered with pure joy and skater boy sass. Slope seamlessly combines funky riffs with chunky breakdowns that grab you by the shirt and demand your attention. It’s a shame the festival map meant they were tucked away, because there were certainly a bunch of Bearded Theory goers out there that would have rubbed their hands together with glee to have stumbled across them. Undoubtedly, big things are coming for these guys. They exude pure joy and pure fun, drawing comparisons to hardcore heavyweights like Turnstile, but with clear 90s hip-hop inspiration in the mix there too. Get in on the ground floor now. 9/10
Following that electrifying performance, the Woodlands was graced with an excellent one-two with BIG SPECIAL. Another one for the 6 Music dads, as the band humorously acknowledged, this punky pair made it abundantly clear why they’re being touted as ones to watch. Straight off the back of releasing their debut album POSTINDUSTRIAL HOMETOWN BLUES, the duo came out of the gates with danceable devastation. Their setlist flowed nicely through soulful ballad-esque numbers, to feisty conversational punk tracks like BLACK COUNTRY GOTHIC, allowing Bearded Theory to experience the whole range of what was on offer. Joe Hicklin was incredibly likeable in between songs chatting away, with Callum Moloney on drums always ready to bust in with a sound effect to egg the crowd on, and welcome in the audience. It makes sense really – their bleak lyricism is packaged in such a biting and often slightly funky way in an effort to spark a chord amidst the difficulties of life, and this ethos is presented in a clear and dynamic way. Already a hot ticket item, the duo certainly live up to their name. 9/10
Abstract, deadpan four-piece Dry Cleaning were up next on the main stage with some oblique post-punk. Instantly, it was clear how well meshed this group is – a requirement for bands that tackle their themes in such a non-linear way, lyrically. Their live-set up is ridiculously tight, with metallic rockstar riffs, chugging bass and thrashing punk drums to accompany Florence Shaw’s intentional and intellectual poetry, without ever missing a beat. She remained stone-faced throughout, portraying some of the anxiety that runs through their discography, with the occasional glimpse underneath the mask with small smirks for effect. She was clearly in her element. Offbeat poetry is right at home at Bearded Theory, with some of their bigger tracks like Gary Ashby and Scratchcard Lanyard provoking the crowd into unison with Shaw, creating a lovely communal moment in the field. 8/10
With a band name that calls back to The Cure, Desperate Journalist let loose with hazy angst and enough jangly guitar lines to shake a stick at. Jo Bevan’s vocals were some of the best of the whole festival, resembling a bitier Harriet Wheeler of The Sundays. She’s an entirely engrossing performer, with a certain kind of magic touch. Their vintage, jagged melodrama is gorgeously constructed, with well calculated lyricism and reverberating fuzz, creating an otherworldly and transformative quality to the music. It’s been a while since they’ve released anything new, save for a JT Soar live album last year, but it’s clear there is still a lot of love for the band, as new music (hopefully) approaches soon. They’re a magnificent live act, translating perfectly to the stage without losing any polish at all. Their big choruses on tracks like Hollow and Personality Girlfriend hit with full-force, filling the space in a way that you wouldn’t necessarily expect a band of their size to do. A wonderful display of emotion, theatricality and darkness. 9/10
And then, for the main event. Amyl and the Sniffers. These rowdy Melbourne rockers certainly knew how to kick up a fuss, radiating pure punk energy with a bite, a snarl and a jolt. Amy Taylor’s thrillingly acidic vocal performance, alongside her masterful stage presence left audience members in complete and utter awe, ready in the palm of her hand to digest her offerings. The set was non-stop full-blown Aussie rock intensity, in true Amyl style, drawing a wonderfully boisterous dose of moshing out of those who just about still had it in them after a long weekend of big noise and festival fun. Taylor earnestly discussed self-growth and learning to think in a progressive way, and joined many, many other artists at the festival in calling for a ceasefire in Palestine, which each and every single time was met with roaring support. The band’s new single U Should Not Be Doing That saw a groovy serving of swagger, while old favourites Security, Hertz and Guided by Angels punched the audience in the face with hardcore riffs and pumping, filthy basslines. Nothing about Amyl and the Sniffers is small, except perhaps the length of the set. While a longer set would have been welcomed, it allowed for all killers, no fillers, and no slump of energy. And with fireworks sounding out the end of the set, talk about going out with a bang. 10/10
Review By Izzy Morris and Ali Glen
