WORDS BY EMILY MAXTED / IMAGES BY ALEX RATCLIFFE
It goes without saying that in the weeks leading up to its return, luck does not necessarily seem to be on the side of Reading Festival for 2022. Facing the void of numerous headline slots, the loss of Jack Harlow, Eurovision rockers, Måneskin, and of particular contention, Rage Against The Machine – forced to pull out owing to the injury of frontman Zack de la Rocha – leaves many music fans threatening to demand refunds, as The 1975 are announced as their replacement. As the gates open for early bird entry, however, it becomes evident that Britain’s teens looking to fulfil their post-exam results rite of passage have not been deterred.
Friday kicks off on Main Stage East, with a set from Hertfordshire natives, Frank Carter & The Rattlesnakes. With the likes of Abbie McCarthy on presenting duties, complete with the first mosh pits of many to come over the course of the weekend, and not to mention a small cheeky moon, Reading Festival 2022 could not have been off to a stronger start. It is good to be home. Over the afternoon, the stage also plays host to the likes of indie-rockers Black Honey and Circa Waves. However, it’s the run over to Main Stage West to catch LA-based bedroom-pop band, Wallows, that sees one of the most memorable performances of the entire festival. Fronted by 13 Reasons Why star, Dylan Minnette, actor, and similarly phenomenal harmonica player, the group’s easy charm and ability to play off the crowd’s energy are clear to see right from the off. Playing off their latest release, Tell Me That It’s Over, out back in March, they grace the crowd with the eternally catchy ‘I Don’t Want to Talk’, alongside a mix of older hits, namely ‘Remember When’ and ‘Are You Bored Yet?’. With the group managing to achieve a hefty six mosh pits in the space of 45 minutes, you’d be easily forgiven for not realising that this is their first UK festival.
The acts from across the pond are absolutely not done there, either. Pop-punk heroes from Baltimore, All Time Low, are also on par as they smash out hits from across their discography. Before rounding off their set with confetti-complete ‘Dear Maria, Count Me In’ after giving the crowd a tease at the beginning, the four-piece’s ‘Weightless’ and ‘Something’s Gotta Give’ absolutely go down a treat as they deliver their first UK gig of the year. A slightly shaky cover of The Weeknd’s ‘Blinding Lights’, aside, it’s a pleasure to witness for die-hard fans of the band. As the sun begins to set over Day One of the weekend, Oxfordshire’s own Glass Animals begin to slow things down, setting the stage for the evening with their hit song ‘Heat Waves’.
Over on the BBC Radio 1 Stage, the anticipation to witness Somerset-born TikTok sensation, PinkPantheress, sees the crowd spilling far out of the tent. Having previously been the subject of some controversy over their lack of female representation on line-ups, the additions of Griff, Megan Thee Stallion, Halsey and Charli XCX are extremely welcome. Having numerous viral hits to her name, Just For Me being merely one, there is no doubt that we still have many great things to see from the songstress.
Rounding off the night comes Brixton’s Dave. Coming full-force on to Britain’s rap scene, headlining the festival, aged just 24, his music evokes an eerily still, whilst simultaneously powerful, nature. With incredible visual staging, it’s ‘Heart Attack’ that truly sticks out in memory, as the rapper offers a critical reflection upon the society that we live in today. A lovely little nod to last year’s festivities comes as Stormzy emerges as a guest during ‘Clash’, the pair pulling the great switcheroo from his own set as a headliner.
Varying massively from the previous day’s proceedings, it’s Saturday that diverts away from the grime scene, bringing to life the alt/indie-rock side of this year’s line-up. Gus Dapperton brings nothing but immaculate vibes to the Dance Stage, with the dreamy, synth-heavy ‘Prune, You Talk Funny’ going down as an absolute fan-favourite. Over on Main Stage East, Houston’s Dayglow, giving the appearance of Dwight Schrute ready to drop the hottest mixtape of 2022, and armed with a set of dance moves ready to rival those of Rick Astley, warms up the crowd perfectly for the day. With songs like ‘Can I Call You Tonight?’ and ‘Hot Rod’ constituting the set list, reminiscent of something straight out of a ‘coming of age’ movie, the work of Sloane Struble is one that is a truly perfect fit for a festival.
With Main Stage East evidently in safe hands, it is now up to enigmatic viral YouTuber-turned-artist Poppy, to dominate Main Stage West. With new EP, Stagger, due for imminent release in October, she also teases her audience with punchy new revenge anthem, ‘FYB’. An act of much intrigue, the combination of bubblegum-pop and heavy metal ultimately come to establish her place as one of the dark horses of the whole festival. Hertfordshire’s own Enter Shikari, swiftly follow suit, paying homage to David Bowie with a cover of ‘Heroes’. A performance displaying the true extent of frontman Rou Reynolds’ talent, the fan despair at seeing their set cut short due to power failings, following an extremely passionate speech criticising polluting water companies, can easily be sympathised with.
Elsewhere, Cassyette and Sueco conquer the Festival Republic stage, after which it is time for Irish post-punk five-piece, Fontaines D.C. to take to Main Stage East. Tearing into ‘A Lucid Dream’, followed by Britpop-esque ‘Sha Sha Sha’, there is little doubt that this is the stage upon which they belong. Having released their third studio album, Skinty Fia, back in April, it is a treat to witness the ease with which it slips into the rest of their setlist; and it seems the crowd is in complete agreement. The patriotism behind ‘Boys In The Better Land’, a fan-favourite from their 2019 debut Dogrel – featuring a flawless backing on guitar from fan, Dexter – reinforces an energy that is sustained through the entirety of their performance.
Enter now, Wolf Alice, Reading & Leeds alumni who absolutely never fail to assert themselves as a force to be reckoned with on the British festival circuit. Opening their set with a skit about nearly missing their performance, a clear nod to their Glastonbury debacle earlier in the year that saw the band arrive just in time for their set following travel issues, frontwoman, Ellie Rowsell, is a powerhouse as they launch into their 2021 album Blue Weekend’s, ‘Smile’. A band who are undoubtedly a true contemporary testament to British rock, their ability to draw on, and morph multiple genres into their material, is what truly sets them apart; a statement that can only be corroborated by the headliner-sized crowd they draw in, it is a fair reflection of the recognition that their music deserves. The slow, brooding nature of ‘How Can I Make It OK?’ particularly packs a punch, as it culminates with crashing drums, a crescendo that is only made stronger by a gorgeous guitar riff and heavily romantic lyricism. Now, this is exactly what a festival should be. With classics such as ‘Bros’ and ‘Moaning Lisa Smile’ decorating their setlist, the euphoric emotion of 2017’s ‘Don’t Delete The Kisses’ as they close out their show only serves to strengthen their claim to a coveted headliner-spot. A premonition that, no doubt, we shall bear witness to very soon.
Sheffield’s Bring Me The Horizon are up next, finally taking the opportunity to celebrate the first Reading headline slot of their very own. Frontman, Oli Sykes, takes no time to exert his electrifying stage presence as the band rip into 2013’s ‘Can You Feel My Heart’; it is a moment that has been a long time coming for the five-piece. Their set, a party invitation that the crowd receive – naturally – in the form of a mosh pit of epic proportions, is one that fans eagerly accept. Elevated beyond a simple festival gig, the domination of their staging with striking psychedelic visuals that back ‘Happy Song’ from 2015’s That’s the Spirit, is enough to immerse you in another world entirely. It is a clear gateway to the pathway that the band are now taking, with new songs ‘sTraNgeRs’ and ‘DiE4u’ taking predominance over anything prior to their 2013 material. Reviving their performance from the BRITs, earlier this year, Ed Sheeran leisurely strolls out to join the band for their rendition of Sheeran’s own ‘Bad Habits’; this is a set that will be firmly ingrained in the memories of Reading attendees for the foreseeable. The band certainly does well to make this momentous achievement count.
Juxtaposing the riotous thrills of Bring Me, with a notably tamer set as the penultimate night of the festival draws to a close, fellow Sheffield-natives, Arctic Monkeys, emerge to their first UK event in nearly half a decade. Having announced their new album, The Car, due for release at the end of October, they leave little room for anyone to dispute why they remain such a staple on Spotify’s indie party playlists. As the band slip into their fifth album, AM’s, ‘Do I Wanna Know?’ (2013), the familiar kick drum, compounded by a seductive guitar riff for the ages, meets raucous cheers and supporting vocals from the throngs of people who have gathered to witness their comeback. Followed by other mega-hits, namely, ‘Snap Out Of It’, and the infectious, ‘Why’d You Only Call Me When You’re High?’, there comes a flawless introduction set up to this new era, with a sneak preview appearing in the currently unreleased song, ‘I Ain’t Quite Where I Think I Am’. Channelling the spirit of mid-70s Bowie, the new pathway that Monkeys are taking appears to retain a position akin to a direct sequel to 2018’s Tranquillity Base Hotel & Casino. Although a performance of little crowd engagement on the part of vocalist Alex Turner, the impact of their show is in no way lessened, as he allows for the music to command its own attention. With festivals running through their DNA since their formation, it is an epic ‘welcome back’ for the band, their set coming full-circle as they close out their encore with fan-favourite, ‘R U Mine?’.
The last day of the festival opens with four-piece rockers from Earlestown, The K’s, on Main Stage West duties to set the energy for the day. Despite not having the largest crowd of the weekend, it is genuinely heartwarming to see so clearly the special place they have in the hearts of the fans there that are committed to their cause. It is then a main stage debut for WILLOW. Taking a moment to bask in her surroundings, she appreciates the change in setting away from the enclosed venues that characterised much of her recent touring exploits with Billie Eilish, and Machine Gun Kelly, respectively. Coming completely into her own as a beacon of self-expression, with a fourth studio album under her belt, she begins her set with the gritty ‘t r a n s p a r e n t s o u l’, cementing her homage to pop-punk. After taking the opportunity to bond with her audience, delivering affirmations ‘I am loved. You are loved. We are loved’, she proceeds to deliver viral TikTok bangers, ‘Wait A Minute!’, and ‘Meet Me At Our Spot’. The Radio 1 Dance Stage provides an ideal environment for Gayle to scream out the angrier version of her 2021 hit, ‘ABCDEFU’, which is just as utterly cathartic to sing out loud amongst a crowd, as it is in your bedroom, whilst it is the Festival Republic stage that champions the prowess of The Native, Beabadoobe, and Chloe Moriondo.
Mancunian quartet, Pale Waves, led by boot-clad Heather Baron-Gracie, are firmly in their element with their newly released third album, Unwanted, to their name. She is absolutely correct in her statement that the day ‘will be a good day’, as a mixtape of hits from across their discography, ‘Television Romance’ and ‘She’s My Religion’ of particular note, come to make up their set-list. Australian-natives, DMA’s, are left to take up the reins back over on Main Stage West, a significant progression from their inaugural Reading appearance back in 2018 on the BBC Radio 1 Stage.
The likes of recent addition to the lineup, Charli XCX, in place of Italian Eurovision rockers, Måneskin, helps to carry forward the Olympic Torch of Reading 2022 through to its ultimate finish line. The cancellation of the former headliners is nothing but a mere memory, as the power of her hits, ‘Boys’, ‘Boom Clap’, and iconic 2014 collaboration with Icona Pop, ‘I Love It’, sees a stampede of fans run to catch her set. Meanwhile, four-piece band, Bastille, evoke a sense of nostalgia on the opposite end of the festival grounds. Having dipped significantly more into their pop side in recent years, in spite of the clear strengths of their new material, it cannot help but be felt that it is a real shame to see that they have somewhat lost sight of the atmospheric nature that made their debut album, 2013’s Bad Blood, so special.
Having faced a bout of food poisoning that ‘fucked up, and not in a good way’ their Leeds set back on Friday, Halsey goes beyond their vow to fit two nights’ worth of energy all into one. Dominating the centre of their stage, the Brooklyn-native’s set is a far-cry from the dreamy transcendence of Charli XCX. It’s ‘Nightmare’ that takes pole position on their setlist for the night, a vision that is truly hammered home by the supporting visuals, it’s a rightfully apt and pertinently raw acknowledgement of the political battles in the United States over the reproductive rights of women. Then taking it back to hits from their 2015 debut, Badlands, ‘Castle’ follows as a symbolic reminder of taking power back, with Halsey, themselves, presented as the ringleader. The softer, vulnerable romanticism of beloved hit ‘Colors’, heavily rumoured to be about a certain individual yet to make their appearance in this article, provides a stunning contrast to the heavier moments of the set. Complete with a cover of Kate Bush’s revived hit, ‘Running Up That Hill’, and not to mention a stunning fireworks display, the penultimate artist leads a bittersweet goodbye to Main Stage West for this year.
A saxophonic introduction to their 2018 single, ‘If You’re Too Shy (Let Me Know)’ leaves the anticipation thick in the air as we await the arrival of Rage Against The Mach- sincerest apologies, The 1975. Certainly having big shoes to fill, the band, fronted by an extremely debonair Matty Healy, make it abundantly clear from the moment they appear that they know how to work a crowd. Displaying moves stunningly reminiscent of that one scene in Joaquin Phoenix’s Joker, the band smash through hit after hit. Healy keeps true to his word as he screams ‘let’s keep it fucking fun!’. Despite receiving a considerably mixed reaction to their first release since 2020, ‘Part Of The Band’, their subsequent work, ‘Happiness’, and imminent ‘I’m In Love With You’ truly hit a sweet spot as they return to the sound – pun absolutely intended – similar to their first album. The setlist honours their entire discography: from the haunting nostalgia of ‘Somebody Else’, to the unrelenting powerful social anthem offering observations of modern society made in, ‘Love It If We Made It’, before seeing the weekend out with 2018’s ‘Give Yourself A Try’. The song that offers a hope of renewal and reinvention is a fitting bow-out for a festival that continues, year after year, to do just that.
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