Slam Dunk Festival has long stood as a cornerstone of the UK’s alternative music scene and a meeting point for pop-punk loyalists, metalcore enthusiasts, emo veterans, and new-school genre-benders alike.

In 2025, the festival feels more alive than ever. With a line-up that balanced nostalgia with new blood, Slam Dunk South offered a celebration of everything the modern alt scene stands for: diversity, emotion, and community.

Despite a few logistical hiccups, particularly delays on the Key Club stage, the overall spirit of the festival was unshakable. Fans packed out stages from the moment gates opened, navigating clashes and running between sets with the kind of rabid devotion only this community brings. There was something affirming about seeing 00s emo classics sit comfortably next to forward-thinking heavy acts and glitchy, genreless outliers.

The site layout at Hatfield Park was similar to previous years, with a well-paced sprawl that allowed for short walking distances between stages, though bottlenecks did form between some of the bigger tents. Sound was generally strong (though inconsistent at times early on), and once the sun broke through the clouds, the atmosphere shifted

One of the best parts of Slam Dunk is how it lets you time-travel through your own music taste, flicking between stages can feel like jumping between 2007, 2015, and right now all in the span of an hour. For me, that’s what this year was all about: catching some long-time favourites, checking out newer bands making waves, and seeing who might end up on repeat for the rest of the year.

I went into Slam Dunk South 2025 with a mixed mission. There were a few legends I couldn’t miss; The Used, playing In Love and Death in full, felt like a once-in-a-lifetime moment. A Day to Remember remain one of the most consistent and iconic names in the scene. And then there were bands like Neck Deep and Stray From the Path, who’ve kept their edge and relevance despite years in the game.

But I was just as excited to discover something new; Lake Malice had been on my radar, but I hadn’t seen them live yet. There were many bands carving out unique spaces in today’s evolving alt scene. Even acts I’d only heard a little from, like Point North or Mouth Culture, had me curious to see how they’d land in a live setting.

Lake Malice

Few bands manage to sound modern without sounding forced, but Lake Malice did just that. Opening their set with a level of theatrical chaos that demanded your attention, they pulled from nu-metal, metalcore, hyperpop, and industrial to create something both abrasive and addictively fun.

Vocalist Alice Guala commands the stage with both venom and vulnerability, straddling the line between glitchy digital chaos and raw, human emotion. Their breakout single “Bloodbath” turned the crowd into a frenzy, and you could feel the ripple effect of new fans being made in real time.

I’m not too familiar with their discography, but after a long commute at an hour far too early for my liking, my accompanying friend dragged me to the Kerrang! stage for their set. I must admit, I’m a bit miffed I hadn’t gotten into their music before this weekend… I am OBSESSED.

Lake Malice are on tour next month, and I would highly recommend catching them on these small stages while you can.

Point North

Point North brought a glossy edge to the afternoon, leaning into the kind of anthemic, emotionally earnest pop-rock that’s designed for festival stages. But what could’ve come off as overly polished or safe felt deeply sincere, likely because of their energy, and the crowd’s response.

This is another act I’m not awfully familiar with, and I used this time to lay back in the grass and really just take in my surroundings. Point North were the perfect soundtrack to a relaxing festival morning, and their performance was polished to a standard that deserved a better stage.

Mouth Culture

Sadly, due to delays, only the beginning of Mouth Culture‘s set was possible to catch, but even that brief window showed a band hungry to connect. Their hybrid of alt-rock, indie, and emo felt fresh, and their stage presence was infectious.

I have been a fan of Mouth Culture for a while now, and their fast-coming rise to fame has been so sudden I feel like I’ve got whiplash. It feels like only yesterday I was watching them play in a sweaty venue down a Digbeth backstreet (R.I.P. Devil’s Dog) and now they’re playing packed-out tents on festival line-ups like they were always meant to be there.

There’s something deeply satisfying about watching a band you believed in from day one finally get the recognition they deserve, and I have absolutely no doubt that this is the beginning of a lustrous career for them.

Hot Mulligan

Hot Mulligan‘s set felt like a group therapy session disguised as a midwest emo show. Their blend of self-deprecating humour, vulnerable lyrics, and tight musicianship made for a powerful emotional release.

This was my first experience seeing Hot Mulligan live, and as I watched from a comfortable spot at the back of the field, every haunting memory of these songs came flooding back. It’s not that I didn’t have an incredible time watching one of my all-time favourite bands, I did, but CHRIST I was not prepared for how emotional I was going to be. Woe is me, for sure.

Looking past my own personal experiences with their music, Hot Mulligan sound exactly like they do on their records; tight, emotional, and chaotic in the best way, and the crowd matches that energy beat for beat, screaming every lyric like it’s the last thing they’ll ever say.

The Used – In Love and Death Revisited and Revered

When The Used announced they’d be playing In Love and Death in full for their 25-year anniversary, fans knew they were in for a treat, but nothing quite prepares you for the emotional wallop of hearing those songs live, front to back.

As soon as the opening riff of “Take It Away” tore through the speakers, it was like being punched in the chest by 2004. The nostalgia was instant and overwhelming, but what made the night unforgettable was how alive the music still felt.

This wasn’t just a victory lap or a half-hearted throwback. Bert McCracken delivered every lyric with the same tortured urgency and theatrical flair that made him a scene legend, his voice raw, unpredictable, and bursting with emotion.

The entire set was a rollercoaster; chaotic and cathartic one moment, then heartbreakingly tender the next. Songs like “All That I’ve Got” and “Hard to Say” turned the crowd into a sing-along of shared nostalgia, while deeper cuts reminded everyone just how ahead of its time the album really was.

The crowd was locked in from the first scream to the last note, shouting every word like it was stitched into their DNA. It was a communal exorcism, a celebration of survival, and a reminder of why In Love and Death has never really left us.

Neck Deep

Only catching the beginning of Neck Deep’s set was a minor heartbreak, especially as they exploded onstage with undeniable energy. Opening with fan-favourites that had the entire crowd singing from the first note, they proved their grip on the scene is still firm.

Ben Barlow has a natural connection with the crowd, and even a few songs were enough to feel the power of a band still very much at the top of their game.

Wargasm

Wargasm were nothing short of feral. Their live show is punk chaos distilled into sharp edges and neon grime. Every movement felt like a threat, every lyric like a dare. “D.R.I.L.D.O.” and “Modern Love” turned the tent into a seething pit of bodies and bass drops.

Sam Matlock and Milkie Way fed off each other with electric unpredictability. It was sweaty, messy, and impossible to forget.

I am MORE than familiar with Wargasm, having first seen their show as the supporting act for Creeper in Brighton in 2021, and being a mega fan ever since.

Over the years, their on-stage presence has become increasingly defined and their confidence in their evolving genre has paved the way to allow themselves to experiment, both sonically and with their energy on stage, and they have finally found the sweet spot. Their performance at Slam Dunk 2025 was the best I had ever seen it, and I don’t doubt that they will continue to surprise me.

(P.S: Sam, if you’re reading this, your I ❤ Milkie Way shirt was adorable).

A Day to Remember

There’s a reason A Day to Remember consistently pulls the biggest, most devoted crowds at festivals; they’ve earned that top spot through sheer consistency, unmatched energy, and a genre-blending sound that hits as hard today as it did when they first stormed the scene.

Headlining Slam Dunk felt less like a routine booking and more like a long-awaited homecoming for fans who’ve grown up screaming their lyrics in packed venues, in cars with the windows down, and in their bedrooms during rough nights.

From the moment the lights dropped and the intro hit, it was clear this wasn’t just going to be a greatest hits reel, it was a full-blown celebration of everything that’s made A Day to Remember a cornerstone of alternative music for over a decade. They tore into the set with the kind of precision and aggression that immediately reminded everyone why they’re still headlining festivals in 2025.

Jeremy McKinnon remains an electric frontman; charismatic, commanding, and in complete control of the crowd. His vocals were razor-sharp, effortlessly shifting between throat-shredding screams and clean choruses, and his energy never let up.

What elevated the performance beyond just a solid live show was the crowd – thousands of voices singing every word, strangers embracing during emotional moments, entire sections of the pit moving like one massive wave.

The production matched the moment, also; pyrotechnics that scorched the sky, and lighting that turned each track into its own mini-spectacle. But none of it overshadowed the music, it all worked in service of the blistering energy that defines an A Day to Remember show.

Sweat-drenched, voices shot, arms wrapped around friends and strangers alike, thousands stood still in the afterglow of something unforgettable.