SACRAMENTO — Aftershock Festival’s second day featured a variety of punk icons and modern rock heavyweights. The crowds felt bigger and the show went later into the night than on Thursday. Judging by the costumes, jumpsuits and scary masks in Discovery Park, it was easy to identify the excitement for the evening’s headliner. Friday’s lineup also offered up a few up-and-coming acts that delivered impressive sets.

Slipknot

Metal heroes Slipknot took a risk by performing a set dedicated entirely to its debut album, which is now 25 years old. Given it was their fourth time topping the Aftershock bill, they probably felt like shaking it up and trying something new. Frontman Corey Taylor laid down the ground rules.

“Tonight, my friends, welcome to 1999,” he said Taylor. “You will not hear a song written after 1999. For the casual Slipknot fans, sorry.”

The late ‘90s aesthetic didn’t just apply to the setlist, but also the overall execution. The stage production was drawn down (at least compared to what the band does now) and the band’s jumpsuits and masks echoed the early days.

“For the maggots since day 1, this is our way of saying thank you,” Taylor said. “For those of you seeing us for the very first time, welcome back to the beginning.”

The band took the stage shrouded in green light, powering through opening track “(sic),” “Eyeless” and “Wait and Bleed.” Taylor’s voice was razor-sharp and he kept the energy high as he jumped, head-banged and kept the Slipknot crowd connected to the material.

“Tattered & Torn” was remixed by DJ Sid Wilson, who took on a solo section to perform his take on the track along with blinding strobes and laser flashes providing an interlude.

“Are you ready for some deep fucking cuts?” Taylor asked as Slipknot entered the homestretch, playing songs that havn’t gotten much attention in years. The other big change was the addition of drummer Eloy Casagrande since the last time the band came to Northern California. The former Sepultura drummer was a perfect fit, with a thunderous attack that adeptly matched the band’s style. He didn’t play an extended drum solo, but did get opportunities to show off his skills.

“What is going on out there? What is happening with the people in the trees?” Taylor asked, looking out over the crowd, where some climbed trees to get a view of the performance.

After a brief break, Slipknot broke out “Spit It Out” and “Surfacing,” before launching into closer “Scissors.”

Five Finger Death Punch

Aftershock was a homecoming for Five Finger Death Punch frontman Ivan Moody, who grew up in NorCal. And his eldest son, Micah, lives in Sacramento. The frontman at one point brought Micah on stage for a touching moment.

“As many of you may know, I was born in Marysville,” Ivan Moody said, reminiscing about watching the Sacramento Kings.

The gig was also Moody’s first since a fall at Kentucky’s Louder than Life festival last month, in which he fractured a rib.

“There was no way on God’s green earth that I was gonna let our last show of the year be me falling into the abyss,” Moody said.

The frontman seemed no worse for wear, despite saying that some of the notes he was attempting were tougher than normal. He pushed through. Opening with “Welcome to the Circus,” Five Finger Death Punch played a set that fused hits with lesser-known songs. Guitarist Andy James dropped some impressive solos and drummer Charlie Engen got numerous opportunities to show his stuff, even opening the set with a solo.

At one point, Moody brought a young child, Dexter, onto the stage, and gave him prime viewing real estate.

“Dad, I’m not kidnapping him, get him up here,” Moody yelled, getting another chair for the child’s parent.

The band powered through tracks like the fiery “Burn MF,” “Never Enough” and “The Bleeding.”

The frontman also said he would donate his proceeds from the band’s performance to Hurricane Milton response.

Evanescence

Evanescence showed why it remains one of the best live rock bands, offering up a reliably stellar performance. The band has been touring relentlessly in support of The Bitter Truth but the band attacked the stage like it had something to prove.

“This is a song about cutting out toxic people,” front woman Amy Lee said before launching into “Take Cover.”

Lee’s vocals were powerful, dynamic and divine. She hit some notes with a style that other simply can’t replicate. Songs like “End of the Dream” and “Imaginary” showed off her strengths, blending classical sensibility with down-tuned hard rock.

“This song is about taking the good with the bad because you can’t have light without the darkness,” she said, sitting at a piano before the band played “Lithium.” Evanescence closed out with a barrage of hits like “Call Me When You’re Sober” and “Bring Me to Life.”

Rise Against

Rise Against has played Aftershock many times and Friday’s set may have been its highest billing, at dusk. The band didn’t have any new material to promote but plenty of fan favorites to draw from. Singer-guitarist Tim McIlrath brought a communal vibe to the stage.

“This tribe of misfits right here, that’s what makes us part of something that connects us all,” he said. “Something brought us through those gates to get here. That something brought me here.”

Opening with “Satellite,” the band leaned on its hits. “The Good Left Undone” and “Give It All” brought the punk riffs and kept the energy moving. McIlrath dedicated the latter to the Dropkick Murphys, who finished their set just prior.

“Those boys from Boston, they give it their all,” he said.

Later, McIlrath pitted both sides of the audience against each other to see who could be the wilder. The band concluded with “Make It Stop (September’s Children),” “Survive” and “Savior.”

Dropkick Murphys

Irish punk rockers Dropkick Murphys played crowd-pleasing set, keeping the energy up with bar singalongs. Singer Ken Casey joked about not fitting in at the hard rock festival.

“We happen not to be a metal band, but thank you for inviting us into your world,” he said. “The music has bass and drums. We gotta stick together these days.”

Opening with “The Boys Are Back” and “The State of Massachusetts,” with a bagpiper, the band kept the good vibes flowing.

“We had four pits going last time we were here, I want to see that again,” Casey said.

The instantly recognizable intro of closer “I’m Shipping Up to Boston,” kept the crowd moving.

Winona Fighter

The Tennessee by way of Boston band brought a melodic pop-punk sensibility that it blended with hardcore execution. Frontwoman Coco Kinnon was a spark plug, screaming and stirring up the crowd. Kinnon pointed out where fans had unfurled a pink “Girl Pit” sign and a mosh pit had opened up just for the ladies.

“We’ve never had that at a Winona Fighter gig before, that’s amazing!” Kinnon yelled.

The band had a terrific rapport, keeping up a comedic conversation. At one point, Kinnon reminded attendees to stay hydrated, to which bassist Austin Luther and guitarist Dan Fusion began to go back and forth on what exactly to hydrate with.

“I’m not making the rules, Dan, it doesn’t have to be water,” Luther quipped.

The band played its latest single “Swear To God That I’m (FINE),” as well as “Suburu” and “HAMMS IN A GLASS.”

Poppy

Hard rock shapeshifter Poppy continued her ongoing evolution during her midday set. The singer has made everything from metal to grunge and pop. Friday, her music felt more organic and raw than before. The vocals were crisp and her band dialed in and powerful.

Opening with “BLOODMONEY,” Poppy rolled into spectacular Bad Omens collab “V.A.N.” Rather than chitchat, spoken-word tracks served as interludes between songs, like a one-sided conversation between Poppy and her audience. Her eight song set leaned heavily on her most aggressive material. She included her newest track, “New Way Out,” a duet with former Bring Me the Horizon keyboardist Jordan Fish that may be one of her best.

Marky Ramone

Former Ramones drummer Marky Ramone brought a lively change of pace. Though he’s not a founding member of the iconic band, he manned the kit for more than a decade in the ‘70s and ‘80s. At Aftershock, the drummer played through some of the band’s classics with a trio of musicians. It felt a bit like a covers set but was plenty fun. All the big hits like “I Wanna Be Sedated” and “Blitzkrieg Bop” were included.

Dead Poet Society

Boston rock band Dead Poet Society played one of the day’s best early sets, tethering hard rock with a soulful drive. The band clearly has chops and it showed in both songwriting and performance. One of the highlights was when Dead Poet Society invited The Warning drummer Paulina Villarreal to sing on “Hurt.”

Follow writer Mike DeWald at Twitter.com/mike_dewald.