Headlining the Friday night, Slipknot put it rather in-eloquently when suggesting to Download Festival organiser Andy Copping that the event should be rechristened Downpour. As many would go on to point out, Drownload is a much better name anyway. Regardless, the weekend’s multitude of shenanigans are veiled under an unrelenting sheet of water. The green grass that welcomed exuberant punters upon arrival replaced by rivers of running mud and mounds of unbalancing earth. In true festival style, and heavily demonstrative of Download festival goers resilience, the show must go on.

In amongst the countless mudslides that participants are soon to regret when the temperature ultimately drops, there are bands. Many bands. And what bands they are. Despite some pre-festival criticisms by perpetually unhappy music lovers, the trio of headliners have something to offer all. Be it the semi-modern thunderous metal of Slipknot, the pure showmanship and euphoria of Muse or the nostalgia of KISS. The latter doing all in their power during their Sunday headline slot to remain relevant; even confidently promising onlookers that their newer material will eventually reach classic status. Many are yet to be convinced.

As shouts of dissatisfaction in Muse’s lack of metal dissipate, the true eclectic nature of the line-up begins to shine through. Pop-punk fans may be left wanting at various times during the festival, but as Yellowcard close the festival’s third stage; The Maverick Stage, that notion couldn’t be further from the truth. Admitting that they had serious concerns that their blend of melody driven pop-punk may fall on deaf ears, they are elated by the crowd’s response to their hit filled set. Fans chant the band’s name in-between stunning renditions of new and old, with ‘Oceans Avenue’ and ‘Crash The Gates’ of particular note.

That’s not all in terms of the lighter scale of music. Pop-punk upstarts ROAM and Trash Boat both enjoy their first appearance on a Download Festival stage, although as Trash Boat vocalist Tobi Duncan informs us, by no means their first time on site. Visible nervous when taking to the stage, and announcing his fear that he might be seeing his breakfast again at any inopportune moment, Duncan leads a considerably more reserved Trash Boat through their fourth stage (Jake’s Stage) set. Despite clashing with The Darkness, which appears to have led some confused classic rock fans into the incorrect tent, they welcome a healthy fanbase and come across much better by reigning the on-stage antics in.

Trash Boat’s performance on Jake’s Stage is in many ways reminiscent of Creeper’s outing the day before. Playing the festival’s smallest stage on the Saturday, the goth-punks first Download Festival appearance delivers exactly as it should. Acting as an opportunity for them to test out new material to a comparably unexpectant crowd, the newer numbers show real promise. Having signed to Roadrunner Records earlier in the week, the small stage provides their introduction into the mainstream. As ‘Novena’ rounds off their set in style, it appears they will be very welcome.

Throughout the festival, Jake’s Stage continuously delivers. Opening act on the Friday, West Midlands pop-rockers EofE may have hit the road with McBusted previously, but that doesn’t stop a smattering of alternative fans heading up the hill to see them. Their radio-friendly, “this is going to be huge” anthems prove the polar opposite of stage sharers, The One Hundred. Situated towards the end of the same day, the London crossover fledglings showcase their rapidly increasing skill in whipping a crowd into a full on frenzy. Fans spill out of the sides as frontman Jacob Field keeps them firmly in the palm of his hand.

There’s evidently more variety further down the bill, as the Main Stage retains a deliberate cohesion. For the most part the Friday sees metal powerhouses lead up to Iowa veterans Slipknot, whereas the Saturday welcomes the more mainstream melody makers. Sunday’s dominant classic rock high up the bill makes room for the downright odd Man With A Mission on Jake’s Stage; donning full wolf head costumes and dancing around to frenetic punk that sits somewhere between fellow Japanese outfit Mad Capsule Markets and Saturday Main Stage act Rise Against. Enjoyable, if not a little confused. The individual squashed against the barrier with a matching wolf head is absolutely loving it, mind.

Allusondrugs bring the grunge vibe to the smallest stage, sandwiched between Blood Youth and American Fangs. Frontman Jason Moules writhes around the stage, influenced in no small part by Kurt Cobain. Their somewhat distorted sound allows the infectious melodies to break through at all the right times. Having expressed a complete disregard for genre classification and segregation in prior conversations, Allusondrugs are visibly comfortable in front of the substantial crowd. Nerves seemingly a thing of the past as soon as they take to the stage.

One of the big surprises on Jake’s Stage comes in the form of Houston post-hardcore outfit American Fangs. Combining rock and roll with a heavy dose of punk-rock, the five-piece rip through an energetic set with an unmatched force. Elevated by their sound’s raw state, frontman Gabriel Cavazos commands the stage with ease. Moments or sheer brilliance are strung together by a mesmerising punk-rock attitude. Alongside a handful of other artists, American Fangs demonstrate just what the smaller stages are about.

Elsewhere on site, Counterparts explode onto the Maverick Stage to start Friday’s proceedings with a serious bang. Their mixture of emotive atmospheres and unapologetic hardcore thunders through the expansive tent, mirroring the likes of Defeater who appear on the same stage a little later. Derek Archambault, vocalist of the latter, occasionally struggles to allow his voice to pack the punch it is normally capable of, yet the exemplary ‘Dear Father’ almost lifts the roof of the tent in mid-afternoon.

Every Time I Die and Code Orange bring ferocity at different levels, embodying the long-established and the new wave on Saturday and Sunday respectively . Both subject The Maverick Stage to vicious onslaughts, with suitably destructive pits opening up in front of them. Despite some sound issues that all but drown-out guitarist and co-vocalist Reba Meyers, Code Orange prove to be one of (if not the) heaviest band on the bill. It may be slightly messy, but the style suits the sound perfectly. By the end of set closer ‘I Am King’, no eardrum in this tent will ever be the same again.

From the moment the band arrive on stage, Every Time I Die frontman Keith Buckley demands more. The last time they played Download, he explains, was one of the best shows of their life. As a circle pit opens around each pillar Buckley concedes that today has topped it. Every Time I Die respond by upping the ante, pushing their instruments to breaking point. The Buffalo four-piece are on top form, even considering a rather peculiar final track choice that leaves some scratching their head as they recover from the set.

Further highlights of the weekend include Fightstar’s triumphant headline slot on the Maverick Stage on Friday, allowing them to play their anthemic hits to a jubilant crowd. Including a number of downbeat numbers, it proves a refreshingly atmospheric moment in an otherwise heavy-hitting day. Funeral For A Friend sound better than ever on the Main Stage, with the likes of ‘Juneau’ and ‘Escape Artists Never Die’ allowing for an early singalong in the persistent rain. Their quality has suffered criticism in the past, but today they truly hit their mark.

On the Sunday the Encore Zippo Stage plays host to the legendary grunge and riot grrrl pioneers L7. It’s immediately evident that the four remaining members have been in the business for years, as each stirs up the crowd with ease. Despite not welcoming the biggest audience to the festival’s second stage, there’s something special in this afternoon’s performance. There’s an abundance of energy despite the lack of any serious production. Instead the music, the heritage and the sheer spirit do the talking.

Playing in-front of a crisp white backdrop, and surrounded by the entire contents of a florists, Faith No More combine their brilliant tracks with a genuinely endearing stage presence. Whist joking with the crowd, and throwing caution into the wind they hypnotise the crowd with live renditions of fan favourites ‘Be Aggressive’, ‘Midlife Crisis’ and ‘Easy’, amongst others. With the perfect balance of craftsmanship, showmanship and humour, Faith No More showcase just how they have survived for so many years. “This last song is a new song, because fuck it, why not,” Mike Patton exclaims, despite returning for an encore rendition of ‘We Care A Lot’. Not many other non-headlining bands could get away with it.

At least superficially, each headliner speaks to a different audience, yet their shared showmanship is undeniable. Between them the production value is astronomical. Slipknot’s signature rotating drums are back in full force. Muse entrance the biggest crowd of the weekend with impressive lighting displays, confetti cannons and giant inflatables. Sunday’s headliners and festival closers KISS, famous for their onstage antics, enthral with fake blood, firework loaded guitars and zip-wires. Beneath it all though, music does most of the talking.

Each proves a master of their individual art. Slipknot sound barbarous as they power through new and old, with ‘Psychosocial’ and ‘Spit It Out’ causing rapturous moshing. On Saturday, Muse demonstrate their position with ease, laying waste to any prior criticism aimed towards their booking. Material from ‘Origin Of Symmetry’ and ‘Absolution’ are most recognisable, and tracks from their most recent outing ‘Drones’ are clearly made for this environment.

KISS almost pale in comparison to the preceding headliners’ showmanship, despite having built their reputation thereon. If anything, the three headliners showcase the development in production. That said, all three have their specific markets, and they are engrossed. Undoubtedly, as with the remainder of the line-up, some feet will have been turned and some strops will have occurred. Yet ultimately, as with us, more fun will have been had, more exciting talent will have been seen, and horizons will have been opened.