The late-'90s British boy band with the rap verses, reunited and booked entirely on the strength of the incongruity — 'Everybody Get Up' will, in fact, get everybody up.
Download 2026 Lineup
Donington's 23rd Download: Limp Bizkit, Guns N' Roses and Linkin Park across four stages, plus a Thursday opening night, on the spiritual home ground of British rock.
Download 2026 has already wrapped, but you can still dig through the lineup and find the acts you would have loved.
Find the acts you'll love at Download
Name a few bands you love and we'll scout all 113 acts on the Download bill for the ones you shouldn't miss.
About Download 2026
Download's 23rd edition brought 113 acts back to Donington Park, the patch of Leicestershire tarmac that has been British rock's spiritual home since Monsters of Rock. Limp Bizkit headlined Friday, Guns N' Roses Saturday, and Linkin Park closed the festival on Sunday. Ticket packages sold out ahead of the weekend.
Beneath the Apex Stage headliners, the bill did what Download does best, running four stages that barely overlap in audience. Trivium, Babymetal, Bad Omens and Ice Nine Kills carried the Apex undercard; Opus had Architects, Mastodon, A Day to Remember, Behemoth and a Tom Morello solo set; Avalanche leaned British and punk-adjacent with Feeder, The All-American Rejects, Hot Milk, Marmozets and Ash; and Dogtooth was the underground stage, with Blood Incantation, Decapitated, Cavalera, Conjurer and Gatecreeper.
Two changes worth knowing about. Static-X were billed to headline Dogtooth on the Sunday but cancelled their entire 2026 run for medical reasons, and Creeper stepped in (their third set of the weekend, which tied them with Corey Taylor for the most sets played at a single Download). Imminence were also announced and pulled out in February. And in the weekend's most Download booking, the German happy-hardcore act Scooter played the Avalanche Stage.
Expect rock, metal, metalcore and hard rock across 113 acts.
Download 2026 lineup & schedule: all 113 acts
Search it, filter by day, stage or genre. Save anything straight to your schedule.Browse all 113 acts →
Search it, filter by day, stage or genre. Save anything straight to your schedule.
The classic-lineup reunion long outlasted anyone's expectations, and the three-hour sets still get through most of the canon — Slash solos and all.
Nu-metal's chaos agents in their beloved victory-lap era — Fred Durst does it all for the nookie, still, and the field does it with him.
Reconstituted with Emily Armstrong on co-vocals, playing a catalogue that turned out to be load-bearing for two generations — 'In the End' still detonates.
The pop-punk/metalcore hybrid blueprint — mosh-call breakdowns and sugar-rush hooks in equal measure, delivered with beach balls, confetti cannons, and total arena confidence.
Brighton metalcore institution that rebuilt itself after the loss of founding drummer and chief songwriter Tom Searle, trading pit-focused aggression for something vast and cleanly engineered without losing the weight.
J-pop choreography welded to genuine power-metal chops — a premise that should not work and completely does, now with arena-scale production and a decade of converted skeptics.
Noah Sebastian's project drifted from metalcore toward something moodier and far more electronic, and got much bigger for it — 'Just Pretend' made them the scene's biggest crossover story.
Warpaint-and-leather anthems — the black parade's glammer cousins, stadium-goth choruses delivered with total conviction, eyeliner-era devotion still marching.
Denver death metal by way of Tangerine Dream — cosmic, patient, and the most critically adored band in the genre.
Indian nu-metal with dhol and flute in the front of the mix — anti-hate lyrics over some of the heaviest grooves going.
Toronto hardcore with a Southern-sludge swing, and a Sabbath covers side project that tells you everything — riffs first, breakdowns close behind.
Max and Iggor performing Sepultura's 'Roots' in full — Brazilian metal history live, from the brothers who wrote it.
B-Real's nasal snarl over DJ Muggs's murk — the group that made stoner rap a genre with a flag, 'Insane in the Brain' still a jump-along ritual.
German trancecore turned full variety act — day-glo costumes, absurd videos, and breakdowns that genuinely hit, the internet's favorite metal party band.
Detroit's disco-rock absurdists, whose deadpan commitment to the bit has sustained twenty-odd albums — 'Danger! High Voltage' still combusting nightly.
Welsh alt-rock lifers with an unreasonable number of songs you'd recognise from British radio in the early 2000s — 'Buck Rogers' just the start.
Lzzy Hale's Grammy-winning powerhouse — the loudest voice in modern hard rock, delivered nightly with full-throttle sincerity.
Masked LA rap-rock six-piece with six vocalists and a knack for the shout-along that outlives the criticism — critic-proof and pit-approved.
Horror-movie metalcore staged as full theatre — every song a slasher reference, every set closer to a production than a gig.
Texas hardcore at its most punishing — mosh calls with a message, and a low end that treats subtlety as a character flaw.
Marseille metalcore outfit trading in huge melodic choruses and breakdowns, with occasional French lyrics cutting through the English.
'Alive' and 'Youth of the Nation' — San Diego's nu-metal survivors, positivity intact through every scene cycle.
Australian drum-and-bass played by an actual rock band — the live show is louder and more physical than the records suggest.
RØRY
Pink-glitter 'bimbocore' — pop-metalcore with a feminist bite, breakdowns in hot pink and lyrics that name names.
H.P. Baxxter's German hardcore-rave institution, whose complete tonal mismatch with a rock festival is exactly the point — 'Hyper Hyper', forever.
British band reviving 2000s alt-rock gloss with a genuinely modern pop sensibility — Y2K crunch, algorithm-era hooks.
'Gives You Hell' and a wildly fun second act — the internet's favorite reunion, with Tyson Ritter in full chaos-uncle mode.
Taylor Momsen's grunge-blooded hard rock — smoky, heavy, chart-topping, with more rock-radio #1s than most legacy acts.
Melbourne five-piece who traded straight metalcore for something sleeker and more atmospheric — riffs built around croon-to-scream dynamics.
Matt Heafy's Florida four-piece has quietly become one of metal's most technically reliable live bands — 'Ascendancy' to now, no off nights.
UK post-hardcore upstarts with arena ambition — Architects-school heaviness with a new generation's polish, ones to watch, loudly.
Spanish outfit welding metalcore riffing to electronic textures behind a commanding female vocal front.
Halle metalcore act balancing clean melodic hooks against screams, with a post-hardcore polish that has outlasted most of their scene peers.
High Wycombe five-piece pairing Charlie Rolfe's clean-to-scream range with synth-lined heaviness — post-hardcore scaled for big rooms.
Brighton pop-punk that took a hard theatrical turn into emo concept records and never really came back — eyeliner-era drama played completely straight.
Northern Irish power-pop with an absurd hit rate in the late 90s and no interest in slowing the tempo since.
Japanese hard rock performed in maid costumes by players good enough that the gimmick stops registering within a song — virtuosic riffs served with a curtsy.
Polish blackened death metal staged like liturgy — corpse paint, fire, and riffs with genuine architectural heft, led by Nergal's decades-long war on the sacred.
Connecticut band working the heavy end of metalcore, with hardcore-scene pacing underneath the riffs and a pit-first approach to arrangement.
Gavin Rossdale's post-grunge outfit, whose mid-'90s singles have aged into genuine festival-crowd catnip — 'Glycerine' and 'Machinehead' still land like it's 1995.
Leeds band working the melodic end of metalcore, big clean choruses set against screamed verses — polished, radio-sized heaviness with a post-hardcore heart.
Texas metalcore with a big melodic centre — the kind of band that grows a stage size every touring cycle.
British sludge with post-metal patience — grim, dynamic, and one of the UK underground's genuine success stories, crushing without ever turning monotonous.
North Carolina crossover veterans who moved from hardcore into thick Southern sludge and stayed there — Sabbath swing filtered through a punk's impatience.
Southampton's theatrical horror-punk, committed to the concept album and the costume change in equal measure — AFI drama with a British music-hall streak.
Chris Daughtry's band, which turned a talent-show runner-up finish into one of the more durable American rock careers of its era — big-chorus post-grunge built for arenas.
Polish technical death metal built on groove as much as speed — Vogg's riffing is the whole architecture, precision that still swings.
Decessus
Austin's instrument-swapping all-women punk-metal wrecking crew — everyone plays everything, and it all lands at full force.
Leeds trio welding Nineties grunge riffs to outsized pop hooks — power-trio volume with choruses built for rooms much larger than the ones they started in.
Nineties alt-rock trio with Keanu Reeves on bass, reactivated after a long dormancy — unfussy guitar songs played without a hint of novelty.
Sunny California hardcore that treats a circle pit as a party rather than a fight — the scene's most reliably grinning live band.
Forever attached to one enormous song, and entirely comfortable with that — 'Bodies' still detonates, and the rest of the set hits harder than expected.
Brazilian alt-rock with a rotating-instrument gimmick that turns out to be a real band underneath — everyone plays everything, arena-sized either way.
Long-form psychedelic stoner rock that abandoned riff-worship for genuine composition somewhere around album three — twenty-minute pieces that earn every bar.
Frozemode
Arizona death metal with a Swedish buzzsaw tone and hardcore pacing — economical, extremely heavy, and one of the revival's flagship names.
Headwreck
Holywatr
Manchester co-fronted pop-punk with a sneer inherited directly from Britpop — dual vocals, big choruses, bigger attitude.
Ivri
James and the Cold Gun
Cardiff-formed quartet trading in big riffs and bigger choruses — classic rock scale played with the urgency of a band still working small rooms.
UK duo welding nu-metal bounce to electronic noise — abrasive, hooky, and loud out of all proportion to their size.
Lakeview
French quartet out of Mulhouse, grinding away since their teens — long, loud, guitar-driven rock built for rooms that expect to be flattened.
Letlive
British band threading Middle Eastern modes and Persian melody through slow, monumental doom — operatic vocals carried over enormous riffs.
Orlando pop-punk that pulls freely from hip-hop and hyperpop and refuses to pick a lane — genre loyalty traded for pure momentum.
Mammoth
Yorkshire math-rock with Becca Macintyre's extraordinary range on top — angular, unpredictable, and back after a long gap with the wildness intact.
Atlanta's prog-sludge institution — concept records about doom and grief, played with genuinely uncommon musicianship and harmonized howls.
Melrose Avenue
Mould
Mouth Culture
Leicester band working since 2018 in the space where alternative rock meets pop hooks.
Belgian crew dealing in beatdown hardcore at its most punishing — breakdowns built for pile-ons, delivered with metallic weight and no wasted motion.
Native James
Nevertel
Swiss beatdown with a genuinely unsettling vocal performance sitting on top of the chug — Europe's heaviest recent export.
The band that made djent a genre rather than an onomatopoeia, and then kept writing actual songs inside it — prog-metal with hooks.
Private School
Pussyliquor
Formerly Slaves, rebuilt around melody — modern post-hardcore with the edges sanded deliberately smooth and the choruses aimed at radio.
Los Angeles four-piece raised on Nineties heaviness — drop-tuned riffs, grunge-sized dynamics and choruses that arrive like a collapse.
Self Deception
Theatrical pop-rock with orchestral flourishes and a frontman who can genuinely belt — Broadway instincts at Warped velocity.
Southern California metalcore built around Garrett Russell's densely literary lyrics — theology, trauma and history screamed over restless time signatures.
Silly Goose
Slay Squad
New-generation alt-metal built on a soulful clean vocal and a very modern low end — the format's next arena act in waiting.
Late-'90s funk-metal cut short by tragedy — hyperactive, punk-fast, and still fondly guarded by everyone who caught them the first time.
Mike Ness's Orange County punk band, forty years deep in rockabilly-tinged songs about bad decisions — tattooed survival as an art form.
LA industrial-tinged nu metal, mechanical and cold in a way most of their late-'90s peers never managed — machine-press riffs, still grinding.
Spitting Glass
Stampin' Ground
St. Louis screamo-adjacent survivors of the early-2000s emo boom, still built around gang vocals, acrobatic stage energy and 'Until the Day I Die.'
Sweet Pill
Sweet Savage
Tailgunner
Moody, bass-heavy alt-metal that trades breakdowns for slow-building dread and falsetto — 'FEEL NOTHING' the crossover moment.
The Pretty Wild
The Primals
Ginger Wildheart's chaotic marriage of Beatles melody and Metallica volume — a genuinely beloved British institution, survived against all odds.
Bridgend hard rock built for big rooms, with the kind of chorus-first songwriting that turned a South Wales pub circuit act into a proper touring proposition.
Swedish hardcore channelling panic-attack lyricism into riffs that feel physically claustrophobic — short songs, total impact.
The Rage guitarist solo, which in practice means the riffs, the politics, and a rotating cast of guests — expect surprises.
Tropic Gold
TX2
Vianova
Wayside
Melodic metalcore that leans hard on the clean-sung hook, carrying a decade-plus of hard-won catharsis — brotherhood themes made literal.
Zero 9:36
American singer working the seam between big-tent rock and rap-inflected pop-punk, delivering arena-scaled hooks with a screamer's commitment.
The headliners
Five — The late-'90s British boy band with the rap verses, reunited and booked entirely on the strength of the incongruity — 'Everybody Get Up' will, in fact, get everybody up. The late-90s boy band headlined the Thursday opening night, alongside Electric Six and Cancer Bats.
Limp Bizkit — Nu-metal's chaos agents in their beloved victory-lap era — Fred Durst does it all for the nookie, still, and the field does it with him.
Guns N' Roses — The classic-lineup reunion long outlasted anyone's expectations, and the three-hour sets still get through most of the canon — Slash solos and all. The classic-lineup reunion, still getting through most of the canon in three hours.
Linkin Park — Reconstituted with Emily Armstrong on co-vocals, playing a catalogue that turned out to be load-bearing for two generations — 'In the End' still detonates. Closed the festival, reconstituted with Emily Armstrong on co-vocals.
Up-and-comers to catch early
Bloodywood — Indian nu-metal with dhol and flute up front: anti-hate lyrics over some of the heaviest grooves going.
Hot Milk — Manchester co-fronted punk with a genuine chaotic streak and one of the sharper live shows in UK rock.
Sleep Theory — Memphis alt-metal that has climbed a stage size a year on the strength of the choruses.
Lake Malice — London electronic-metal duo, all glitch and menace, punching well above a Dogtooth slot.
Die Spitz — Austin four-piece who swap instruments mid-set and play garage-punk like it might fall apart.
Conjurer — British sludge with post-metal patience, one of the UK underground's genuine success stories.
Other acts worth planning around
Blood Incantation — Denver death metal by way of Tangerine Dream, and the most critically adored band in the genre.
Mastodon — Atlanta prog-sludge institution with genuinely uncommon musicianship.
Tom Morello — The Rage guitarist solo: the riffs, the politics, and a rotating cast of guests.
Scooter — German happy-hardcore on a rock festival's Avalanche Stage; the tonal mismatch was entirely the point.
Creeper — Played three sets across the weekend after stepping in for the cancelled Static-X on Sunday.
The lineup by day
Thursday 11 June was the opening night; the four main stages ran Friday 12 through Sunday 14 June.
Thursday lineup (June 11)
Friday lineup (June 12)
Limp Bizkit, Cypress Hill, Electric Callboy, Pendulum, Hollywood Undead, P.O.D. + 28 more
Saturday lineup (June 13)
Guns N' Roses, Trivium, Babymetal, Black Veil Brides, Landmvrks, South Arcade + 31 more
Sunday lineup (June 14)
Linkin Park, Bad Omens, Ice Nine Kills, The Pretty Reckless, Bloodywood, RØRY + 33 more
Download 2026 lineup FAQ
Who headlined Download 2026?
Limp Bizkit on Friday, Guns N' Roses on Saturday, and Linkin Park closing on Sunday. Five headlined the Thursday opening night.
When and where was Download 2026?
Donington Park in Leicestershire, with the Thursday opening night on 11 June and the three main music days running 12–14 June 2026. It was the 23rd edition.
How many bands played Download 2026?
113 acts across the Apex, Opus, Avalanche and Dogtooth stages, plus the Thursday night bill.
Why did Static-X not play Download 2026?
They cancelled all their 2026 tour dates due to serious medical issues. Creeper were announced as replacements and headlined the Dogtooth Stage on the Sunday.
When is Download 2027?
Download has confirmed 9–13 June 2027 at Donington Park.
Festivals like Download
More festivals
Festivals in June 2026 →Music festivals in the UK →More Metal festivals →More Rock festivals →More Alternative festivals →Full festival calendar →