It’s that time of year again, festival season is in full swing, and I’m heading back home to a festival I never miss: Slam Dunk. Starting in 2006 at Leeds University, this festival has gradually blossomed into the cherished medium-sized event it is today, standing as a holy ground for all things pop punk and emo. Personally, I haven’t missed a single iteration since it moved to Temple Newsam in 2019. Despite a few controversies over the years, does anyone remember the overcrowding of 2023? It still remains one of my absolute favourite festivals in the world and easily my favourite medium-sized one.
I arrive precisely at 11 a.m., eager for the gates to open. My day is packed with back-to-back performances, and I can’t afford to miss a moment, especially since many of these bands are new to me. Luckily, I know the festival’s layout like the back of my hand, with only a few minor changes each year, so finding my way is never an issue.
The first band on my list is The Meffs, a punk outfit endorsed by festival alumni Frank Turner. They inject a refreshing, much-needed political vibe into the scene, leaning heavily into punk rather than pop. Their opening slot is solid, energising the crowd and earning respectable applause between songs. Their speech supporting immigration and trans rights resonates deeply with me and embodies what bands of this genre should be doing. It’s a fantastic way to kick off the festival, and it’s a reminder that the punk scene is far from dead, making them a must-see for anyone exploring newer punk bands.
From there, I head to the main stage for one of only two performances I’m catching there today, and it’s a performance I’m quite excited about. Knuckle Puck has been making waves since 2010, steadily building a core audience. It’s not my first encounter with them. I saw them in a tent back in 2022, so I’m curious about how they’ll adapt to a larger stage. They emerge to a cacophony of cheers, diving straight into their greatest hits during their 40-minute set. The band is as tight as ever, though I miss the spark of energy from their previous tent show. Despite this, they end with “Untitled,” and I find myself screaming along.
Next, I move to the Monster Stage to catch pop punk veterans The Ataris. Having formed in 1996, just a year after I was born, they may not have reached the meteoric heights of others in the scene, but their influence is undeniable. I’m not too familiar with their back catalogue, but I’m quickly captivated. Frontman Kristopher Roe, as the band’s only constant member, is a true professional, commanding the stage with finesse. Their set is solid, and when they play their cover of Don Henley’s “The Boys of Summer,” the crowd erupts, forming an impressive pit.
As their set concludes, it’s time to move again, this time to the smallest stage, the Key Club stage. In another tent, I’m gearing up for one of my favourite bands at the festival, Free Throw. Celebrating their debut album, Those Days Are Gone, they deliver a set filled with tracks from that beloved release. It thrills me, as it’s one of my favourite albums in the scene. I edge my way forward as they come on stage, hyping the crowd and smashing through hit after hit. The band’s sound is impeccable, with songs mimicking the album’s quality. The crowd mirrors this, belting out every word and maintaining a pit for the entire set. Highlights include “Tongue Tied” and the closer “Two Beers In,” where the crowd is so loud it momentarily drowns out the band. My only regret is them missing “Hey Ken, Someone Methodically Mushed the Donuts,” a track I expected would close the set and incite the biggest movement.
I finally make my way to the second main stage, a spot I’ve been glued to at past festivals, to catch post-hardcore legends Finch. They’re rare to see in the UK, and their on-again, off-again status guarantees a large crowd. Their performance is solid and well-executed, giving fans exactly what they expect, but it doesn’t quite reach the heights of an unforgettable show. They end to enthusiastic applause, and while avid fans are likely thrilled, as a casual listener, it’s not a show that will linger in my memory. However, it doesn’t disappoint either.
Next, I weave through the departing crowd to secure a spot as close as possible for my personal headliners: The Used. It’s been over eight years of trying and failing to see them, and their presence at this festival is a dream come true. For those in the scene, The Used require no introduction, and it feels like a slight misstep that they aren’t officially headlining. They’re playing a special three-date tour in England, featuring a full album at each stop. Slam Dunk North is blessed with their self-titled album, and I’m beyond excited.
The crowd swells as their set approaches, and the band’s influence is palpable. As they take the stage, applause and cheers thunder around us. They launch into a hit-filled set with massive pits and sing-alongs. “The Taste of Ink,” arguably their biggest track, has the crowd singing so loudly that I’m sure other stages can hear it. To call this show special would be a colossal understatement. The band is on fire, with Bert sounding incredible, and The Blackout’s Gavin Butler joining for “A Box Full of Sharp Objects,” adding even more excitement. This performance is undeniably the highlight of the day. If you’ve ever enjoyed emo or anything similar, seeing The Used live is a must—they still deliver the magic they did 20 years ago.
Following that exhilarating show, I head back to the Key Club stage to see South Arcade, a band that’s intrigued me since their inception a few years ago. They’re a testament to the power of social media marketing, using platforms like TikTok to quickly build a dedicated fan base. Subbing the stage and closing in on headliner status, they draw a respectable crowd as they take the stage. With only a 30-minute set, they make the most of their limited material. Their performance is a fantastic trip down 2000s nostalgia, striking a balance between reminiscing and creating fresh, engaging music. The set flies by, and I find myself having an incredible time. South Arcade is definitely a band to watch, poised to become festival staples for years to come.
Now, I have to rush back to the second main stage for Electric Callboy, five minutes into their headlining set. Thankfully, the stages are right next to each other, and I can hear them as I get closer, pushing forward through the massive crowd. This band has risen steadily, offering a unique mix of dance and metal like nothing I’ve seen before. I caught them back in 2022 when they were lesser-known, and they put on a decent, if somewhat forgettable, show. Today, however, the crowd is wild, bringing a vibrant energy to the performance. The band excels, crafting a show perfectly suited to their eclectic sound, with confetti cannons and dance-centric visuals enhancing the experience. If you’re seeking a lively escape from a typically emotional genre, Electric Callboy is the band to see.
Finally, it’s time to return to the main stage for the day’s big headliners. I must confess: I’m not the biggest fan of A Day To Remember. While I respect their massive influence and recognise that their fans are incredibly passionate, they just don’t resonate with me as much as other titans of the scene. So, I approached this show with a bit of bias. Choosing to observe from a distance, I took in the entire spectacle. As the band began, the crowd was already in a frenzy, and their performance was tight and well-played.
However, I struggled to enjoy it. After the incredible performances by The Used and Electric Callboy, A Day To Remember felt underwhelming. Their set wasn’t bad, but it didn’t feel like headline material. Frontman Jeremy McKinnon seemed to lack the energy and charisma I’d expect, delivering a solid vocal performance but not much else.
I don’t wish to upset their devoted fans, and there were highlights, like their cover of “Since You’ve Been Gone,” a rare treat they haven’t played live in ages. The musicianship was commendable, but as the headliner, it left me a bit disappointed.
Despite this, I leave the festival grounds in high spirits, staggered by the amazing performances throughout the day. Slam Dunk continues to improve each year, and with its 20th anniversary in 2026, it’s sure to be unforgettable. If you haven’t experienced Slam Dunk yet, make sure to be there for what promises to be one for the ages.
