There’s an underlying anxiety of making the most of SNW’s 13-hour stretch. Have you ever felt a slight panic from realizing you’ll never truly hear and absorb all the music in the world? That’s kind of how it felt making a Sick New World itinerary. 60-plus bands spread over five stages over the course of one day sounds ridiculous on paper, and that’s because it is. This alt music extravaganza is made possible by tight set times, a dueling main stage set up and revolving side stage platforms. Overlapping set times are inevitable, and the intersections force attendees to make some heartbreaking decisions between cutting certain sets in half to watch another or missing acts entirely. Yet, amid the chaos of conflicting scheduling, there’s exhilaration in navigating the maze of music while still making time to discover something new.
Finding your home base. The five stages were loosely thematic, with the tented Diablo stage housing a majority of the hardcore acts like Sunami, Trash Talk, Kulbi Khan and Drain. Mosh pits consistently shrank and swelled as each band took the stage and switched out throughout the day. The Siren side stage showcased a smorgasbord of sound—nostalgic industrial bands like Belgium’s Front 242, sex pop electro jammers Lords of Acid and Britain-born Nitzer Ebb kept goths, old and new, moving under the afternoon sun, resulting in the faint smell of warming leather and pleather. The remaining three were a display of 1990s nu metal, grunge, metalcore and more. It’s natural to gravitate towards one particular amplified soapbox amidst the cacophony of sounds, each stage becoming a refuge for those seeking their musical tribe.
Nap time at the metal fest. It’s 8:15 PM, and Duster is midway through their set on the Siren stage. The slowcore space rock quartet is beautifully delivering their much-anticipated performance, featuring recently resurging tracks like "Inside Out" and "Constellations." The relatively younger audience displays utmost show etiquette as the elusive musicians weave a sense of calamity and haunting introspection through their analog sound. It’s easy to get mentally lost while witnessing the reclusive rockers, but the silence between each song is punctuated by the blasting screams of Oli Sykes, whose band Bring Me the Horizon is simultaneously playing just a few hundred yards away—forcibly reminding us that we’re at the epicenter of some of the world’s loudest and fastest bands.
Is the tattoo bus actually a bust? As a moderately tattooed person, I couldn’t imagine enduring a hot buzzing needle scraping my skin's surface then going out into the Vegas’ pre-summer elements, trekking the fest’s hot pavement and standing skin to skin with other sweaty bodies while watching hours of acts. And while I don’t personally know anyone who’s gone under a festival needle, it’s important to note that some fans are more dedicated than others and that is something we all can respect.
“This show makes no sense whatsoever, but alas, neither do I.” Danny Elfman, former Oingo Boingo frontman and current film composer and singer-songwriter captured the essence of generations with his surreal performance at SNW. Featuring a full orchestra and Elfman’s trademark wit, the audience was transported into a Tim Burtonesque dreamscape. “This Is Halloween,” from The Nightmare Before Christmas, saw the crowd break into a sing-along, while original tracks from shows like The Simpsons and Wednesday allowed us to momentarily relish the composer’s genius. This was a treat for those who celebrate Halloween year 'round.
