Outbreak Festival 2022
at Bowlers Exhibition Centre in Manchester, UK
words by Dan Tsourekas

For its 10-year anniversary, Leeds based hardcore Outbreak Festival not only upgraded in scale, moving to the Bowlers Exhibition Centre in Manchester, but provided the UK with an extraordinary and historic moment for the hardcore scene.

The hardcore scene in the UK has always been considered somewhat more underground and niche. With most towns focusing either on hip-hop, indie, and alternative music. However, ever since 2011 Outbreak festival has provided hardcore fans across the country the recognition that they wanted. Primarily located in Leeds, each year sold out the relatively small capacity venues that they would take place in, moving slowly and steadily towards a large goal.

Outbreak 2020 announced Knocked Loose as their headliner in what was on course to be the biggest one yet. Soon enough, the COVID-19 outbreak put those plans to a stop, with the promoters announcing the postponement of the festival not once but twice, bringing the celebration of the 10-year anniversary of Outbreak a year late, in 2022. This only allowed the promoters to expand and prepare an absolute beast of a line-up for its return, with Outbreak 2022 not only adding a third day and a preshow to its usual two-day course but moving to the 5.000 capacity BEC venue located in Manchester.

During the pandemic, a lot of frustration built up around the country, two years of staying inside an isolating from the outside world took a toll on the music industry. However due to the first festival back being the Download Pilot, and due to this pent-up frustration, a lot of new crowds were introduced to heavier genres, the likes of metal, hardcore and punk. If anything, this was Outbreak’s chance to not only transform from an underground staple festival to a future behemoth that can stand tall alongside the biggest festivals in the UK, but to also bring the beautiful community of the hardcore scene to light, a scene that has widely been underappreciated and misunderstood.

Indeed, following the announcement of the new Outbreak ‘22, the festival sold out in record time, an amazing feat considering the vast upgrade in capacity. Time progressed, details about the festival periodically got announced, and soon enough it was time to see if the lengthy wait paid off for the promoters.

Arriving at the BEC gates for the Pre-Show on Thursday, everything finally felt real. The atmosphere was perfect throughout the community that had travelled down to Stretford to see some of their favourite bands, and everyone had their weekend wristbands ready. The first thing that noted how seriously the promoters took not only the organisation itself but the respect towards the community. This respect came with the decision to make the festival a no barrier show. To enter the pit areas, a waiver had to be signed, and subsequently the audience who wanted the full hardcore experience had to have a special wristband alongside their usual one. This allowed the crowd to mosh as per usual, but also created a more intimate connection with the bands, and the ability to crowdsurf as much as wanted. It was a perfect homage to the roots of hardcore music, which has always been surrounded by its DIY culture.

Entering the venue, it was noticeable that for the pre-show, the second stage was used, as production was still working on the main stage. Straight off the bat the audience was welcomed to five amazing bands, Guilt Trip, Modern Error, Static Dress, seeyouspacecowboy, and last-minute headliners Counterparts. Each band brought their A game, with the highlight of the day being seeyouspacecowboy, who kept a tense atmosphere from the moment they began, until the final second of their set. Crowdsurfers, intense moshpits and chants followed each of the acts throughout the night. The audience left knowing that the weekend ahead would be something special for many reasons.

Walking down the same path on Friday morning was a completely different experience. The noticeable change in the volume of people walking down towards the festival was extraordinary. The empty open area on Thursday evening was now a small village with vegan food stalls, bars, and tents. Walking inside the venue towards the main stage, it was clear to see what the scale of the shows would look like. The main stage was phenomenally set up with screens, monitors, and a massive pit area. Before Year Of The Knife opened this year’s Outbreak Festival, I wandered around the venue, visiting the half pipe skate ramp that was set up, and the art gallery next to it, which provided fascinating artwork and pictures from artists that created some of the performing band’s album covers. A lot of work had been put in each aspect of the production in a way that not only paid homage to the scene’s tradition and core fanbase but allowed the newcomers to blend in and incorporate themselves naturally and comfortably within the community. As such, by the time that Year Of The Knife arrived on stage to provide the first superb performance of the weekend, the pit area of the main stage was almost completely full. Outbreak was on track to make history.

Following each break, the merch tent filled up with people looking to buy their favourite artist’s merch. The artists themselves were posted at their own stands, having conversations with the attendees, and providing a very homely and intimate feeling and connection. The hardcore scene is known for its independent and DIY culture, and if anything, this culture didn’t subside to the scale of the festival. Soon after exploring each crevice of the areas surrounding the venue, it was time for Static Dress to reappear on stage, a day after their explosive setlist during the Pre-Show. This time though, the upcoming four-piece were playing an almost packed-out main stage, quite a big contrast to the smaller stage two of the previous day. Performing a different, heavier setlist, they captivated the audience who started large moshpits, and rushed to the stage to sing along and jump off. Soon after their fantastic performance, I made my way down to the second tent, where the 1000 Words or Less podcast host Ray Harkins was interviewing Bryan Garris of Knocked Loose, and Olli Appleyard of Static Dress. Each interview was insightful, allowing the audience to discover more things about the people behind the music, even getting a chance to meet and talk with them following the podcast. The podcast stage was easily a highlight of the weekend, and an excellent choice on behalf of the promoters.

The night continued with a surprise set from Malevolence, which featured an insane circle pit which took place on the stage itself while the band were performing, an explosive performance from hardcore veterans Terror, and finally the headliner announced in 2020, Knocked Loose. In what could only be described as pandemonium, Knocked Loose brought an immaculate atmosphere and energy, with Bryan Garris’ menacing presence during the performance escalating the tension to even further heights. The show had to be stopped for a few minutes after an injury within the pit, which the security guards and paramedics handled brilliantly, and after that, spirits were high until the final song on their setlist, ‘Permanent’, closing a fascinating first day at the BEC.

Saturday and Sunday followed in a similar style, with each day being equally as fun as the audience became fully accustomed with which bands they wanted to see, when to take a break for a skate, and when to visit the merch and podcast tents. Throughout the course of the two days, I balanced between certain acts and podcasts which piqued my interest.

On Saturday, the podcast tent was extraordinary. The guests included Matt Kerekes from Citizen, Jimmy Wizard of Higher Power, and legendary producer Will Yip. Each of the guests provided an insightful view into their mindset, work ethic, and experiences, attracting a large crowd in the process. Sunday’s highlights consisted of Daniel Tracy, drummer of headliner band Deafheaven, and Kadeem France, vocalist of Loathe.

Performance wise, there was a lot to unpack. On the Saturday, after the podcasts ended, the final five bands on the main stage kept the energy and intensity consistent and apparent. Whether it be through the audience invading the stage for Movement’s setlist, which led the lead singer to crowdsurf on the audience that were on stage, Higher Power’s amazing grooves and all-around madness, or Basement’s one of a kind set in celebration of the 10-year anniversary for their first two albums I Wish I Could Stay Here and Colourmeinkindness, the atmosphere remained the same. It highlighted the love that the community have for these bands. The night ended with Turnstile, who quite possibly presented Manchester with their best performance ever. With a mixture of their old material alongside their latest album GLOW ON, there wasn’t a moment in which the audience wasn’t chanting alongside the band or jumping on stage to dance with each other. Truly a dynamic presence which only proves how spot on the festival was with their headliner bookings.

The final day of the festival could be considered the best one performance wise. From 5PM onwards the main stage featured a star-studded line-up, with Loathe, Injury Reserve, Vein.FM, Ceremony, Deafheaven and Touché Amore playing in that order. Loathe provided the crowd with what was the best performance of the day alongside Deafheaven. Their moshpits were extraordinarily large, and they played a mixture of songs from their projects, consisting of heavy and melodic changes throughout. They were followed by Injury Reserve, the only Hip Hop group present during the three days, who excellently handled the situation with their experimental sound, creating a highly entertaining set. Vein.FM’s performance was fascinatingly brutal, so much that people were leaving the stage with bloody noses and bruises from the moshes. After taking a moment to recollect my thoughts and energy, it was time for the last two acts of the festival.

Deafheaven’s setlist was mind-blowingly amazing and equalled the masterclass that Loathe provided beforehand. Performing 5 songs each around 10 minutes in length, there was only little room for rest, as the quickly moved on to the next song following. I found myself holding my breath multiple times during the intensity of the break beats and one-of-a-kind vocals. Ending the live show with ‘Dream House’, they reminded the audience why they are one of the best bands in the genre.

Finally, Touché Amore took to the stage in what was a highly emotional and energetic set for the band’s first performance in the UK in almost 3 years. Their set consisted of fan favourites, old and new material, and was easily the most vulnerable atmosphere I found the festival in. The emotional rawness embedded within the last two acts were truly memorable, and a fitting end to the historical four days. It was the equivalent of the credits rolling after a film has ended.

In conclusion the belated 10-year anniversary of Outbreak present in Outbreak Fest 2022 is more than an incredible success story. It is a historic moment for the UK hardcore scene. It not only paid homage and respect to the crowds that have been supporting them during the smaller scale festivals throughout the past decade but has also been able to bring this amazing community and sound to a larger scale, slowly making its way as a staple genre and scene for this new era of post-COVID live shows. The decision to upgrade 2023’s venue to Manchester’s own Mayfield Depot further proves that, with an expansion from 5000 to double the capacity. Outbreak has officially left its footprint on the larger festival scene, and if there’s one thing I’m sure of, is that it’s here to stay and become one of the greats.

OUTBREAK FESTIVAL 2022