Inkcarceration Festival 2024: Day Two Recap

If you missed reading our recap for the first day, check it out here.

After a day of sonic celebration that ranged in style from the overtly theatrical to the straightforward, the 6^th annual Inkcarceration Festival entered its second day to slightly different conditions. Whereas the previous day was marked by warm yet breezy weather conditions that played well to the open-air setting and some substitutions in the day’s lineup were in the cards due to flight cancellations, day two saw hotter conditions coupled with a stage presentation that went more according to plan as the country’s infrastructure began recovering from the CrowdStrike outage that had reaped havoc upon most of America’s airlines. With a roster of acts both new and old, modernity continued to be the flavor of hard-rocking brilliance that would take center stage on Saturday, July 20^th, and remind all of why this 3-day event at the Ohio State Reformatory has become one of the biggest in the nation.

 Many young acts sought to enthrall the masses during the late morning in Mansfield, Ohio, but the biggest standout of the bunch would be modern groove metal upstarts, Flat Black. The hype surrounding them due to their debut album being released the prior day and guitarist Jason Hook‘s previous tenure with Five Finger Death Punch was palpable and greeted with heavy enthusiasm from the crowd they drew. The temperature already well into the 80s was all but a non-factor for vocalist Wrex Horton as he revved the audience to a mighty roar, all the while putting on a master class in how to bring a versatile vocal performance to a well-established style.

Indeed, the short set put on by this quartet showcased the boldness of Jason‘s move to forge a new project from scratch after being involved with one of the biggest-selling bands of the past 20 years, not to mention remind all in attendance how his technical prowess has been an exception to the rule of NWOAHM guitarists being average players who tend not to stand out from the pack.

Union, New Jersey nu-metal veterans and de facto big band Ill Niño were also among the early highlights of the day. Though having arrived too late to make their scheduled set yesterday, they brought their signature blend of metalcore, alternative, and Latin influences in fine fashion, complete with their signature arrangement that included their customary two additional percussionists positioned at each side of former Pro-Pain drummer and founder Dave Chavarri‘s kit.

Guitarist Marc Rizzo – sporting a bandana and shades – delivered a punchy performance, while bassist Lazaro Pina commanded attention with his frenetic energy, bouncing across the stage like a man possessed. Amidst the energetic display, lead vocalist Marcos Leal worked tirelessly to maintain his role as the focal point of the performance. They effortlessly proved to the audience why they have been a staple of festivals like this one between their unique blend of musical styles and enthusiastic delivery, in a presentation that was bolstered by a mix of crowd-pleasing classics and a tantalizing glimpse into their upcoming album, “IllMortals Vol. 1,” with the inclusion of one of its heavier tracks.

Among the folds to attempt to take the heaviness and aggression factor to its logical conclusion were California deathcore veterans All Shall Perish, and their politically charged brand of hardcore-informed extreme metal was greeted with a sea of moshing bodies within seconds of their set commencing. Zero signs of rust were observed in their performance despite several years of inactivity due at least partly to vocalist Hernan “Eddie” Hermina‘s commitment to Suicide Silence, and the excitement in the crowd was palpable with fans signs with encouraging words like “Welcome back, we missed you.” Though there were musings of new material in the works going back to 2015, their set would consist solely of classic entries from their years of studio activity from 2003 through 2011, with such noted bangers as “Eradication” and “Deconstruction” shaking the floor beneath the audience’s feet between Ben Orum and Chris Storey‘s pummeling, down-tuned riffs, and Matt Kuykendall‘s ear-shattering kit work.

Alternative metal icons Sevendust stormed the stage in the July heat with an unyielding mission: to surpass the high standards they’ve set for themselves with an electrifying performance of sheer sonic intensity. Delivering a barrage of angst-fueled anthems that included frequent live staples like “Alpha”, “Denial” and “Hero”, they ignited the crowd into an absolute frenzy. Those who have followed their performances over the years and witnessed their relentless energy in a live setting can attest that their heaviness has continued to be pushed up a notch with time.

As usual, helmsman Lajon Witherspoon radiated charisma, regularly urging the audience to care for one another and expressing heartfelt gratitude for the opportunity to perform at such a monumental event. Guitarists John Connolly and Clint Lowery were in a state of constant motion, frequently shifting positions on stage and doing their part to keep crowd enthusiasm maxed out while drummer Morgan Rose mercilessly bashed his minimalistic drum kit, sporting an uncharacteristic face paint to go with his animated shtick.

The extreme metal tide ebbed a bit with the arrival of Texas metalcore act Fit For A King, who had the unenviable task of following All Shall Perish back at the Redemption stage. Their more measured and melodic hardcore sensibilities and infectious hooks stood in stark contrast to the face-melting brutality that had unfolded earlier, but it was barely noticeable amidst the spectacle that unfolded. Frontman Ryan Kirby, clearly the conductor of their sonic assault, led a whirlwind of movement on stage that truly stole the show with guitarist Bobby Lynge and bassist Ryan “Tuck” O’Leary moving incessantly. Tuck seemed to spend more time airborne than on the ground and spun his bass with such reckless abandon that it was a wonder that the whole crowd didn’t become dizzy trying to follow him. Their set was a pure sonic wallop from start to finish, trading blows with all that had preceded them, and even took the occasion to perform an unreleased song amid their set of fan favorites.

Sonic intrigue would give way to a carnival of sights and styles with the arrival of L.A. rap rock trustees Hollywood Undead. To say that they were a favorite among those in the photo pit would have been an understatement, as their elaborate stage setup was the equivalent of a hard rock funhouse between the dancing light show and massive banner at the band’s rear, to speak nothing for the wildly divergent outfits sported by each of the fold’s six members flirting the hip-hop’s equivalent of The Village People.

The crowd’s enthusiasm soared to new heights as the band constantly swapped instruments and remained in perpetual motion on stage, serving as their own energetic hype-men as well as performers. Throughout their 11-song set, their eclectic mix of styles matched their lively stage antics perfectly, creating a seamless experience. Standout tracks like “Riot” and “Comin’ In Hot” ignited the audience’s excitement, but the true climax came at the end of the performance, with the crowd erupting as they launched into their signature live staple “Undead,” seamlessly blending in the iconic riff from Ozzy Osbourne‘s “Crazy Train.”

Michigan metalcore/alternative fold I Prevail took the reins next, bringing some noteworthy visual upgrades to their catchy brand of sonic craftsmanship. With the drum kit dead center on a highly elevated platform and a massive LED screen just behind illuminating the entire stage, it was truly a feast for the eyes. At each side of the platform were two stands from which the rest of the instrumentalists would frequently move, all the while being continually bathed in the light of an insane amount of pyrotechnics and moving lights. Needless to say, the literal heat that was being generated by the stage was comparable to the auditory heat that was pumped out by banger performances of entries like “Body Bag” and “Choke”, not to mention a stellar showing of their collaborative track with Halestorm, “Can U See Me In The Dark?”, for which Lzzy Hale joined them on stage.

San Diego metalcore stalwarts As I Lay Dying would bring the fire and brutality back to this festival under the late afternoon sun in masterful form. Their aggressive blend of hardcore and Gothenburg melodic death metal styles recalled a similar level of intensity that All Shall Perish had brought earlier, bolstered by the rage and agony-infused shrieks and howls of frontman Tim Lambesis. Apart from Tim and guitarist Phil Sgrosso, the rest of the fold consisted of newer players, but it didn’t show given how cohesively each instrument gelled with the rest of the arrangement, forming a cavalry-like charge of thrashing beats and pummeling riffs. Likewise, the song selection exuded a sense of freshness and vitality that ran contrary to the fact that this fold has not released any new studio material in 5 years.

The crowd size and enthusiasm surged to new heights with the arrival of modern hard rock powerhouses, Halestorm, who delivered what many – myself included – considered the most spectacular performance of the festival to date. Frontwoman Lzzy Hale channeled the spirit of legendary rock icons like Janis Joplin and Ann Wilson, pouring her soul into every note and commanding the stage with an unmatched presence. Dressed in a striking leather outfit and a matching jacket, which she dramatically discarded after a blazing rendition of “Love Bites (So Do I)”, it was evident that the stage was ablaze with more than just the dazzling overhead lights.

Hale‘s performance was nothing short of goosebump-inducing. She wailed, kneeled, bent backward, and screamed to the heavens with seemingly otherworldly energy, all while expertly playing her guitar, and not even a temporary microphone glitch in the electrifying “I Get Off” – which also featured a brief interlude of Heart‘s “Crazy On You” –  could stop her. Each of the 12 songs in their setlist was a high point, but a particularly memorable moment was the reprise of “Can You See Me In The Dark?”, where vocalist I Prevails vocalist Eric Vanlerberghe joined Lzzy on stage, to return the favor.

With the evening hour now in view, metalcore elites Killswitch Engage brought a comparably explosive atmosphere back to the stage as had been witnessed during their scene counterparts As I Lay Dying‘s prior set. The Redemption stage was immediately inundated with massive amounts of pyrotechnics despite not being the principal stage, and the fire that this quintet rained down upon the masses was a similar intensity. The kinetic character of each member’s performance stretched the bounds of sanity, as bassist Mike D’Antonio bounced around and head-banged like a certified maniac, fighting to be the center of attention at every turn.

Lead guitarist/vocalist Adam Dutkiewicz and helmsman Jesse Leach were also heavily in the spotlight, the former moving about more than usual and even kicking at the air like he was part of the circle pit, while the latter worked the entire stage and repeatedly upped the intensity of his ear-piercing shouts at every opportunity. The level of moshing and crowd-surfing that came from the pit in response was absolute madness, with security working double time to catch everyone as classic entries like “This Fire”, “The Arms Of Sorrow” and “The End Of Heartache” highlighted a riveting set.

Modern groove metal giants Godsmack were in charge of bringing down the curtain on the second day and delivered a performance that was notably more subdued than their usual electrifying shows. Absent were the pyrotechnics that have long been a hallmark of their live acts, and the setlist also featured some interesting changes, reflecting the understated tone of the evening. Flanking the stage were two gargoyles, mirroring the aesthetic of their recent acoustic tour and highlighting the more restrained nature of the performance.

Departing from their traditional opener, “1000 Hp,” the band kicked off the night with “When Legends Rise,” seamlessly transitioning into “Crying Like A Bitch” and “You And I.” Guitarist Tony Rombola remained mostly stationary, engrossed in his playing, while frontman Sully Erna roamed the stage, engaging with the audience. Bassist Robbie Merrill was dynamic, moving with his signature crab walk, while drummer Shannon Larkin attacked his kit with his characteristic exuberance.

The show built up gradually, creating a series of peaks rather than a relentless barrage of climactic moments. Nonetheless, there were several highlights, especially during the encore when they performed powerful renditions of “Under Your Scars” and “I Stand Alone,” to bring the night to its closure point.

The second day of Inkcarceration 2024 maintained the modern vibe of the previous day, yet the aggression and intensity were unmistakably heightened, with the atmosphere crackling with energy, even after Godsmack‘s powerful finale. The experience echoed the old adage “no pain, no gain,” as the auditory onslaught rivaled the collective effort and artistry behind every tattoo showcased. The payoff was a thrilling spectacle that truly resonated long after the last note faded.

Special thanks to Jonathan Smith for his writing contributions to this article.