This was the 15th Anniversary of Outbreak Fest in Manchester, very much a household name at this point, which from its small beginnings turned into a branded endeavor. Those three days in England’s north are something many travel for from all over the UK; for that weekend, Manc is the capital of hardcore music. But looking over the 2026 lineup, one could argue that it’s actually more than just about one subgenre of heavy music.

As someone who experienced this festival for the first time ever, I had no comparisons. It presented itself as it was, in its great moments and in its challenging moments, but that virginity allowed me to have a bit of a different perspective than many of the other festival-goers. For Nick, this was his second round; he was less surprised than I was, less intimidated, and very much felt more settled in through the whole weekend. Every time I seen something crazy going on, he would look at me and his eyes would say “this is normal”. Nat

Before traveling up from London, looking over the clashfinder on a very nifty phone app, I noticed a distinct split in the vibes the organisers prepared for us each day. Friday was mostly a celebration of all the emo sounds, which are seeing quite a revival, with those elders in the crowd experiencing flashbacks to their Tumblr era. Saturday swung more toward shoegaze and rock influences, with a few heavier exceptions like that of the best band in the world, Converge. Then came Sunday; finally, to my own personal happiness, we had some heaviness in the mix with the massive breakdowns.

This year’s Outbreak generated many unforgettable moments and much excitement, which has been shared all over social media since its doors closed last week. But what stuck? What did we decide to lock in the vault, that will get unpacked next year as we make those comparisons? What bands did we end up seeing? We hope you enjoy this rundown, and that we might just convince you to not miss out on next year’s shenanigans. Nat

Friday

Friday was the hottest day of the entire weekend, partially due to the heatwave; which, at this point, everyone absolutely hated, and partially due to said heatwave getting trapped indoors. Walking inside felt like stepping into a sauna, fully clothed. Everyone was breathing in hot air that felt thick and sticky, coating your skin in a thin layer of silky sweat.

Sadly, due to work engagements, we couldn’t arrive on-site the second the doors opened. But once we snagged our wristbands, before jumping in to see the bands, it was time to check out this cool industrial estate and the festival grounds. You kind of know it’s going to be a sick event when you have to walk through parts of the city that aren’t actually meant for walking, like right alongside a fast highway. Glancing over the food vendors, we made a mental note of where to satisfy our hunger over the weekend. The main stage looked almighty, looming over us in complete silence, resting up before Saturday and Sunday. Nat

Balance & Composure

Balance & Composure were quite the opposite from their name when they last rolled into Outbreak. In 2024 their travel meant they were shifted an entire day on the bill, they were from high billing to being relatively anon during Outbreak Sunday that year. But this time the Pennsylvanians actually made it to Manchester, prompt, and paint peeling off the walls warm as one of the opening moments of Outbreak 2026. Despite an album that officially released since their last outing here, all the material from Jon Simmons and crew exceeds 10 years old, opening on ‘Parachutes’ and ‘Reflection’, from 2013’s The Things We Think We’re Missing and staying firmly on that or 2011’s Separation. ‘Tiny Raindrop’ in the latter half of the set is probably the closest border crossing between hardcore and emo, and Outbreak remains one of the few festivals where those two worlds collide seamlessly, the feet will still two step, B&C at the BEC will always been unflinchingly popular. If last time out felt like unfinished business, this was the perfect way to put it to bed. Nic

Love Rarely

Emotions were pouring over from the smallest stage of the festival, with Love Rarely’s expansive math rock echoing through the space. Flirting with screamo throughout parts of their tracks, their juxtaposed tender-yet-violent outbursts of sound pulled us right in. Whenever anyone mentions any resemblance of maths I get immediate flashbacks to my school days, but I felt completely safe with them in that room. Joking aside their fantastic performance pulled in a great crowd, with people bending their bodies into ungodly shapes to the music trying to match mad tempos. Their new album, Pain Travels, released back in April, is a perfect debut that showcases the maturity of the musicians behind it. With the massive opportunity of being shortlisted for Outbreak, we are stoked to see what’s next. Nat

Joyce Manor

I almost had no business being at Outbreak on Friday, as I’ve never really listened to the emo side of punk rock. Joyce Manor are absolute legends of the genre though, something I learned right after the release of their highly successful, 9th studio album I Used To Go To This Bar which I did throw on back in the winter, right after it dropped to streaming services. It’s important to dip your toes into corners of music you don’t frequent, perhaps to learn something new about yourself or expand your horizons. Still, with that tiny bit of knowledge I didn’t anticipate the sheer volume of moshers and stage divers ready to pounce at you when you’re not looking. I guess as a festival rookie, you get to be surprised all the time. Joyce Manor with such a vast legacy attracted a lot of people who sang their lyrics with much love and excitement. I don’t think band was prepared for that stage invasion at the end of their set. Nat

Honourable Mention: Knocked Loose

Although outside of the bounds of the BEC Arena, and at an unsightly 3am finish. Knocked Loose were one of THE talking points of Outbreak 2026 amidst their own world tour support of Metallica. As if that weren’t enough on their plate. 

The walls of Albert Hall dripped for a blistering 70 minutes for a set built primarily off of KL’s latest record You Won’t Go Before You’re Supposed To. But also features was latest single with Outbreak alumni Denzel Curry, ‘Hive Mind’, unfortunately without Mr Curry in attendance. The floor is like a sea, built up of the same bodies who had just spent several hours at Outbreak Friday. The hall is also fitted out with a lower stage for stage divers, with the occasional cameo of vocalist Bryan Garris climbing down onto it and every stage hands eyes growing noticeably wider with each time. This is the kind of show that we may never see again considering the astronomical rise of Knocked Loose, and Garris himself acknowledges this prior to *the* song people waited for in ‘Counting Worms’ as he says all these things have completely changed their lives. A band at arena level that can only speak positively of their relationship with Outbreak’s booking team, and that’s a very powerful thing. It also begs the question of how long Outbreak can be denied before they need to size up *again*. But more on that later

The stars aligned perfectly for this visit to Manchester from Knocked Loose, and it resulted in a late night for some, an all nighter for others, and an almost nailed on Show of The Year candidate come December from us at MJB. Bravo Outbreak. Nic

Saturday

Saturday was an absolute full-on 12-hour day, packed with so many killer acts that at times it was challenging to decide who to go and see. The heat at this point gave us a little bit of a break with a pleasant overcast that felt like a soothing balm every time the sun hid behind the clouds. The second day of the festival was also the day where people started to get braver with their stage acrobatics, still a wild sight for me, as I had never witnessed a mountain of people climbing up the stage straight out of a World War Z snippet, trying to snatch that mic and shout their favourite lyrics. While those diving off the stage into the crowd often escaped unhurt, we did have some small injuries and a hospital trip. If you are not prepared to catch people, you should not stand at the front! England also qualified for the next round of the World Cup. Diehard fans got to watch the successful match on the big screen at stage 3, which was actually so fun to witness. Especially the silence, walking in felt like you were in a library, with only the commentator relaying what was going on to fill the time between the passes and excitement on the field. Nat

Truck Violence

Any sound that resembles Chat Pile is an instant hit in my household, and with Truck Violence’s heavy flirtation with noise rock basslines, I was instantly in love. I’ve been aware of their work in the past but never managed to dive deep, and I was kicking myself for it listening to their live set. Their performance was bleeding with emotion, and the way they interacted with the front row felt deeply personal, exhaling the most unhinged lyrics as if they were just casual conversation. Fast-forwarding to Sunday, I’m pretty sure I brushed past their vocalist, who had his arm in a cast; they were clearly enjoying the festivities off the stage just as much as on it. The Weathervane is My Body just dropped, and The Flenser continues their flawless run of exciting releases. Nat

Static Dress

When we noticed a strange “???” over on the Clashfinder page of the Outbreak app, speculation exploded online about who this mysterious act could be. There was a pretty solid consensus prior to the festival, with fans fiercely suggesting Title Fight, a massive, deeply beloved band in the hardcore scene. When the set was about to start, those standing far away from the stage almost got fooled by the guitarist of Static Dress playing the opening notes to “Safe In Your Skin.” Oh boy, I almost got ragebaited into believing it was them, too. That said, there is massive buzz around Static Dress since they released their third album, Injury Episode, earlier this year. Those who love them stayed glued to the front of the stage, causing the usual Outbreak madness. It was during their chaotic performance that I started to wonder just how many mics get absolutely trashed during this festival, especially after their vocalist flicked his high into the air, smashing it right into the mainstage ceiling. Fun surprise! Nat

Life is good when festivals discover that sprinkling in a secret set here and there is the perfect spice of life. Baring in mind that they are playing main support to the Bring Me The Horizon shows in this same venue. Static Dress feel like one of the main benefactors of home growing talent in the UK, and felt like they immediately had a raise in profile as the blurred text on screen slowly gave way to their logo. Seeing this amount of bedlam in the daylight as they romped through one of their earliest track in their catalogue, ‘clean’ is a real “see how far they’ve come” moment for both the guys in Static Dress, as well as Outbreak as an entity. Olli Appleyard takes a moment to discuss the last 12 months for the band, and how the lead up to latest record Injury Episode had them on the brink as human beings, and the band potentially on its last legs, but that they are stronger now thanks to all the people like those today who hedged their bet on a secret set. There’s some sections that find Static Dress on the lighter side of Outbreak’s usual fair. To acknowledged the elephant in the room, there will always be someone unhappy when a secret is revealed and it’s not to their taste. It just would have been hard to find them amongst the people at the BEC on this day. This and their upcoming slot with Bring Me feels like a real test of metal, this is a band that was the curtain jerker band for BMTH’s last tour in 2024, they very early doors of main stage at Download 2025. They’re now a solid reveal for a main stage surprise in 2026, and the main support for BMTH’s only(?) UK shows of 2026. It’s a wonder what the next step will be for them. Nic

Love is Noise

Now for those who have love for hardcores message, Love is Noise was one of the most underrated options to go and see on this day. The level of artistry this band shows, combined with being outright heavy as hell is the perfect mixture for success both at Outbreak and beyond. By anyone’s admission, the crowd takes a bit of a hit via the Static Dress related clash. That does absolutely sod all to deter vocalist Cameron Humphrey, who just starts airing his limbs and throwing down side to side on stage, because if you want something done right, you do it yourself. Humphrey is incredibly active at the front throughout, and inspires some of that in return from the crowd, with particular favourites being “get in the pit of England lose tonight” but also taking a moment to make clear their message that hardcore is an accepting space of all identities from each spectrum. The backing of an astonishingly good band does wonders for the set as well, with personal favourites of ‘Jawbreaker’ as well as very early cut ‘Movement’ which are two tracks from totally different eras of the bands short lifespan, yet both go down a treat. Attempting to put an exact genre on this band does it a disservice, but I’ll be damned if Love is Noise aren’t one of the perfect examples of what Outbreak needs more of to keep putting on stellar years. Nic

Lip Critic

The NYC sensation that is Lip Critic absolutely overtook my social media feed following their now-iconic performance in a boxing ring. Naturally, curiosity took over, and the second their new album Theft World dropped, I practically pounced on it. It’s not an easy listen; it lacks clear boundaries as their sound weaves through a heavy barrage of electronic elements and doubles down on the drums. The second stage was slightly deserted when they opened, most likely because of their performance the night before supporting Knocked Loose (I presume most people at Outbreak also had tickets to that). However, as they played, the crowd tightened, eventually spilling into massive circle pits. Towards the end, I found myself in the middle of an absolute party, just like their music, completely without bounds or breaks. Lip Critic is best enjoyed live; do not miss them next time if you’re down for a bash. Nat

Greet Death

Everyone I spoke to over the weekend asked me what bands I was most excited to see, and apart from Converge, my second choice was Greet Death. When I discovered them last year right after they dropped their album Die in Love, I felt like I had found a new best friend. I know this record will be a companion for the rest of my days on this earth; it’s just that personally significant. It was such a stroke of luck that Touché Amoré took these guys on tour, as Greet Death is definitely not your typical Outbreak act. It was during their set that I debuted my very first stage invasion, mind you, walking slowly at their request with my hands in my pockets, and I still somehow managed to narrowly miss getting drop-kicked straight in the face (how, I have no idea, but hey, it’s Outbreak). For those of us who love them, their performance brought out instant goosebumps. Jeremy Bolm was even hyping them up from the side of the stage; the man has incredible taste, a fellow record lover through and through. Moving from one of the weekend’s best crowd interactions into an insane sound evolution, shifting from their classic gentle starts to riffs hitting colossal heights, it was easily one of the best sets of the festival. And yes, I say that with a completely unapologetic bias. If you missed them, go spin “Country Girl” and thank me later. Nat

High Vis

I only really managed to catch the end of the High Vis set, but walking out of the indoor venue into the openness and hysteria of the main stage put a big smile on my face. “Look at these kids,” read the expressions of the bystanders observing the absolute madness brought on by the Brits. High Vis has this lo-fi texture to their music, it’s almost relaxing punk, yet it’s juxtaposed with their fans going absolutely feral. A mountain of people piled onto the platform to scream their favorite lyrics in a total amok state, like nothing else exists, like it’s only this moment and the rest of the world has faded into the background. If you need some grounding, come to a live show, hey? Nat

The Armed

The Armed isn’t a typical band; it’s more of a collective with a fluid, ever-changing lineup. This approach offers something entirely different, allowing more people in to collaborate on the songwriting, it also means no two performances are ever the same, since you never get the same people on stage. As I wandered around for a bit on Saturday, running errands like hydrating and tracking down some food for the middle day’s final stretch, The Armed became my entertainment while I stuffed my face with gyozas. Mind you, I think it would be tough to eat while actually participating in the scenes playing out on Stage 2. The end of the show featured a massive, Outbreak-style stage invasion, but this one felt extra special. The musicians were lifted up into the air as they played the final song, the commotion at the very front was intense. I don’t know if it was just the heat, but I don’t think I’ve ever experienced anything quite like it at a show. Their self-proclaimed “World’s Greatest Band” mojo definitely did its thing here. Nat

Alexisonfire

I’ll be real with you, there are different types of alternative people who grew up in the 2000s. I wasn’t one of those kids who listened to Alexisonfire. I definitely felt like I was in the minority during this years fest, so experiencing this monumental band for the first time in such great company was a real treat. Thinking back on the performance, the ever-overused word in music writing: “energy” comes immediately to mind, but in that pit, in front of that stage you couldn’t ignore it, space was practically vibrating. One moment really resonated the most, latching itself into my brain and forming a lasting memory: the moon. When the backdrop visuals of a moon appeared right below the real one shining directly above the stage, I felt something. Will I jump on the bandwagon and become a massive fan? Probably not, as I usually chase the realms of truly heavy music like death metal. However, I appreciate them for how they managed to stir such intense emotions in young minds back in the new millennium. Crisis is a monumental album for those who reached for it when they needed it most, as it talked about the pain. As we live through a climate crisis that will only get progressively worse, that pain will transcend again over and over again. It’s almost comforting in a weird and twisted way that at least we will get some great music out of it spilling over into lyrics and sound. Oh, and damn, these guys are great entertainers. On stage they almost fly. You see those smiles, you see them beaming with love for the craft, every guitar throw, every spin, every time they reached their hands into the crowd. Alexisonfire, this was grand! Nat

Converge

Converge is the best band in the world. This year is theirs, as they put out a couple of insane records, Love Is Not Enough & Hum of Hurt. For an artist to consistently drop good quality sound in such high volumes is something many get envious about, where they just keep creating. As expected, their set which closed Saturday was packed to the absolute brim. Even after a full day of crazy moshpits, people kept pouring onto the stage almost with raging euphoria painted onto their faces. Their new album titles kept flashing on the backdrop screen; it was like we were being hypnotized to go and listen over and over again. Jacob Bannon said, “I needed this,” and seriously, we needed it as well. I needed it, my teenage self flashing in front of my eyes, trying to understand their best work, All We Love We Leave Behind, the crazy tempos, the aggression. It was long years in the making. Nat

Sunday

On Sunday, moshers took a step too far, and that is a stage too far, at times, in the heat of the moment, almost flooding onto the platforms they shouldn’t be at. This was all forgiven, as the last day of the festival was the most extreme of the three days in terms of the bands roster. The lineup was stacked with many US hardcore acts, with Baltimore shining brightest. The ending of this year’s festivities was looming over our shoulders all day, so many made the most of it. The merch area was almost stripped bare with limited goodies left. The food trucks were running out of dishes. Feet hurt, bruised limbs started to turn purple, with many sporting black eyes and scratches. Sunday was like a last day at the battlefield. Nat

Nothing

A Short History of Decay is the brand-new album from Nothing, and they brought it right to the stage for their intense, moody performance. It’s the kind of set you sway to in a deep hypnosis, as the shoegaze forces you into contemplating the musings. I genuinely felt prompted to just stand there with my hands in my pockets, and as any woman can tell you, our garments rarely allow our hands to go deep enough, yet I persevered because it simply had to be done. Their visualisers didn’t get censored allowing for the true humanity to shine through, covering everything from emotions experienced during the war to deep intimacy. The drums thudded in a repetitive rhythm, mimicking the steady heartbeat of someone sitting in a cold ice bath, while the rest of the sound gently hummed over them like a light breeze. I wish I could have stayed until the end of their show, but duties called indoors: it was time for some real hardcore violence. Nat

End It

The way I got introduced to Baltimore’s End It was through Banana Gate. Since then, the hatchet has been buried thanks to a reconciliation with a different banana man on the European side of the pond. More importantly, the community managed to have some crucial conversations about what hardcore actually is, especially during its current mainstream resurgence. All eyes are on the hardcore scene right now as it transforms into a trendy music genre. Yet, End It’s Outbreak set delivered a total amount of zero controversy and an unlimited number of good times. The absolute highlight was when they broke up their violent set with a soft, almost opera like rendition of their cover of Maximum Penalty’s “Could You Love Me?”. It was totally unexpected, bringing smiles to people’s faces, and even after countless gigs, Akil Godsey still managed to hit every single note perfectly. Nat

Fiddlehead

Fiddlehead is a band grounded in reality; their frontman even exclaimed, “I am a working man.” Although I could argue they are commercially successful and bring good-sized crowds to their shows, they clearly haven’t felt the need to abandon their normal lives, and this, in turn, influences how they write and perform. Patrick Flynn, with the seasoned presence of a school teacher, managed a crowd of unruly humans and you could tell they all really listened, they all really paid attention. Grief fuels their narratives, and music helps them heal, so we get to heal right along with them. Many Outbreak sets, as much as they are fun to observe, are actually quite the opposite if you really listen to the lyrics. But in facing that adversity, we can only come out stronger on the other side. Nat

Haywire

True hardcore shows address critical political subjects, shining a light on the important issues. Haywire’s pivotal moment during their set was projecting the faces of the Flinton 25, encouraging everyone to turn up at the Old Bailey to protest their trial. All of this happened right in the middle of stirring the crowd into completely losing their marbles and opening the stage up for a full-on invasion. Security had to work overtime just to keep folks contained and prevent them from completely taking over the space. Standing so far back, my only wish was for some kind of screen showing exactly what was happening on stage, as I spent most of the time watching the action zoomed-in through my phone screen. “Love Song” was screamed out with pure energy, and their cover of Title Fight’s “Shed” was a beautiful surprise. Haywire is the absolute best. Nat

Trash Talk

Everyone in a Trash Talk band needs an AirTag. They perform anywhere but the stage, and you really need eyes at the back of your head to see what’s happening in all corners of the space. Lee Spielman, their vocalist, announced that a couple of nights before he had broken a couple of his ribs, then proceeded to get stuck in the middle of the wall of death. Their set was just madness. Nobody was safe, not even those observing from the balcony. Hands down, what we witnessed was the most chaotic set of the whole festival, but the energy and intentions were pure and that’s why we love them. At one point, the only person standing was Lee, as he got us to kneel down around him like a hardcore prophet, so much power at his hands, used wisely and for our entertainment. Nat

Snail Mail

SNAIL MAIL felt almost surreal amongst the rest of Sunday’s lineup. Hardcore festivals don’t often stop to breathe, but Lindsey Jordan managed exactly that whilst competing with one of the most prolific bands of a generation on the other side of the wall. The air outside the BEC seemed to obey Snail Mail’s needs exactly, as the sun shone hard, the wind died down, and the space was filled with the majority of the latest record of the project, Ricochet. It would’ve been easy for a set like this to feel disconnected from the rest of the festival, but instead it highlighted one of Outbreak’s biggest strengths, variety. At times Outbreak is such a movement-centric event that a chance to stop and smell the roses with Snail Mail was greatly appreciated. Nic

Hatebreed

By comparison, one of the most hectic and talked about sets of the weekend was Hatebreed, and that was before people got through the door. Overwhelming response will have shown people’s displeasure that Outbreak staff actually turned people away from the 2nd stage due to overcrowding. That’s the kind of buzz that comes from booking one of the most requested bands in the festivals history doing an old school set where the songs are older than 70% of the crowd. In spite of what had many talking, Hatebreed still exceeded expectations. Jamey Jasta walked on stage and within seconds the entire floor had turned into organised violence before the first half of ‘Empty Promises’ was done, and it’s a very short song. Circle pits became two-step pits became just a mass of humanity that would’ve rightly had anyone sweating from a safety perspective. The set leans heavily on Satisfaction is the Death of Desire as advertised, but also makes way for some startlingly well received material from the now 30 years old Under The Knife EP. ‘Smash Your Enemies’ has obviously been a staple, but the much less UK-seen ‘Severed’ and ‘Kill An Addict’ create some real chaos from Outbreaks lower stage. This is again a case of a band, much like Knocked Loose and Static Dress, where it’s visible that they and Outbreak’s team have a glowing relationship. Between this and their absolutely stellar surprise show at Star and Garter last August, Hatebreed are made men in the eyes of the Outbreak staff and especially the fans. Hardcore often suffers from how well bands last, legacy acts are fewer in this genre than most. Hatebreed are one of the clearest examples of exactly what that looks like, and they are loved for it. The crowd is in absolute adoration as Jasta praises Wayne Lozinak for being back from brain tumour surgery inside of a summer in 2025, and give him the honour of introducing the only youthful track of the set with ‘Staring Down The Barrel of Today’, before a final onslaught and stage invasion for the iconic ‘I Will Be Heard’. The phrase “The more things change, the more they stay the same” is only meant with love when it comes to Hatebreed, as they’re consistently one of the best acts coming out of the States. Let THAT be the message taken away from their set at this years festival. Nic

February

February was a long way from home as they arrived to perform on Stage 3 all the way from Las Vegas. This screamo quartet is currently making history in the US as the first act of its genre to perform at a massive festival like Coachella. Emo runs through their blood, and at Outbreak, they felt right at home. Guided by the truly harrowing screams, I dodged the Hatebreed crowd and caught their set instead, and I didn’t regret a single thing. A man screaming is one thing, but a female voice strikes differently. It’s almost as if it’s our own secret language, comparable to echolocation in the animal world. You feel the calling; you feel the pain. It resembles that memorable scene in Midsommar where the main character Dani’s pain is exhaled by her fellow female companions. Trauma dumping is not always a negative experience when it’s done right. Loved it! Nat

Trapped Under Ice

You can almost judge a hardcore show’s importance based on the number of people watching intensely from the side stage, and that side stage was packed. Trapped Under Ice is one of those highly influential acts that achieved cult status well before we reached the 2020s. Their heavy, beatdown rendition of hardcore was exactly what the Main Stage needed at that point in the day, we were almost at the finish line and there was no time for naps. The indoor violence that had been brewing all day on Stage 2 spilled over. The crowd got so riled up they almost crashed into drummer Brendan Yates (yes, that Brendan from Turnstile). I imagined backstage was just a massive friendship reunion, as Sunday bill was a mix of bands that were working the shows together for over a decade, mirroring exactly what those of us looking up at the stage were experiencing on our side of the fence. Again, I have no idea how these kids still had anything left in the tank to go all out the way they did, but looking over from the side, it was just a wall of bodies and limbs flying left, right, and center. Nat

Basement

For all the justified praise that followed Hatebreed’s demolition job beforehand, Basement closing Outbreak 2026 somehow felt like the only way this weekend could end. Two very different bands, two very different worlds, yet both embody exactly what this festival has become. The opening notes of ‘Time Waster’ landed with that smidge of unfamiliarity for some, but three minutes is still all Basement need to remind everyone why they’ve remained one of Outbreak’s most beloved, whilst they brandish a whole opening trio of songs from new album WIRED. However, nothing really grabs the voices of the Outbreak faithful like the opening line of usual “late in the set” banger ‘Covet’. They don’t have to prove anything anymore, as the way the whole of the BEC bellows the “When I…” back at  them does a lot of the talking for them. The early stretch bounces through the catalogue with all the confidence of a band completely comfortable with their legacy. ‘Whole’, ‘Bad Apple’ and ‘Earl Grey’ arrive in quick succession, each one somehow unearthing a new-old memory of these classics. It’s not solely about the nostalgia, and Basement has resisted becoming a heritage act, partly by being sparse in their presence, partly by producing excellent new music when they are around, as rolls around with the title track from WIRED. The newer material no longer feels like “the new songs”. It feels like the reason they are at the dance now, with their name literally in lights behind them.w

‘Crickets Throw Their Voice’ remains one of Basement’s all-time greats, and it arrives very late in the set despite not being seen at all in the remainder of the tour. Personally, this is THE Basement track, it was the introduction for me, it was the reason I bought a blue and white copy of I Wish I Could Stay Here on vinyl, it eas why I always wish I’d seen a show from that first era of the band in the 2010’s. It’s followed in quick succession by ‘Pine’ and finally, ‘Promise Everything’. Limbs fly, fans dance, the sun goes down on another year of the festival. Watching Basement close Outbreak in 2026 is strangely poetic. Two ago I first saw them on the same stretch of concrete, the minute difference is that they were sandwiched between the other two headliners on the Saturday at the time. In 2026 Basement are the last ones standing, trusted to close the show. It feels like another chapter in the story of one of Britain’s finest bands. Nic