Download Festival 2026: Limp Bizkit, Guns N' Roses, Linkin Park, and the Sacred Mud of Donington
Your complete guide to Download Festival 2026: the history of Donington Park from Monsters of Rock 1980 to now, the full confirmed lineup, and the stories behind every stage.
By Gabin Fay
There is a patch of Leicestershire ground that has absorbed more guitar feedback, more crowd noise, and more rain than almost any other piece of soil in the history of popular music. Donington Park — a motor racing circuit in Castle Donington, thirteen miles south-west of Nottingham and forty miles north of Leicester — has been doing this since 1980, and in 2026 it does it again. Download Festival XXIII runs from June 12 to 14, with Limp Bizkit, Guns N' Roses, and Linkin Park as headline acts, and it arrives at a moment in rock history where the question of what the word "heavy" means has genuinely never been harder to answer.
This post is everything you need to know before, during, and after those three days: the full confirmed lineup, the history of the ground it's held on, the analytical frameworks for understanding what each day is trying to do, and the honest prediction section about what will and won't happen when six-figure crowds descend on the same field that Ronnie James Dio, Iron Maiden, AC/DC, and Metallica have played before them.
→ Download Festival 2026 — the 50-track lineup playlist (generated by Playgen)
Linkin Park — From Zero (2024). The album that makes Sunday's booking historically significant.
Part One: The Ground Itself — Donington Park, 1980 to Now
To understand Download Festival you have to understand what happened at Donington before Download Festival existed. The story starts on 16 August 1980, with a promoter named Paul Loasby, a racetrack owner named Tom Wheatcroft, and a one-day bill headlined by Rainbow.
Loasby had spent years promoting rock tours — he was working on the Rainbow UK tour in 1980 and conceived the idea of a dedicated heavy rock event as the final show of that run. He needed a venue with the right topography: naturally sloped ground for good sightlines, a site that could handle the infrastructure of a large outdoor concert, and transport links sufficient to move tens of thousands of people in and out. Donington Park had all three. Maurice Jones, Loasby's collaborator, knew Tom Wheatcroft personally, and the arrangement was made.
The first Monsters of Rock was meant to be a one-off event. It wasn't. Thirty-five thousand people turned up to watch Rainbow, Judas Priest, Scorpions, April Wine, Saxon, Riot, and Touch. The following year, 65,000 came back for AC/DC, Whitesnake, Blue Öyster Cult, Slade, Blackfoot, and More. By 1985, the event was pulling 50,000 per year as a matter of course. By 1987, it was back to 65,000. In 1988, the year the event reached its peak — and its nadir — 107,000 people came to Donington.
The 1988 festival is the one that haunts the ground. During the Guns N' Roses set, with the crowd surging in conditions that the sloped terrain made physically dangerous, two fans — David Hatter and Alan Dick, both 18 — were crushed to death at the front. The official inquiry placed the responsibility on the conditions of the site and the density of the crowd. The festival was cancelled in 1989 in direct response. When it returned in 1990, a 75,000 attendance cap was imposed.
Monsters of Rock ran through 1990, 1991, 1992, 1994, 1995, and 1996 — the 1993 event was cancelled due to insufficient headliner interest — with the 1996 edition headlined by Ozzy Osbourne and Kiss. Then it stopped. The UK event ended with Ozzy and Paul Stanley taking their final bow on that same Leicestershire slope, and for six years Donington was quiet in August.
In 2002, Ozzfest used Donington as its only British event of that year's US-focused tour. The following year, Live Nation promoter Stuart Galbraith and booker Andy Copping took the bones of what Monsters of Rock had built — the site, the audience, the genre DNA, the infrastructure — and called the new event Download Festival. The inaugural Download, 31 May to 1 June 2003, had Iron Maiden and Audioslave as headliners. Metallica played an unannounced afternoon set on the second stage. The template was set.
The festival expanded from two days to three days in 2005. In 2023, for the twentieth anniversary, it extended to four days and hit what appears to be its current maximum attendance ceiling: somewhere between 100,000 and 130,000 people, though the exact numbers fluctuate with the billing. Download 2026 returns to the three-day format established by the post-anniversary structure.
Thirty-five miles to the south of Donington, in Bletchley, sits the manufacturing headquarters of Marshall Amplification. Jim Marshall founded his company in 1962 in a music shop in Hanwell, Ealing, but relocated production to Milton Keynes in 1966. The amplifiers built there — JTM45 through to the JCM2000, the Origin Series, the current Silver Jubilee — are the instruments through which the sound of every Monsters of Rock and Download headliner has been principally generated. Jimi Hendrix played through Marshalls. Jimmy Page played through Marshalls. Every Iron Maiden, AC/DC, Black Sabbath, and Metallica show at Donington went through Marshalls. The pilgrimage from Bletchley to Castle Donington is thirty-five miles of English Midlands countryside and the entire chain of causation behind what rock guitar sounds like. That proximity is not incidental. The Marshall factory is the reason the distorted, high-gain power-chord grammar exists; Donington is where that grammar gets performed in front of the largest possible audience. They are the same project at different scales.
Part Two: The Mud — A Necessary History
You cannot write about Download at Donington without writing about the mud. The ground has always done this.
The slope that makes Donington a good venue for viewing music is the same feature that makes it a catastrophe when it rains. Water runs fast on that incline. The topsoil compacts under 100,000 pairs of feet and becomes liquid under sustained rainfall. The drainage infrastructure has improved over Download's twenty-three-year run — the festival has invested substantially in ground management, including specialist turf reinforcement and drainage channelling — but the fundamental physics of a large outdoor event on a hillside in the English Midlands in June cannot be fully engineered away.
The year that established the definitive Donington-mud mythology in the Download era is 2016. "Drownload" is the portmanteau that attendees coined and that the music press subsequently adopted: the Met Office confirmed that Download 2016 was potentially the wettest edition on record, with torrential rain turning the campsite Pink area into a system of fast-running water channels. People left early. The mud became the story. The festival's merchandise team apparently sold out of waterproofs by Friday afternoon.
The 2019 edition brought its own mud crisis — heavy rainfall in the days before gates opened turned large sections of the campsite into a consistency that was more liquid than solid — and 2010's final day saw what one account described as "one amorphous mud blob," 75,000 people indistinguishable from the ground they stood on.
This is not a failure. It is the tradition. The mud at Download is part of what makes the experience legible as an experience. The crowd that comes to Donington in June expects to potentially be soaked; the expectation is built into the ticket purchase. Those who have done it three or four times wear it as a kind of credential. The mud is the price of the field, and the field is the point.
The 2026 Headliners: Why This Particular Trilogy Works
Download's headline bookings are chosen with a specific triple logic: each night needs to be defensible as a standalone event, the three nights together need to tell a coherent story about what rock music is in the year of the booking, and at least one night needs to deliver a historically significant moment that the press will still be writing about in five years. In 2026, all three conditions are met.
Friday: Limp Bizkit
Fred Durst and his band return to Donington having headlined before — the 2003 inaugural Download had them in a prominent position, though not as headliners — and the 2026 Friday slot arrives with a very specific cultural momentum behind it. Nu-metal has undergone one of the most thoroughgoing critical reappraisals of the past decade. Bands that the music press effectively declared dead in 2003 have discovered massive audiences on streaming platforms in the 2020s: Spotify data shows Limp Bizkit's "Break Stuff" and "Rollin'" generating hundreds of millions of streams from listeners born after those songs were released.
Limp Bizkit — Chocolate Starfish and the Hot Dog Flavored Water (2000). Friday's core text.
The Durst onstage persona — the red cap, the studied aggression, the crowd participation sequences that somehow still work even when they're obviously worked — is, in 2026, ironic and sincere simultaneously, a double-register that the audience under 25 inhabits entirely comfortably. The set will run through the full catalogue: "Nookie," "Break Stuff," "Rollin'," "My Way," "Behind Blue Eyes," "Take a Look Around." It will be very loud and Fred Durst will say things into the microphone that would be embarrassing in any other context. This is the show. The show has always been the show.
Supporting Limp Bizkit on Friday: Cypress Hill, making their first-ever Donington appearance despite a thirty-plus-year career that has consistently overlapped with the rock and metal audience. Also on Friday: P.O.D., who belong on a festival bill bookended by nu-metal nostalgia; Pendulum, the drum-and-bass-into-rock crossover outfit from Perth via Bristol whose Donington shows are some of the loudest things that happen anywhere in English music; Electric Callboy, the German band who make euphorically ridiculous dance-metal that has somehow acquired one of the most committed live followings in contemporary heavy music; Hollywood Undead, BAND-MAID, and The Primals.
Pendulum — Hold Your Colour (2005). The album behind one of Friday's best non-headliner sets.
Electric Callboy — TEKKNO (2022). Friday's most unexpected emotional event.
Saturday: Guns N' Roses
The calculus here is complex and deserves direct treatment. The last time Guns N' Roses played Donington was 1988. That set resulted in a crowd disaster. Thirty-eight years later, they return to the same ground, with the original Appetite-era lineup — Axl, Slash, Duff — fully intact following the 2016 Not in This Lifetime reunion.
The 1988 Donington show is not separable from the GNR Saturday narrative, and the festival and the band are both presumably aware of this. The set will almost certainly address it in some form — if not explicitly through a word from the stage, then implicitly through the manner in which the band approaches the opening section. The gesture, when it comes, will be worth watching for.
Guns N' Roses — Appetite for Destruction (1987). Saturday's load-bearing structural element.
The GNR live show in the Not in This Lifetime era runs between two and three hours depending on Axl's mood and vocal condition. The Appetite material carries the set: "Welcome to the Jungle," "Mr. Brownstone," "Paradise City," "Sweet Child O' Mine," "November Rain," "Nightrain," "You Could Be Mine." The Use Your Illusion material fills the middle. "Patience" is still a crowd moment. "Rocket Queen" is still the one that lands hardest with the people who know the album. The set design is colossal.
Supporting Saturday: Trivium — who are, at this point in their career, probably the most technically capable metal band that can still fill a second-stage slot at a festival of this scale — and BABYMETAL, who remain one of the most original live propositions in heavy music and whose audience intersection with the GNR demographic is deliberately odd and entirely appropriate.
Trivium — Shogun (2008). Saturday's second-stage anchor.
Also on Saturday: Behemoth, Bush, Black Veil Brides, Halestorm, Hot Milk, Daughtry, Marmozets, and LANDMVRKS.
Halestorm — Back from the Dead (2022). Saturday's Opus Stage, positioned exactly right.
Behemoth — The Satanist (2014). The most technically demanding band on the Saturday bill.
Sunday: Linkin Park — and the Historical Footnote
There is a fact about Sunday that deserves to be stated clearly before we get to the music analysis: Emily Armstrong will become the first woman to headline Download Festival in its twenty-three-year history. This is not a small thing. Download has run since 2003 and has booked Metallica, Iron Maiden, AC/DC, System of a Down, Slipknot, Rammstein, Ozzy Osbourne, Aerosmith, and approximately eighty other male-fronted acts as headliners. Armstrong, who joined Linkin Park in 2023 following Chester Bennington's death in 2017, closes the 2026 festival.
From Zero (2024) is Linkin Park's eighth studio album and one of the stranger documents in their catalogue: it sounds like a band simultaneously processing grief and deciding to continue, produced with the deliberate weight of people who know that every note they record will be compared to a voice that no longer exists. The record received a broadly positive critical reception and reached number one in fourteen countries. The live show built around it, which Armstrong has carried through arena and festival dates across 2024 and 2025, has resolved the question that everyone asked in 2023 about whether the band could do this credibly. They can.
The Donington Sunday set will almost certainly run through the canonical catalogue material — "In the End," "Numb," "Crawling," "What I've Done," "Papercut," "One Step Closer," "Faint" — alongside the From Zero material, and Armstrong's register covers the Bennington vocal range with more fidelity than anyone predicted when the appointment was announced. Mike Shinoda plays the Shinoda parts. Brad Delson plays the Delson parts. The band is intact.
Supporting Sunday: Bad Omens, Ice Nine Kills, Mastodon, The Pretty Reckless, Tom Morello, A Day To Remember, and Social Distortion.
Bad Omens — THE DEATH OF PEACE OF MIND (2022). Sunday's most commercially ascending act.
Mastodon — Crack the Skye (2009). The album that makes them the most important heavy band on the Sunday bill.
The Pretty Reckless — Death by Rock and Roll (2021). Sunday's Avalanche Stage, perfectly placed.
Architects — For Those That Wish to Exist (2021). The UK heavy band that belongs at every Download.
Part Three: The Stages — What Each Space Does
Download 2026 runs across four principal stages: the Apex Stage (main stage), the Opus Stage (second stage), the Avalanche Stage (third stage), and the District X tent.
The Apex Stage is the main event: the headliners, the major co-headliner-tier acts, the largest production. It faces northwest across the valley, and the natural bowl created by the terrain means that sound from the Apex travels and lands with a physicality that covered or flat-ground stages don't replicate.
The Opus Stage runs as a second-main configuration with its own headliner-level acts each day. The scheduling is staggered so that the Opus and Apex don't directly compete for the same slot. The Opus tends to get the acts that in other years would have been main stage: the Architects of the world, the A Day To Remember tier, the acts that have sold out arenas but for whom the festival main stage is still a stretch.
The Avalanche Stage is where the most interesting programming decisions tend to happen. It's where Feeder plays, where The All-American Rejects make their return after twenty-one years away from Donington, where the mid-tier acts that anchor a specific sub-genre get the space to do what they do without the pressure of the wider main-stage audience. The Avalanche Stage is historically the one where the first-time Download attendee discovers the band they'll follow for the next ten years. Budget your time accordingly.
District X is the Download tent-within-the-festival: the more aggressively curated space that in 2026 includes acts like Scooter (who bring a complete non sequitur to a metal festival and are completely correct to do so), Five, Electric Six, The All-American Rejects in some configurations, Dick & Dom (yes), MODESTEP, Bat Sabbath, and others. District X exists to give the people who have been attending Download for fifteen years the version of the festival that isn't purely about the main bill.
The Headbangers Welcome Sign and the Donington Lore
There are certain totems of the Donington experience that recur across decades and deserved documentation.
The "Headbangers Welcome" banner was a fixture of the Monsters of Rock era — a homemade piece of signage that appeared in photographs from multiple editions in the 1980s, held by various combinations of denim-and-leather-clad attendees near the main gate. It has been reproduced in official merchandise, referenced in documentary footage, and cited as the casual hospitality emblem of what Donington's community felt about itself: not threatening, not elitist, genuinely welcoming to anyone who showed up prepared to engage with loud guitar music. The sentiment still holds. Download's audience in 2026 spans age ranges from sixteen to sixty-plus, and the mix of first-timers and veterans in the camping areas is one of the things the event does better than almost any other UK festival.
The Donington village itself — population approximately 4,500 — absorbs the festival's presence with a equanimity born of forty-six years of practice. Local pubs operate extended hours during Download weekend. The East Midlands Railway schedule adds services between Derby and Castle Donington. The A453 becomes, for three days, one of the most heavily policed roads in the Midlands.
The motor racing circuit that was always at the site — the same one that hosts the British MotoGP round — sits alongside the festival ground in a condition of permanent coexistence. The paddock buildings, the pit lane, the spectator banking: all still there, all visible from the campsite. Download takes over the car parks, the infield, and the circuits' flat areas, and the racing infrastructure becomes part of the festival architecture in a way that is entirely Donington-specific and nowhere else replicable.
The Wider Lineup: Acts You Should Know
The ninety-plus-act bill for Download 2026 extends well beyond the headliners and the established names. Here are the acts where advance research pays off:
Architects have been the most important British metalcore band of the past decade. Their evolution from pure aggressive metalcore through the grief-processing of Holy Hell (2018, written after the death of founding guitarist Tom Searle) to the more expansive progressive metal of For Those That Wish to Exist (2021) is one of the more complete artistic trajectories in contemporary heavy music. Their Download slot is deserved.
Bloodywood are the Delhi-based band who have done the most interesting work in fusing South Asian musical traditions — dhol drumming, folk rhythms, Hindi-language political lyricism — with metalcore. Their Donington appearance is likely their largest European festival slot to date.
Ice Nine Kills operate at the intersection of metalcore and horror narrative: concept albums based on literary and film horror sources, stage productions that are significantly more elaborate than their billing typically suggests. Sunday is the right day for them.
Feeder return to Donington after what the festival describes as a 21-year absence. "Buck Rogers," "Just a Day," "Come Back Around": the Welsh band's run of anthemic rock singles from the early 2000s makes them one of the most emotionally loaded nostalgia acts on the bill for anyone who was seventeen in 2001.
Corrosion of Conformity and Social Distortion represent the American rock lineage that doesn't fit neatly into the festival's primary metalcore/nu-metal/progressive metal taxonomy but has been part of the Download community since the early editions.
Dogstar are the band featuring Keanu Reeves on bass. This is known. The music is competent 1990s alternative rock. The actual reason to see them is the experience of watching a film actor with a mass following try to play bass in a festival setting without any of the accommodations that celebrity typically purchases. Reeves, by all accounts, genuinely plays bass. The band genuinely practices. This is a legitimate performance and not a novelty, which makes it more interesting rather than less.
Scooter — the German techno/rave act who have been releasing extremely fast, extremely loud electronic music since 1993 — at Download is the most deliberately provocative booking on the entire bill. H.P. Baxxter's "How much is the fish?" and "Nessaja" against the Donington backdrop is the most successful trolling a festival booker can perform, and the audience that assembles for it will be the most mixed demographic on the site. File under: mandatory attendance.
Festival Forecast: What Actually Happens
Some predictions, stated as predictions.
The guest appearance most likely to materialise: Tom Morello at the Linkin Park set. Morello is already on the Sunday bill, and his relationship with Mike Shinoda and the wider Linkin Park circle dates back to the nu-metal moment they both inhabited. A Morello-Shinoda collaboration during the Sunday headline set — one song, probably something from the Fort Minor or Hybrid Theory era that benefits from the Morello guitar approach — is the easiest call on the bill. Morello has appeared at Linkin Park shows before; this is a two-degrees-of-booking-separation moment.
The legacy metal surprise: The act most likely to play an unannounced second set or stage-jump is someone from the Monsters of Rock lineage. Donington in 2026 has no surviving Monsters of Rock headliner on the confirmed bill, but the probability of one appearing in an unofficial capacity — a guest spot during another act's set, a brief unannounced appearance in District X — is higher than the booking logic suggests. The 2003 inaugural Download set the precedent with Metallica's unannounced second-stage afternoon set. It's been a low-frequency tradition ever since.
The UK metal newcomer who breaks out: LANDMVRKS are French rather than UK but are building the kind of European fanbase that tends to translate to a step-change in UK recognition. Of the genuinely new British names on the bill, Lake Malice — post-punk/metal from Bristol, with a sound that has moved from cult underground to festival-stage-capable in approximately eighteen months — are the act most likely to be playing the Opus Stage in two years. Their Avalanche slot in 2026 is the window. See them before that happens.
The mud factor: June 2026 at Donington carries an ENSO-neutral Atlantic weather pattern according to the longer-range forecast models. This means the forecast is genuinely unknown, which is always the Donington forecast. Pack accordingly. Bring more waterproof layers than you think you need. The campsite ground was heavily reinforced following 2019. It will still become mud if it rains for twelve consecutive hours. That is the deal.
Linkin Park's set structure: The emotional architecture of the Sunday headline set will hinge on how Armstrong and Shinoda navigate the Bennington material. The 2024 and 2025 tours established a working format: Armstrong takes the Bennington vocal lines with appropriate reverence but without direct imitation, Shinoda provides the continuity, and the combined effect is sufficiently distinct from the Chester-era shows that it doesn't feel like a cover performance. At Donington, with the additional weight of 100,000 people and the historical significance of the first-female-headliner milestone, the set will carry a charge that the arena dates haven't had. "In the End" with that crowd on that slope will be one of those moments.
The Download 2026 Lineup in Full
As confirmed at time of writing:
Headliners: Limp Bizkit (Friday), Guns N' Roses (Saturday), Linkin Park (Sunday)
Major Acts: A Day To Remember, Architects, BABYMETAL, Bad Omens, Behemoth, Black Veil Brides, Bush, Cypress Hill, Feeder, Halestorm, Hollywood Undead, Ice Nine Kills, Mastodon, Pendulum, Periphery, Social Distortion, The All-American Rejects, The Pretty Reckless, Tom Morello, Trivium, We Came As Romans
Mid-Tier: Ankor, As Everything Unfolds, As It Is, Ash, BAND-MAID, Blood Incantation, Bloodywood, Boundaries, Catch Your Breath, Cavalera, Corrosion Of Conformity, Creeper, Daughtry, Decapitated, Dinosaur Pile-Up, Dogstar, Drain, Drowning Pool, Ego Kill Talent, Elder, Electric Callboy, Gatecreeper, Headwreck, Hot Milk, LANDMVRKS, Lake Malice, Lakeview, Letlive., Magnolia Park, Mammoth, Marmozets, Nasty, P.O.D., Paleface Swiss, Rain City Drive, Scene Queen, Self Deception, Set It Off, Silent Planet, Snot, Spineshank, Static-X, Story Of The Year, Sweet Pill, Tailgunner, The Plot In You, The Primals, Those Damn Crows, Thornhill, Thrown
Emerging / Discovery Tier: Die Spitz, Holywatr, Imminence, Ivri, James And The Cold Gun, Kublai Khan TX, Last Train, Lowen, Melrose Avenue, Mouth Culture, Native James, Nevertel, Pussyliquor, Return To Dust, RØRY, Sleep Theory, South Arcade, Spitting Glass, Sweet Savage, Tropic Gold, TX2, Unpeople, Vianova, Wayside, Zero 9:36
District X: Scooter, Five, Electric Six, Dick & Dom, The All-American Rejects, MODESTEP, Bat Sabbath, TokenGrass
What Donington Does That No Other Site Does
The final argument for attending Download 2026 over any comparable European rock festival is the site itself.
Donington is the only UK festival ground with an unbroken heavy music lineage dating to 1980. Every large rock or metal act of consequence has played it: Dio, Maiden, Priest, Sabbath, Ozzy, Maiden again, AC/DC, Whitesnake, Metallica, Slipknot, System of a Down, Rammstein, Guns N' Roses in 1988 and now Guns N' Roses again in 2026. The ground knows what it is for.
There is a specific quality to a Donington crowd that is not replicable in another setting: the collective understanding that this field has been doing this thing for longer than most of the audience has been alive, and that you are one entry in a very long list of people who have stood on this slope and watched something loud happen. That awareness is not oppressive or nostalgic — it doesn't make the event feel like a museum. It makes the present feel heavier, which is what heavy music is supposed to do.
The 2026 edition adds one genuinely historic first: a woman headlining the festival for the first time in its twenty-three-year run, on the Sunday night, closing the event that was built on ground that has been consecrated to loud guitar music since Ronald Reagan was not yet president and Margaret Thatcher was in her first term. The fact that this milestone arrives with Linkin Park — a band formed in 1996, who released Hybrid Theory in 2000, who have been part of the DNA of every music fan under forty who came of age in the early 2000s — is appropriate. The milestone lands in the right historical moment, for the right audience, in the right field.
Go to Donington. Stay until Sunday. Watch Emily Armstrong close the show.
Sources
Download Festival 2026 official lineup and stage times: downloadfestival.co.uk/lineup/
Full lineup confirmed: NME, "Download Festival 2026 line-up: headliners and 90+ names revealed": nme.com/news/music/download-festival-2026-line-up-headliners-and-90-names-revealed-3905115
Day splits and stage times confirmed: Kerrang!, "Here's all the Download Festival 2026 set times": kerrang.com/download-festival-2026-donington-park-rock-metal-limp-bizkit-guns-n-roses-linkin-park-bad-omens-trivium-architects-babymetal-stage-times
Late additions (A Day To Remember, Creeper, Hot Milk, Marmozets, Daughtry, BAND-MAID, The Primals): The Indie Scene, "Download Festival 2026 confirms full line-up and day splits": theindiescene.co.uk/news/download-festival-2026
Linkin Park headliner announcement (Emily Armstrong first female headliner): Louder Sound: loudersound.com/bands-artists/limp-bizkit-guns-n-roses-and-linkin-park-to-headline-download-2026-over-90-bands-confirmed-for-next-years-lineup
Monsters of Rock history: Wikipedia, "Monsters of Rock": en.wikipedia.org/wiki/Monsters_of_Rock
Monsters of Rock 1988 Donington tragedy: Louder Sound historical archive
Download Festival Wikipedia history: en.wikipedia.org/wiki/Download_Festival
Drownload 2016: Gigwise, "Download Festival flood": gigwise.com/news/107334/download-2016-weather---rain-causes-flooding-at-donington-festival/
Marshall Amplification history and Milton Keynes base: Marshall Amplification Company History: company-histories.com/Marshall-Amplification-plc-Company-History.html; Jim Marshall Wikipedia: en.wikipedia.org/wiki/Jim_Marshall_(businessman)
District X lineup: Rock Sins, "Takeover at Download Festival 2026 Reveal Line Up": rocksins.com/2026/04/takeover-at-download-announce-full-line-up-for-2026-event-61499/