A decade of the UK's hardcore punk scene – In photos

Hardcore punk has enjoyed something of a renaissance in recent years. Bands like Turnstile, Gulch, Power Trip (fronted by the late Riley Gale) and Knocked Loose have helped launch the subgenre back into the mainstream, scooping GRAMMY nominations, coverage in The New York Times, appearing on Jimmy Kimmel and bringing some much needed misanthropy to major festivals like Coachella. Though often overshadowed by what’s going on across the pond, the UK scene has also been gathering momentum – thriving not-so-quietly in an ecosystem of its own.

Mostly emerging in the mid-late 2010s, the current crop of UK hardcore bands have a distinctly British stamp, with the likes of Chubby and the Gang and The Chisel carrying the torch for boot boy punk, Higher Power and The Flex supplying pounding beatdowns spliced with transatlantic influences, and High Vis drawing on the Madchester era’s post-punk riffs and Britpop melodies. Their growing success is reinforced by independent festivals like Outbreak Fest, Wrong Side Fest and Damage Is Done, which provide an invaluable platform both for local and international bands, as well as reflecting hardcore’s increasing fusion with other genres like alt rap.

Photographer Nat Wood, aka Wondergirl, has been a mainstay throughout. Documenting UK hardcore for over a decade, her work captures the passion and white-knuckled energy of the subculture in its purest form.

Huck caught up with Nat – who was recovering from non-stop two months of touring with Neck Deep – to discuss how the scene has developed over the last few years, the importance of independent venues, how hardcore is embracing diversity and more.

On that topic, how important is it to support independent venues like Boom in Leeds?

It’s incredibly important to support these places, especially given the mess that the pandemic caused. There aren’t a lot of smaller venues left in most cities now. It’s sad to think about how many good venues we’ve lost over the years, and the only way for them to survive is to support them and be involved with them.

If there’s a band you want to see, put on a show yourself! Don’t wait for someone else to do it. Go to the shows these venues put on, it’s been so hard for the majority of them to make it through the lockdown that the least we can do is rock up.

What impact did the pandemic have on local venues, as well as the scene as a whole?

It completely wiped out a lot of independent venues. And it did a lot of damage to others. There were a few charities, like the Music Venue Trust that were set up to help venues throughout the pandemic, but still, some didn’t qualify for the help, like everything there were a couple of smaller venues that fell through the cracks.

In terms of how it affected the scene, I feel like it’s made people a bit more open-minded to how music can sound and still fit in. I’ve noticed way more of a crossover on shows, and generally people are more up for it. There was definitely a point before the pandemic where we maybe took it for granted, but when it gets taken away from you for two years that completely flips it on its head.

Do you think the scene is becoming more diverse?

100 percent. We are by no means completely there, but in my ten years of being in hardcore [the change] is crazy cool. The number of girls now that are not afraid to be in the pit, be in the band, be part of the scene, it’s incredible. It’s always been welcoming, I just feel it’s becoming more accessible now, for sure.

Hardcore shows can get hectic, to say the least, do you always feel safe when you’re working?

I probably feel the safest at hardcore shows than I do at any other type of show. It’s a space where I’m supported and I feel comfortable. I know what to look out for and I know when to get out of the way!

I’ve only had two instances where my equipment got damaged, and that was purely because I got way too into the set and didn’t see the stage diver coming straight at me! If it wasn’t for my friends in this scene supporting me – literally picking me up and putting me on the stage right at the beginning, telling me I have a right to photograph a show, that I can walk on the stage – I don’t think I’d be here doing this as my job right now. I’m beyond thankful for the scene.