German hardcore-beatdown masters Reduction take to the stage as opening act for this year’s edition of the annual Impericon Never Say Die tour. Despite the early doors, a rapidly growing crowd is immediately engaged by Reduction's relentless sonic assault, with a late afternoon circle pit even managing to erupt mid-set (featuring the first glimpse of an eccentric banana-clad participant). The initial blurry wall of noise sound mix gradually clarifies, revealing the intricacies of Reduction's hardcore prowess for all to hear. These guys showcase a mix of various levels of full-on intensity, and throughout the performance you can see how they’ve influenced of bands like Knocked Loose with their raw energy and aggression. Gracious on their exit, thanking the fellow touring bands and expressing gratitude to the early-bird audience, inviting fans to connect at the merch desk—a testament to their humility despite being hardcore veterans. Reduction's set serves as a ferocious and memorable introduction to this year’s offering.

Next up we have Fox Lake, who’s performance is a sonic onslaught of massively distorted guitar riffs for any fans of metalcore mashed with hip-hop and groove. Think of Hacktivist and Alpha Wolf duking it out and you have some idea of the excitement I have for this band. From the get-go the crowd go wild, and an ever growing mosh pit is frequently met by members of the band climbing up onto the barrier to orchestrate the swirling crowd. It’s ferocious and catchy in equal measure, with that hip-hop swagger and brashness mixing so well with the classic hardcore metal combo. I think I’m right in saying this is their debut tour in the UK and they’ll surely be developing plenty of interest for the future on these shores.

In a last-minute tour lineup change Left To Suffer are next on the bill, and take to the stage with a visceral energy. Their style is dynamic and chaotic metal seemingly channelling influences from heavyweights like ten56. and Humanity's Last Breath. They exhibit an exciting experimental edge, playing with song structures and unique soundscapes throughout. Amidst animal noises that rival the intensity of Will Ramos, the imposing stage presence of the band's frontman Taylor Barber is only overshadowed by his guttural vocals that surpass expectation, reaching depths that could only be described as otherworldly. There’s also a captivating dimension to the band’s instrumental side with dark and heavy passages revealing surprising melodic undertones. Utilizing backing tracks with finesse, Left To Suffer seamlessly integrated layers into their performance, enhancing the overall sonic experience - seamlessly transitioning between elements and even into two-step hardcore parts. Their sound is a fusion of styles, evoking Graphic Nature vibes at times, delivering not only on the expected heaviness but also incorporating a groove that holds the audience’s attention from start to finish.

Tonight, we get to witness the metamorphosis of ten56. into a fully realised tech-experimental-deathcore powerhouse. They’ve transitioned from the experimental fringes to a more robust sound that allows their songs to take center stage. The experimental elements have been dialled back, creating a holistic sonic experience that resonates with depth and maturity. Frontman Aaron Matt's vocals, previously a constantly relentless force, have now found a measured cadence, adding a newfound precision to the band's signature heaviness. The fusion of brutal intensity and calculated control gives ten56. a futuristic edge, amplified by the incorporation of sinister spoken and fast-chat rapping passages, which injects a modern energy into their performance. The journey unfolds with deliberate movements and controlled chaos, weaving a narrative that slams and jostles the audience to their delight. It’s a testament to ten56.'s ability to navigate the boundaries of experimentation and heaviness, creating a unique sonic landscape that resonates long after the last note. They’ve showcased the band's evolution into a force that seamlessly blends the brutal with the holistic – surely a glimpse into the future of what’s to come.

As we get in the later hours of the gig, Nasty take to the stage to deliver a relentless onslaught of genuinely metallic hardcore that leaves the audience battered yet electrified. The Belgian’s clearly take influence from seminal bands like Terror and Biohazard, with their sound melding the aggression of a roundhouse kick with the unapologetic intensity of classic hardcore. As the set unfolds, echoes of Kublai Khan and Malevolence reverberate through bone-shaking rhythms and barked growls, creating an atmosphere that is both brutal and invigorating.

There’s no intricate changeups or subtle shifts in dynamics, just a relentless and undeniably effective onslaught of hardcore fury. The crowd responded in kind, transforming the venue into a swirling pit of chaos. Nasty's music is tailor-made for the live experience, with its sheer physicality making it impossible not to get caught up in the adrenaline-fueled mayhem. While their set may not be a showcase of vocal acrobatics or genre-bending experimentation, Nasty proves that sometimes sticking to one trick can be the most powerful route to sonic brutality and enjoyment. Perfect for the pit and an intense workout, Nasty's unapologetic approach cements their status as masters of unbridled aggression in the world of metallic hardcore.

Tonight’s headliners King 810 are a fairly ‘marmite’ divisive act, and it's noticeable that much of the crowd either darts out early or has only just arrived as they set-up on stage. I think it’s fair to say I found their performance to be a perplexing journey through a musical landscape that defied easy categorisation. Opening with an eerie haunted house atmosphere, and hints of an almost Sleep Token influence (beyond the use of some masks), the band seem to spend a large portion of the first song doing some kind of performance art piece. This continues between songs in numerous interludes with band members acting out elements to a narrative voice. There’s even an unexpected piano element that sets the stage for particularly peculiar and obtuse narrative. The presence of a masked guitarist and drummer, presumably replacements for departed members, raises questions on whether their skull-king masks are portraying playing card kings or perhaps offering a whimsical nod to Burger King, and it says something that this consideration sits with me for much of the set.

I love Sleep Token and Mushroomhead with the arty drama of that kind of show, but here instead of a theatrical experience the performance takes on a pantomime quality. They also both deliver interesting and varied music. With King 810 I was expecting something musically aggressive, heavy and in-keeping with the rest of the bill, but I find that it’s more like a performance poetry piece with some simple alt-rock metal arrangements as a backdrop. Vocalist David Gunn's gruff and lacklustre delivery falls short of my expectations for a dynamic and engaging frontman. The slow pace of the set, dominated by tribal drums as the sole source of melody (the drumming is in fact excellent), leaves little room for audience engagement until an eventual shift towards a more lively tempo track. King 810's enigmatic blend of styles leaves me bewildered and questioning the band's artistic direction, and in fact exactly aligns to the confusion I have for their perplexing stage performance. They’re obviously a very popular band with lots of people, and you might be one of those people, but for me I’ll have to pass.