Could the Future of Rock and Metal Be Dominated by “Horrible” Bands?

In a recent interview with NME, Slipknot’s Shawn “Clown” Crahan stirred up considerable debate by claiming that there are numerous “horrible bands” poised to headline future music festivals. While his statement may have shocked some fans, it opens up a larger conversation about the evolution of festival headliners, the dynamics of music business decisions, and the responsibility of artists to nurture new talent.

READ MORE: ‘Clown Voices Concerns Over Future Festival Headliners

Clown’s remarks came while discussing the rise of Sleep Token as headliners at the Download Festival. He emphasized that fans play a crucial role in guiding the music industry, saying, “The fans let the business people know what to do. The fans speak, and the business people listen.” He acknowledged that while Sleep Token may divide opinion among Download attendees, their dedicated fanbase justifies their position. Clown concluded, “If they’re a good band, and if they work hard – as it seems like they do – they deserve everything they get.”

When pressed about the role of festival organizers in promoting new talent, Clown expressed his concern, stating, “There are so many horrible bands who are going to be our future headliners.” He further remarked, “Great bands are being pushed into these new circumstances. Without talented artists, we risk ending up with bands that simply won’t draw audiences. So yes, the business sector must take risks and support these few exceptional bands.”

The discussion sparked by Clown’s comments prompted the Loudwire team to contemplate the future landscape of festival headliners. Is Clown’s perspective a reflection of generational bias, or is there substance to his concerns? Which artists truly possess the potential to become the next big names in rock and metal over the next decade?

Join our roundtable discussion on the promising future of festival headliners below.

How Did You React to Clown’s Bold Statements?

Chuck Armstrong: I wasn’t surprised by his comments. In many ways, I resonate with his viewpoint. Clown is spot-on when he says that headliners are primarily chosen based on one crucial factor: ticket sales. It’s a straightforward business decision. I believe it’s unrealistic to expect any festival, regardless of its size, to “experiment” with who they choose to headline.

However, where I strongly disagree with Clown is in his seemingly genuine concern about the current state of new music. Those who lament the quality of modern rock and metal have already made up their minds, and it’s futile to try and change their perspective. Instead, my focus should be on the fans and celebrating the music that matters to them.

Chad Childers: While Clown’s candidness is entertaining, once you look past the initial shock, he raises valid points. The rise of technology has led to a generation where standout bands are less distinct; there’s now more choice than ever. Young bands face numerous challenges today, but Clown is right that hard-working, talented bands will ultimately rise above.

It’s perfectly acceptable to admit that you don’t connect with the music of the next generation. However, to claim there aren’t deserving new bands ready for headliner status is rather shortsighted.

Joe DiVita: Clown has always been forthright, but I am surprised by the timing of these comments. A decade or so ago, rock and metal faced greater uncertainty regarding future festival headliners and the potential for breakthrough success. Back then, the future appeared bleak. Yet today, thanks to social media and the internet, fans are reclaiming their power from industry gatekeepers.

Future headliners are now essentially chosen by fans — what could be more empowering?

Lauryn Schaffner: Initially, I found humor in the idea of Clown as a grumpy figure yelling at teenagers to stay off his lawn. Just because he is a member of one of the world’s most successful metal bands doesn’t necessarily validate his claims. If certain bands are gaining popularity, we should celebrate the fact that guitar-driven music and heavy genres are still thriving, regardless of our personal opinions on their sound.

The work ethic may differ from the past, but that doesn’t make one approach more commendable than another.

New Music: The Voice of a New Generation?

JD: Each generation has the unique opportunity to shape the music landscape, identifying the most significant and impactful artists of their time. With each wave of new music, there are always detractors from previous generations, often dismissing current trends as mere noise or “not real music.”

Ironically, Slipknot has often faced this same skepticism throughout their career.

Clown admits that he once would have criticized these so-called “horrible” future headliners, but he recognizes that fans will ultimately gravitate toward what resonates with them. While that acknowledgment is commendable, it rings hollow when he continues to label the bands as bad. This sentiment reflects the ongoing generational divide.

If older rockers are displeased with the rising stars, it likely means those younger bands are doing something right. We witnessed a similar reaction when MGK emerged in the rock scene, leading some veterans to feel threatened by his popularity. It seems there’s a lingering resentment towards newer artists who seem to bypass traditional pathways to success.

READ MORE: Corey Taylor Compares Sleep Token to Early Slipknot

CC: At some point, every music fan will find that the “music of today” doesn’t resonate as deeply as it did when they were younger. However, this doesn’t negate the fact that it continues to resonate with newer generations.

Festivals have historically been hesitant to elevate new bands to headlining status since the nu-metal, pop-punk, and emo boom of the early 2000s. Admittedly, there was a period of stagnation in music with little innovation. Yet fans are increasingly recognizing the influx of exciting new artists.

It’s not solely the responsibility of established artists to pass on the torch; fans must also be willing to step up and support new talent.

Should Established Bands Help Promote New Artists?

LS: In my view, a band’s primary responsibility is to create music, perform for their fans, and treat them with respect. As long as they fulfill these obligations, they shouldn’t feel pressured to support emerging artists unless they genuinely enjoy their music and wish for them to succeed.

If a legacy act knows their audience will appreciate another established act, it makes sense for them to bring along another significant band on tour, as it could enhance the overall concert experience for fans.

Let’s face it: many fans prefer discovering new bands by attending entire shows, while others tend to skip the opening acts. So, if two well-known bands are on the lineup, wouldn’t that enhance the overall experience?

CC: This issue is more complex than it may appear at first glance.

For years, it seemed like prominent bands were doing a great service to their music scene by uplifting younger acts, which would ultimately foster greater interest in the genre. Bands like Disturbed and Five Finger Death Punch have excelled in showcasing the next generation of talent. Slipknot has also been known for supporting up-and-coming bands.

However, exceptions to this trend exist, particularly in the post-pandemic touring environment, where financial considerations often overshadow artistic ones. Promoters are now more focused than ever on delivering the best ticket value, especially in a competitive market where new tours are announced weekly.

Oasis faced criticism for choosing Richard Ashcroft as a support act for their reunion tour instead of a rising new band. However, this choice made sense given that the tour was largely driven by nostalgia for the band’s past successes. Why not select a support act that aligns with that nostalgia to maximize ticket sales?

READ MORE: Should Oasis Be Expected to Bring New Bands on Tour?

There’s always an opportunity to promote a younger band later if the reunion continues to attract interest, much like how Guns N’ Roses have provided a platform for Dirty Honey and other fresh acts after initially touring with more established bands.

While larger bands will always serve as gateways for new artists, it’s not mandatory for them to do so on the biggest stages. There’s also value in young bands with a growing buzz joining forces on co-headlining tours. Discovery can come from a variety of sources, not just from veteran acts.

Who Are the Emerging Stars That Could Headline Future Rock and Metal Festivals?

CA: When considering artists who have yet to headline a major festival but could potentially do so one day, I see names like Beartooth, Trivium, Wage War, Nothing More, Seether, Halestorm, and others rising to the occasion.

For example, Shinedown worked tirelessly for years to earn their spot as headliners at prominent festivals like Welcome to Rockville. While it’s essential to celebrate brand-new bands, we must also recognize the efforts of those who have been dedicated to climbing the ranks of festival lineups.

JD: The potential for headliners can vary based on the geographical location of the festival. We’re finally witnessing a new wave of festival headliners coming into view, but many of these bands have been in the game for over 15-20 years, such as Gojira, Avenged Sevenfold, Bring Me the Horizon, Architects, and Halestorm.

On the younger side of heavy music, Spiritbox, Sleep Token, and Bad Omens appear to be well-positioned for future headlining spots. Greta Van Fleet, while often found at more mainstream pop festivals, seem destined to remain relevant and prove their worth as headliners at rock-centric festivals as well.

LS: I firmly believe that social media will play a pivotal role in determining the future headliners of rock and metal. We’ve already observed groups like Ghost, Sleep Token, and Bad Omens significantly grow their fanbases due to viral success on platforms like TikTok. I predict these bands will headline festivals in the future, alongside Spiritbox, Architects, and Falling in Reverse, as Joe mentioned.

CC: Chuck made an important point. Headliners typically don’t become overnight sensations. To echo his thoughts about Shinedown, other bands that are strong candidates for future headliner status, thanks to their impressive catalogs and touring experiences, include Papa Roach and Halestorm.

The rise of nu-metal, emo, and pop-punk catapulted bands like My Chemical Romance, Fall Out Boy, and Blink–182 into the spotlight during the 2000s. I fully anticipate that some of the metalcore bands from the late 2000s and early 2010s will finally gain the recognition they deserve, especially given the cyclical nature of music scenes.

As for newer bands, Ghost and Bring Me the Horizon are already making waves, while Sleep Token appears set to seize their big chance. Falling in Reverse seems to be on a similar trajectory. If current trends continue, we may see Mammoth WVH, Dirty Honey, and Greta Van Fleet ascend the ranks as well.