Takedown 2026: The Festival That Sets the Tone for the Year Ahead

The Takedown Festival 2026 didn’t just return this year — it meant something. What should have been a headline celebration instead became a heartfelt tribute to Phil Campbell, whose passing cast a long but unifying shadow over the weekend. His name, placed where he was meant to stand, became a symbol of everything this scene represents: legacy, community, and resilience. Beyond the emotion, Takedown continues to carve out its own identity as one of the UK’s most distinctive festivals — an indoor, multi-stage collision of sounds in Portsmouth, seamlessly organised and increasingly essential. With three stages, a carefully curated line-up, and an atmosphere that balances intimacy with intensity, this is not just the first festival of the year — it’s one of the most unique.

FRIDAY

Opening the Phil Campbell Stage, Kill The Lights arrive with serious pedigree under their belts. Featuring former members of Bullet For My Valentine, the band bring a level of precision and experience that instantly sets the tone for the day. Their brand of high-octane, melodic metalcore feels both nostalgic and refreshed, packed with razor-sharp riffs and huge choruses. Even with an early crowd still finding its feet, they play like a band with something to prove — and more importantly, something to deliver.

Kill The Lights, photo by JL Crespo

Keeping things firmly rooted in old-school spirit, Asomvel take over the Phil Campbell Stage with what feels like the most fitting tribute of the entire day. Their Motörhead-infused, no-frills rock’n’roll hits harder under the circumstances, and tonight it goes beyond influence — it becomes homage. With a roaring version of Born To Raise Hell dedicated to Phil Campbell, the connection is undeniable. Loud, fast, and unapologetically raw, this is exactly what the night needed.

Over on the Total Rock Stage, King Kraken bring the power of the sea — quite literally. Hailing from Wales and riding the momentum of their latest album March Of The Gods, the band have clearly built a growing and loyal following, something that’s immediately noticeable in the crowd response. Tracks like Berserker land with huge impact, while more emotional cuts like Hero add depth to the set. Beyond the riffs, there’s a warmth to the band — a sense that these are genuinely good people, and that connection translates directly into their live show.

Mark Donoghue From King Kraken and Ralph Robinson from Asomvel by JL Crespo

One of the absolute standout moments of Friday belongs to DeVere — without a doubt, one of our favourite bands of the entire weekend. If you had to describe them, imagine Mötley Crüe and Guns N' Roses had a wild, reckless child with Keith Richards as the godfather — that’s the kind of energy DeVere bring to the stage. There’s attitude, danger and swagger in every movement. Guitarist Mike Wroe is a force on his own, somewhere between Keith Richards and Mick Mars, delivering riffs with effortless cool while commanding the stage with real presence. Meanwhile, frontman Sam Cassidy cuts through everything with that distinctive high tone, sharp and instantly recognisable. Often described as “the loudest band in London,” this set only reinforced that reputation — raw, explosive and impossible to ignore. If this is the level they’re operating at now, it’s only a matter of time before they take that energy across the UK and far beyond. (Full interview feature coming soon.)

Mike Wroe & Sam Cassidy from Devere by Jl Crespo

Then come The Wildhearts — a band that simply never fails. True veterans of the scene, they bring experience, charisma and pure rock’n’roll attitude in equal measure. Frontman Ginger Wildheart commands the stage effortlessly, backed by a tight unit where the bass work adds real weight and groove. In just 45 minutes, they only play five songs — but what songs. Opening with Everlone, the track evolves into an extended jam, stretching into a medley of riffs and ideas that feels like a celebration of everything rock music stands for. Indulgent, powerful, and absolutely brilliant.

Ginger Wildheart, Photo by JL Crespo.

Closing the night under difficult circumstances, Therapy? step in to fill a space that can never truly be filled. Taking over the Phil Campbell Stage, they lean into their signature blend of grunge-tinged alt-metal with confidence and purpose. Tracks like Positive Noise ignite the room, while chants and crowd interaction keep the energy alive throughout. It’s not about replacing a legend — it’s about honouring the moment — and they do exactly that.

SATURDAY

Saturday opens up the sonic palette, and over on the Kerrang! Stage, Artio kick things into gear with a polished and confident performance. Their modern alt-rock sound feels expansive and controlled, easing the crowd into the day while still delivering moments of real impact.

Not long after, the Kerrang! Stage becomes the setting for one of the most emotionally powerful sets of the weekend courtesy of Lastelle. From the very beginning, it’s clear they’re not just another band on the bill — there’s a strong, dedicated fanbase already present, singing along and fully invested. What makes Lastelle special is their ability to create genuine moments of connection. Tracks like Breathe Me In don’t just land — they resonate, pulling the entire room into a shared emotional space. Easily one of the best performances of the festival.

Megan Targett from Vexed, by Jl Crespo

Over on the Metal For Good Stage, Vexed deliver one of the most ferocious performances of the entire weekend. Fronted by Megan Targett, the band step on stage with a pure fuck you attitude that immediately sets the tone. Megan doesn’t just perform — she dominates, owning every inch of the stage with a presence that is both aggressive and completely captivating. There are plenty of bands that claim to be heavy, that claim to be loud — but Vexed back it up. This is easily one of the most sonically punishing sets of the festival, hitting a level of intensity that genuinely stands above the rest. Every breakdown lands like a hammer, every scream cuts through with precision, and the crowd responds accordingly. This isn’t just heavy — it’s overwhelming in the best possible way. (Special feature with interview coming soon).

For us, Saint Agnes emerged as one of the bands that came out stronger — even without the best sound, their attitude was absolutely brutal. Technical issues can kill a set — or define it — and here, it became the latter. From the moment Kitty A. Austen stepped on METAL FOR GOOD stage, there was a visible intensity — not just performance energy, but something closer to controlled fury. Determined to win over the room despite everything working against them, she led from the front with grit and defiance. Early on, chaos crept in: sound problems, a faltering mix, and a bass that simply wasn’t cutting through. While Kitty held her ground centre stage, it was guitarist Jon James and bassist Maxine Cahill who almost stole the spotlight in a different way — constantly turning back, signalling, pushing, and actively working with the sound engineers to fix what was quickly becoming a mess.

Kitty and Maxine from Saint Agnes. Photo by JL Crespo

A second interruption after the opening tracks only heightened the tension. At one point, Kitty stood motionless, back turned to the crowd, centre stage — a striking image of frustration held tightly in check. When the sound finally snapped back into place, she broke the silence with a dry, cutting line: “My therapist would be proud of me”. From that moment on, the set transformed. Tracks like Ghost hit with the weight they deserved — dark, brooding and laced with venom — and the crowd responded in kind, giving back the energy the band had fought so hard to protect.

By the end, there was both gratitude and honesty. Kitty thanked the audience, but also made a point of asking them to come see the band again — properly, on a night where nothing stood in the way of what Saint Agnes are truly capable of. Because even in adversity, they didn’t just survive — they proved exactly why they belong on bigger stages. Next time, it should be the main stage.

Bringing a different kind of energy, Mouth Culture inject pure momentum into the day. Infectious, charismatic and built for big stages, they turn their slot into a full-blown celebration, while As It Is tap into something deeper — nostalgia, connection, and a room full of voices singing every word back at them.

Then comes one of the biggest explosions of the weekend.

Taking over the Kerrang! Stage, Wargasm unleash controlled chaos. Sam Matlock and Milkie Way don’t just perform — they provoke. From the moment they step on stage, the energy shifts. Tracks like Spit hit like a punch to the chest, while their newer material continues to push the boundaries of modern alt and nu-metal. The crowd may have been running on fumes, but Wargasm drag every last drop of energy out of them, culminating in one of the wildest atmospheres of the weekend.

Wargasm by JL Crespo

And then, the finale.

PRESIDENT close Takedown 2026 with a set that feels bigger than the venue itself. Mysterious, anonymous, and already surrounded by hype, their presence alone is enough to fill the room to capacity. As the lights drop and that towering symbol glows behind them, anticipation turns into pure release. Tracks like Mercy showcase an impressive vocal range, while their cover of Deftones’ Change (In The House Of Flies) lands as one of the most memorable moments of the night.

They may still be building their catalogue, and there are moments that hint at a band still evolving, but that almost adds to the intrigue. This felt like the beginning of something — the first chapter of a story that is only going to get bigger. And for those in the room, it’s one they will remember.

Jose Crespo for The Riff Collective