Takedown Festival 2026 – The Review

Takedown Festival 2026. My first official festival of the year and one that will take some beating. Not just because of an incredible bunch of bands, but because of how well organised it was. A festival that will, no doubt, become one of the most unmissable events of the year if the team behind it continue in this fashion. The Portsmouth Guildhall might be a historic building with an imposing outside, but inside is where it counts, and for two days, it was transformed into an event that will live long in the memory.

I had a great time, hopefully evident by the big smile on my face most of the weekend, and left feeling like I had been part of something special. Good drink, good food (how nice were the pizzas!?), good company, and good bands, what more could you want?

So, let me tell you about my experience and the bands I saw.

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Doors opened on Friday just after 4pm and it took all of five minutes to get inside, where it was straight over to the Total Rock Stage for Stone Soup. With Blacklight Vice also playing at the same time over on the Metal for Good Stage, I decided to watch half of both, but I could have easily stayed and watched all the former as their bluesy, stoner, and grungy rock sound is very appealing. They’re a very watchable band, and even a harmonica issue fails to dampen the energy in the room.

Speaking of energy though, on the other side of the building, Blacklight Vice were bouncing all over the place. Delivering high powered and head banging groove that was loud and anthemic.

I found myself a little less impressed by Kill the Lights over on the Phil Campell Stage (renamed from the Kerrang Stage for the day), who go hard and heavy but lack oomph. It’s not the first time I’ve seen them play live and come away a little underwhealmed.

Whereas on the Total Rock Stage, King Kraken impress so much, having been on a tear since the release of ‘March of the Gods’ and cementing their reputation as one of the UK’s finest hard rock bands. Vocalist Mark Donoghue’s range is staggering and this set ended up being an early contender for the best of the weekend.

Unfortunately for King Kraken though, it didn’t take long for someone to come along and knock them off their perch.

It’s Gurt (I did watch a song of Asomvel, but post pizza and on route to Gurt), and their unique brand of party doom and sludge continues to be one of the most enjoyable things to hear, both on record and live. They absolutely smashed it here, turning in a performance on the Total Rock Stage that was as weird as it was wonderful. I left that stage buzzing, and more than ready to rock out to South of Salem on the Phil Campbell Stage but some early vocal issues start things off in slow fashion.

It didn’t take them long to recover, and it quickly transformed into a body shaking, head banging, singalong that pulls in a big crowd. Personally, I don’t always find myself excited by their sound, but as far as a live show goes, I think they’re really strong.

Whereas Wall’s live show is far more restrained, the Cole brothers delivering a focused showcase of instrumental heavy rock, sludge, and doom. What it lacks in excitement, it makes up for in intensity, and they continue to prove just how talented they are (they’re also in the mighty Desert Storm, if you didn’t know).

Over on the Phil Campbell Stage (I missed the 1-minute noise for Phil, sadly), emotions are running high and not just because of the loss of such an icon, but because The Wildhearts are in town and it is no secret that Ginger has decided to not pursue treatment for cancer he was recently diagnosed with. A brave decision and one that ensures every show from the band now comes with gravity.

I wouldn’t call myself a fan but even I felt the raw energy and emotion in the room as they blasted through a fan favourite set and I thoroughly enjoyed it, right up to the point where I had to head off to catch Gnome over on the Total Rock Stage. The rocky, proggy, groovy, stoney trio were on thunderous form, bringing in a large crowd more than willing to have some fun with a talented band not taking themselves too seriously. They were another highlight of that stage, but near the end of their set, I decided to peel off and try and catch the last little bit of InMe, the iconic alternative rock band over on the Metal for Good Stage.

I expected to see ten minutes at most, but upon arrival I found that the stage was overrunning and that meant I got to see a lot more of InMe than expected. Which turned out to be a blessing as they were excellent. Celebrating twenty years of their White Butterfly album and delivering an infectious, excitable, and memorable set of songs.

Credit to vocalist Dave McPherson, who masterfully controls the show and warms nostalgic hearts with his powerful voice. It was the kind of show that makes you want to put your arm around the nearest person and enjoy a little dance. The highlight? Dave proudly announcing that he had reached 1000 days sober.

InMe were so good, I couldn’t tear myself away and because of that, I missed the start of Therapy? No matter though because it didn’t take long for their lovable rock and roll ways to pull me in. Always on form, always fun, always infectious, and always memorable. They were solid, nothing more and nothing less. Sending me off to get some sleep in a nearby hotel ready for a much, much fuller day on Saturday.

Friday of Takedown Festival was special, but Saturday? It will live long in the memory and all because of bands like Monochrome, who opened the Metal for Good Stage with an energetic showcase of modern metalcore. Keep a close eye on this band, they’re going places.

Over on the Kerrang Stage, Artio’s alternative rock sound is a little slow off the mark, but quickly reaches a thrilling crescendo that proves they belonged on it. Whereas over on the Metal for Good Stage, Waterlines threatened to steal the entire show with a grin-inducing display of modern crossover metal. Seriously, if you’ve not seen this band play before, you’re missing out. They are very talented, insanely fun, have the tracks to back it all up, and make the audience a part of the show in clever ways. One of the best bands of the entire festival.

Zetra, who were on my most anticipated list, might seem like a comedown afterwards, but their glorious, nostalgic, and haunting synth-driven soundscape was just what I needed. I was transfixed over on the Kerrang Stage and loved that they threw in their cover of Kittie’s Charlotte too. I’m not sure the majority of Takedown ‘got them’, but those who did, really GOT THEM.

Following a food break, it was back to the Kerrang Stage for one of my favourite bands and a band who blew me away only a few months ago at a more intimate show. It’s Lastelle and their post-hardcore sound is perfect for a stage like this. Especially as it comes dripping with so much emotion and so much energy. I think they are one of the most underrated bands in the scene.

Right, it all gets a bit messy from this point as I moved from stage to stage watching bits of bands here and there. First, I checked out a few minutes of Carsick over on the Total Rock Stage, who were solid, if unexciting. A bit of Vower, who brought a ton of hefty noise to the Kerrang Stage, a bit of Mould, whose creative and eclectic heavy rock sound is astoundingly good over on the Total Rock Stage, and a bit of the brilliant Mouth Culture on the Kerrang Stage. It still blows my mind that in the space of two hours, I was able to see these bands, and my day still wasn’t done. Talk about value.

Alas, there was something wrong over on the Metal for Good Stage and it meant Saint Agnes couldn’t get going, even though they were desperate too. I left my wife there and ran back over to the Total Rock Stage to catch the second half of The Bottom Line and it was the best decision of the weekend, I think. I love Saint Agnes, and I dearly wish I had seen more of them (I did catch the last track, and I loved that, and my wife thought they were great even with sound issues), but getting to hear some old-fashioned energetic and fun pop punk was just what I needed. The Bottom Line took me by complete surprise and ended up being one of my favourite bands of the weekend.

Following that flurry, things did begin to calm down for me, and I found myself able to lean back and be a bit more openminded about what I was going to see at the end of the festival. So, first, it was Mason Hill over on the Metal for Good Stage, who rocked hard, and then it was punk rockers, BEX over on the Total Rock Stage, who were lively and exciting, before I decided to watch a bit of Wargasm (UK) on the Kerrang Stage.

Why just a bit? I don’t like them. I’ve seen them perform before, and found myself unimpressed each time, but I did want to see how they played on a stage like this. Unfortunately, their electro-rock sound does little for me, and while they are watchable, that is where it ends.

Still, this did free me up to get a good spot for a very special band, and the final band to play the Total Rock Stage of the festival, THE HARA. Are you paying attention to the alternative rock trio? Because you really should be. If they carry on this way, I can see them headlining this festival in years to come. A confident, focused, and entertaining showcase of what they are capable of. They are brilliant, but so are Graphic Nature, and I did pop over to the Metal for Good Stage to catch the nu-core band cause some chaos. Alas, it wasn’t quite as chaotic as I had hoped, but it’s still an intense, explosive, and heart-pounding experience. Both bands, THE HARA and Graphic Nature, are the future of the heavy music.

Talking about the future of heavy music though, or at least alternative music, it’s time to talk about Saturday’s headliner, President.

I have found myself underwhelmed by their studio output and care nothing for the look and act, but I recognise what makes it appealing to a mainstream audience. Seeing them live was a must and Takedown Festival presented the perfect opportunity. Especially as it won’t be long before the alternative rock band has well and truly outgrown venues of this size.

It turns out that a lot of people like this band, more than I expected, and their stage presence is commanding attention. The ‘rally’ thing might be gimmicky, but it’s working and alongside a dazzling light show, President look like headliners. They also sound like one too as out of the studio, there is less room to hide and with that, I got to hear the vocals as they should be and they were spectacular. Charlie Simpson (come on, people) is so talented, and this band might be his magnum opus. It’s so hard to not be impressed by how President is presented and how the live performance outshines the studio output.

That being said, I don’t quite get it, outside of understanding the marketable value of the band. For me, I’ve heard it all before and came away from the live show mostly unimpressed, outside of recognising a good performance. Game changing? Not in the slightest. The next big thing? Without a shadow of a doubt.

Just like when they booked Sleep Token in 2023, Takedown Festival have paid attention and seen the potential of a band early. Sleep Token would go on to headline Download Festival in 2025, only two years later. I think it is safe to say that President are on the same trajectory and it started at Takedown Festival 2026.

Unsurprisingly, come the end, I was exhausted, but I did pop into the afterparty briefly, across the road. Alas, after a full day of loud music, what I really wanted was a quiet corner and a cup of tea. I’d say I was getting old, but I had been on my feet since 12pm. So, I called it a night and went back to my hotel with my head spinning and my heart full.

Roll on Takedown 2027. See you there!

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