From nostalgia to newness, Slam Dunk Festival returned to Temple Newsam with an alternative day to remember.

With five stages featuring over 45 acts, there was truly something for ’emos’ of all ages across this year’s newly improved festival site.

As we all know, the festival faced significant criticism last year, putting this year’s event under close scrutiny. However, it was clear within minutes of arriving that the organisers had completely reinvented the festival for its 2024 edition, providing more than ample space and facilities for festival goers.

This year’s lineup was a true nostalgia trip for alt-rock fans, with many names on the poster nodding to our youth. Our Slam Dunk adventure kicked off with Red Jumpsuit Apparatus, taking us back to their 2006 debut ‘Don’t You Fake It’ with an energetic set that carried the crowd from a downpour to sunshine.

Continuing on the retrospective theme, Head Automatica stormed the main stage to celebrate the 20th anniversary of ‘Decadence’. Frontman Daryl Palumbo’s voice hasn’t aged, and the band sounded impressively tight. However, despite his best efforts, it was evident the majority of the crowd were simply there awaiting for ‘Beating Hearts Baby’ and quickly departed after, as their newer songs didn’t resonate and fell flatter than expected.

In reverse, We The Kings frontman Travis Clark delivered a masterclass in frontman skills as he made crowd engagement a priority from start-to-finish. Highlights included ‘Skyway Avenue’ ‘She Takes Me High’ and, of course, ‘ Check Yes Juliet’. Alongside their renowned throwback singles, the band recognised the diverse age range of the crowd and ensured continuous interaction ensued through dance routines, inflatable aliens and a cover of festival classic ‘Mr Brightside’ allowing new fans to join in a singalong whilst leaving older fans yearning for the return of the ‘Punk Goes Pop’ days. A festival set exactly how it should be – enthusiastic, energetic and memorable for all ages.

Over on the GoPro Stage, The Blackout celebrated ‘The Best In Town’ in full – exactly 15 years to the day since the album was released. Performing the album in its entirety, the thunderously energetic set ignited the crowd, with highlights including ‘Children of the Night’ and ‘Save Our Selves (The Warning)’. Providing a real nostalgic moment with an album that evidently resonated with many fans,as evidenced by their enthusiastic reaction.

Back on the main stage, State Champs were set to perform ‘The Finer Things’ in full, sparking the first mosh pits and crowd surfing we spotted during the day. Top tracks like ‘Elevated’ and ‘Deadly Conversation’ had the crowd dancing even through a tropical storm, celebrating the band’s decade-long journey.

The Kerrang! tent set the stage for Pale Waves‘ singalong set, showcasing their versatility and cross-genre appeal as they made their Slam Dunk debut. Highlights included ‘Jealousy’ and their debut single ‘There’s a Honey,’ with frontwoman Heather Baron-Gracie commanding attention from the moment she stepped on stage and captivating the crowd throughout. Blending energy and engagement, it was a great debut into the alt-rock festival that left fans eager to hear more.

Our standout set of the day was delivered by Boys Like Girls, marking their first UK performance since 2009. Swaggering onto stage with a throwback set from ‘Love Drunk’, ‘The Great Escape’, ‘Hero / Heroine’ and a stripped back emotional performance of ‘Thunder’. It wasn’t all about reminiscing as the band also showcased their latest 80’s inspired album ‘Sunday At Foxwoods’, featuring tracks ‘Blood And Sugar’ and ‘Miracle’. An unreal set from start to finish that oozed fun and enthusiasm keeping the audience hanging on their every word. This performance will be talked about for a long time and has left us eagerly anticipating a Boys Like Girls UK tour.

All American Rejects transported us back in time with hit singles like ‘I Wanna’ and ‘Dirty Little Secret’ remaining old school favourites. Despite their best efforts to showcase newer rock ‘n’ roll enthused singles, frontman Tyson Ritter’s vocals seemed to strain from his over enthusiasm which came across over zealous at points with his persona taking over from the music.

On the Key Club Stage, Mom Jeans electric set caught our attention from halfway across the field as we made a dash to watch their slick show whilst The Wonder Years performed a stellar set on the same stage, proving themselves more than ready for a main stage slot. Performing to a large crowd, their music translated perfectly to the live setting, sounding just as polished as recorded but with an added injection of energy, solidifying their status as industry stalwarts.

Concluding the day, in what marked their final UK festival appearance before the band’s recently announced split in early 2025, You Me At Six came full circle with their Slam Dunk headliner. Delving into their 20-year back cataloge, they treated Sixers in attendance to a unbelievable mix of tracks. Opening with ‘Save It For The Bedroom’ was a nostalgic surprise, and the set continued seamlessly with hit after hit, allowing fans to scream along to tracks like ‘The Consequence’ and ‘Jealous Minds Think Alike.’ The Blackout’s Sean Smith even joined them on stage for a memorable moment. It was the perfect opportunity to raise a pint and toast to their successes. With the band’s final UK shows now announced, anticipation grows for an emotional spring 2024 as You Me At Six bid their farewells.

Slam Dunk Festival has been going strong for 18 years now, and while it has evolved significantly since its inception, it continues to be a must-attend event for alternative music fans. There’s a unique charm to the festival that allows ‘old school’ emo fans to reminisce while providing emerging bands the chance to share the stage with their musical heroes. Maintaining longevity like Slam Dunk isn’t easy, but as it approaches two decades, it has become a fixture in music lovers’ calendars. It’s heartwarming to see families dancing together with children’s arms in the air, as their parents pass down the songs that defined their own youth.

Now all we can say is roll on Slam Dunk 2025…