Sonic Temple 2024: Final Day Recap

Any relief the clouds of day three had offered evaporated just as quickly as those same clouds now retreated. As day four of Sonic Temple began, tens of thousands of concertgoers were left to broil beneath the unyielding elements and a vibrant spring sun. With the benefit of hindsight, the comforting grey shroud of day two had been a blessing in disguise, one which was now exchanged for an aggressive, bright sun alongside downright soupy humidity.

Australia’s rising star Kim Dracula seemed to have no problem facing the heat as they conquered the Cathedral Stage just after noon. Initially rocketing to international acclaim with their cover of Lady Gaga’s “Paparazzi,” this artist has wasted no time in carving out a unique identity for themselves with a refreshing blend of metal, alternative rock, and trap. They began their set by throwing open the lid of a coffin that lay in front of the drum kit, dragging themselves out like a corpse reanimated, their body draped in decorated uniform jacket.

The guttural screams interspersed with nimbly-rapped verses are the staple of Kim Dracula’s style, and this talent shone through on stage with songs like “Reunion and Reintegration” as well as their breakout original hit “Make Me Famous,” all met with raucous cheers. They embodied all the hallmarks of a practiced performer as they stalked the stage, underwent costume changes, and switched fluidly between various vocal styles. It was clear to see what the rapidly growing hype has been about.

Shortly thereafter, the mighty Plush joined the fold of all-female vocalists who performed at Sonic Temple 2024, alongside both Kittie and L7. Although these rockers are young, what you think they’d lack in experience they make it up for ten times over in pure enthusiasm and a fun-loving attitude.

Frontwoman Mariah Formica – the band’s singer, songwriter, and guitarist – gave a warm welcome to all attendees gathered before opening up with a delightfully heavy set. This opening act is no stranger to supporting heavy hitters like those that would appear later in the day four lineup. Their set was appropriately loaded with easily enjoyed rock anthems, including their Billboard Top 40 charting song “Hate” and their cover of Heart’s “Barracuda,” which has become a setlist staple. Plush are fresh artists with a nostalgia-inducing sound, and they fit in on the Sonic Temple lineup like a long-missing puzzle piece.

At the main Temple Stage, grungy nu-metallers Saliva wasted no time in making an already sweat-drenched audience even hotter. The resounding cry of “click, click, BOOM!” echoed through Historic Crew Stadium, and countless feet rattled the very bleachers that shielded thousands of others from the sun. This band was quick on their feet and even more fleet-fingered with their riffs, adding a pleasant texture to the early afternoon with a cover medley including Eminem’s “Lose Yourself” and Rage Against the Machine’s “Bulls on Parade.”

As recognizable as these songs were, they were equally transformed to fit Saliva‘s aggressive and pleasantly filthy timbre. Regardless of the sun in their eyes, they kept pace with demanding drums and riffs and put on an effortlessly crowd-pleasing set that gave new and old fans alike the chance to sing along.

It’s difficult to make a festival as massive as Sonic Temple feel personal and intimate, yet Reignwolf frontman Jason Cook managed just that during the band’s relatively brief set on the Cathedral Stage. With a pleasant touch of blues, this indie rock trio made the stage feel closer to the audience at the barricade by pacing along the front of the stage, leaning down and reaching out to the crowd, smiling as the crowd reached back up to them. “Are You Satisfied?” may be the band’s biggest hit, but Cook made it the comfortable highlight of the show as he lowered himself to the edge of the stage and let his feet dangle free, playing through the solo while seated and seemingly serene. It was apparent how much these musicians were feeling their own music, and it left a pleasant atmosphere over the gathered masses, if not calming when compared to the more violent-inciting metal acts that had come before and would come after.

Crobot added a bit of speed and fire to contrast Reignwolf‘s comforting embrace. The deep groove laid down by Pennsylvanian rockers Crobot was irresistible and one of many performances at the festival featuring guest artist crossovers. There were also few artists on day four as earnestly expressive as Crobot’s frontman Brandon Yeagley. From his smiles to his snarls, from his headbanging to his hip swaying, he was in non-stop motion as he sang. This included his acrobatics as he jumped atop the shoulders of the band’s guitarist Chris Bishop, and staggered across the stage perched atop him.

Bassist Pat Seals was similarly dynamic, leaning down deep towards the monitors while he plucked away at the thick strings of his bass, his face similarly expressive to Yeagley. However, Crobot saved the best for last, as their setlist closer was a rendition of Turbonegro‘s “All My Friends Are Dead” with guest appearances from L7’s bassist and vocalist Jennifer Finch alongside CYK‘s drummer, bassist, and guitarist, a combination that turned a supercharged display of pandemonium energy, for the delight of those witnessing it. It was impossible not to walk away from Crobot‘s set with a smile on your face, as they truly embodied what dirty and feel-good rock n’ roll is about.

With a drum kit as bright as the illuminated logo behind them, veteran punk band Bad Religion were just as fresh and bright-sounding as though Sonic Temple had been put through a time machine. Vocalist and longtime member Greg Graffin made a few digs at the band’s tenure but still belted out longtime favorites like “American Jesus” with apparent effortlessness. That punk spirit was alive and well as Jamie Miller all but demolished the drum kit while providing almost non-stop backing vocals. It was a great fit for the main stage, the kind of music that just sounded better with a wall of speakers under the sun, and let songs like “Infected” stir up the crowd in all their glory.

The heat of the day greeted alternative metal band Of Mice & Men on the Cathedral Stage, no trees or stadium buildings in reach to offer shade as a reprieve, but Sonic Temple’s attendees showed no sign of slowing down. Vocalist Aaron Pauley didn’t let the sun stop him from leaping and bounding across the stage, roaring with his chest across aggressive verses, and then seamlessly leading the crowd in the soaring choruses of familiar songs. This set was punctuated by security tearing open water bottles and spraying their contents across the headbangers sandwiched against the barricade in anticipation of the sets yet to come.

Mid-afternoon haze fit with Red Fang’s fuzzy brand of stoner rock. Despite the name of the genre, this band was anything but sedate, crackling with energy as sound exploded from their bright Orange-brand amps. The string-wielding fiends – Bryan Giles and Aaron Beam – developed an incredible texture as bandmate John Sherman beat away at the drums. It was an energetic and inspiring set that matched the muggy summer-like day with an aural headiness that one couldn’t help but sink into.

The following hour was hit after hit, with Royal Blood, While She Sleeps, Wage War, and Helmet all taking the stage within the same 50-minute period. Although it might have been difficult for attendees to determine which of these stellar artists they should see with their limited time, Wage War and Helmet were both highlights of the day. Helmet’s bass was so thick you could practically swim through it, laid down with decades of experience at venues across the country, and it gave serious meat to the alternative metal bones underlying the sound. Playing a genre distinctly evolved from the alternative metal sound came Wage War, and although formed approximately twenty years after Helmet, both bands were matched in energy. Helmet engaged with a nuanced and dynamic musicianship, while Wage War treated audiences to impressive pyrotechnics and thunderous booms. Two shows, both exciting and engaging in their own right, on two sides of the same coin (or, in this instance, two sides of the same festival grounds).

A Day To Remember proceeded to drench the main stage in a tantalizing mixture of metalcore and punk rock with a true sampling of the sounds that defined the day. Their setlist gave the masses delightfully catchy hooks that were just as easy to listen to as they were to mosh to and offered a strong balance between heaviness and sonic accessibility. If there were any potential fans in the audience there is little question that this set had the potential to convert them, particularly through vocalist Jeremy McKinnon’s effort to make the band’s songs reach everyone, whether it be at their aching heart or via their need to rock.

The arts included in Sonic Temple’s Art & Music festival went beyond the artist vendors, poster tent, and live paintings throughout the grounds. In addition to the more traditional arts, including everything from artist portraits to vibrant psychedelic tapestries, the attendees at the festival were often walking works of art themselves. Elaborate costuming and face painting were resplendent among attendees. Those who spent the entire weekend at Sonic Temple may have noticed some guests who seemed out of place, draped in flowing brown and black clothes, sporting otherworldly silver jewelry, and darting between other concertgoers on roller skates. One such individual, introducing himself as Lilio, introduced the Dawnbringers in all of their glory. Stranded after an incident with an off-course ship, they spent the long weekend at Sonic Temple to harmonize with the festival’s frequencies and try to get back home. Concertgoers lucky enough to run into this wayward group would be treated to expert roller-skating artistry, delightful dedication to their mission, and eager interactions with other attendees that ranged from photographs to Lilio’s own “tunings.” A run-in with the Dawnbringers was just one of the many delights one could expect at Sonic Temple’s ongoing and oft-eclectic gathering.

Yet another all-female rock band took over the stage on Day Four. L7, hailing from California and playing grungy punk-rock, stopped at Sonic Temple amidst an ongoing tour. The sheer swagger on stage was daunting as Finch and the rest of the quartet dug their heels in and began to prove why the band remains relevant after all this time. And although L7 has long thrived in smaller, more intimate punk venues, they shone like superstars in the festival setting, especially with guitarist Donita Sparks making sure that both sides of the crowd got plenty of time with her strategic riffage.

Baroness was one of the more unique placements at Sonic Temple, particularly as a progressive-minded sludge act. Although they are co-headlining a tour with Red Fang this month, it is clear that the once color-coded metallers were met with a bit of skepticism from the sun-scorched audience. Taking inspiration from both their latest album, “Stone,” as well as their familiar fan favorites, it was clear that Baroness and their sludge-stoner magic had a place alongside Red Fang and other psych-inspired rockers as a summer crowd-pleaser. No fear of breaking the mold held John Baizley back from giving his all alongside lead guitarist Gina Gleason – sporting a much shorter haircut which did not impact her trademark, incessant headbanging, and as the set progressed, they drew in more and more curious audience members like a moth to flame.

Adding to the run of pure nostalgia that dominated the Sonic Temple lineup was none other than nu-metal pioneers Limp Bizkit. It was fitting that the band came on mere hours before the festival’s final headliner, Slipknot, and Fred Durst had almost an hour to do what he does best: entertain the crowd.

These world-class performers delivered a show that will go down in Sonic Temple’s history, from cover songs to fan involvement, it was a testament to how nu-metal has remained relevant despite the past of decades since its arrival to the music landscape. Whether it was roaring through fan favorites like “Hot Dog” and “Break Stuff” as the set closer, or digging into familiar covers like The Who’s “Behind Blue Eyes,” Durst and company were an undeniable phenomenon that nearly rattled Historic Crew Stadium down to its very bones.

However, the set’s highest moments involved more than the band themselves. The first one occurred when Sid Wilson joined DJ Lethal to play a section of the song “Turn It Up, Bitch”. The second happened when Fred pulled a fan – wearing a Slipknot‘s mask covering his face – from the crowd and brought him on stage to sing the final segment of “Full Nelson”, with both screaming at their mic at the same time. Yet the third was even more unexpected: Danny Wimmer himself jumped on stage at the very end of their cover George Michael‘s “Faith” to exchange hugs with Durst. It hardly gets more epic than that.

While Ronnie Radke lamented Tech N9ne’s absence from the former’s set on day two, superstar rapper Tech N9ne still made his appearance at Sonic Temple on Day Four’s Sanctuary Stage. Not willing to be outdone by Limp Bizkit’s fan interaction, Tech N9ne also invited a fan on stage to help perform “Aw Yeah (InterVENTion)” while still fitting nearly two dozen songs into his evening set. The span between Tech N9ne’s set beginning and 311’s set beginning gave time for the audience to grab food and refresh their drinks as the sun finally began to set.

Despite being in the music scene for many years, 311 diverse song choices and energetic performances made them stand out in what became the last performance at the Cathedral Stage. Their quirky punk/ska elements and the unique mix of Nick Hexum‘s Morrissey-like baritone with Doug “SA” Martinez‘s nasally rapping keep the audience guessing. Classic MTV favorites like their set opener “Beautiful Disaster” – featuring intense rock moments with an Iron Maiden-style guitar duel – and the funkier, rap-infused “All Mixed Up” were interspersed with the energy of “You Wouldn’t Believe” and the unbridled energy – and subsequent crowd response – of their breakout single “Down” which served as the set closer.

Another successful year is in the books for Sonic Temple – who knows just what next year will bring? If it’s anything like 2024, it will be a long weekend, very much worth remembering.

Special thanks to Samantha Buckman for her writing contributions to this article.