Entering its sixth year, the annual Inkcarceration Tattoo and Music Festival made a vibrant return this year, infusing Mansfield, Ohio, with a spectacular blend of visual and auditory art, set against the evocative backdrop of the historic, now-closed Ohio State Reformatory.
Rock, metal, and body art have been intertwined since the dawn of time, and Inkcarceration is the ultimate celebration of the two colliding in an explosion of self-expression, etching rebellion into flesh and soundwaves alike.
Like any notable rock festival under the DWP umbrella, Inkcarceration has witnessed remarkable growth over the years. With an expanded lineup of acts and a layout redesigned in 2021 to accommodate larger crowds, it has consistently drawn over 75,000 attendees to its three-day celebration; and the first day of the festivities was an auspicious sight of what was likely poised to be the biggest iteration yet of this celebration of sight and sound.
With warm yet favorable weather conditions setting the stage in the late morning on the first day, the opening day’s celebration kicked off with a varied array of bands. Standout performances among the early featured bands would include sets by the theatrically charged and mask-totting nu-metal outfit Cultus Black, electronic modern rockers Widow7, and hip hop-tinged Florida metal trustees Afterlife; the latter standing in for Ill Niño, which unfortunately were absent due to the widespread airline shutdowns that dominated headlines on Friday morning. Despite these unexpected changes, these acts managed to infuse the event’s early hours with blood-pumping energy, thrilling crowds and stirring the rock spirit among the enthusiastic throngs. The clear, sunny skies were accompanied by a refreshing breeze, a welcome eventuality for this especially hot summer that allowed for the kinetic energy of the music to be reciprocated with a vibrant response from the crowd.
As the early afternoon commenced, contemporary metal and metalcore upstart Dark Divine took things up a notch, laying down pummeling grooves punctuated by thunderous breakdowns and soaring melodic interludes. Their visual presence was particularly striking, adorned in black attire and elaborate face paint, evoking a devilish fusion of elements comparable to noted acts like Motionless In White and Black Veil Brides. Frontman Anthony Martinez exhibited an effortless command of the stage, sustaining a high level of energy throughout a brief yet triumphant set as guitarist Robby Lynch’s thudding, almost djent-like riffing and drummer Triston Blaize’s solid kit work further bolstered a performance that incited an explosive surge of crowd-surfing and moving bodies.
Los Angeles-born alternative/indie rockers Holy Wars would bring over a sound anchored in the deep, resonant riffs of Nick Perez’s down-tuned guitar. Yet this duo outfit’s set would be typified by the showcase of frontwoman Kat Leon, her commanding presence bolstered by her striking orange hair, which was a vivid contrast to her black leather ensemble. With a magnetic blend of grace and raw energy, she glided, jumped, and crawled across the stage, channeling every bit of her charisma and attitude into the lyrics of each song. The band’s unique fusion of musical genres was on full display as they ripped through tracks like the recently minted and ultra-catchy “Tension//Release” and the older industrial rocker “Little Godz”, each note and beat intensifying the crowd’s response.
Groove metal titans Bad Wolves took the stage next and brought down the fire something fierce, as they were bursting with a palpable newfound. Whether this was due to touring guitarist AJ Rebollo upping his game since becoming a full-time member, the fact they have been promoting a new album, or that bassist Kyle Konkiel decided to cut his hair short, the results were immediately felt. One heavily down-tuned crusher would give way to another with rap overtones trading blows with a more traditional rocking vocal approach of frontman Daniel Laskiewicz, but at every turn, there was a hook-driven chorus to reel in some audience participation. Mainman and God Forbid guitarist Doc Coyle sported an LA Lakers 24 jersey and was often the focal point, though Laskiewicz frequently stole the show as well, coming on stage wearing a ball cap and pair of shades that he naturally lost along the way during a dynamic stage performance that also saw him tossing bottles of water to the crowd and bending his back to inhuman degrees during growled segments.
A truly avant-garde display of insanity came next when Cleveland natives and nu-metal icons Mushroomhead took the reins. This being their first performance since Welcome To Rockville back in May, they reprised their typical array of visually stunning set pieces between their usual elaborated costumes – featuring red suits and vests this time around – and their customary massive tambourine sets at both sides of the stage, that splashed water upon the beating of percussionists Robbie “Roberto Diablo” Godsey and Steve “Skinny” Felton. The energy and enthusiasm level was especially high during their brief, half-hour set, and the majority of their performance was an exercise in revving things up with familiar bangers like the opening foray of “12 Hundred”, classic hip hop infused staple “Sun Doesn’t Rise” and semi-recent metal machine with a tribal edge “Madness Within”, warming up their fan-base for the arrival of their impending new album Call The Devil.
The aural fury was brought to near show-stopping proportions with the entry of Ohio natives Chimaira. Marking their first festival appearance in 14 years, calling this a triumphant return was nothing short of a massive understatement as they brought their riff-driven, energy-infused display to high-octane levels. The short yet sweet set that they’d blare into the open air came with a sense of celebratory elation as lead vocalist Mark Hunter growled and howled while being flanked by nearly every member of the band during their formative years.
Guitarists Matt DeVries and Rob Arnold were no less physically invested in their performance as they traversed around the stage, with the latter shredding away with the best of them during key solo segments while the former chugged in rapid, thrashing succession. Drummer and de facto “new guy” Austin D’Amond –he’s been with the fold since 2011 – ferociously bashed away at his kit adding a backbone that amped up the crushing sound, meanwhile the ecstatic crowds rode off the energy of a boisterous, guitar-driven set at every opportunity.
Brooklyn hardcore icons Biohazard took the stage next, bringing their usual blend of heavy-ended riffing and attitude-drenched, socio-politically charged discontent to the fore. Longtime guitarist and co-vocalist Billy Graziadei was absent from the fold on this occasion, likely due to the previously noted airline issues, and was temporarily replaced by the song of drummer Danny Schuler. Bassist and frontman Evan Seinfeld announced Billy’s absence just after pummeling the crowd with their first anthem, noting that they were keeping things in the family as Schuler’s son knew every Biohazard song as they were imprinted in his very blood. Suffice it to say, the performance would bear this out as ringer performances of “Shades Of Grey” and “Urban Discipline” stood as highlights of a showcase that was in keeping with this outfit’s usual caliber of high-energy live showings.
Post-grunge stalwarts and festival regulars Chevelle took next to the stage, delivering their signature blend of hard-hitting, brooding anthems accompanied by a minimalist visual presentation. The Loeffler brothers, along with touring bassist Kemble Walters, kept their movements restrained, often staying close to their microphones and dressed in somber black attire. This translated into a performance that was sonically powerful but visually subdued. Pete’s vocals were the central point to the well-received power trio affair, exuding that melancholy and confessional alternative rock persona to a fault as he crooned and wailed his way through highlight performances of “Face To The Floor”, “Jars” and a solid set closer showing of “Mars Simula” with brother Sam making an impressive racket from behind the kit and Walters projecting a solid foundation onto the arrangement.
California punk rock revival legends, The Offspring, cranked up the energy to electrifying levels with a blistering 13-song set. Enjoying a major resurgence in recent years, they proved themselves to be aging as fine wine, captivating both in stage presence and sparking constant crowd reactions. With the anticipation of the soon-to-arrive new album Supercharged and its hit single “Make It All Right” dominating streaming platforms, the sheer size of their audience was nothing short of colossal. Frontman and guitarist Dexter Holland delivered each vocal line with the same intensity and fervor he did 30 years ago when their breakout album, Smash, first took the charts by storm. Classics like “Come Out And Play” and “Gotta Get Away” unleashed waves of thunderous nostalgia, only to be surpassed by a riveting encore of “Self Esteem.” The band’s set was peppered with triumphant moments, including the high-octane “All I Want,” the anthemic “The Kids Aren’t Alright,” and an explosive cover of the Ramones’ “Blitzkrieg Bop.” Throughout the performance, Dexter and Noodles, bounded across the stage, embodying the characteristic raw, and unbridled spirit of punk rock.
Groove/thrash legends Machine Head were entrusted with the critical task of escalating the heaviness as the daylight waned, and they proved they absolutely knew how to do that and then some. This particular performance was extra special as it coincided with frontman Robb Flynn’s birthday. The crowd enthusiastically welcomed the band to the stage by singing “Happy Birthday” to him, creating an electric atmosphere from the get-go. Without missing a beat, the band plunged headfirst into their set, with massive pyrotechnic columns lighting up the stage to herald the opening song. What followed was an unrelenting onslaught of sound, with Machine Head delivering riff after crushing riff. Flynn continuously amped up the crowd, urging them to go wilder, which culminated in what could probably be the weekend’s largest circle pit. Their setlist masterfully balanced classic mid-paced anthems like “Imperium,” “Locust,” and “Halo” with faster, ferocious tracks like “Darkness Within” and the seminal “Davidian” also making a presence. Throughout the entire 13-song set, there wasn’t a single moment where the energy flagged or the intensity dipped, making it a memorable highlight of the first day, and a personal favorite.
The day headliners, post-grunge titans Breaking Benjamin, would close off the evening on a high note with a long-winded, 19-song set that drew countless fans around The Yard stage. Their opening trifecta of songs in “Failure”, “Until The End” and “Red Cold River” alone turned the sea of avid onlookers into a massive choir of accompanying voices during each signature chorus section, as the quintet of musicians manning the stage delivered each note with a potent blend of poise and power. In a heartwarming twist, frontman Benjamin Burnley had his young son join the band center stage, guitar in hand. The boy’s impressive ability to keep pace with the veterans hinted at a bright future, perhaps as the heir apparent to his father’s musical legacy.
The visual aesthetic of the show took a subtler approach, with subdued lighting and a brooding atmosphere that certainly complemented the band’s intense, often introspective style. This understated setup, likely a consideration for Burnley‘s well-known light sensitivity due to Wernicke-Korsakoff Syndrome, only served to heighten the impact of their performance. Fan favorites like “Breath” and “I Will Not Bow” resonated through the night, their emotional weight amplified by the minimalist staging.
Set against a backdrop of political turmoil and technological mishaps that had disrupted travel plans nationwide, the first day of Inkcarceration 2024 stood as a testament to the unifying power of music. For those in attendance, whether they came for the ink or the tunes, the day left an indelible mark—a vivid memory of triumph and celebration amid challenging times.
Special thanks to Jonathan Smith for his writing contributions to this article.
