Novacaine Promotions: Heavy Line Up, No Training Wheels Here

Novacaine

A massive shout out to Novacaine Festival, for showcasing bands that are operating well beyond the size of the rooms they are currently playing. This lineup felt like a preview of what these acts should already be doing on much bigger stages.

The consistency across the lineup was undeniable. If anything, several of these bands are overdue the kind of stages and audiences that match their ability. Novacaine is continuing to support their platforms but it’s clear they are ready for much more.

South Yorkshire is producing heavy bands that can stand shoulder to shoulder with acts on national lineups. These artists deserve bigger rooms, wider recognition and the rest of the circuit should be paying attention. Unfortunately, we did not manage to catch the first band on the lineup, but what followed more than delivered and set the tone for the rest of the night.

OUR NORTH

our North deliver a high energy, unapologetically nostalgic punch that feels both familiar and genuinely fresh. There is a clear lean into 90s metal and rap influences, with echoes of the era when bands were allowed to be heavy and slightly unhinged without apology. It is a modern take that understands why those sounds worked in the first place.

The vocals are a real highlight. There is excellent control across fry screams and those gloriously feral bleughs that land exactly where they should. Pig squeals make a welcome appearance and never feel forced. The dual vocal approach works great, the contrast is intentional and well balanced, with each voice enhancing the other rather than competing for space.

Instrumentally, the band are tight and confident. Transitions feel natural, riffs hit with purpose, and the whole band moves as a unit rather than a collection of parts. That cohesion makes their live presence especially engaging and gives the performance a sense of momentum that never drops.

our North are energetic, entertaining, and self assured without tipping into arrogance. They tap into a sound many of us grew up with, but they do it in a way that feels relevant now. If you miss the swagger of 90s metal with modern precision and stage presence, this is a band worth paying attention to.

RECKONER

Reckoner are unapologetically heavy and (rightly so) proud of it. Guttural screams are everywhere, delivered with conviction, and they form the backbone of a sound that is dense, aggressive, and very deliberately constructed.

The rhythm section deserves particular attention. The drummer’s setup, with cymbals kept low, pays off during the breakdowns, of which there are plenty. Timing is tight, hits land hard, and the band understand exactly when to pull back and when to let things collapse in on themselves.

Vocally, there is a strong nod to early 2000s post hardcore influences, with clean, emotive cries that slide straight into throat ripping gutter screams. For me the Taking Back Sunday influence is there if you know it, but it is filtered through a much heavier lens. The lead vocalist feels well established and confident, controlling the room rather than reacting to it.

Structurally, the songs are smart. Breaks are used to build anticipation rather than simply reset the track, which makes the eventual payoff hit harder. There is also a refreshing sense of physicality to the performance. Crabbing is alive and well, channeling serious Chris Novasellic energy, and the bassist taking a front and centre role reinforces how integral that low end is to the band’s sound.

The breakdowns are, frankly, disgraceful in the best possible way. Reckoner are a band who clearly love their craft, love heavy music, and absolutely love a breakdown. That passion is obvious, and it is infectious.

DUSTHOUSE

Dust house prove that numbers mean nothing when energy does the heavy lifting. As a three piece, they deliver just as much punch and presence as many five piece bands, filling the room with sound and intent.

Again for me I felt an Enter Shikari influence running through their approach, particularly in the way they balance grit with momentum. It feels modern and unafraid to push forward, with enough youthful edge to keep everything feeling urgent rather than rehearsed.

What really stands out is the energy. It is relentless and it translates directly into crowd engagement without feeling chaotic. Interaction feels natural and the audience response reflects that. There’s no playing at the people here just pulling them in. 

They are tight, energetic, and confident in what they are doing. Proof, if any were needed, that a smaller lineup can still make a very big noise.

ASLEEP AT THE HELM

Asleeep at the helm arrive with a simple instruction of warm up your vocals and stretch your legs, because standing still is not an option. This is a band built to start mosh pits and I don’t mean politely suggesting them.

This band is serious, weight in the chest heavy. Riffs land with intent, breakdowns are delivered with zero hesitation, and the energy never dips long enough for the crowd to recover. If you came to observe, you picked the wrong set.

Vocally, there is a clean and deliberate distinction between vocal styles. Clean passages are controlled and purposeful, while the breakdown screams are savage and well timed, giving each section space to hit as hard as it should. It is clear they know exactly when to switch gears and why.

For me stage presence seals it. The band carry themselves with confidence, aided in no small part by a frankly fabulous moustache that deserves its own booking fee. Asleep At The Helm are heavy, focused, and built for chaos and I only mean the good kind.

WRAP UP

As a self confessed elder emo, it was genuinely refreshing to see just how alive and well the scene is. The sound has clearly evolved with the times, but those nostalgic moments we all grew up on are still very much there, woven into something that feels current rather than recycled.

Every band brought something that made you pull a proper stank face, whether it was incredible vocals, disgusting breakdowns, or just pure, relentless energy. It was a reminder that heavy music is not stuck in the past. It is adapting, growing, and still very capable of hitting exactly where it should.