It’s that time of year again, the sun is shining, and all we Brits can do is talk about the weather as festival season finally kicks off. NDR is diving headfirst into its busy and frankly insane festival season with a trip to London’s DesertFest. It’s my first time at this metal-centred festival, and having only visited the capital a few times, it’s a brand-new experience for me. The festival is based in and around Camden’s legendary alternative venues, with a few bigger names gracing the historic Roundhouse. To start, I’m heading to the headline venue for the first day: The Electric Ballroom.
However, I’m abruptly halted by the sight of a queue stretching from the venue entrance all the way down Camden, almost reaching the markets. While this issue didn’t persist throughout the rest of the festival, where the venues were quick at handling crowds, these initial massive queues are something the festival might want to address next year. That being said, the anticipation in the queue was palpable, with many conversations about how this marked the start of festival season for various attendees. This shared excitement was infectious for me and the rest of the queue.
Although I’m somewhat familiar with the heavier side of metal and its many genres, many of the early acts were unfamiliar to me. So, I took advice from friends and acquaintances more familiar with the scene and made my way forward for the first band, Elephant Tree. Due to the aforementioned queue, I missed the first five minutes of the stoner/doom rockers’ set. Despite tech issues, including lead singer Peter Holland snapping a bass string and borrowing one from another band, the performance was solid. Guitarist Jack Townley showcased impressive crowd interaction skills, regaling us with tales of the band and displaying Devin Townsend levels of banter. While it might not have been the ideal start for either the band or me, it was all in good fun. Elephant Tree is definitely worth checking out if you get the chance.
Next, and luckily in the same venue with no more queues, was a band I wasn’t too familiar with but had heard murmurs about due to their intriguing style and stage presence: The Devil and the Almighty Blues. These guys were a real treat. Unlike most festivals, Desert Fest offers bands nearly full sets with only the much smaller acts playing for less than an hour. This can sometimes lead to tedium for those not used to such long performances. However, this wasn’t the case for The Devil and the Almighty Blues. They commanded the stage with such a strong presence that I couldn’t take my eyes off them. Their infectious bluesy grooves, combined with heavy guitar sections and flashy—if sometimes a bit lengthy—guitar solos, made their set one to remember long after it ended.
I found myself with some time before the next band I wanted to see, again at the Electric Ballroom, where all the bands I planned to watch that day were performing. With this free time, I decided to check out the main gathering area of the festival, The Black Heart, which quickly became a favourite bar of mine. It’s something sorely lacking for the alternative crowd in many big cities up North. While the pint prices might have made my Yorkshire heart break, the genuinely fantastic venue made it worth it.
But soon, it was time to head back to the Electric Ballroom for the next act, a performance I knew would be special. Without delving into current world politics too much, Ukraine is currently resisting a hostile takeover, and the next band, Stoned Jesus, hails from Ukraine. While they didn’t heavily spotlight this fact during their performance, mentioning it only once to thunderous applause, it infused their set with a sense of release and fighting spirit like no other. Primarily a stoner metal band, they delivered the genre’s usual slow, methodical riffs with an added primal energy that whipped the crowd into frenzied pits, some of the largest of the day and the entire festival.
Lead singer Igor Sydorenko radiated joy, a huge smile on his face throughout, adding to the performance’s special atmosphere. Although one band was still to come, many, including myself, felt that Stoned Jesus were the day’s real headliners. If you ever get the chance, go support these guys, they’re truly worth it.
As I mentioned, one band still had to take the headliner spot: stoner-metal legends Elder. After the incredible performance by Stoned Jesus, Elder had a lot to live up to. Unfortunately, I have to share some criticism. Although the band delivered a fantastic show and their playing was impeccable, it didn’t quite match the hype of their reputation. Celebrating a decade of the album “Lore,” the main issue was the set’s length. With many songs and riffs blending seamlessly, the show started to feel less like an energetic metal performance and more like a slow slog—impressive, but not what a headliner should deliver.
Despite my critiques, the music itself was excellent and well-played. It just lacked that extra something expected from a headliner, leading to a slightly disappointing end to the first day. I headed back to The Black Heart for a few pints before returning to my digs for the night, excited for what the next day had in store.
Before I knew it, the next day arrived, and my excitement for the lineup was palpable. Having stayed at the Electric Ballroom all day yesterday, I was eager to explore other venues, including the legendary Roundhouse. But first, it was time to head to The Underworld.
The name “Underworld” suits this venue perfectly—not just because you descend a large flight of stairs to get there, but also because of the heat. Browsing the festival forums a few days later, I discovered the festival had made the questionable decision to place a hot dog vendor inside, creating an apocalyptic level of heat. Due to this, I settled at the back for the first band of the day, Maha Sohona.
I wasn’t too familiar with them, but with comparisons to Tool, Alice in Chains, and Kyuss, I had to check them out. The comparison may have been an exaggeration, but the stoner rock Swedes delivered a solid show, setting a nice, easy pace for the day. While they may not be a band I’ll rave about, I wouldn’t mind seeing them again, especially as they refine their sound.
Relieved as the band played their final notes, I escaped the stifling heat and headed to a new venue, The Dev. The Dev is the kind of place that might horrify those not in the scene—a dive bar in the most endearing way. I was there to see Lust Ritual, a new band formed in 2023 in London. They brought a much-needed seedy, ritualistic atmosphere to the place, playing gritty doom that kept you slightly on edge at all times.
Their live performance amplifies this feeling tenfold, with the audience and setting enhancing the vibe, making it one of the more intriguing shows. Towards the end, the lead singer introduced someone from the audience as a member of The Hell’s Angels UK, a friend of the band. If you’re seeking a touch of danger and grit, this is the band for you.
Now, it was time for the big acts and a short walk to the Roundhouse, by far the festival’s largest venue, reserved for today’s top bands. This promised to be something special. I haven’t mentioned him before, as this is a festival review, but I spent the entire time with a friend who lives in London, which made navigating the city a breeze. He’s very into the Desert Fest scene and assured me that the next band would be my favourite of the entire festival.
We entered the legendary venue just as the first notes from post-metal giants Amenra began to fill the space. My friend knows me well because, if not for a band coming up later, Amenra would have easily been the highlight of the entire festival. Imagine a heavier Tool; that’s the vibe they exude, although that might even understate their impact. Haunting yet mesmerising visuals play behind them, and the band rarely acknowledges the crowd, which suits their music perfectly. Frontman Colin H. van Eeckhout delivers incredible vocals, blending low guttural shouts with banshee-like screams, bringing an unparalleled emotional intensity. It’s insane that I hadn’t seen them before, considering they’ve been around since 1999. If they sound like something you’d enjoy, don’t miss the chance to see them, you won’t regret it.
Still, we had one band left for the day. While Amenra exceeded all expectations, my anticipation for the next band was already sky-high, and Zeal and Ardor did not disappoint. Formed in 2013 by Swiss-American Manuel Gagneux, Zeal and Ardor is a band that defies easy categorisation. They blend African-American spirituals with black metal, along with a few other genres thrown into the mix. Since their inception, they’ve been making waves, and their headline slot at such a large venue shows those waves are far from petering out.
Performing a mix of old and new songs, the crowd seemed to enjoy both eras of their music. While I have a special fondness for their first two albums, Devil Is Fine and Strange Fruit, the newer tracks are welcome additions, showcasing the band’s lasting impact and the incredible talent of each member. What stood out most was how much fun the band seemed to be having. They were hopping around the stage, moshing with the crowd, and fully immersing themselves in the performance. Gagneux embodied this spirit, repeatedly thanking the crowd and expressing disbelief at the band’s success, especially in a country that’s not their own.
While it may surprise Gagneux, the talent on display made perfect sense to me. As the band concluded their set, which flew by in the blink of an eye, I was thoroughly impressed and satisfied. Leaving the venue, content with the second day of the festival, I eagerly anticipated what the final day would bring.
Finally, it’s the last day of the festival, and it’s time to visit the final gig venue I’ve yet to experience—the upstairs area of The Black Heart. Arriving a bit late, I squeeze in to catch Old Blood. This local band, formed in 2018, blends a variety of musical styles into a unique mix of doom, punk, post-metal, sludge, and black metal that surprisingly works.
It’s challenging to give a full review, as the venue is so packed that I can barely see any band members. I spent much of the time sweating profusely and staring at the back of a tall stranger’s head. However, I could tell the band knows how to put on a show. I got a bit of relief when the lead singer ventured into the crowd, delivering a great vocal performance right in the midst of us. They’re definitely a band I’d like to see again.
Now, it was time to settle in one last time at the Electric Ballroom for my final two bands of the festival, both with high expectations to end things on a high note. First up were French rockers Slift, a band I have a personal history with, having seen them at tiny venues across the country. Seeing them second on such a grand stage filled me with a lovely sense of pride.
While that pride persisted throughout their set, as they blasted through some fantastic songs, the performance felt a bit deflated. Slift usually delivers incredible energy and excitement every time I’ve seen them. Perhaps it was the larger venue compared to the intimate gigs I’m used to, but something was missing.
If Desert Fest was your first encounter with Slift and you felt underwhelmed, trust me—they’re usually much more dynamic. I imagine it was just an off day for them. Leaving that slight disappointment behind, it was time for the final set of the festival, and oh my god, what an unbelievable set it is.
Earth has been at this for a long time. Conceived by Dylan Carlson back in 1989, these American post-rockers took a long hiatus from 1997 to 2003. Since then, they’ve been steadily releasing albums but rarely visiting the UK, making this a special occasion. They took the stage with little fanfare, a single wave met with huge applause, and then they got right into it. Named after the original name for Black Sabbath, Earth is almost entirely instrumental, letting their powerful, chugging guitars speak for them.
The crowd was subdued, but this perfectly suited the vibe Earth aimed to create. Instead of frantic pits, there was strong, slow headbanging that permeated the entire audience, creating a deep connection with the band and their art. Earth isn’t just a band; they’re a full experience. This isn’t due to over-the-top performances or elaborate stage setups—those are minimal. It comes from a pure sense that the music is untouchable and exactly what they want to play.
On a personal note, the last time I felt this invested and overtaken by a live sound was seeing Tool back in 2019. Earth managed to evoke that feeling without the trippy visuals. I thought nothing could top Stoned Jesus and Amenra, but Earth showed what being a true veteran of the scene means and what a band can do when they are entirely themselves.
In conclusion, if you ever get the chance to attend Desert Fest, do it. You’re almost guaranteed to experience something you’ll cherish for a long time.
