The Download Festival crowd experienced a challenging, almost jungle-like navigation to reach the headline set by Guns N’ Roses, a band currently leaning heavily into nostalgia. While delivering a wealth of beloved hits, the nearly three-hour performance raised questions about the necessity of numerous cover songs.
A Powerful Opening, Then a Pacing Problem
The initial 20 minutes of the set were a masterclass, with the band commanding the expansive Donington stage. An energetic rendition of “Welcome to the Jungle” kicked things off, though frontman Axl Rose’s dry remark about “a few of your close friends drop by” offered more dad joke than rockstar swagger. Early material like “Bad Obsession” and “It’s So Easy” sounded robust, although Rose visibly strained to reach the iconic high notes of “You Could Be Mine.”
However, the momentum faltered during a protracted segment featuring several unexpected cover choices. Performances of Black Sabbath’s “Sabbath Bloody Sabbath” and the Sex Pistols’ “Black Leather,” with bassist Duff McKagan on vocals, were followed by a particularly baffling rendition of Glen Campbell’s “Wichita Lineman” sung by Rose. While a performance of Velvet Revolver’s “Slither” did resonate, its inclusion felt somewhat hollow given that band’s history as a vehicle for Slash and McKagan during their hiatus from Guns N’ Roses.
Slash’s Solos and the Unanswered Album Question
Guitarist Slash, often a focal point, has become a recognizable figure at the festival, his signature top hat a constant presence in photographs. His extended guitar solos, while technically impressive, became increasingly lengthy, with some observers noting that the intricate blues runs seemed to stretch on indefinitely.
Speculation about a new Guns N’ Roses album has persisted for years. However, if recent tracks like “Atlas” are indicative of the new material, a focus on their extensive back catalog and well-chosen covers might be a more strategic approach.
An Ebbing Crowd and a Predictable Finale
By the latter stages of the performance, the crowd had noticeably thinned. The band’s eventual conclusion, a string of undeniable anthems including “Sweet Child o’ Mine,” “November Rain,” and “Paradise City,” felt like an expected, almost obligatory, finale. One might have wished for a more surprising encore, perhaps drawing inspiration from the band’s own hit, “Patience,” as the lengthy set left many feeling the evening’s energy had already begun to wane.
