SACRAMENTO — The third day of Aftershock Festival was marked by eclectic takes on hard rock, both from legacy acts like Korn and buzzworthy up-and-comers. The heat subsided a bit but the musical fireworks burned just as hot, from Parkway Drive igniting the stage with fire and a drum set that flipped completely upside down to Sueco jumping into a very active mosh pit an encouraging people to bum-rush him.

Where Friday’s headlining acts were loosely tied together, Saturday’s top acts were aligned by their dynamics that challenged the musical spectrum.

There was one curveball thrown during the day: Sliptknot frontman Corey Taylor canceled after going down to a knee injury at a gig earlier in the week and some of his crew getting COVID-19. But the show went on.

Korn

For all the buzz surrounding a number of the bands earlier in the day, the night ultimately belonged to one of nu-metal’s trailblazers, Korn. Jonathan Davis and co. have headlined Aftershock before, but this time brought a little extra fuel. While it was a hits-heavy set, the band did mix in a few tracks that aren’t live staples.

Davis only addressed the crowd a handful of times, initially to announce the band would be entering its 30th year and thanking fans for the support before launching into the rousing “Y’all Want a Single.”

The production was in line with some of the band’s recent festival sets, with an emphasis on video screens along with a floating panel that lowered at certain points. Korn hasn’t toured in the U.S. over the past year and the Sacramento appearance was just one of a few festival gigs.

Korn opened with ferocious takes on “Rotting in Vain” and “Here to Stay,” and the majority of the material came from its 1994 self-titled debut and 1996’s Life Is Peachy. Guitarists Brian “Head” Welch and James “Munky” Shaffer brought a tandem guitar attack of down-tuned riffs, while longterm fill-in bassist Ra Diaz continued his work in the absence of Reginald “Fieldy” Arvizu. Ray Luzier’s powerful drumming built a sturdy foundation for the rest of the band and complemented the band’s heavy sound.

Camera phones shot into the air for bigger tracks like “Got the Life,” and the crowd sang along to “A.D.I.D.A.S.” Korn’s staying power as a top dog festival act is impressive, with many fans staking out their main stage territory hours earlier.

The band included at least one song from nearly all of its albums.

Instantly recognizable guitar riffs like “Blind” got an immediate rise and Korn threw in rarely played tracks like “Clown.” Davis at times moved around aggressively and other times staying stationary at center stage while clutching his microphone stand and head-banging to the crowd.

The anthemic “Coming Undone” was boosted by a snippet of Queen’s “We Will Rock You.” It wasn’t the only cover of the set; the band added a bit of Metallica’s “One” to “Shoots and Ladders.” Davis carried his bagpipes on stage as the signature intro to the track, as well.

Davis can still deliver the screams and aggressiveness, offering no signs of slowing down anytime soon.

The day closed out with the combination of “Twist” and “Freak On a Leash,” two of the band’s heavier tracks.

“Thank you for going on this journey with us over the years,” Davis said, promising to see fans again next year.

Sleep Token

Masked alt-rock sensations Sleep Token had about as much buzz heading into Aftershock as some headlining acts. With that buzz came an unusual wrinkle; the band was slotted into an evening set time on the smaller DWP Stage. The surge of bodies walking toward the stage began about 30 minutes before the first note was played. One concertgoer told us of a friend who arrived nine hours early to ensure the right viewing spot.

Once the lights went down and Sleep Token took the stage, the surrounding area was absolutely jam-packed. People climbed atop food trucks looking for a good angle of the band.

Opening with “Chokehold,” the band took the stage shrouded in blue light. Simply known by the moniker “Vessel,” the lanky frontman brought a captivating presence and quiet power to the stage. He has a voice that was either soulful or powerful, depending on what the moment called for.

The band offered a particularly heavy performance. With the majority of the set coming from last May’s Take Me Back to Eden, Sleep Token tore through songs like “Granite,” “Rain” and “The Offering.”

The rest of the band members, only known as II, III and IV, adeptly attacked the stage. Sleep Token was a little bit Slipknot, a little bit Tool and created a most unique sound that is all their own.

It’s a safe bet that this will be the last time Sleep Token isn’t playing on Aftershock’s main stage.

Turnstile

Hardcore punk rockers Turnstile offered a compelling argument for what’s next. The Grammy-nominated band is exploding, playing with the likes of Blink-182 and making the festival rounds in the U.S. and around the world.

Pat McCrory’s guitar riffs at times harkened back to Bay Area’s thrash titans while some of the pulsating rhythms driving the music were classic hardcore punk. Those influences mixed together through a modern lens.

The majority of its 16-song set came from 2021’s Glow On, along with some material from it’s 2015 and 2018 long-players.

Like Fever 333 before it, Turnstile was also defined by its energy. Frontman Brendan Yates managed to somehow pull off being understated on stage while providing the fuel that ignited the band. Opening with “MYSTERY” and “ENDLESS,” the band drew in the crowd and kept the mosh pits moving.

Yates didn’t talk much, mostly pointing his microphone stand at the crowd to get an immediate reaction.

The band had a decidedly modern sound. McRory delivered the riffs and blistering solos along with touring guitarist Meg Mills. Moving through “Drop,” “Real Thing” and “Big Smile,” the members didn’t take as much as a moment to catch their breaths between tracks. Drummer Daniel Fang performed a solo before the band went on with tracks like “ALIEN LOVE CALL” and “T.L.C. (TURNSTILE LOVE CONNECTION).”

311

It was a celebration of three decades for Omaha reggae rockers 311. Just days following the re-release of the band’s debut album, Music, the group took the stage with a set of its hits. The band fit very well into the hard-rock-heavy lineup, leaning into songs full of guitar riffs.

Vocalist Nick Hexum was energetic and his singing crisp while rapper Aaron “P-Nut” Wills kept the energy up, stalking the stage as he delivered his signature flow.

Opening with “Beautiful Disaster” and “Come Original,” 311 showcased all of the influences that fans have come to love over the years. The funk influence fused with the rock provided a solid counter to the more aggressive sounds over the first three days of Aftershock.

The band took at least one song from several of its albums to marks its three decades together. At one point, the stellar Chad Sexton performed an extended drum solo, with Hexum jumping in on some drums set down at the front of the stage. The group closed with two of its biggest hits, the melodic “Amber” and heavier rap-rocker “Down.”

Babymetal

Babymetal’s return was a showcase of growth and maturity since the group’s debut at Aftershock a handful of years back. That first time through, the Japanese band was on its way up, but for the average concertgoer, likely not well-known. This time, a large crowd gathered as the trio.
The band that backs Babymetal was one of the heaviest of the first three days of the weekend.

The musicians were ferocious, delivering blistering metal and intricate riffing. Primary vocalist Su-Metal was full of energy, along with Moametal and Momometal.

As the band churned out the riffs, the trio performed choreography as fans screamed out the band’s name. It was an extended build-up, but one that created a natural fever pitch once fan favorite (and hit) “Gimme Chocolate!!” kicked in.

Su-Metal has developed her stage presence since the last time Babymetal came through Discovery Park. Mixing in some English, she was able to connect with the crowd throughout the set, which only helped to build more energy. Moametal and Monometal added to the choreography and backing vocals.

“I want to see a big circle!” Su-Metal commanded early on in the set, getting the mosh pit going, and attendees abided.

The band’s material has also evolved. While Babymetal is still a metal band, there was a more dynamic spectrum of sounds. Instead of all-gas/no-brakes, the set offered a rise and fall and some moments of melody mixed in along the way. The band members even took turns showing off their skills with the solos leading into “METAL!!” The band concluded with a “Megitsune” and “Road to Resistance.”

Fever 333

Fever 333 2.0 made its Northern California debut at Aftershock. Jason Aalon Butler’s retooling of the band with bassist April Kae, drummer Thomas Pridgen and guitarist Brandon Davis paid immediate dividends.

In terms of energy, Fever 333 was unrivaled with Butler as the spark plug. He slid across the stage on his knees like James Brown while Kae danced and sprinted back and forth and David delivered riffs that fused hard rock with funk. Fever 333 was moved into a later slot in the day following Corey Taylor’s cancellation. Butler sent his well wishes midway through the set.

Opening with “Made in America” and “One of Us,” Butler took no prisoners and screamed the impassioned lyrics of each song. Every time he addressed the crowd, every word carried weight, and no dead space was left.

Butler shouted out the women in the crowd, onstage and those who helped make the festival happen, while disavowing patriarchy and misogyny. He also spoke to the importance of Black musicians having a voice and being accepted within the hard rock community. Mixing in a spirited cover of Blur’s “Song 2,” Fever 333 kept the pace up for its eight-song set.

Butler jumped from speaker to speaker in front of the stage, even doing a flip at one point, though he saved his best for last. After closing out with“Hunting Season,” he scaled the tower behind the soundboard and finished the performance high above the gathered crowd.

Follow writer Mike DeWald at Twitter.com/mike_dewald.