The Download Festival experienced a challenging start to its headline set from Guns N’ Roses, as attendees navigated a sprawling and difficult-to-traverse site. In an era often characterized by a craving for nostalgia and familiar hits, the iconic band delivered a lengthy performance that, while packed with fan favorites, may have inadvertently led to audience fatigue.
A Masterclass Opening, Followed by a Lengthy Middle
For the initial 20 minutes, Guns N’ Roses showcased their enduring power, commanding the vast Donington stage with a robust rendition of “Welcome to the Jungle.” However, frontman Axl Rose’s deadpan remark about having “a few of your close friends drop by” elicited more of a dad joke reaction than the expected swagger. Despite this, early material like “Bad Obsession” and “It’s So Easy” sounded solid, though Rose appeared to struggle with the high-pitched intensity required for “You Could Be Mine.”
The performance then shifted into a more drawn-out phase, featuring several cover songs that raised eyebrows. Renditions of Black Sabbath’s “Sabbath Bloody Sabbath” and the Sex Pistols’ “Black Leather,” with Duff McKagan on vocals, were met with mixed reactions. A particularly perplexing moment arrived when Rose performed the country classic “Wichita Lineman.” While a cover of Velvet Revolver’s “Slither” did resonate, its inclusion felt somewhat hollow given that band’s history as a project formed during Slash and McKagan’s absence from Guns N’ Roses.
Slash’s Solos and New Music Speculation
Guitarist Slash, instantly recognizable in his signature top hat, proved to be one of the most photographed figures at the festival. His extensive guitar solos, while technically impressive, became increasingly lengthy. What began as intricate blues runs eventually bordered on repetitive, with some observers feeling the extended improvisations detracted from the overall momentum.
Speculation about a new Guns N’ Roses album has persisted for years. However, if recent tracks such as “Atlas” are indicative of the new material, the band might be better served by focusing on their established catalog and potentially more covers. By the latter stages of the nearly three-hour set, the crowd had noticeably thinned. The performance concluded with the expected run of hits including “Sweet Child o’ Mine,” “November Rain,” and “Paradise City,” providing a sense of closure, though for some, the energy had waned considerably by this point.
The extended duration and song selection left some attendees questioning whether a more concise setlist, perhaps incorporating the song “Patience” as an encore, might have been a more impactful conclusion to their headline performance.
