Live Review : RADAR Festival on July 6th 2025

The final day of RADAR Festival 2025 kicks off with serious momentum as Waterlines launch into their set with enough energy to shake off any lingering festival fatigue. From the first note, they’re firing on all cylinders - tight, explosive, and clearly here to make a statement. Frontman Benji Mars is magnetic, effortlessly switching between razor-sharp cleans and thunderous gutturals, all while keeping the crowd fully engaged with his grounded, charismatic presence. Their sound draws clear influence from the likes of Betraying the Martyrs and ten56, blending crushing riffs with shimmering synth textures that add a cinematic edge. A surprise highlight comes in the form of their cover of Ultrabeat’s ‘Pretty Green Eyes’, a bold move that pays off in full, transforming the dancefloor classic into a metalcore anthem and getting even the most hesitant crowd members bouncing. It’s a set full of confidence and clever moments, with the arm-linking, side-to-side bounce becoming an instant crowd favourite. Waterlines feel like a band stepping into their next chapter - refined, fearless, and ready for bigger stages.

Tiberius are as tight and technically thrilling as ever, bursting onto the stage with their signature blend of chaos and charm, kicking off a set that’s as technically dazzling as it is wildly entertaining. Their unique brand of melodic, off-kilter prog-metal is a whirlwind of infectious grooves, intricate guitar interplay, and soaring vocal hooks that somehow manage to be both complex and instantly memorable. There’s a joyous chaos to their performance with branded beach balls and balloons bobbing about the crowd from start to finish and beyond. The absence of their usual crowd-walk chaos today lets the intricacies shine even brighter. Songs spiral and weave with laser precision and it’s always fun, always engaging. Frontman Grant Barclay is a natural showman, and on this occasion commands the large stage with energy, a rich, dynamic voice and a mischievous glint in his eye.

The band’s chemistry is undeniable, and a special mention for Jahan Tabrizi’s guitar work as a standout on the big stage - fluid, inventive, and packed with jaw-dropping moments that elevate every track. Tiberius aren’t just here to impress with technicality (though they do, effortlessly), they’re here to connect, to entertain, and to remind everyone why live music is such a joy. Their brand of hyper-melodic tech-metal wouldn’t be out of place in an arena, with grand sweeping melodies and blistering complexity. It’s a set of riotous colour, sound, and personality, equal parts precision and playfulness.

Love Is Noise unfortunately don’t quite hit the same mark. Their sound harks back to the nu-metal of the early 2000s with a bit of Taproot, then some Cane Hill posturing, and a noticeable attempt to channel Loathe’s brooding finesse. But where the intention is clear, the execution falters. The vocals, the songwriting, the energy - it all just feels a little flat. I caught them in 2023 supporting Dayseeker and they were far more compelling then unfortunately.

Multi-instrumentalist David Maxim Micic provides a palette cleanser next, with a stunningly smooth instrumental set that shifts from soulful, bluesy textures to expansive, filmic soundscapes. His band delivers with precision, and just when the mellow atmospheres start to settle, things build to a towering crescendo. Vocals on the final tracks elevate the performance beautifully with all the feeling of The Ocean in scope and drama. It’s truly a masterclass in dynamic songwriting and how to pull and audience in and take them on a complete journey within a live set – all the way to the crescendo of a grand finish.

High Regard lean confidently into their shimmering pop-metal sensibilities, crafting a sound that wouldn’t feel out of place alongside Dakara or the more melodic edges of Lake Malice. Their set is polished and vibrant, with warm, husky vocals that glide over glossy guitar lines and punchy electronic flourishes. The melodies are immediate and infectious, designed to stick after just one listen. While the overall vibe leans more Eurovision than metalcore, there’s no mistaking the craftsmanship behind it. The hooks are sharp, the choruses soar, and the band’s stage presence is full of charm and colour. It’s a sound that bridges accessibility and edge, and for those open to a more pop-forward take on heavy music, High Regard deliver it with style and confidence.

Shields are back and pack a heavy punch. Their style channels Bleed From Within and InVisions, all wrapped in a moody, atmospheric lighting setup. The blend of hip-hop influenced spoken segments, searing harsh vocals, and emotive cleans works well live, particularly when paired with their crushing breakdowns. A solid reminder of why their return is something to be celebrated.

Continents are up next, and they waste no time in unleashing a barrage of hardcore-metal venom that grabs the crowd by the throat. There’s a definite Impericon Festival vibe to their set, with flashes of Emmure’s swaggering brutality, the sharp-edged intensity of Vexed, and the rhythmic precision of Heart of a Coward. The band’s stage presence is feral - no gimmicks, just raw energy. The frontman stalks the stage with venomous intent, barking out vocals with a throat-shredding ferocity that never lets up. Their final track dips into Touche Amore-style post-hardcore territory with a more emotive, atmospheric intro, before detonating into a breakdown so heavy it practically folds the room in half. It’s a clever shift in tone that shows they’re not just about brute force, but that there’s nuance and dynamic range beneath the chaos. As the crowd responds in kind with heads banging, Continents have delivered one of the most visceral, unfiltered performances of the day.

Yonaka keep the genre-hopping energy alive with their slick, alt-rock swagger. Their set glistens with a punky, irreverent sheen. Think VUKOVI with the distortion dialled back, or a sassier PJ Harvey fronting Fever 333. It’s bold, confident, and bursting with attitude. Frontwoman Theresa Jarvis is magnetic, dressed in a shimmering outfit that catches the light as much as the crowd’s attention. She commands the stage with ease, her vocals shifting from sultry to soaring without missing a beat. The band behind her is tight and dynamic, laying down grooves that are both punchy and polished. ‘Hands Off My Money’ is a clear standout - part Don Broco-style banger, part soulful alt-rock anthem, with a stomping rhythm section and a chorus that begs to be shouted back. Elsewhere in the set, they flirt with funk, punk, and even a touch of chatty rap, but it’s all delivered with a cohesive, high-gloss finish. It’s straight-up alt-rock metal done exceedingly well—accessible, stylish, and full of fire. They aren’t just riding the wave of genre fusion they’re arguably steering it.

Artio take to the second stage with bold energy and a striking visual presence, clearly unafraid to make a statement. Their sound has echoes of As Everything Unfolds and Dakara but the execution doesn’t quite land as firmly as their ambition suggests. There’s seemingly quite a heavy reliance on backing tracks, and while the drums provide a solid rhythmic backbone and carry much of the set’s weight, the overall mix feels uneven. The guitars often blur together, lacking the clarity and punch needed to cut through, and the absence of live bass leaves a noticeable gap in the low end. Rae Brazill delivers vocals with enthusiasm, but they occasionally veer into a polished, stage-school tone that doesn’t always sit comfortably against the rawer edges of the instrumentation.

Thankfully, VUKOVI are here to reset the bar. From the moment they hit the stage, the energy is electric. We’re straight off into gnashing riffs and strobe-lit intensity before in a flash of glittery vibrancy Janine Shilstone arrives, draped in a tasselled catsuit instantly commanding the room with her presence. There’s a reason VUKOVI have always felt like natural headliners and tonight reaffirms it. Every sparkle-clad step, every wild riff, is met with unfiltered joy from the crowd. Musically, they’re as tight as ever. The band keeps backing tracks to a minimum, letting their raw talent shine through. Janine’s vocals are a force - soulful, commanding, and emotionally charged - while her stage presence blends vulnerability, humour, and total control. Her connection with the audience is genuine, and her voice never falters, even as she dances, bounds, and jokes her way through the set. The sound is massive but never muddy, with crashing metal riffs giving way to shimmering, ‘80s-tinged guitar tones that wouldn’t feel out of place on a Duran Duran record. Lighting and sound are perfectly in sync, elevating the performance into something cinematic. And while the band’s technical chops are undeniable, it’s the sheer fun they radiate that makes the show unforgettable. The chemistry between the band and their fans is palpable - when ‘La Di Da’ drops, it sparks Janine into a crowd surfing moment, which is ended mid-laugh, sheepishly asking to be brought back to the stage. Tonight, VUKOVI have delivered another one for the books.

Dream State deliver a slick, synth-heavy set that leans hard into cinematic drama. Operatic vocals soar above snarling growls, all layered over pulsing techno beats and sweeping, atmospheric textures. It’s a sound that feels engineered for maximum impact - clean, theatrical, and at times reminiscent of Linkin Park at their most anthemic, minus the rap verses. There’s no denying the precision behind it all. The production is immaculate, the transitions seamless, and the vocal interplay well-rehearsed. Tracks build with tension and release, often swelling into synth-drenched choruses. It’s a solid, well-executed performance that ticks all the boxes, but it never quite breaks through the gloss to deliver something truly stirring. Dream State clearly have the tools and the talent, but what’s missing is just a touch more grit, a little more risk.

To close out the day, and the festival, Underøath erupt onto the main stage with the kind of explosive energy that proves they’re still operating at the height of their skills. It’s a masterclass in controlled chaos. Imagine Make Them Suffer colliding with Turnstile, laced with the theatrical flair of Alexisonfire and the emotional weight of Polaris. From the first note, it’s clear this is going to be a stunning finish to the festival. The band’s dynamic range is staggering. One moment they’re delivering tech-metal precision akin to ERRA, the next they’re spiralling into the unhinged, riff-heavy madness reminiscent of Every Time I Die. The interplay between the harsh lead vocals and the soaring clean harmonies (especially when delivered from behind the drum kit) is dynamically stunning. It’s a rare balance of aggression and vulnerability that hits with full emotive force. Tracks from across their back catalogue are given a new feeling on stage, each one delivered with conviction and clarity. The lighting and production are dialled in perfectly, amplifying every breakdown, every drop, every scream. And when the track ‘Vultures’ is finally unleashed it’s monumental, cathartic, and devastating in the best ways possible. A breathtaking finale to a diverse and exhilarating Radar Festival, and a reminder that Underøath remain one of the most vital forces in heavy music today.