Line-up Backyard Pukkelpop 2025

Slow Crush geldt als één van de meest toonaangevende bands binnen de hedendaagse shoegazerevival. Toch is hun sound gelaagder dan dat. Het viertal combineert invloeden uit de grunge, noisepop en postrock tot een intense wall of sound. Stereogum omschreef hen als “fucking phenomenal” en Kerrang! riep Slow Crush uit tot een van de hotste bands van het moment. Een grote Belgische band in wording!

Since going viral with their LA Public Library performance of their song “Racist, Sexist, Boy” the world has watched The Linda Lindas scream about injustice, sing about growing up and exhibit the kind of altruism that is so meaningful to the punk scene. While their evolution as writers, performers and studio geeks is clear on No Obligation, their ethos remain steadfast. The band has released three great album cuts so far, the anxiety filled "Too Many Things," the scorcher "Revolution / Resolution,” and the album’s addictive lead single “All In My Head".  With all four musicians each contributing to the writing and lead-singing, the songs are as varied and dynamic as the girls themselves, however the listener always senses the underpinning of both their shared world-view and their bond. No Obligation, the second full-length album (released on October 11 via Epitaph Records) from The Linda Lindas further advances their unironic, joyful, and exciting trajectory of mashing up L.A. punk with post punk, garage rock, power pop, new wave and rock en español. Written and recorded by the band during spring breaks, winter breaks, and long weekends (Lucia de la Garza and bassist Eloise Wong are still in high school, drummer Mila de la Garza just finished middle school, and Bela Salazar is patiently waiting for them to get done with it already), the new album has been in the works for the last two years whenever they weren’t at school or touring. The Linda Lindas most recently shared “No Obligation” - the ferocious title track. “I don’t got no obligation,” roars Eloise Wong in the album’s opening song -  “just brush off all expectation.” From the first moment of their sophomore release, it is clear that The Linda Lindas are here to defy expectations and challenge the norms.

Groovy, infectious and highly danceable, ‘Do My Thing’ proves that SONS dare to question their hardcore punk sound and are not afraid to experiment. With the prospect of broadening their musical territory for the follow-up album to 2022’s ‘Sweet Boy’ the band contacted Dave McCracken. Known for shaping the sexy groove of dEUS’ classic ‘The Architect’, the British producer has an impressive resume having worked with Stone Roses frontman Ian Brown, A$AP Rocky, Beyoncé and Depeche Mode amongst others. McCracken loved the band’s new demos and, after making several trips to the band’s hometown of Melsele (a small town near Antwerp known for its annual Miss Strawberry competition) to help whip the songs into shape, he invited the band to record in London.SONS greedily feasted on his skills and knowledge. “He took us completely out of our comfort zone,” says singer/guitarist Robin Borghgraef. ‘Do My Thing’, the first single taken from their third album – scheduled for release after the summer – was inspired by an unforgettable night out with McCracken and the fastest-written song on the new record. “It’s about enjoying the moment and just doing your own thing. Sometimes our songs are self-explanatory”, laughs Robin.SONS made a name for themselves in Benelux with their debut album ‘Family’ Dinner’ (2019) and expanded their reach to Germany, France, Switzerland and Greece with the follow-up ‘Sweet Boy’ (2022).Both albums excelled in full-on rock & roll power packed with big hooks, riffs and sing-along choruses. The band has played Rock Werchter, Pukkelpop, Pinkpop, Down The Rabbit Hole, Into the Great Wide Open, Reeperbahn, Trans Musicales and Iceland Airwaves (where they recorded a live session for KEXP). SONS have also been invited to support Royal Blood, Wolfmother, and Jack White.

Channeling the speed of youth and the heaviness of a fleshy, lived life in equal proportion, Upchuck’s second LP, Bite the Hand That Feeds, is a Trojan Horse par excellence, craftily smuggling in waves of sentimental emotion and clever pop songwriting under a veil of pulsing rhythms and scorching riffs. What binds Upchuck together is a purity of intention, an organic loyalty to a thick knot of uncalculated friendships, struggles, and desires. These are songs about the joy of continuing to live, songs that find each other in the rush of a crushing reality, propelling the listener onward towards a collective release, however brief it may last. Themes of surviving through the night, youth-blinded love, cheap champagne soaked back-alley parties, and chaotic street protests are subsumed under a single unifying thread: the needs we have for one another, our shared hunger for connection. In a world saturated with arbitrary rules and paper-thin moralism, Upchuck offer freedom through sensation, a type of unserious transcendence found through the swirl of bodies melting into one another in the passion of dance. With Bite the Hand That Feeds, Upchuck isn’t trying to tell anyone how to live. Rather, they are simply trying to find a way to make life more worth living for both themselves and their friends—if the music compels you to move, you might as well consider yourself their friend too.Shortly after the release of their debut album Sense Yourself, Upchuck absconded to Southern California to record Bite the Hand That Feeds, enlisting the production talents of Ty Segall and the airy reprieve of his secluded Topanga Canyon home studio. Upchuck credits Segall, who recorded the entire record live to tape over the span of five days, with helping to elevate the arrangements of their second record to bold new heights—fans of Segall’s extensive catalog will undoubtedly recognize the shadow of his creative touch in Bite the Hand That Feeds’ commanding, layered drum polyrhythms, tasteful use of oddball effects, and fuzzed out, every-guitar-pushed-into-the-red ethos.All the same, final credit for Upchuck’s evolution from Sense Yourself to Bite the Hand That Feeds must be paid to the band itself. Following the release of their debut LP, Upchuck embarked upon a break-neck string of live shows, touring alongside the likes of Segall’s Fuzz, Amyl and the Sniffers, Negative Approach, OFF!, and Subhumans. The razor tight focus of Bite the Hand That Feeds was forged in the fire of these live shows, speaking directly to the power of their in-person presence—these are songs meant to be heard pressed up against a barricade, blasted through dimed guitar amps placed so close to your ears that you can practically reach out and touch them.In its totality, Bite the Hand That Feeds offers a sonic portrait of what it feels like to be young and caught up in the thrill of it all, coursing between ripping dance grooves and thundering dirges, anti-self-serious crowd anthems and charming pop hooks.

Some things never go out of style. Emerging from the London punk scene with a high energy blend of Oi! hooks and hardcore stomp, The Chisel have a sound that’s as timeless as it is exhilarating. Now on their sophomore album, What A Fucking Nightmare, the band somehow cranks the dial further into the red with a whopping 16 tracks that are even more aggressive and even more anthemic. The Chisel formed in 2020 out of the same pool of talented friends and collaborators that bore bands like Violent Reaction, Arms Race, and Chubby & The Gang. After a series of singles and EPs, the band–whose current line up is vocalist Cal Graham, guitarists Luke Younger and Charlie Manning Walker, bassist Momo, and drummer Lee Munday released their debut full-length, Retaliation, in 2021 and secured their reputation as one of the most exciting new punk bands coming out of the UK.With more attention often comes more pressure, but The Chisel approached their second album with something very key in mind: “If it isn’t broken, don’t fix it,” says Younger, explaining,“after we recorded the first record we just didn’t stop writing. So by the time it came out we already had even more new songs.” That prolific streak didn’t stop and the result is What A Fucking Nightmare – a behemoth of a punk record that doubles down on everything that makes The Chisel such a compelling band. What A Fucking Nightmare grabs the listener by the head and doesn’t let go. Recorded by James Atkinson and produced by Jonah Falco (Fucked Up, High Vis, Chubby & The Gang), the album hones The Chisel into the keenest and most effective version of themselves where the hooks are bigger and the bite is sharper. The heart of their sound draws on elements of old school hardcore, UK82, and other corners of aggressive punk, but it's The Chisel’s ability to pack a melodic punch that makes them stand out from the pack. Graham’s biting-yet-tuneful delivery is key to the band’s ability to swing from eye-bulging street punk ragers to triumphant singalongs that even the most faint-of-heart rock and roll fan couldn’t help but enjoy.What A Fucking Nightmare is the kind of album that reminds listeners of all the things that are so impactful and enduring about punk music: there’s a vitality to these songs, tangible sweat, blood, and bootprints that leave a mark long after they’re done. There’s absolutely no doubt that this is The Chisel's world–and we're just living in it.

‘Never Exhale’ is the sound of a band that hasn’t stopped for a breath. DITZ have toured  relentlessly since the release of their first album ‘The Great Regression’ and even before  that, travelling at least 100 days a year since COVID. The songs that form their newest  offering were written across Europe, often on off days and in borrowed rehearsal rooms  just to break up the long drives.  It could be said that the band treat recording and release of music as an afterthought.  Often playing songs live years before their release, tweaking them as they go. The songs  on the final record may change before they are ever heard as part of the album. Formed in late 2015 and playing their first show the following summer, DITZ came  together after vocalist C.A. Francis, guitarist Anton Mocock and bass player Caleb  Remnant went to watch METZ and Lightning Bolt and Concorde 2 in Brighton. “Let’s do  that.” A few shows in they picked up current guitarist Jack Looker, although his original  position was behind the drum kit. After a few singles such as ‘Seeking Arrangement’,  ‘Gayboy’ and ‘Total 90’, the band arrived at its current lineup with Sam Evans joining on drums. This was summer 2019. The band embarked on their first proper headline tour at  the start of 2020, completing it just before the world shut down. They made use of this  time wisely, holing up in the closed pub that Sam lived in an worked at to write parts of  their first album. As soon as they could play shows again, they did, managing to get  several tours under their belt before the release of their debut album “The Great  Regression” in 2022. One of these tours was dubbed “the brexit tour” by the band. “We  got in a van and tried to play the most random small towns we could, often just to the  opening bands and some regulars. It was character building trying to win over these  audiences that really couldn’t give a shit. Chichester was a particular highlight.” Francis  remarks.  After the album’s release things began to take off for the band, shows started selling  out, both in the UK and Europe, publications such as Pitchfork heaped praise on the  album and the band had to start thinking about writing another. The problem was that  they were always on the road. The answer was to write them on days off, the result is an  album that reflects the sound of the road.  ‘Never Exhale’ was largely recorded at Holy Mountain studios in London during a  freezing cold January. The process was fraught with obstacles. The original plan, to go  and record in Rhode Island, was abandoned when DITZ were offered a support tour with  IDLES, although the album was still mixed by the originally intended engineer, Seth Manchester (Model/Actriz, Lingua Ignota, Big Brave). The result is an album hardened by  the pressure of its own making. Laboured but not loved.  The album themes reveal themselves more on further listens. The opening gambit ‘Taxi  Man’ is an exploration into what it would be like to weigh up your impact on the world.  The eponymous taxi man could be seen as a St Peter type figure, or like Charon, ferrying  the dead into the underworld. The song was written in Cologne on the second day of a  two-day songwriting session. The first day was a bust. Nothing was achieved outside of  general frustration between the band members. The atmosphere was soured by months  on the road. This carried on the next day, the band members reluctantly arriving  separately in drips and drabs. As if out nowhere, Looker came up with the central riff  which was quickly strengthened by Remnant’s contribution. The lyrics came from poem  written by Francis in the Taxi Ride home the previous day.  Further on the album explores themes of unnecessary hatred and division in ‘Space/Smile’ and ‘It Smells Like Something Died In Here’, ‘Senor Siniestro’ looks at  aging and in ‘The Body As A Structure’the separation of the physical from an ingrained  sense of reality. It’s political, but ultimately personal. More Genet or Kafka than Orwell  or Huxley.  Sonically the album has its roots in the usual DITZ influences, classic noise rock such  as The Jesus Lizard or Shellac, or the obtuse post punk of the Fall, but also brings in  fresh influences. ‘Space/Smile’ in particular holds these references aloft. The initial  demo was a slower affair written by Remnant, revved up in the rehearsal room by the  fury the track demanded. The closing track ‘Britney’, could be compared to Radiohead  or Mogwai. Jack wrote the initial version of the instrumental on weekend at home with  family. It was an attempt to reconcile two different emotions. It was tentatively shared  with the rest of the band, Looker believing they would pass on something so different  from what they’ve previously released. He was wrong and they embraced the chance for  experimentation. Francis’s lyrics reflecting the vulnerability of the instrumental.  Overall the album is a clear development from their first effort. A sign of things to come

HEISA’s sound draws from influences like Black Midi, Tool, Battles and Swans, blending dissonance with a strong sense of identity. Their music balances chaos and control, mixing unsettling atmospheres with hypnotic rhythms and sharp distortion. HEISA crafts tightly arranged, complex compositions featuring heavy guitars and vocals that merge seamlessly with their bombastic, primal drumming.Formed in Limburg (BE), HEISA quickly made a name for themselves with raw, energetic live performances. Just like the mines in their hometowns, the live shows of HEISA are dark, eerie, thrilling, and full of intensity, drawing the audience deep into an immersive atmosphere where the energy builds, and unexpected moments erupt like bursts of light in the darkness.In 2020, their album joni was released, although the pandemic canceled live shows. Nevertheless, joni’s ten tracks resonated with listeners around the world, receiving airplay and earning glowing reviews. Critics praised their ability to both challenge and captivate audiences, solidifying HEISA as one of the most exciting new acts in the scene.In 2025, HEISA embarks on a new chapter with the release of their third album. This album showcases an evolution in their sound, keeping the bombastic drums, droning guitars, and dynamic vocals, but pushing further into melody and experimentation. The first single, “The Harmonist,” blends heavy basslines with impactful drums, while the guitar acts as a secondary voice, guiding listeners through a feverish dreamscape. On this new record, HEISA brings their emotions to the forefront, revealing a raw, edgy intensity in tracks like “Lazar” and “Sad Dancer,” where vulnerability and tension intertwine. TROIS will be released on March 28 via Labelman, marking a new phase in HEISA’s musical journey.

Loud, genre-defying and unafraid to be different, Ecca Vandal is a true original. Born into a musical household that arrived in Australia from Sri Lanka via South Africa, Ecca was immersed in a diverse world of art and music from an early age. Spending her formative years as a jazz musician, Ecca's passion for the improvisation of jazz led her to fall in love with the DIY abandon of punk and foster an ability to effortlessly balance soulful melodics with raw, unapologetic power. Her 2017 debut self-titled album drew universal acclaim – Rolling Stone delivered 4.5 stars for the ‘vibrant, dazzling collection of tunes’, while NME lauded its ‘absolutely banging, genre-bending anthems’. Ecca brings unrelenting energy to the stage with a history of touring alongside global heavyweights such as Queens of the Stone Age, Incubus and The Prodigy. Ecca Vandal epitomises creative multiplicity – a rebellious and tenacious voice, and the explosive shot of adrenaline that’s needed right now. New music rolling out from July 2024, leading into an early 2025 album release.

“August Burns Red remain one of the most popular and dependable names in modern metal.”  – Billboard  August Burns Red is likely the only metal act ever described as “thrillingly empathetic”  (Kerrang!). It’s a testament to the ferocious band’s ability to recognize and connect with the  mixture of brokenness and hope found in their audience and within themselves.  A hard-working collective with a shockingly stable lineup for the vast majority of their career,  August Burns Red pour every ounce of themselves into their songs. Atmospheric, riff-laden,  aggressive bursts of controlled chaos, filled with shifting time signatures and tempos, deliver  confessional, self-reflective, and authentic emotion. Songs like “White Washed,” “Marianas  Trench,” “Invisible Enemy,” and “Paramount” are undeniable anthems.  Tour stops with Lamb of God, Killswitch Engage, Parkway Drive, and Bring Me the Horizon;  several major international hard rock festivals (Rock Am Ring, Download, and Aftershock, to  name a few); and the Vans Warped Tour are among the destinations around the world to witness  ABR’s live prowess.  Massive headlining treks celebrating 10-year anniversaries for Constellations and Leveler demonstrated the enduring relevance of the band’s catalog, nearly 20 years into ABR’s storied  career. In recent years, Revolver Magazine included Constellations in their 10 Essential  Metalcore Albums From 2009, alongside similarly consequential records from A Day To  Remember and Architects. 2020’s Guardians debuted at No. 1 on Billboard’s Hard Music, Rock Albums, and Vinyl Albums  charts. Revolver, who put the band on their cover the same year, declared August Burns Red  “embrace the pain so well.” It’s a truth never more evident than on Death Below, their stunning  ninth studio album.  The twice-GRAMMY-nominated metal band from Amish Country (Lancaster, Pennsylvania, to  be exact) indulge New Wave Of American Heavy Metal and simultaneously summons a sound  that’s often dark, oppressive, and black metal-ish bleak.  At a point in their career where most bands bend over backward to become more “accessible,”  August Burns Red double down on their sound, following up the punishingly heavy Guardians with an even more extreme record. Album ten is both thick with a dense atmosphere and very  pissed-off.  Luhrs, guitarists JB Brubaker and Brent Rambler, bassist Dustin Davidson, and drummer Matt  Greiner sound gloriously unhinged. “This is probably our most progressive album,” Rambler  reasons. “Guardians was a bit more streamlined in structure than this one.”  The writing process began during the onset of the worldwide pandemic. “It was a dark time, and  I didn’t feel like writing unlifting melodies,” Brubaker explains. “The material I wrote came out  darker, more ‘metal,’ so to speak, and Dustin, who writes a lot of stuff with me, was on the same page.”  That isn’t to say Death Below isn’t catchy, memorable, or enchanting. Recorded off-and-on over  two years with longtime producers Carson Slovak and Grant McFarland, Death Below encompasses the varied strengths of the band’s past with an unapologetic density and  overwhelming dramatic power.  Death Below also boasts guest appearances from ABR allies Jesse Leach (Killswitch Engage),  Spencer Chamberlain (Underoath), Jason Richardson (All That Remains), and JT Cavey (ERRA). Songs like “The Cleansing,” “Ancestry,” “Backfire,” and “Reckoning” will  undoubtedly take their place among fan-favorite ABR tracks and will certainly devastate in the  live setting.  “It’s getting difficult for the members of August Burns Red to keep one-upping themselves,”  marveled Billboard shortly before Guardians arrived. With Death Below, they emerge victorious  again.