Credited festival films, archive performances and broadcast sessions. Every card links back to the original upload.
92 performances
The final upload in Underoath's official Long Beach series documents the band playing the Voyeurist opener during its 2026 Warped Tour set.
A short official band upload catches the room opening from the stage outward, a physical reminder of why this reunion already existed live before it returned to the studio.
hate5six films the band at floor level, where the stop-start detail of Irrational Pull and Narrative-era songs stays audible even as the room folds around the camera.
The reunited Philadelphia band leave the guitar lines loose enough to breathe, turning the studio into the kind of small room where their songs first became communal knowledge.
Home Front bring programmed pulse and punk momentum into the same live frame, with Watch It Die sounding less like a studio hybrid than a room finding one shared tempo.
Pinkpop's archive catches Toxicity-era System Of A Down moving at impossible speed without losing the strange pauses, folk-shaped melodies and crowd control inside the songs.
Polaris' own tour film keeps the song's quiet opening intact before the arena answers its central line; grief and scale occupy the same performance without cancelling each other out.
Wacken's official three-song cut is a compact reminder that Parkway Drive's festival scale was built on songs that still hit before the extra staging enters the frame.
Bloodstock's complete film catches the Swiss band's first UK festival appearance at full force, from the low-end churn of Hatred to the closing push through Love Burns.
The barrier-free Outbreak setup turns every pause into movement. The camera stays close enough to show how much of this set belongs to the people crossing the stage and giving the songs back.
A close-room session that leaves Jade Lilitri's hooks and the band's guitar detail in the foreground, revisited as Oso Oso put a date and label behind album six.
Primavera's complete archive film gives the band's short-form precision a full hour, with the political songs and melodic releases arriving at the same unsentimental pace.
ARTE documents a French nu-metal reunion as a living network, with guests moving through a set that connects rap-metal history to the crowd in front of it now.
Wacken's official film keeps the abrupt vocal changes, Eugene Abdukhanov's bass detail and the band's progressive turns clear inside a festival-sized mix.
A complete main-stage set that makes room for Whitechapel's older rhythmic punishment and the broader dynamics of the band's more recent material.
ARTE's broadcast catches the New York veterans moving through short, hard songs without polishing away the blunt crowd exchanges between them.
The Asheville band bring their loud-soft dynamics into Audiotree's close room, where the guitar overlap and strained hooks can land without a barrier or festival edit.
Wacken's archive holds onto the song's clipped bass entrance and chant without stretching a compact punk standard into something it was never meant to be.
A knowingly compressed run through the scene's biggest hooks, played by a band that survived the era and can treat its shared vocabulary with humor rather than distance.
The official Wacken film catches Callejon moving between German-language hooks, compact metallic riffs and the loose control of a band at home on a festival stage.
Bloodstock's new main-stage film gives the breakdowns their full scale while keeping the fast rhythmic details and Alex Terrible's vocal changes clear in the mix.
A short, floor-facing set where every pause creates space for the crowd, documenting Extinguish's death-metal weight without turning the performance into a distant spectacle.
Holiday, Action & Action, Valentine and Ten Minutes arrive with the rough edges intact in a session recorded around the 25th anniversary of Something to Write Home About.
A compact festival performance becomes a cross-generational punk moment when the Resukids join Bad Religion onstage for the Generator single.
Bloodywood's early Wacken set makes the band's combination of nu-metal bounce, Indian folk instrumentation and bilingual vocals feel structural rather than ornamental.
Wacken's full-show archive catches While She Sleeps before the arena years, with the crowd-level urgency and tightly packed transitions already in place.
A complete Bloodstock set built around clipped breakdowns, fast resets and the blunt live force of Chelsea Grin's mid-2010s catalogue.
Outbreak's stage-level film keeps the abrasion, melody and crowd motion in the same frame, which is exactly where Drug Church's live tension makes sense.
John Feldmann joins The Used for a compact anniversary-stage performance whose bright chorus still lands against the song's darker emotional pull.
The official Wacken film gives Pennywise room to stretch its fast, economical songs into a festival set without losing their directness.
Wacken's official cut follows the familiar quiet-to-impact structure all the way to the field-wide response that has kept Bodies in heavy-music setlists.
A direct 37-minute set that keeps the Manchester band's metallic hardcore balance intact: fast transitions, hard stops and very little space between songs.
Four focused minutes from Bodysnatcher's first Greek show, with the new album opener keeping every stop and low-end hit intact on the festival stage.
A short, fast Outbreak set that shows how naturally the Leeds band's thrash riffs and hardcore pacing work in a room built around movement.
The tenth-anniversary set puts Basement's early records back in sequence and lets the crowd carry the softest hooks as loudly as the heavy turns.
A 59-minute broadcast set that puts Born to Kill beside the California staples the band have carried for decades.
Wacken's official three-song edit stays with the Wisconsin Death Trip material and makes the current band's mechanical live precision easy to hear.
A festival-scale document of Spiritbox moving from Fata Morgana and Black Rainbow into Jaded, Holy Roller and Circle With Me.
A focused four-minute introduction to the band's slower, wider version of deathcore, with the Bloodstock mix leaving every change in weight easy to follow.
Twenty-five minutes of the room moving as one, captured after Glow On pushed Turnstile onto festival main stages without putting a barrier between band and crowd.
A newly released studio session that brings the band's early-2000s catalogue and current material into the same close, live room.
A current broadcast-quality Rise Against set that keeps the political urgency and melodic release equally visible on Hellfest's largest stage.
Twenty-four years after Satellite, Boom still works as a compact live trigger, with Wacken's Louder Stage answering every bounce in the riff.
A hometown performance that lets the song's electronic pulse and broad chorus breathe before the guitars close in around the final section.
A current broadcast set that leaves room for Whitechapel's slower atmosphere without blunting the older songs or Phil Bozeman's low-register control.
A floor-level view of Initiate's sharp changes between speed, melody and mosh weight, with the crowd visible in every transition.
A complete, carefully staged performance of Futures that keeps the album sequence intact, from the title track's first lift to 23's patient close.
A festival-length set that puts the band's fastest early material and big 1990s hooks beside the current live lineup without cutting away between songs.
A newly shared set that connects Soulfly's groove-heavy catalogue to Max Cavalera's wider history, including a late performance of the Deftones collaboration Headup.
A strong first click for anyone who only knows the singles: the set moves from hushed tension to modern metalcore weight without losing the songs between the extremes.
A concise introduction to the band joining Trivium and In Flames next spring, with the beatdown swing and emotional pressure both clear in one song.
Put this on when you want the room rather than a polished clip: stage dives, shouted answers and a set built around constant contact with the crowd.
A patient hour for listeners ready to try something less immediate, where spoken detail, post-hardcore movement and long emotional arcs are allowed to breathe.
A chance to step sideways into melodic hardcore’s spiritual and philosophical corner, carried by hooks that make the unfamiliar material easy to enter.
A current festival set for kicking back rather than studying history, with the early staples, newer songs and Jacoby Shaddix’s crowd work all in one place.
A direct way into the Marseille band's range: hardcore movement, melodic release and modern metalcore production sharing one rain-marked festival stage.
A full-stage route through Whitechapel's catalogue that shows how the band move between early violence, later atmosphere and Phil Bozeman's expanded vocal range.
Four songs are enough to hear why the Detroit band's metallic hardcore still feels physical: short setups, no decorative pauses and Candace Kucsulain driving every transition.
A lively cross-generational set that puts newer songs beside Weightless, Time-Bomb and Dear Maria without turning the older material into a nostalgia break.
A visually playful way into a first-wave punk catalogue, with the costumes and crowd theatre supporting songs that remain quick, simple and sharply melodic.
The band's official live film places a Meteora staple inside the new lineup, letting the crowd carry the history while the performance stays firmly in the present.
A bright, fast entry point into Hanabie.'s collision of metalcore breakdowns, electronic detail and Harajuku-core color, filmed on Wacken's rain-soaked Louder Stage.
Incendiary's political New York hardcore lands in a tightly packed second-stage room, where the crowd response becomes part of every pause and restart.
A good place to hear how Thursday's post-hardcore urgency and emo storytelling still function in a room built around direct contact rather than nostalgia.
A current, broadcast-quality route into one of punk's most melodic catalogues, balancing speed, economy and hooks that never needed polish to last.
A useful new-generation pick for anyone curious about where rap phrasing, electronic production and modern alternative metal now overlap.
The first Electric Callboy performance with Nico Sallach turns an empty studio into a compact introduction to the band's electronic-metalcore reset.
A sold-out hometown performance of Hate from front to back, filmed with enough space to show both the album's sustained pressure and the room answering it.
Leeds crossover delivered at floor level, where every quick thrash turn feeds straight back into the movement around the band.
Chris Carrabba pares the songs back to voice and guitar, letting the writing and the small-room silences carry the same weight as a full-band chorus.
A current 49-minute set that moves from Peaceful Day and Straight Ahead through the band's melodic-hardcore catalogue without sanding down its club-speed edges.
A current 74-minute broadcast that connects Infest-era cuts, newer material and the band's Nu Metal Time Machine medley in one unusually complete festival set.
A close, professionally filmed reminder of how Parkway Drive turn a compact breakdown into a complete crowd cue, without losing the song's forward motion.
A full festival document from the Pain Remains era, balancing the symphonic scale with the physical detail of Austin Archey's drums and Will Ramos' vocal shifts.
Knocked Loose headline a room that still behaves like a hardcore show, with the camera staying close enough to catch the constant exchange between stage and floor.
A sharp festival set from the self-titled era, where older scene staples and the band's expanding pop instincts sit together before either side feels like a separate chapter.
A current broadcast set that lets Lagwagon's melodic precision and rougher live edges coexist, with nearly three decades of songs moving at club speed on a festival stage.
An hour-long broadcast from the Untouchables era, preserving Korn at a strange creative peak where arena scale, low-end weight and deep-cut tension still shared the same set.
A main-stage Warped performance from the What Separates Me From You era, with the compact verse and huge final chorus showing why the song became a festival constant.
The dual-vocal attack and sudden rhythmic stops are captured without smoothing out the chaos, turning an early Despised Icon staple into a precise festival document.
The Amsterdam room takes over the title line almost immediately, showing how the song became less a conventional closer than a shared hardcore ritual.
The acoustic arrangement leaves the New Again closer exposed, with Adam Lazzara and Matthew Fazzi carrying its tension through the Angel Orensanz room rather than chasing arena volume.
The intimate radio arrangement strips Mercy Me back to its two voices and durable chorus, letting Dan Andriano and Matt Skiba show the song's shape without a full stage behind them.
A fully live official video for the Toby Morse collaboration, captured at Lowlands with its rap-metal snap and hardcore guest energy left intact.
Jesse Leach and the Bloodstock crowd carry the Alive or Just Breathing chorus together before the song drops back into its tightly wound closing riff.
A precise older Whitechapel performance built around the song's stop-start rhythm, with Phil Bozeman keeping the main-stage delivery controlled rather than rushed.
Speed headline Outbreak without turning the stage into a distant spectacle, keeping the set rooted in movement, direct contact and the communal logic of hardcore.
The newly restored archive audio catches Helena before the arena scale, with the tension of the verses and the final goodbye still sounding immediate.
A current official performance of the Americana closer, still balancing its instant guitar line with a lyric that gets darker as the crowd gets louder.
The Live in Texas version compresses everything essential about early Linkin Park into three minutes: clipped verses, a huge chorus and Chester Bennington's final sustained release.
Whitechapel bring Kin's heaviest release to Bloodstock's main stage, with Phil Bozeman controlling every shift from the opening scrape to the final breakdown.
A slow-burning festival performance that lets the Futures closer expand naturally instead of forcing its final lift into a shorter edit.