Review and Photos by Dave Martin
From there, the tempo only climbed. Bleed From Within tore through the main stage like a storm let loose. Pyrotechnics, wall-to-wall crowd surfers, and a circle pit that seemed to devour the field—it was Scottish metalcore done right, raw and triumphant.
On the Opus Stage, VOWWS brought a completely different atmosphere—moody, industrial, and immersive. Their performance acted as a dark, cinematic interlude between heavier hitters, holding the crowd in a trance with their synth-laden, post-apocalyptic sound.
Back to brutality: The Ghost Inside delivered one of the most emotionally charged sets of the day. Their resilience has become legend, and watching a sea of fans scream their lyrics back—especially on tracks like “Aftermath”—was nothing short of cathartic. Every breakdown hit with weight. Every chorus rang like a war cry. And with the sun beating down, this performance burned itself into the memory of everyone present.
Alien Ant Farm drew one of the biggest crowds seen at the Opus Stage all weekend. The air was thick with nostalgia as the Californian crew rolled out early 2000s hits like “Courage” and “Wish,” but it was “Movies” that really jolted the field to life. Frontman Dryden Mitchell, exuding his usual blend of charm and mischief, cheekily declared a “Father’s Day mosh pit—dads only!” before unleashing “Storms Over,” a moment marked with sincerity as he reflected on sobriety and growth.
Of course, the biggest eruption came when the unmistakable bassline of “Smooth Criminal” dropped. It was carnage—mosh pits collided, bodies soared, and Dryden’s call for dad-exclusive chaos was drowned out by a tidal wave of crowd surfers. For a 30-minute set, it was unforgettable—part chaotic reunion, part heartfelt tribute, and a reminder that early-2000s rock still hits like a freight train.
If one band on the Sunday bill personified precision brutality, it was Meshuggah. Playing to a packed main stage crowd, they unleashed a set of polyrhythmic punishment that was as technical as it was primal. With no photographers allowed in, the set retained an air of mystery and intimacy despite its enormity. The sea of crowd surfers cresting over the barriers told the story—this was a metal masterclass.
Meanwhile, over on Opus, Jerry Cantrell treated fans to a rare solo performance laced with nostalgia. His set carried real emotional heft, especially when the unmistakable notes of Rooster filled the air. The crowd didn’t just sing—they howled it, arms raised, voices cracked, channeling the ghost of Layne Staley through Donington’s open sky. For a festival rooted in heavy music, this was a moment of genuine stillness and reflection.
If Sunday had a soundtrack to pure adrenaline, Airbourne delivered it. The Australian hard rockers brought blistering riffs, a towering stage presence, and—of course—more pyro. Their set was a nonstop barrage of fists-in-the-air energy. Sweat, beer, and distortion mingled in the air as a relentless stream of crowd surfers launched themselves into the pit.
And speaking of pits, the early performance by Orbit Culture set the tone for the day’s intensity. With a set stacked with aggression and theatrical flair, they demanded a wall of death that the crowd enthusiastically delivered. “Death Above Life,” their new track, was screamed back at them with near-religious fervor.
Bullet For My Valentine – A Triumphant Homecoming
As the sun began its slow descent, Bullet For My Valentine stepped onto the Apex Stage for a moment two decades in the making. The Welsh metalcore stalwarts celebrated the 20th anniversary of The Poison by playing it front to back—and the crowd responded with thunderous approval.
“Tears Don’t Fall” arrived early in the set and ignited an arena-sized singalong, echoing all the way to the food stalls. Dust clouds swirled as mosh pits burst like wildfires across the field. Friends and strangers alike screamed lyrics together, arms over shoulders, beers aloft.
As the set roared on through fan-favourites like “Hit the Floor” and “Cries in Vain,” the stage erupted in flames, and the band played with renewed intensity, as if proving they still belong at the top. Their encore—“Knives” and “Waking the Demon”—felt like a reward for two decades of loyalty from their fans. It wasn’t just a celebration of an album—it was a celebration of a band that’s lived and bled for this festival.
As Steel Panther drew glam-rock fanatics to the Opus Stage with their usual tongue-in-cheek spectacle, those looking for something a little less ridiculous but equally entertaining packed into Avalanche for Kids In Glass Houses. Their return to Download after a long hiatus was met with nothing short of adoration.
Kicking off with newer material like “Theme From Pink Flamingo” and “Give Me What I Want,” it didn’t take long before the party was in full swing. “Rothko Painting” highlighted their tighter-than-ever instrumentation, while “Undercover Lover” saw frontman Aled Phillips blending pop and R&B elements effortlessly with a wink to Lionel Richie.
As he joked about their lengthy absence and hinted at an upcoming tour, the crowd reacted with nothing but joy. “Youngblood” was a thunderous singalong, and by the time the triple threat of “Easy Tiger,” “Saturday,” and “Matters at All” arrived, the entire tent was bouncing. It was pure, euphoric fun—exactly what a festival’s final night needs.
After years of waiting, Korn finally headlined the Apex Stage, and what a coronation it was. The lights dimmed, the curtain dropped, and Blind began with a sense of anticipation that could be felt in every corner of Donington Park. From the first scream, it was clear this would be a set for the history books.
Jonathan Davis, dreadlocks whipping like a tornado, unleashed a vocal performance that felt both furious and celebratory. Their staging, while minimalist compared to some of the weekend’s production-heavy headliners, was all the more effective—five enormous lights swung overhead like sentient machines, slicing through the night in sync with the band’s every movement.
Got The Life and Falling Away From Me thundered out with their signature low-end groove, before Davis’s bagpipes signalled a breathtaking performance of Shoots and Ladders, seamlessly morphing into a blistering cover of Metallica’s One—a moment that drew roars from even the most seasoned Download veterans.
By the time Freak On A Leash closed the encore, confetti exploded skyward, streamers rained down, and a weekend of dust, riffs, and unity came to its final climax.
A Festival for the Ages
Download 2025 didn’t just deliver—it elevated. Sunday was the perfect send-off: old heroes finally crowned, new voices rising, and the sheer power of this community on full display. From father’s day mosh pits to decades-old anthems, from heavy nostalgia to forward-thinking artistry, every emotion possible was felt across the fields of Donington.
Credit is due to the organisers—not just for the flawless logistics and site improvements from 2024, but for curating a weekend that balanced legacy and evolution, spectacle and soul.
As sore-throated fans packed up their tents and wandered back to reality, one sentiment was shared in the air: this was one for the books.
Download 2025 was a triumph. Bring on 2026.
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