Louder Than Life 2024 Recap: A Roaring 10-Year Celebration That Inclement Weather Couldn’t Silence
Danny Wimmer Presents – better known by the DWP acronym – has redefined the rock festival experience in the US, turning it into a masterclass in music promotion since 2011. Nowhere is this more evident than at Louder Than Life, Louisville’s premier rock festival, which has grown from its modest beginnings with 36,000 attendees to nearly 200,000 rock enthusiasts in 2024. As the festival celebrated its 10th anniversary this year, the goal was clear: not to only maintain but to amplify its legacy, delivering a multi-day spectacle that aimed at rocking harder, faster, and most importantly, louder than ever before. In the wake of a historic 2023, the anticipation was palpable as the crowds began to fill the event grounds under a cloudy and overcast day that seemed the ideal setting to kickstart the festivities.
Day One: Diverse Sounds and Festive Moments Start The Festivities With A Bang
Among the bands to grace the stage during Thursday’s segment of this four-day event was Boston-born indie rock band Dead Poet Society. Their seven-song set highlighted their eclectic and often eccentric blend of musical influences and showmanship. The band’s sound – which they liken to an old seven-string that guitarist Jack Collins had purchased during his high school days, and subsequently had all of its frets soldered off so that it couldn’t be played normally – certainly defies conventional playing. From the bluesy swagger of the opening track “.CoDA.” to the quirky grooves of “Running In Circles” the quartet was all about making a scene. This was underscored during “Running In Circles” when vocalist/guitarist Jack Underkofler handed his guitar to Badflower’s Josh Katz and proceeded to have his tattoo artist Annie Miao finish a piece on the bare skin of his very lower back area, while continuing to sing, staying still and leaning his body forward. Definitely a first, he was belting out the brooding yet whimsical verses of “Hurt,” by the time Miao was done with her needles.
Next on the roster of early afternoon attractions were Los Angeles rockers Budderside, who made a significant impact during the early afternoon. Known as one of the last bands signed to Motörhead’s former label by Lemmy himself (just before his passing), Budderside brought an older school blend of gothic and 80s sleaze rock influences to the table, all the while maintaining the modern character that has typified American hard rock in more recent times. Led by the raspy and highly distinctive wail of vocalist and founder Patrick Stone and featuring Faster Pussycat/Dorothy’s guitarist Sam Bam Koltun and Dorothy/Corey Taylor’s solo bassist Eliot Lorango, they delivered a set full of energy and professionalism. Well-crafted melodic hooks, hard-edged riff work, tasteful technical displays, and enthusiastic crowd work typified their performance, with standout offerings including the airy and melancholic “Joker”, the angst-driven and industrial-tinged cruiser “Ain’t Alright” and the heavy rocking crusher “Power Hour”.
Mexican alternative rock trio, and frequent festival fixtures, The Warning laid down the hard rocking law with a clear eye to the present. Riding high off the late June release of their latest studio album Keep Me Fed and numerous subsequent tour dates, they reserved the vast majority of their stage time to pummeling the masses with new material from said album. Led by the highly charismatic persona of frontwoman and guitarist Daniela Villarreal, who could be equated to the 21st century’s answer to both Ann and Nancy Wilson of Heart, this three-sister outfit had the masses moving and grooving to punchy banger anthems like “MORE”, Six Feet Deep” and “Hell You Call A Dream”, going down with the Louisville crowd as famously as their favored live entries of yesteryear. Drummer Paulina made mincemeat of her kit while pulling her share of the crowd work, while bassist Alejandra – looking a tad skinnier than the last time we saw them – laid down some tasty grooves while keeping a smile on her face. That said, the most raucous response would come at the tail end of the set when they threw in an energy-infused rendition of fan favorite “Evolve”.
The heaviness factor received a massive upgrade next, courtesy of Texas metalcore masters Fit For A King. As always, the name of their stage game would prove an uber-kinetic display from all involved, with bassist/support vocalist Ryan O’Leary and guitarist Daniel Gailey getting their fair share of airborne time with their now signature incessant jumps, as lead vocalist Ryan Kirby explored the entire stage and screamed his proverbial heart out. Though always a band seeking the heaviest possible mode of expression, their aggression factor has seen a particularly strong increase in recent years, with pummeling anthems off their two latest albums like show opener “Reaper” and “Vendetta” stealing much of the show. A harrowing rendition of their most recent single and cinematic feat “Technium” reigned supreme among all in attendance as the pinnacle, with a correspondingly insane level of movement from the crowd to show for it.
Maximum decibels made way for stylistic intrigue and elaborate visual presentation with the arrival of the Ohio alternative/progressive rock fold Starset. Their programmatic musical medley in seven parts would consist of heavy use of fog and pyrotechnics that perfectly accentuated the futuristic theme of their songs, not to mention a grand elevated platform for the drums and keyboards that were flanked by two violinists, creating a cathedral-like arrangement for the eyes and ears alike. Clad in their Sci-Fi-themed costumes, the band moved about the stage in a methodical yet organic fashion amid a sea of dancing lights amid the smoke and flames. Kicking things off was the leadoff single of their upcoming album “Brave New World”, bathing the audience in a sea of spacey symphonic ambiance while stomping the airwaves with a pummeling metallic groove. Recently unleashed second single “Degenerate” also saw a boisterous performance among an assortment of familiar anthems like “Carnivore” and “My Demons” and was equally well received as anticipation for their upcoming 5th studio LP continues to mount.
Los Angeles alternative rockers Badflower came up next, with a more conventional approach to rocking this massive house with no walls, and arguably codified themselves as the emo rock group that every woman in attendance loved. This is not an exercise in hyperbole, as numerous young ladies in the front row could be observed tearing up as they sang along to this outfit’s second ode “Don’t Hate Me”. Frontman Josh Katz – appearing on stage for a second time in the day – and dressed in overalls with his hair dyed in pink under a neon green hat, was the main focal point, delivering passionate vocal lines during rousing power ballads like “Ghost” and “The Jester”, while his bandmembers were no slouches in the energy department. Their set reached its pinnacle during their closing rendition of “Stalker” when Katz proceeded to dive off the stage and crowd-surf to the show’s conclusion while still maniacally singing while his body was horizontally being held by hundreds of hands.
Cape Cod, Massachusetts, has given rise to some notable talents, but few are as compelling as Highly Suspect. The band’s unique blend of gritty guitars, unconventional keyboard rhythms, and a cinematic approach to sound, blended with hip-hop influences, form a sound that stands out, especially in a live setting. Their set exemplified this, starting more calmly and gradually building up to an intense and powerful climax. Amid the sea of witnessing souls were numerous signs featuring the letters “MCID”, the acronym for My Crew Is Dope, identifying the most diehard members of their global fan base that were in attendance. This quintet of eclectic and forward-looking rockers, led by the haunting and soulful vocal performance of helmsman and guitarist Johnny Stevens, delivered an intensely involved yet accessible medley of 9 select anthems as the afternoon sunlight began to give way to evening. There were several clear peak moments during their performance, the lion’s share of them occurring during their renditions of the gritty rocker “Lydia” and the more spacey and industrialized “My Name Is Human”.
South African-turned-American post-grunge mainstays Seether came to rock out with a no-holds-barred attitude, turning many heads with a combination of the expected and the unexpected. Riding high on the reception of their recently released 9th studio LP The Surface Seems So Far, Shaun and company did nothing else than swing for the fences, with a stage setup that ditched their more elaborated and sort of usual blue and red light display in favor of a fog machine, with the new album’s art projected on a massive LED screen in the backdrop.
Yet apart from a ringer showing of “Judas Mind” off the latest album, the band favored the infectious hook and crunchy guitar-driven department, with crowd favorites of yesteryear like “Remedy” and “Rise Above This” sounding massively heavy, underscored by the animated showmanship of bassist Dale Stewart and guitarist Corey Lowery, while Morgan stuck closer to the microphone during a highly focused performance. This was Seether in one of their heaviest performances in recent memory, and ultimately proved to be one of the highlight showings of the day.
Following the conclusion of Seether’s set, a celebration commenced on stage featuring Sirius XM metal ambassador Jose Mangin as the MC. Mangin was joined by Mayor Craig Greenberg and Danny Wimmer’s CEO Danny Hayes, both addressing the audience to recognize the 10th Anniversary of the festival and proceeded to reenact the ceremonial “Christening” of the stage that ushered in the first Louder Than Life in 2014. The celebration peak arrived with Hayes “baptizing” Louder Than Life with good luck and better omens by crushing a bourbon bottle, while Greenberg proceeded to smash an acoustic guitar to pieces, both moments accompanied by hearty cheers by every soul in the audience, culminated by a group of jets flying over the festival grounds, one of them carrying Danny Wimmer’s wife.
Jose Mangin would segue the ending of the merriment with the introduction of the next act, playing on the contiguous stage, calling lead vocalist Lzzy Hale the best singer in his book, and remarking about his love for the band and even mentioning that Jay was soon to be married. Proving the massive introduction that they had received to not be mere hyperbole, Halestorm brought the fire with the best of them. Spearheaded by the powerful pipes and highly charismatic stage presence of Lzzy Hale, who routinely channels the spirits of Janis Joplin, Ann Wilson, Stevie Nicks, and Joan Jett in a singular voice, there was no shortage of power and pizzazz as they cycled through their 9-song set.
The intro “Raise Your Horns”, giving way to an explosive rendition of “I Miss The Misery” alone would have been worth the price of admission, though standout performances of “I Get Off” (including the obligatory snippet of Heart’s “Crazy On You”) that Lzzy dedicated to the women in the audience while instructing them to find the nearest set of shoulders to climb upon (which occurred en masse) and a rendition of their recent collaborative song with I Prevail “Can You See Me In The Dark”, released earlier this year, were also standout moments amid a consistently riveting display.
As night fell over Louisville, 90s punk rock veterans The Offspring brought their signature attitude and energy to the stage, delivering a 13-song set that never lost its momentum. Things kicked off to explosive cheers with the classic hit entry “Come Out And Play”, accompanied by numerous crowd surfers and a sea of accompanying voices to Dexter Holland’s high-flying wail. Maximum crowd carnage would be achieved via high-octane rockers like “All I Want” and “Bad Habit”, with cruising fan favorites “The Kids Aren’t Alright” and “Gotta Get Away” (the latter was chased by an impressive drum solo display out of recently recruited kit destroyer Brandon Pertzborn also inspiring some heavy moshing.
Comedic entries like “Why Don’t You Get A Job” and “Pretty Fly (For A White Guy)” saw no shortage of crowd participation, as did the rousing and show-ending performance of “Self Esteem”. All of that being said, the pinnacle of this now 4-decades-old punk rock institution’s showing was the bombastic mid-show medley consisting of Black Sabbath’s “Iron Man”, Guns ‘N’ Roses’ “Sweet Child O’ Mine”, “In The Hall Of The Mountain King” and classic Ramones anthem “Blitzkrieg Bop”, a fitting tribute to this elder statesman act’s elders wrapped in a sonic coup de grace.
As the cool and overcast weather began to give way to heavy rain, American metal stalwarts Five Finger Death Punch came to take things up a notch. The usual display of blaring pyrotechnics and dancing lights provided the perfect contrast with the starless and uniform blanket of the evening sky, and their musical presentation t was no less explosive. Pummeling riff machines with thunderous beats and roaring shouts such as “Lift Me Up”, “Jekyll And Hyde” and “Never Enough” were the order of the hour, reestablishing this outfit’s heavy metal bona fides at every point while also inspiring plenty of sing-along opportunities during those signature chorus hooks that accompany the deafening fury.
A poignant moment would also be shared in tribute to the U.S. troops via the harrowing power ballad “Wrong Side Of Heaven”, and a haunting one would come to pass with their signature cover of “House Of The Rising Sun”, seeing lead vocalist Ivan Moody trade in his berserker roar for a smoother, deep-toned croon amid a more melancholic musical accompaniment. But even more auspicious than the performance itself was Moody’s sense of camaraderie with the audience, underscored by a moment where he spotted a kid in the audience with his dad and invited him to join the band on stage for the rest of the performance.
Day Two: Mother Nature Gets In The Way
In a turn of events that tested the resilience of both organizers and attendees, the second day of Louder Than Life 2024 was ultimately called off due to relentless weather conditions. Despite the tireless efforts of the festival team, who spent the day in constant consultation with meteorologists and local authorities, hopes of salvaging the event were dashed. The team had been on standby, ready to seize any window of opportunity to open the gates and let the music play. However, the persistent wind gusts and hazardous conditions left no room for compromise. Brief moments of optimism were overshadowed by the unyielding force of Mother Nature, leading to the tough but inevitable decision to cancel the day’s festivities around 7 PM. The safety of attendees, artists, and crew took precedence, marking a somber yet necessary conclusion to the day’s events.
When bad weather strikes a festival, chaos can quickly follow – the 2023 ill-fated edition of Blue Ridge Rock Festival is the most recent example, often leading to disappointment and frustration among attendees. But Louder Than Life 2024 managed to turn a potential disaster into a story of success. Unlike other events where mishandled weather disruptions have led to widespread criticism, the Louder Than Life team took a proactive approach, keeping festival-goers informed and satisfied throughout the ordeal. Anywhere over social media, attendees were grateful for the constant communication they received throughout the day.
In a quick response to the canceled performances, organizers also offered those with Friday single-day tickets the chance to attend either Saturday or Sunday. They also prepared fans for continued rain, providing tips on what to bring and setting up a special “Dry Zone” where attendees could enjoy food, drinks, and merchandise while escaping the wet conditions.
Obviously, one of the festival’s biggest draws, my beloved Slayer – yes, I’m still heartbroken about it! -, was unable to perform, despite the organizers’ best efforts to rework the schedule. The festival team explained the next day: “Regarding Slayer: We did everything we possibly could to have them play tonight or tomorrow, but there are so many moving parts behind the scenes to adding a headliner last-minute onto a day that it just proved impossible. It’s very, very rare for that to be successfully accomplished, but please know that despite that we still did absolutely everything in our power to make it happen for each of you. We wanted nothing more than to hear tens of thousands of fans screaming ‘Slayerrrrr’ together.”
Day Three: Defying the Elements, Music Continues Amidst The Rain
Following a lost second day of hard rock and camaraderie due to inclement weather, day three of the Louder Than Life 2024 festival commenced in less-than-favorable conditions. For the lion’s share of the day, throughout the morning and into the evening hour of around 8 PM, the showers were constant, varying from drizzle to strong precipitations. Yet in bold defiance, avid fans showed up to see as much as they could and make up for lost time, battling the continuous rain, muddied grassy areas, and numerous puddles upon the graveled spaces to catch their favorite bands.
Among the earliest attractions to grace the rain-soaked masses would be West Chester, Pennsylvania’s own CKY, bringing their signature blend of alternative metal and stoner rock influences to one of the main stages, partly in celebration of their 25th anniversary as a band. Onlookers responded favorably from the dank grounds before the stage as signature live staples like “Attached at The Hip” and “Escape From Hellview” rang out into the open air, though the highest point of their 8 song set would be their closing collaboration with three members of Crobot in a rendition of Turbonegro’s “All My Friends Are Dead”. It was a slightly less raucous performance than the one they threw together as additional guests during Crobot’s set at Sonic Temple, but with the assistance of Brandon Yeagley, Chris Bishop, and Dan Ryan, it did a lot to brighten an otherwise dreary morning.
San Francisco-born singer/songwriter Lilith Czar was the next to grace one of the main stages, marking her first live performance in over a year and also coinciding with the birthday of her vibrant and ever-smiling drummer Lindsay Martin. With her microphone adorned with flowers and donning a white, see-through lace dress, she delivered a highly impassioned set, flanked by the energetic presence of her supporting band, with her bassist/backing vocalist and guitarist exploring the stage regularly, while the aforementioned kit woman and birthday girl Lindsay bashed away at the drums while head-banging and repeatedly sticking her tongue out at the audience.
The entire 7-song set was a treat for the ears, though with a couple of memorable moments happening during her soulful rendition of Stevie Nicks’ “Edge Of Seventeen”, and at the beginning of the closing entry “Anarchy” as the rain receded a bit, and Lilith declared: “I’m so tired of being told what to say, what to do, how to dress, how to sing…fuck all of that, and I know you guys are the same, so I wrote this song for you all”.
The trend of solo artists manning the stage continued in more of a southern meets alternative rock direction courtesy of Tim Montana, bringing a blend of dreary Alice In Chains and bluesy Mick Mars trappings down upon the masses as the rain returned. Tim himself made no secret of his stylistic affinities to the crowd, mentioning that he had recently wrapped up a tour with Jerry Cantrell, and upon meeting him it was basically akin to meeting the guy looking back at him from the posters on his bedroom walls.
But for all of his banter about his musical heroes, this singer/songwriter brought his own blend of upper mid-western country sensibilities to the table with a heaping side order of attitude, with rocking anthems like “Savage” and “Ain’t Coming Down” topping off a strong half-hour set, though the poignant flavor of his auditory tribute to America’s troops “Die Today” cut the deepest and left the most lasting impression upon all in attendance.
San Diego, California nu-metal exponents P.O.D. were next on the roster, and the same slamming, off-the-hook brand of stage high-jinks that typified their appearance at this year’s Welcome To Rockville festival was on full display. They came out of the gates swinging with a raucous performance of their recent album Veritas’ leadoff single “Drop”, which originally featured the vocal talents of Lamb Of God’s own Randy Blythe during the studio version. Though the rain’s intensity increased significantly throughout their set, it simply accentuated the whole experience for the crowd and saw the first crowd surfers of the day and a sea of birds being flipped at the skies. From the mud-stomping mayhem in response to the heavy-hitting anthem “Boom”, to the optimistic air struck by the chorus of infectious banger “Alive”, a defiant chord was struck by band and fan alike despite being drenched to the bone.
On one of the smaller stages, Atlanta-based rockers The Funeral Portrait brought a vibrant visual and sonic showcase to the table. With a strong penchant for the theatrical, accentuated by all-black outfits that contrasted heavily with frontman Lee Jennings’ neon green locks and the similar bright and auspicious orange mane of bassist Robert Weston, this was a band that knew how to bring in the fun factor.
The interplay between these two alone was enough to sell the entire band as masters of the stage, though guitarists Cody Weissinger and Caleb Freihaut were not far behind in working the crowd and moving around in kinetic fashion the stage, when not providing support vocals to Jennings’ flamboyant wail. Perhaps it was the hype surrounding their recently unveiled new album Greetings From Suffocate City, but their rendition of its single “Blood Mother” shone the brightest of the several entries rounding out their set, completely undaunted by the continual deluge pounding the festival grounds.
Modern metal rising stars Nothing More came roaring onto the stage next, playing to a packed audience and giving zero fucks about the elements. Fueled by the commanding stage presence of helmsman Jonny Hawkins, who effortlessly functions as the band’s focal point (especially for much of the audience’s female contingent given their response to his shirtless stage antics), they relied heavily on massive hooks mixed with crushing guitars and spacey electronic loops to drive home their blend of modern alternative and progressive rock stylings.
The first half of their set heavily favored their latest album Spirits, kicking off with “House On Sand” and later featuring a boisterous rendition of infectious banger “If It Doesn’t Hurt” that left the crowd thirsty for more despite the constant rain. Ultimately, it was the familiar odes that came later that sealed the deal, with the closing performance of their smash hit and Active Rock chart-topper “This Is The Time” concluding a riveting 9-song set, and seeing Hawkins maniacally drumming on a separate drumkit – he was a drummer himself in the early years of the band. For the records, we miss the days when Hawkins used to ride “The Scorpion Tail”, the ginormous animated structure, they created out of scrap metal and salvaged auto parts. Beholding that was a treat in itself.
The relentless rain might have turned the grounds into swarms, but it didn’t stand a chance against the fierce energy of Dropkick Murphys. With their unique blend of Celtic melodies and punk attitude, they transformed a gloomy day into an all-out celebration. The Massachusetts-based band wasn’t just there to perform – they turned their entire set into a massive party. The infectious joy in the air was almost palpable, as the connection between the band and the audience surged with every note. Hundreds of fans, undeterred by the weather and holding banners and flags, sang along to fan favorites like “The Boys Are Back,” and “I’m Shipping Up To Boston.” It was less a performance and more a shared moment of unbridled fun as if the music alone could lift everyone out of the storm.
Christian-themed Memphis rockers Skillet were next on the main stage, packing plenty of positivity in each anthem alongside an elaborate stage showcase. John Cooper brought his usual shtick to the masses, including a rousing and very well-received speech about equality; blasting his signature handheld smoke cannons at the crowd during their performance of banger entry “Feel Invincible” and more hooks than the average human could handle. The energy factor was delivered like clockwork, with Cooper’s wife and the band’s rhythm guitarist Korey moving about the stage like a deranged animal let loose from the cage, and lead guitarist Seth Morrison delivering surgical rhythm & lead guitar parts alternating with Korey’s.
They brought a not-recently-seen and complicated stage setup, consisting of two elevated platforms on either side of the drum kit, where Korey and Seth stood as they moved up and down respectively, especially used during an explosive performance of “Awake And Alive”. At every point, Skillet was a band set on outdoing themselves, and in the process frequently did so right up until the closing notes of “The Resistance”, which polished off a brilliant 9-song performance. In case you were wondering, they also played their smash new hit “Unpopular” – from their upcoming album “Revolution”, which has amassed more than one and a half million views in a matter of weeks.
Rammstein front man turned solo artist Till Lindemann marked a drastic change in direction for this day of rock in the rain in favor of the grotesque, setting forth a spectacle of debauchery not for the faint of heart or the prudish of sensibility. At the backdrop was a massive LED screen showing human lips being stitched, naked bodies of all shapes and sizes, a woman’s clitoris with piercings, nude women’s golden showers, wooden horses ridden by women holding dildos and other various images wreathed in extremely explicit content, borderline in perversion. It honestly looked at time-like the absurd and gory scenes from any of the Saw movie-saga, drenched with a dose that flirted with porn.
Songs appropriated from Lindemann’s lyrically explicit solo ventures like “Fat”, “Blut” and show closer “Praise Abort” went over splendidly amid the suggestive gesticulations of his support band and the graphic imagery going on behind them, which was no small feat considering the language barrier between the set’s primarily German lyrical content juxtaposed before an English-speaking audience. In essence, it was a visually overloading affair and hundreds in the rain-soaked masses of onlookers loved every minute of it.
Social discontent and pummeling riffs were the order of the evening as the rain tapered off and night crept into the overcast sky courtesy of Los Angeles crossover metal titans Body Count. Led by the loud and proud persona of rap icon Ice-T, decked out in his signature hoodie and ball cap getup while being flanked at each side by two small LED screens projecting two images of the reaper, they projected enough decibels outward to cook the muddied grounds around the stage back to a solid state, with the guitar attack of Ernie C and Juan Of The Dead anchored by the relentless and precise drumming of Ill Will. At every opportunity, this fold proceeded to get every fan in attendance amped up to the point of combusting, inspiring bodies to mosh and flail about despite the slippery conditions in the pit.
If there was any flaw in the set that they delivered, it was that they all but blew their entire load at the very beginning with a glorious medley performance of Slayer’s “Raining Blood” and “Postmortem” back to back, which caused every head in sight to band and made up for said band not being able to leave their mark the previous day due to the weather. That being said, the raw performances of signature anthems “Cop Killer” and “The Purge” that Body Count turned in were not wanting in any sense, nor was their particular rendition of Pink Floyd’s “Comfortably Numb” – likely the first time the recent single has been played live – that closed out their 9-song set.
Though they weren’t the only headliners to rock the main stages in the closing hours of Louder Than Life 2024’s third day, nu-metal icons Disturbed were the last to be caught on camera due to the inclement conditions, and in typical fashion, their 13-song slough was nothing short of electrifying. They kicked things off with their recent and riff happy banger “Hey You” and frontman David Draiman’s gritty shouts instantly inspired a sea of cheers and accompanying voices during the choral hook as he and the rest of the fold bobbed and weaved about the stage. With each successive song, the energy level just continued to grow, spearheaded by energetic anthems like “Ten Thousand Fists” and “Indestructible”, though it would be the band’s signature and haunting rendition of Simon & Garfunkel’s “Sound Of Silence” and their pummeling metallic interpretation of Genesis’ “Land Of Confusion” that saw the explosiveness of the drenched crowd below turn nuclear. But amid all of the aforementioned bangers and similarly brilliant performances of “Down With The Sickness” and “Inside The Fire” during the encore, the most auspicious moment was the duet Draiman sang with local Louisville contest winner Kaitlin Webber, which underscored Disturbed’s total dedication to community and crowd involvement and topped off a truly magical evening.
Day Four: A Grand Finale Night of Headbanging and Celebration
Taking a turn for the less chaotic, the fourth and final day was greeted with milder conditions under an overcast sky. Precipitation was far less of a factor, barring the occasional passing afternoon shower, allowing for things to go as planned. Attendance for each band was up consistently, rewarding what could only be described as an unshakable level of tenacity among the bands and fans alike to bring this celebration of hard rock and spirits to a strong conclusion.
The flavor of the 4th day of festivities was marked by a sense of eclecticism from the start, underscored by a performance shrouded in mystique courtesy of Berklee College of Music band Project MishraM, who hit the Decibel Stage around 1 PM. Bringing a highly unique blend of progressive metal, djent, funk, jazz, and electronic musical influences to the table, draped in a template of Indian traditional influences, they had little difficulty standing out from the more usual musical offerings of the event.
Their visual presentation was no less captivating than their sound, the seven members spread across the stage in various traditional Indian outfits, each contributing to the overall aesthetic. The instrumentation fitted the same scheme, with guitarist Sumant Nemmani, bassist Ram Srinivas, flutist Anirudh Koushik, and violinist/vocalist Pranav Swaroop interchanging the spotlight, all the while drummer Sanath Shanbhogue, though mostly confined to his seat, joined in the energy and excitement as much as he could. Vocalist Shivaraj Natraj regularly shifted between singing in Sanskrit, Kannada, and English, while also incorporating ethnic chants, and the early crowds, despite still finding their way amidst the muddy grounds around the stage, cheered enthusiastically, once again proving that the music transcended language and other barriers. Suffice it to say, they broke the mold in every sense, which came as little surprise to those who caught them on tour previously with the likes of Leprous, Haken, Monuments, and Devin Townsend. A true breath of fresh air among the more metallic sounds that usually dominate the festival, I hope these guys come back to subsequent editions.
The uncommon and varied character of this day’s musical content took another sharp left turn with a short early afternoon set courtesy of Queens, New York rap rock trustees Oxymorrons. Granted, the auditory stylings that they exhibited rang familiar to anyone with an understanding of the nu-metal rage of the early 2000s, but in terms of attire and on-stage antics, they took things in a decidedly loud direction with outfits and an overall visual presentation that would have put Hollywood Undead on notice. Indeed, while their avid fan base was quick to shout back the lyrics of familiar anthems like “Enemy” and “Graveyard Words”, the average onlooker was more taken by the police tape covering the stage and one of the vocalists shifting between wearing a hard hat and sporting orange glasses. It was a somewhat chaotic showcase that bordered on a carnival-like character at times, but the audience response strongly suggested that everyone there got exactly what they paid for.
San Francisco prog/alternative rockers Black Map were next to grace the stage, and while they opted for a more straightforward look, their performance was no less appealing than the previous acts. Infectious melodic hooks, precision-based grooves, and exhilarating detours emerged from their blend of post-hardcore influences, pummeling grooves and asides into a meditation-like ambience.
Occasional hints of shoegaze stylings intermingled seamlessly with aggressive, riff-happy moments that spoke to a band seeking to break away from the crowd of metalcore and post-grunge outfits that have generally occupied this outfit’s sub-genre. The crowd response was enthusiastic throughout their set, with concise banger entries featuring their unique blend of influences such as “Octavia” and “Run Rabbit Run” topping off a consistent display of inviting rock music for all who longed for a chance to connect or to escape.
Things took an experimental and decidedly metallic turn thanks to Canadian regulars and festival favorites Spiritbox. Staying true to their roots with the 2000s experimental band Iwrestledabearonce, vocalist Courtney LaPlante, guitarist Mike Stringer, and the rest of the band delivered an unfiltered display of their avant-garde, modern metal-drenched style. They moved energetically across the stage, engaging with the crowd at every opportunity and keeping the energy high throughout their set.
While Spiritbox has always been impressive on their own, this performance featured several guest appearances that elevated the show even further. Poppy joined Courtney for a strong rendition of “Soft Spine” midway through, Tatiana from Jinjer added her vocals to “Circle With Me,” and Sam Carter of Architects delivered an intense performance of “Yellowjackets.” These guest spots turned their set into an all-star occasion, celebrated by the crowd’s wild energy and a level of crowd-surfing that nearly rivaled what one can see when headliners take the stage.
Things took a turn for the old school with a more straightforward presentation courtesy of Palm Desert, California sensations, and blues rockers Eagles Of Death Metal, at least from a sonic standpoint. Visually speaking, what was brought to bear was quite unconventional, with touring bassist Jennie Vee turning plenty of heads with colorful attire, including red exotic sunglasses and a loud hat to boot, to speak nothing for almost stealing the show with how avidly she moved around.
Frontman Jesse Hughes was naturally no slouch when it came to crowd work, taking several occasions to step to the edge of the stage and even managing a trip into the pit to sing to the audience right at the barricade with his epic mustache front and center. Needless to say, their brand of throwback blues and rockabilly stylings and cartoonish songs reminded their core fans of and introduced all newcomers to the punch line behind this band’s name, though it all came with a solid performance that blended seamlessly with the eclecticism of the day.
The day’s sense of eclecticism and nuance did not cease later in the afternoon with the arrival of French extreme/progressive metal titans Gojira, but it definitely took on a heavier and more bombastic character. The sheer sonic force projected from the stage to the crowd alone was nothing short of massive, but the added visual spectacle of blaring pyrotechnics and smoke cannons that exploded forth before a huge LED display annihilated the place. Any possible shadow of a doubt about why these four gentlemen are at the forefront of the metal scene of our times, dissipated as the pummeling riffs punched the first rows in their chests.
The audience response was correspondingly off the hook, with thrashing bodies and numerous crowd surfers reciprocating the bombastic musical display and captivating visuals at every turn. Standout moments were difficult to distinguish from the rest of the show given the high level of consistency on display throughout their 9-song set of spiritually, philosophically, and environmentally charged material, though their performances of “Backbone” and “Flying Whales” were personal highlights.
As the afternoon began to give way to evening and the skies remained overcast, Massachusetts post-grunge icons Staind brought forth an amplified version of themselves. The heaviness factor seemed greater than usual, catered to visually by an exaggeratedly animated display from most of the band, with lead guitarist Mike Mushok head-banging like he was auditioning for a slot with Cannibal Corpse, while bassist Johnny April crab-walked around his mic with youthful vitality while helping drummer Sal Giancarelli laid down a solid backbone.
By contrast, vocalist and helmsman Aaron Lewis was his usual stoic self, sticking close to the microphone to focus on quality performance, displaying his emotional commitment to each song via facial expressions and clasping the microphone two-handed. The crowd response was a consistent roar throughout the band’s driving, 11-song set; though it became especially deafening at the tail-end during a colossal one-two punch showing of classic power ballad “It’s Been Awhile” and pummeling banger “Mudshovel”.
The metallic post-grunge wave of the early evening continued unabated with an equally solid showing courtesy of Pennsylvania’s own Breaking Benjamin. Though daylight was still permeating the cloud-steeped sky, the massive LED screen at the band’s rear and the dazzling pyrotechnics display that came with their 12-song set could not have shined brighter had it taken place at midnight, accenting the heavy peaks that often occurred during stylistic niche of subdued verses chased by bombastic choruses.
The band’s stage behavior was also more animated than usual, and the amount of stage gear surrounding frontman Benjamin Burnley’s position on stage was notably reduced to allow him greater freedom of movement away from the microphone, making for some stellar photo opportunities rarely afforded during previous festival appearances. Whether it was highlight performances of “Blow Me Away”, “Polyamorous”, “I Will Not Bow” closing hurrah “The Diary Of Jane”, or any other point during their hour on stage, the magic never ceased.
The night fell upon the festival grounds in Kentucky at the perfect time to accompany British heavy metal forefathers Judas Priest on yet another riveting showcase. For a band marking its 55th anniversary and featuring a core membership well into their golden years, one couldn’t help but be taken aback by the raw power, energy, and pizzazz that saturated the open air. Lead vocalist Rob Halford, who made note of how long the band had been around before launching into a harrowing performance of their latest album’s title anthem “Invincible Shield”, consistently sounded a good 20 years younger than his massive white beard and measured movements betrayed.
These titanic purveyors of metallic thunder were relentless throughout their grueling, 13-song set of recently unleashed bangers and classic entries of yesteryear. A sea of voices cheered and sang along to the infectious hooks of “Breaking The Law”, “Turbo Lover” and “Living After Midnight”, while riff-centric beasts like “Sinner” and “Electric Eye” had heads nodding and fists raised as far as the eye could see. But arguably the pinnacle of this master class in old-school aggression was the high-octane brilliance of “Rapid Fire” and the hyper-thrashing mayhem of “Painkiller,” which saw Halford still shattering glass with his voice amid a cacophony of shredding guitars and thunderous drums.
The coup de grace of Louder Than Life 2024 would come courtesy of nu-metal pioneers and Bakersfield, California’s own Korn, serving up a marathon showing under the night sky with just about every stage notable entry of their 30 years plus in the business in tow. Already riding high from numerous tour dates throughout the month, they wasted little time in conquering the stage and audience with a huge LED display and all the profuse and futuristic lighting elements that go with a headliner’s extravaganza.
Perhaps the only thing more auspicious than the animated showcase that Jonathan Davis and the rest of the band put on was the endurance displayed by the crowd before them as the decibel level of the audience battled the aggressive anthems that inspired it. Old school entries like “Clown”, “Blind” and “Ball Tongue” were obvious favorites that inspired wild moshing from the crowd, and a snippet of Metallica’s “One” being snuck into their rendition of “Shoots And Ladders” was greeted with heavy cheers. It’s noteworthy to mention a 20-minute interruption ensued after the band had played “Good God”, which ended up causing the removal of “Start the Healing” from the setlist, while the band waited for some injured fans in the front rows to be aided and brought to safety.
Though very much an outfit associated with modernity in metal circles, the reigning them of Korn’s performance was one of nostalgia, with the lion’s share of the material on display hailing from 20 years back or more. Nevertheless, the veritable ocean of souls decked out in their t-shirts, both young and old; spoke to a timelessness that this band consistently exemplified as they wheeled through their 17-song set, culminating in a grand encore performance of “Freak On A Leash” that rammed the point home like a mighty sledgehammer.
Although a day was lost due to unexpected weather conditions, and the challenges that followed, the overall takeaway from the events in Louisville, Kentucky, from September 26th to 29th was one of the resounding triumphs. Despite high winds and rain creating conditions that made the mud pit of Woodstock ’94 seem like a more recent memory, this year was yet another testimony to the resourcefulness and adaptability of the entire DWP Presents collective and the resilience and commitment of the broader rock and metal community. Louder Than Life 2024 stands as evidence that life rarely goes according to plan, and what truly matters in shaping any outcome is the will to persevere, which was visible in spades at every turn.
Louder Than Life’s 10-year anniversary won’t be remembered for the inclement weather but because of how much louder our voices screamed in unison to defy Mother Nature and celebrate what ultimately brings us back each year: friendship, solidarity, and a shared, undying love of music.
