It has always been a tradition that the opening band on a Sunday at Bloodstock brings something different to the festival, and today is no different, with matters kicking off on the Ronnie James Dio Stage with the Basingstoke-based country rockers Bootyard Bandits.
Bloodstock Open Air Festival
Catton Park, Derbyshire – Sunday 9 August 2026
Words: Adrian Stonley
Photography: Adrian Stonley, Keith Conlin
Bootyard Bandits
It is probably best to start the day as you mean to go on, and if that means songs about Parties, Beer, Girls, Whiskey, Guns, Rodeos and cowboys, then so be it.
In fact, I think we have just covered every country cliché in the book, and the Bootyard Bandits are here to give you their own tongue-in-cheek take on all things country. So, forget the mosh pit for a minute, link arms and dosey-do. And yes, this is still a Metal Festival.
The band have been away for a while but have now returned and reinvigorated, featuring ex-members of The Defiled and Heaven’s Basement. With lead singer AJ Handsome (aka Aaron Buchanon) camping it up, he more than leads this party. Although you may think that this is a change in stance and genre, we also have to recognise that the Bandits also know how to rock.
With songs like Hoedown Showdown, Let’s Rodeo and Country Music, it does not take long to get the ever-expanding crowd into the swing of things, and there is a lot of very bad dad dancing and line dancing throughout the arena.
Jesse James Denver and Cannibal Barbeque see the temperature rise. Disco Cowboy is a full-on boogie with the band kicking up a storm.
So, if you want an early morning start involving cowboy hats, dungarees, dancers and inflatable cacti, then this is where you need to be.
The Bandits are quite simply Swaggerin’, Foot stompin’, back slappin’, whisky drinkin’, dice rollin’, ass kickin’, fiddle pickin’, good time rock ‘n’ roll.
What a start to the day.
Castle Rat
New York’s Castle Rat brought their own take on Doom Metal to Bloodstock and put on an entirely enthralling and imaginative show. The entire set is built around a story of The Castle Rat and involves both music and spoken word interludes that tell a fantasy story.
Buried deep in European medieval history and folklore, Castle Rat produce a delicious, if not sometimes hammy, experience. Musically, the band produce a strong Doom sound, clearly influenced by early Black Sabbath, but visually is where they come to the fore, as their show is as much theatrics as a concert.
The band are currently comprised of Riley Pinkerton on vocals and rhythm guitar, Franco Vittore (The Count/vampire character) on lead guitar, Charley Ruddell (The Plague Doctor) on bass and Joshua Strmic (The Druid) on drums.
Not only do they play their parts as musicians, but all band members are also involved in the storytelling and theatrics of the show.
Additionally, there are plenty of props and other actors playing their parts, such as the Rat Reaperess, who, as the story unfolds, sees the character played by Madeline Wright sword-fight across the stage with Riley before despatching her. Of course, this would not be a full show if she is not brought back to life amidst plenty of fake blood.
Yes, it is very Hammer Horror in a kooky way, and it is clear the band’s tongues are firmly wedged in their cheeks, but as a spectacle in the early afternoon it is great fun.
Kittie
Following Castle Rat’s antics, we return to the hard-driving, head-down Metal of Ontario’s Kittie. It seems remarkable that this is their thirtieth anniversary of this band, with the soft, sweet name being the absolute opposite of what they actually represent.
Kittie hit the stage with ferocious snarls and screaming guitars as they made it clear they were here to rock as hard as the guys this weekend, and quite simply there was no holding them back.
Vocalist and guitarist, Morgan Lander, dressed in a simple red summer dress, looks as though she is going for a walk in the park. Until she hits those first chords and the growling vocals kick in, and you realise that nothing is ever as it seems, as she reels in the audience and grabs them by the throat.
Take no prisoners is a term I have used a few times about bands this weekend, but this is very much the case here as they rip into Bloodstock, and it is clear the assembled masses are living and breathing every note and crushing power chord.
Kittie are relentless as they tear through their back catalogue. The biggest cheers, unsurprisingly, are held back for fan favourite and set closer, Brackish, but by then they had clearly won over a legion of new fans.
Definitely one of the most appealing sets of the weekend and one that shows that this band are as relevant now as they were when they started back in the early days of Nu-Metal.
Orbit Culture
Changing the scene entirely, the next band up on the Ronnie James Dio stage are Orbit Culture from Sweden. Bringing their melodic Death Metal to the stage, they are a big pull for many, although the energy levels need to be having to follow Kittie.
Opening with the title track from their latest album, 2025’s Death Above Life, they bring their crushing sound to the stage as they pull no punches and tear into a waiting audience. It is not long before the mosh and circle pits are in full throw and the crowd surfers are keeping security on their toes, and that will not be for the first time today.
They follow this up with The Storm from the same album before rolling back to an earlier tune, North Star Of Nija. Yet half the set is drawn from the latest album, which is now clearly a fan favourite, and the tracks are as popular as earlier material.
Unfortunately, the song Hydra has to be stopped midway due to an injury in the pit, and once this has been handled, they are left to close out the show with Vulture Of The North.
Credit to the band for recognising and reacting to the events unfolding and stopping the show so the fan could get help. And credit too to the moshers who instantly went to help and rapidly made way for the first aid team.
That shows the type of family Bloodstockers are, both band and fans.
Once more, Orbit Culture have put on a storming performance and with only a forty-five-minute slot have pulled out all the stops and clearly won over a rabid Bloodstock audience.
Testament
Next up are Testament, the old-school thrashers from California who are always a crowd favourite at Bloodstock. I have never personally understood why they were never considered one of the big four Thrash bands, as their output and performances over the years have always been electrifying.
Yet it is gratifying to have them back to grace the Bloodstock Festival, and unsurprisingly the response to their appearance is immense as the audience starts together in great numbers.
This is a long-awaited show, and the heaving audience is full of expectation. Unsurprisingly, Testament do not fail to deliver and produce one of the sets of the weekend.
Once again, the pits are thronged with expectancy, and as the opening tape of Catacombs rolls out, the expectation grows as the band launch into Into The Pit before following up with Henchman Ride.
Testament are not here to make up the numbers. They do not have a point to prove to anyone, but there is no holding them back as they soak up the adoration and spit it back at the adoring hordes. The guitars are screaming, the bass throbbing and the drums crashing and lead singer Chuck Billy is continuously working the crowd into a frenzy.
This is old-school Thrash at its very best. The band have never forgotten their roots and continue to Practice What ‘They’ Preach.
This is a pure greatest hits set, and they set a high standard for the rest of the day. More Than Meets The Eye, Electric Crown, Nature Of The Beast all have the audience in Metal ecstasy as they try to match the energy and enthusiasm of the band. Admittedly, as the temperature continues to rise, the water hoses now being sprayed over the audience are very welcome.
Yet again, this is one of those sets that are over before they have started, as the allotted hour flies through. They close out with Over The Wall, which sees a multitude of crowd surfers being hurled towards the security team, who are hard-pushed to contain the masses.
This is one of those sets which shows you what Bloodstock is all about.
Black Label Society
But then, if the afternoon cannot seem to get any better, we follow up with the Metal royalty that is Zakk Wylde and Black Label Society. A ten-song set shows the band at their very best and, of course, includes a tribute to Ozzy Osbourne, with whom Zakk played for many years.
There was always going to be an element of emotion about this set, and Zakk and company know exactly how to make this work in their favour as they bring their shredtastic guitar virtuosity to the stage.
Bringing their heavy blues-influenced hard rock to Bloodstock, they pour every ounce of energy into their songs and performance. Zakk, adorned in a leather kilt and biker cut-down, is every bit as terrifying as he looks. With hair flying and heads banging, the band are a swirling maelstrom of Metal sharpness.
The songs are riff-heavy and pounding. It is clear that they catch some of the audience unaware, and there are gasps of incredulity as Zakk and ex-Lizzy Borden guitarist Dario Lorina guitar battle with instruments behind their heads, Hendrix-style, whilst prowling the stage and facing each other off.
It is quite incredible, electrifying, and yet still note perfect. The technicality on show is mesmerising.
The audience get to sing along to the one Ozzy cover played this afternoon, No More Tears which Zakk co-wrote. It is beautiful. It is heart-wrenching, and it is emotional. Yet it is not long until the guitars are revving away again and the blitzkrieg starts all over again.
Fire It Up, Suicide Messiah, and Stillborn, are rich and sumptuous. This is a band that are completely comfortable playing at incredibly high levels and never once take their feet off the pedals. Cruise control is immense and shuddering as each piece raises the audience’s expectations again and again.
Not only is this a masterclass in how to play a festival, but it is also a masterclass in technical musicianship. There are always great expectations when Zakk is playing, and as usual he delivers. There is part of me thinking, ‘well, how do you follow that?’ But then I realise we still have Ice-T and Body Count and Metal Gods Judas Priest to bring their music and stage destruction. So perhaps it can get even better.
Body Count
Believe me, it does. Body Count are a band that Bloodstock have been trying to get booked to play for a long time, and of course after all these years the expectation was high. How do you follow Zakk’s Doom Crew? Well, some intense street Rap Metal, of course.
Some people know Ice-T from his music, others from his acting career. Either way, he is clearly one of the draws of the day, and everyone is hanging on every spat-out breath and word as he hits the stage full of snarling angst and attitude. This is a do-not-mess-with-me set, and it takes little to draw in and win over the crowd.
Although there have been a few comments on social media since there was some offence taken at the street language used by the band, I think that without condoning or agreeing with some of the terminology, we also have to be realistic.
They originate from the tough streets of the L.A. hood, and life is very different there. So unsurprisingly they are going to be reflective of that. Recognise that their world may be different to someone from Derbyshire. So, just sit back and enjoy the show.
Hitting the stage to Body Count’s In The House we encountered pure 100% rap Metal chaos as Li’l Ice (Ice-T’s son) storms on, microphone stand spinning and flying and the lyrics are spat out with acerbity.
Halfway through, Ice-T arrives onstage to a plethora of “mutherfucker’s” and carnage ensues.
An intro from Slayer’s Raining Blood fuses into Postmortem before the band engage with the crowd to Point The Finger.
With guitarist Ernie C (Cunnigan) stalking the stage and turning out mesmerising riffs, they proceed to tear the place apart. Nothing and no-one is sacred.
The Purge sends the audience delirious, and you realise that you are watching and seeing a performance that is going to go down in the annals of Bloodstock as one of the great ones. There will be many in the future who will be talking about this and asking where were you? Did you see it?
War/UK82/Disorder, including the Exploited cover, see the band dig deep into punk territory. If they want to infuse punk, rap and Metal, then why not. It is the three key subcultures and they fit together seamlessly.
Talk Shit, Get Shot sees them pull a couple of the children, Harrison and Sebastian, out of the audience to join them on stage, and rather than be bewildered, they nearly steal the show as the audience chants out their names.
They close the show out with the classic Cop Killer, which has everyone in the audience entirely engaged, and Li’l Ice goes piling into the mosh pit. Security are wired. He does not care, and absolute mayhem ensues.
But with the usual pit etiquette, he escapes unscathed and ready to fire back for the first encore (or rather, virtual encore as they do not leave the stage), Born Dead.
The band continue to tackle every political and societal wrong. Donald Trump is verbally abused wholeheartedly, and it seems that most of the Metalheads here today are completely in agreement.
Racism is put in its place for the abhorrent mentality and destructive societal attitude that it is. For a festival that prides itself on its acceptance of diversity and inclusion, hence the relationship with the Sophie Lancaster Foundation, these are messages that are welcomed and held to the hearts of many here today.
There are middle fingers and fists in the air, and probably any Reform supporter in the area is quietly slipping away.
This is a movement occurring.
This Is Why We Ride closes proceedings on what has been quite an incredible afternoon. How the hell do you follow that? Well, perhaps only one band can, and that is the Mighty Metal Gods themselves, Judas Priest coming back to their hallowed grounds.
Judas Priest
So finally, we reach the close of the festival. The arena is full to capacity with both weekend and day tickets completely sold out. This is a performance that everyone wants to see.
Judas Priest are always a spectacle and tonight is no different. The set is relatively stripped back. No pyro, although a few lasers and an awesome light show add to the atmosphere as night falls on Catton Park. Priest are a band that have always let their music do the talking, and tonight is no different.
With the audience abuzz and breath held, they drop the enormous banner and the night erupts to You’ve Got Another Thing Coming.
The band, bedecked in their familiar studs and leather, remains the lean, mean Metal machine they have always been. Rob Halford continues to stalk the stage. His voice tonight is exceptional.
Metal Gods, Breaking The Law, The Ripper. We know that we are in for one helluva ride tonight.
This is a night where the greatest hits flow. Everyone a favourite somewhere. The audience are completely involved. Today has been a series of masterclasses, and Priest are no exception, as they provide a masterclass in classic Metal. They may be nearing their sixtieth anniversary in three years’ time, but you would not know it.
Like many bands, they have had to ride the highs and the lows over the years, and it is clear that this is a band that is still at the very top of their game. Turbo Lover sees the audience chanting back, Delivering The Goods is a further kick back to earlier times.
The last time I saw Judas Priest at Bloodstock, I had concerns that perhaps Rob’s voice was not as strong as it had been. Tonight answers and closes that question. It has put me in my place. There is nothing wrong with it. It is as strong today as it was when he was a youth, and the screams hitting the night sky are incredible. How a man of his age can continue to hit those notes is beyond me, but long may it continue.
Victim Of Changes slows matters down for a short while before we realise the set is coming to a close and fan favourite Painkiller blasts the night apart once more.
With Rob riding his famous Harley onto the stage, the band return to Electric Eye, which sees the guitarists go into guitar histrionic overload. These guys can play, there is no question about this and with the engine room being directed by Scott Travis on drums and Ian Hill on bass, there is quite simply no stopping them.
If there is a band that defines what Heavy Metal is all about, then Judas Priest are it.
With Hell Bent For Leather and Living After Midnight, they close the show. Everyone is singing, everyone is punching the air. Those of us who can still headbang, whether they have hair now or not, are headbanging.
Tonight is a celebration of what is great about Heavy Metal and its associated family.
But then it is over. The weekend has flown. There are tears in eyes, and that is not just down to the dustbowl we have lived in for the last four days. Roll on next year.
Bloodstock 2026 will be held over the long weekend of 6-9 August 2026. MetalTalk’s Matty Hunter, Adrian Stonley and Keith Conlin will report from Catton Park.
Take Part: Were you at Bloodstock this year? Who did you enjoy seeing the most? Email MetalTalk Editor Steve Ritchie to share your experience at Bloodstock@MetalTalk.net.
#boa26. For more information, visit bloodstock.uk.com. You can view a map of Bloodstock HERE.
You can find all MetalTalk Bloodstock 2026 coverage at https://www.metaltalk.net/bloodstock.
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Bloodstock 2027 will be held over August 5th – 8th. Early bird standard weekend tickets will be available at the main entrance box office throughout the festival, priced £210.00 with no booking fee. Tickets can be purchased online from Monday 10th August at 9 am at the official Bloodstock website.
