Machine Head brought aesthetic of hate and fire at Helsinki Ice Hall

A Tuesday night might not sound like the most electrifying choice for a metal show, especially just days after the Tuska Open Air Festival exhausted the everyone''s collective stamina. But when Machine Head rolls into town, even a midweek gig promises fire—and not just metaphorically. Add Fleshgod Apocalypse as the sole support act, and what you get is a night of tight musicianship and some good old-fashioned ear-bleeding intensity.

Italy’s Fleshgod Apocalypse opened the night to a criminally sparse crowd—but those who however did show up early were rewarded with one of the most theatrically rich performances extreme metal has to offer. There was plenty of room to move, and yet—surprisingly—no pits broke out. Whether it was the unfamiliarity of the Tuesday slot or the looming hangover from Tuska, the audience stood in reverence rather than moving—minus the few true fans.

Vocalist Francesco Paoli delivered guttural bellows with trademark precision, but it was the operatic female vocals—likely from soprano Veronica Bordacchini—that added a stunning contrast. Her voice soared above the blast beats and tremolo picking like a ghostly aria. That interplay between harsh and heavenly is what truly sets Fleshgod Apocalypse apart. After multiple misses over the years, finally seeing them in the flesh (god) was nothing short of cathartic. And just when you thought their set would conclude on a high gothic note, they launched into an unexpected and punishingly tight cover of David Guetta’s “I’m Good (Blue)”—a brutal metal reimagining that both confused and delighted the audience.

As the lights dimmed and the backdrop fell, it became clear the main event was going to be a spectacle. When Machine Head finally took the stage, the energy instantly shifted. Where Fleshgod Apocalypse had created a sense of artful chaos, Machine Head brought discipline and power.

From the first chug of guitars to the last pyro-fueled breakdown, the visuals were stunning. Massive columns of fire, thick plumes of smoke, and a tightly synchronized light show turned the Helsinki Ice Hall into a pleasing visual experience.

During “Locust”, Flynn took a moment to address the crowd directly: “Put the phones down for a second.” and well at least some people listened. This was also the first time seeing Machine Head since 2011, and the gap only made the concert more powerful. They skipped Helsinki on their “Burn My Eyes” anniversary tour, which made this night feel like overdue payback. As a nod to that era, they peppered the set with a couple of deeper cuts—non-setlist staples—that rewarded longtime fans.

A particularly memorable moment came during the crushing performance of “Davidian”, when Decapitated’s current frontman, Eemeli Bodde, joined Machine Head on stage for guest vocals. His ferocious delivery added a fresh, razor-edged layer to the classic track, blending seamlessly with Robb Flynn’s roar. The collaboration was unexpected but electric, giving new life to a song that already hits like a sledgehammer—and finally pulling more energy from the otherwise sluggish crowd. Still, the audience was visibly drained. Flynn did his best to rally them, and to his credit, he mostly succeeded. He also threw bunch of beer cups to the audience where they tried their best—or as it seemed to Flynn not so best—to catch them. Maybe 20 cups later, finally someone in the front row caught it and Helsinki didn't end up that disappointing on that end.

Despite a smaller-than-expected crowd and some residual exhaustion in the air, both bands brought their best. Fleshgod Apocalypse delivered a symphonic masterclass and proved they deserve more spotlight in the extreme metal world. Machine Head, meanwhile, reaffirmed why they’ve remained at the top of the groove/thrash scene for over three decades: passion, power, and pure professionalism. If you skipped this show thinking it’d be a letdown after Tuska, you missed out on something special. Machine Head didn’t just play—they burned the house down.