REVIEW: Sick New World 2026
REVIEW
REVIEW
☆ BY ELIJAH CLOWER ☆
The world became sick again, Sick New World made its return to the Las Vegas Festival Grounds on April 25th and delivered exactly what the heavy music faithful had been starving for. What I've come to think of as the heavier sister festival to When We Were Young — both calling Las Vegas home on a rotating calendar — proved once again that this city has an insatiable appetite for loud, dark, and unapologetic music. Over fifty high-octane bands performed across four stages in what amounted to a ridiculously rad marathon session of intensity that more than exceeded expectations. There were some letdowns we'll get to, but the overwhelming story of the day was simple: the heavy came home, and it hit harder than ever.
Korn arrived at Sick New World riding a fresh wave of viral momentum after the algorithm latched onto "Freak on a Leash" all over again, and the crowd reflected it — every corner of the age spectrum was represented, from teenagers with their parents all the way up to the 50-plus crowd. When it finally came time for that song, Jonathan Davis leaned into the moment, saying "Kick it, Ray" toward drummer Ray Luzier as phones lifted into the sky. Beyond the nostalgia, Korn also came with new heat — debuting "Reward the Scars" live, their first new song in over four years, released as part of the Diablo IV: Lords of Hatred expansion. They even dusted off the rarity "Proud" — its first performance since 2011, and the first time they played it with guitarist Brian "Head" Welch since 1999. A 17-song set that covered every era and left nothing on the table.
System of a Down paid particular attention to Toxicity throughout their 25-song closing set, unleashing nine tracks from the record as it approaches its 25th anniversary in September. Closing out the night with "Sugar" felt like a collective exhale for everyone who had waited through the cancelled year to see this moment. Their rousing closing performance served as an emphatic exclamation mark not only to their set but to the entire festival experience.
Now to the personal highlights — and this is where the day really lived for me. Evanescence was nothing short of iconic. Amy Lee commanded that stage from the first note to the last, delivering one of the most complete vocal performances of the entire festival. The band opened with "Afterlife" and closed with "Bring Me to Life," with the set including "Going Under," "Call Me When You're Sober," "Use My Voice," and even the live debut of a brand new track. But the moment that's going to live with me longest was the crowd collectively stepping in for Paul McCoy's parts on "Bring Me to Life." The entire festival grounds became the backing vocal — tens of thousands of people filling in that iconic male hook without being asked. That's the kind of moment that reminds you why you show up.
Bring Me the Horizon were easily one of if not the the most anticipated set of the day, and despite the frustration of a restricted pit, I was able to get the full experience of their set. I worked my way up to the front and threw myself into the chaos with everyone else. The BMTH allure is very real. There’s a reason they continue to pull massive crowds at every festival they touch — the energy they generate is on another level, and feeling it from inside the crowd rather than through a viewfinder at least made sure the set didn’t go to waste. The disappointment of not being able to shoot it hasn’t gone away, but the memory of being in that pit absolutely made its mark.
Marilyn Manson was one of the most pleasant surprises of the day, and I say that as someone who walked in without deep familiarity with his catalog. What won me over wasn't the songs — it was the show. Compared to some of his more subdued recent appearances, this felt like a genuine return to form. The theatrics were dialed up, the energy was there, and the band as a unit had real cohesion and stage presence. The addition of guitarist Nick Annis brought fresh energy to the live setup, and the return of Tim Skold gave the set a familiar backbone for longtime fans. As a photographer, Manson's set was one of the most visually rewarding of the entire day — every frame had something worth capturing.
Knocked Loose is a band I genuinely don't think can disappoint me. I've followed them since catching them on tour with Slipknot, worked through the full catalog, and have now shot them more times than almost any other artist. There's something about their sets that just pulls you in no matter how many times you've seen it — the raw energy is completely unmatched. They brought that same fury to the Green Stage and the crowd responded in kind. Every time I think I know what to expect, they find a way to make it feel like the first time.
Sick New World veterans Kittie also delivered one of the day's standout sets. "Third time's a f---ing charm," said vocalist Morgan Lander as she and her bandmates tore up the Spiral Stage — their third consecutive appearance at the festival. The energy was primal, the crowd response was massive, and if they're invited back for a fourth go, they've absolutely earned a step up to main stage. The Kittie resurgence has been one of the best stories in heavy music over the last few years and every set they play reinforces that.
And then there's Sleep Theory — the band I walked away from Sick New World talking about the most. These guys had the it factor in every sense. Their humor, stage antics, and overall vibe were a genuine breath of fresh air in a lineup full of legends, and something about them just clicked. Maybe it's that they feel closer to my generation than most of the other acts on the bill. Whatever the formula is, it works. File them under acts to watch.
Lords of Acid, Twin Tribes, and HEALTH were all worthwhile stops throughout the day as well. Lords of Acid in particular stood out — HEALTH's industrial-tinged metal was both ethereal and clamorous, and the Lords set brought something completely different to the table energy-wise. Carla Harvey fronting that set had some of the most commanding stage presence of any performer on the day — loud, unhinged, and completely committed to the moment.
A few other moments worth mentioning: Cypress Hill delivered a vivacious and fun set that included a surprise cover of Rage Against the Machine's "Bombtrack" and closed with House of Pain's "Jump Around," with B-Real instructing the crowd to crouch until the beat dropped. Acid Bath, one of the most anticipated reunion acts on the bill, made good on the promise that the 2025 cancellation had delayed, with frontman Dax Riggs commanding the mic through a set that showcased exactly why the band is so revered. And Mastodon capped their brief six-song set in spectacular fashion — welcoming Neil Fallon of Clutch onstage to close out a thunderous performance of "Blood and Thunder."
Were there letdowns? Yes — and the main one came from behind the camera. Three of the four headline acts — System of a Down, Korn, and Bring Me the Horizon — all had restricted photo pits, meaning myself and many other photographers were shut out of capturing their sets entirely. AFI also fell into that camp. These decisions come from the bands themselves, not the festival, and that’s understood — but when more than half the headliners are off limits to the pit, it’s hard not to feel the sting of it as someone who showed up to document the day. Missing those moments is the kind of thing that lingers.
There’s a massive pool of current heavy hitters — bands like Spiritbox, Invent Animate, Aviana, Imminence, ERRA, Architects, Jinjer, Falling in Reverse, Pierce the Veil, Day Seeker, and countless others — that could push these lineups into a whole new dimension. Las Vegas as a destination isn’t going anywhere, and neither is this festival’s momentum.
