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The final day of Hellsinki Metal Festival 2026 brought another varied selection of heavy music to the festival grounds, with everything from wrestling and gothic metal to pyrotechnics, Celtic Frost worship and folk-infused metal. After the busy opening day, Saturday offered a fitting final chapter to a weekend. The day started somewhat differently than it might have for many festival-goers. Having missed every FCF Wrestling match at last year's festival, I decided to give the wrestling another chance on Saturday after also catching some action on Friday. The wrestling area wasn't exactly packed, with the crowds coming and going between the matches and the festival's musical program. Those who did stick around, however, were properly invested in what was happening in the ring. The atmosphere was relaxed but enthusiastic, and the matches themselves delivered plenty of entertainment. FCF Wrestling proved to be a welcome alternative for anyone looking to take a break from the stages or simply for those who aren't particularly interested in catching every outdoor band. Having something completely different happening alongside the music adds another dimension to the festival experience, and the good vibes around the ring made it an easy place to spend some time. From there, it was back to the music and Paradise Lost. While the band has never been one I've followed particularly closely, their long-standing reputation and dedicated fanbase are impossible to overlook. Their Saturday set delivered exactly the kind of solid performance their audience had come to expect, with the veteran British gothic metal act sounding confident and well suited to the festival setting. The atmosphere shifted considerably when Cyan Kicks took the stage. The Finnish rockers were, quite literally, on fire. Pyrotechnics played a major role in the band's performance, adding bursts of fire to several songs and turning the show into one of the more visually striking sets of the day. The timing couldn't have been much better for Cyan Kicks either. With a strong festival slot and a sizeable audience in front of them, the band had a great opportunity to introduce themselves to listeners who may not have previously encountered their music. And they clearly enjoyed every second of it. There was an infectious sense of enthusiasm coming from the stage, while the band sounded consistently strong throughout the set. The combination of catchy modern rock, an energetic live presence and spectacular use of fire made Cyan Kicks one of Saturday's more memorable performances. Next came Triptykon who were performing material of Celtic Frost, a set that was clearly among the most anticipated appearances of the entire day. The prospect of hearing the music of Celtic Frost performed live was enough to draw a substantial crowd, and there was a noticeable sense of anticipation before the band even started. Celtic Frost is not a band whose catalogue I've explored particularly deeply, so I approached the set more as an observer than a devoted fan. Even so, it was easy to understand why the performance meant so much to the audience. Triptykon handled the material with the necessary weight and atmosphere, delivering a convincing tribute to one of extreme metal's most influential names. If there was one act that felt almost tailor-made for its position on the Saturday schedule, however, it was Eluveitie. The Swiss folk metal veterans sounded exceptionally good, combining their heavy foundations with the traditional instrumentation that has become such an integral part of their identity. Despite the lineup changes the band has experienced over the years, Eluveitie have managed to retain the atmosphere and character that make their live performances work so well. There was something particularly satisfying about watching them in this festival setting. The mixture of melody, heaviness and folk elements translated naturally to the large stage, and the timing of the set seemed almost perfect as the festival approached its final stretch. For me, that was where Saturday's Hellsinki Metal Festival experience came to an end. There was, however, one major absence from my personal festival weekend: Nergal's collaboration with Misþyrming, performing Behemoth's Sventevith (Storming Near The Baltic) in full. Missing that show was unfortunately one of the biggest disappointments of the entire weekend. Judging by everything I heard afterwards, it was also a performance I really should have witnessed. The collaboration had already stood out as one of the most unusual and potentially significant sets of the festival, bringing together Nergal with Icelandic black metal force Misþyrming for a complete performance of Behemoth's debut album. By all accounts, it lived up to the anticipation and was widely regarded as one of the strongest and most talked-about performances of the entire weekend. Even without seeing it myself, the reaction afterwards made one thing clear: Hellsinki Metal Festival saved something truly special for its final night. And with that, 2026 Hellsinki Metal Festival came to a close. Three days of heavy music, unexpected discoveries, wrestling, fire, nostalgia and plenty of memorable performances made for a festival that offered far more than simply another collection of metal bands on outdoor stages. Saturday was a fitting finale with a few missed opportunities already giving me reasons to come back once again next year.

Hellsinki Metal Festival opened its 2026 edition with a different elements of metal. Across the stages, the day moved effortlessly from atmospheric black metal and furious death metal to indigenous folk traditions, technical extremity and the classic heavy metal foundations that have shaped the genre for decades. There was aggression, spectacle and plenty of musicianship, but the strongest performances of the day were ultimately the ones that offered something more than simply playing their songs. Blackbraid created an atmosphere that pulled the audience into their world, Mawiza turned their set into something resembling a native ritual, while Black Label Society demonstrated the kind of effortless chemistry that only comes from years on the road. Blackbraid have developed an aesthetic that is immediately recognizable, and seeing that visual identity come together with their music on a festival stage remains an impressive experience. From the opening moments, the band appeared completely immersed in the performance. Frontman Sgah'gahsowáh and the rest of the musicians didn't simply go through the motions as they seemed to genuinely live inside the music, giving the set an intensity that couldn't be manufactured. Also noticed that the members really had a contrast on performing: frontman and the other guitar player were angry and pouring their hearts out tightly while the other guitarist and the bass player seemed to be trusting their playing and delivering their best. Drummer seemed to be smiling all the time and having fun. Having already seen Blackbraid at Hellsinki Metal Festival a few years ago, there was also a certain familiarity to the performance. Fortunately, it didn't diminish the impact. If anything, the band's return confirmed that their atmospheric approach works just as well the second time around. Blackbraid's music has a sense of place and identity that makes it stand apart. There was considerably less atmosphere and considerably more violence when Sanguisugabogg took the stage. Their death metal is exactly the kind of music that seems to demand physical movement. The sound is furious, abrasive and relentlessly aggressive, and the audience responded accordingly. The front row was particularly invested in the performance, while a circle pit opened up further back, adding a visual representation of the band's sonic brutality. Sanguisugabogg didn't need elaborate theatrics to make an impression. The music itself was more than enough. There are guitarists who are technically impressive, and then there is Zakk Wylde. When Black Label Society took the stage, Wylde immediately reminded the audience why his name has become synonymous with a particular kind of larger-than-life guitar playing. The solos were there, the recognizable tone was there, and the sheer physical presence was impossible to miss. But focusing exclusively on Wylde would actually undersell what made the performance work so well. The entire band played with remarkable cohesion. Every transition felt natural, every member appeared completely comfortable with their role, and the chemistry between the musicians was obvious. This is what years of touring together look like when everything clicks. The set also gave the audience exactly what they wanted; classics and powerful riffs with Wylde's guitar playing being the cherry on the top. There was nothing particularly complicated about the formula. Black Label Society simply played their songs extremely well and sometimes that is all a great festival performance needs. Cryptopsy offered a very different kind of extremity. The beginning of their set wasn't entirely smooth, with the band taking the stage roughly 15 minutes late amid apparent sound issues. Once the technical problems were sorted, however, the Canadian death metal veterans delivered the kind of technically demanding performance their reputation promises. Cryptopsy's material leaves very little room for error. Their combination of speed, precision and complex arrangements makes even the most chaotic moments feel meticulously constructed. It may not be the easiest music to digest, but for anyone interested in the technical side of extreme metal, their performance offered plenty to admire. If one performance could be singled out as the most fascinating of Friday, it would have to be Mawiza. The Chilean band's ability to combine metal with Indigenous traditions immediately separated them from the rest of the lineup. More importantly, these elements didn't feel like an afterthought or a visual gimmick. They were integrated into the performance from the very beginning. The show opened with traditional instruments and masks, creating an atmosphere that was closer to a ceremony than a conventional metal concert. During the following song, the traditional instruments were changed to guitars and bass and so on, but the masks remained. By the third song, the masks finally came off and the full force of the metal emerged. That gradual transformation made the performance particularly effective. Instead of throwing every element at the audience simultaneously, Mawiza allowed the atmosphere to evolve naturally. The result was one of Friday's genuine highlights and perhaps the performance that stayed in the mind longest after leaving the stage for everyone. If Black Label Society represented the power of experience, Accept represented something even more fundamental: the foundations of heavy metal itself. The German legends delivered a straightforward and tightly executed performance built around what has always made their music work as riffs, memorable melodies, powerful vocals and songs that have survived decades of changing musical trends. There was no need for unnecessary spectacle. Accept's strength lies in the material itself, and the audience clearly knew it. The classics received the response you'd expect from a crowd that has grown up with these songs, while newer material showed that the band hasn't simply turned into a nostalgia act. After so many years, seeing Accept still confidently delivering a festival stage a true heavy metal performance is impressive in its own right. Their performance was a reminder that heavy metal doesn't always need to reinvent itself. Sometimes, playing the fundamentals exceptionally well is enough. Friday offered a remarkably broad snapshot of what modern metal can be. Blackbraid brought atmosphere and visual identity. Sanguisugabogg turned aggression into physical chaos. Cryptopsy delivered technical extremity, while Mawiza offered something genuinely distinctive by weaving Indigenous traditions into a powerful metal performance. Black Label Society provided veteran musicianship and guitar heroics, and Accept closed the day by returning to the very foundations of the genre. The most memorable moments weren't necessarily the biggest or loudest ones. They were the performances that had their own identity and on the first day of Hellsinki Metal Festival, there were several of those. If Friday was any indication of what the rest of the festival had in store, Hellsinki Metal Festival had already made a convincing opening once again.

One day after performing on one of metal's biggest festival stages at Wacken Open Air, Brazilian metal veterans Sepultura traded massive crowds for the intimate surroundings of Helsinki's Tavastia. The contrast could hardly have been greater, but the sold-out club proved to be the perfect setting for one of the most memorable and intense metal shows of the summer. Unlike many of the band's larger farewell tour dates, the Helsinki show featured no support acts. The evening belonged entirely to Sepultura, and fans began filling Tavastia well before the scheduled start. By showtime, the legendary venue was packed to capacity, with around 700 attendees creating an atmosphere that larger arenas simply cannot replicate. The intimate setting amplified every aspect of the performance. Temperatures inside the club climbed rapidly as the crowd responded to every song with huge energy, while the band matched that intensity from the stage. Before long, both musicians and audience members were drenched in sweat, turning Tavastia into a boiling cauldron of riffs, mosh pits and collective enthusiasm. Despite spending the past several years on what has become an extended farewell tour, Sepultura showed no signs of slowing down. The band's performance was exceptionally tight, with every member delivering a confident and powerful display that reflected more than four decades of experience. Precision and aggression remained perfectly balanced throughout the set, demonstrating why Sepultura continues to have such respect within the metal community. The timing of the concert made the evening particularly memorable. Having performed at Wacken Open Air just the previous day, the band moved from one of Europe's largest metal festivals to one of Finland's most beloved club stages in less than 24 hours. While festival performances offer scale and spectacle, Tavastia highlighted something entirely different: the direct connection between band and audience. With only a metre separating the musicians from the front row, every riff, drum fill and vocal line felt immediate and immersive. That connection was reflected throughout the venue. The audience remained fully engaged from beginning to end, feeding the band's energy while receiving the same commitment in return. There was little need for elaborate production or visual effects when the performance itself carried such weight. As Sepultura's farewell tour continues, concerts like this serve as a reminder that some of the most memorable performances are not necessarily the biggest ones. In Helsinki, the legendary band delivered a show that felt both raw and celebratory, a fitting chapter in a career that has influenced generations of metal fans and musicians alike. If this was indeed one of the final opportunities to experience Sepultura in a venue the size of Tavastia, those fortunate enough to be inside witnessed something genuinely special.

Friday at Nummirock once again proved why the festival remains one of Finland's premier destinations for heavy music. From Finnish legends and rising underground talent to international names, the day offered a balanced mix of melancholy, aggression and memorable performances even if one highly anticipated set never happened. Moonsorrow brought their unmistakable blend of epic folk and black metal to Kauhajoki for what was their only Finnish performance of the summer. Their melancholic compositions echoed perfectly across the festival grounds, creating one of the day's most atmospheric moments. After Moonsorrow, Wacken Metal Battle competitor Eartheria had half an hour to introduce themselves to the Nummirock crowd, and they certainly made the most of it. The band delivered a relentless 30-minute assault that barely allowed the audience to catch its breath. One of the highlights was the addition of a saxophonist, whose performance added an unexpected layer of depth and personality to the band's sound, making them stand out from the day's heavier offerings. If there was one performance guaranteed to ignite the audience, it was Stam1na. The hometown heroes of Finnish metal received a hero's welcome, with circle pits spinning almost immediately as the band launched into a set packed with both classics and newer material. As always, the band's between-song banter was entertaining in its own right, adding humor and personality between the chaos. There were no slow moments as Stam1na simply kept the pedal to the floor from start to finish, delivering hit after hit while the crowd responded with nonstop energy. Setlist also had some songs that they haven't played much on their previous tours so that was for sure a nice add-on as well. Unfortunately, not everything went according to plan. Immortal Disfigurement, fronted by former Lorna Shore vocalist CJ McCreery, cancelled their appearance at the very last minute. Despite the band already being in Helsinki, their equipment was reportedly elsewhere, making the performance impossible. As a result, Kaunis Kuolematon stepped in and began their set 15 minutes earlier than originally scheduled, ensuring the stage didn't remain silent for long. One of Friday's most anticipated international acts, Black Veil Brides, closed the evening in style. Having seen the band just a week earlier at Download Festival, where massive LED screens and pyro accompanied the performance, it was fascinating to experience a completely different production at Nummirock. This time, the band relied almost entirely on themselves and minimal, dark stage lighting. Without elaborate visuals or fireworks, the performance felt intimate yet powerful, with the minimalist presentation perfectly complementing the band's gothic aesthetic. The set balanced newer material with fan-favorite classics, giving both longtime followers and newer fans plenty to enjoy. Since their last visit in Finland, they've released bunch of new music so their return to Finland was for sure wanted. With that our Nummirock is finished. Festival, which celebrated its 40th anniversary, showcased everything that makes Nummirock unique: Finnish metal icons, promising newcomers, unexpected schedule changes handled professionally, and international headliners whose performances felt uniquely suited to the festival's atmospheric midsummer setting. It was another unforgettable festival where the music spoke louder than any production ever could. Until next year...

Nummirock 2026 kicked off with a varied Thursday lineup that ranged from industrial metal and deathcore to classic death and black metal. While the day featured several strong performances, it was Portugal's Gaerea who stole the spotlight with an unforgettable sunset performance that perfectly captured the atmosphere of one of Finland's most iconic metal festivals. DeathbyRomy opened their set with some unfortunate technical difficulties, but the issues never managed to derail the performance. Romy's confidence and stage presence kept the audience engaged, and as the show progressed, the crowd gradually warmed up to the band's modern alternative metal sound. By the final song, the energy had completely shifted as Romy jumped into the audience, joining the fans and even running through the circle pit, ending the set on a memorable high note. Swedish death metal veterans Grave delivered next exactly what fans came to hear; uncompromising old-school death metal. Nothing more, nothing less, just pure metal. Dutch black metal outfit Asagraum brought a dark and ritualistic atmosphere to the festival grounds. Tight musicianship, cold stage presence, and trademark corpse-painted expressions created an authentic black metal experience. The audience had noticeably grown by this point in the day, and it was clear that many festivalgoers had specifically gathered to witness the band's performance. Finnish industrial metal act Vahinkolapsi kept the momentum going with a hard-hitting performance that brought strong Turmion Kätilöt vibes. Heavy electronic elements blended with aggressive riffs while the band clearly enjoyed themselves on stage, making their enthusiasm infectious for the audience. Swallow The Sun attracted one of the larger crowds of the afternoon. While their melancholic doom metal may not appeal to everyone, the band sounded excellent throughout the set, delivering the emotional weight and polished performance fans have come to expect. Kneel Before The Death injected a healthy dose of brutality into Thursday's lineup with a crushing deathcore performance. Breakdown after breakdown as the audience responded enthusiastically to the band's relentless intensity. As the sun began to set over Nummijärvi, Gaerea delivered what was undoubtedly Thursday's standout performance. The timing couldn't have been more perfect, with the Portuguese black metal band performing against the stunning backdrop of the evening sky. Opening with haunting vocals from the band's female guitarist before the full lineup exploded into action, the set was both emotionally captivating and ferociously intense. The crowd was fully invested throughout, circle pits continuously erupted, and the band repeatedly expressed how beautiful they found both the surroundings and the festival itself. It was one of those performances where the atmosphere, music, and setting aligned perfectly. Finnish metal veterans Ikinä followed with exactly the kind of energetic festival performance they have become known for. There were no major surprises, but solid songs, plenty of movement on stage, and an enthusiastic audience made for another enjoyable set that worked perfectly in the festival environment. Closing the evening, Norwegian legends Satyricon brough their dark black metal to the darkening evening, or as much as it can get dark during Finnish Midsummer. Delivering a strong selection of classic material with confidence and precision, the veterans capped off Thursday with a performance worthy of their legendary status. Thursday offered an excellent opening chapter for Nummirock 2026. While several bands impressed, Gaerea's breathtaking sunset performance stood above the rest, creating one of those festival moments that will likely be remembered long after the weekend comes to an end.

After more than a decade away from Finnish stages, American horror punk legend Wednesday 13  made a long-awaited return to Helsinki’s iconic Tavastia Club on Tuesday night. The show marked his first headline appearance in Finland in 12 years, following his 2024 visit supporting Cradle of Filth  with a special Murderdolls  tribute set. This time, it was all about Wednesday 13 ’s own twisted brand of horror rock and what a triumphant comeback it was. The night opened with Swedish sleaze rockers Sister who wasted no time getting the crowd fired up. Bursting onto the stage with their latest track “The Way We Fall” , frontman Jamie Anderson  bounded around like a man possessed blending growls and screams with pure rock’n’roll swagger. The rest of the band matched his intensity throwing shapes and pulling faces as they delivered a tight, high-energy set. For anyone who hadn’t kept up with Sister since their early days, this was a pleasant comeback as the band sounded sharper and more confident than ever. Their finale, a fiery cover of Motörhead ’s “ Rock Out” , sent the audience into an epic atmosphere. An opener that truly did its job. After a short break, the lights dimmed and it was time for the main attraction. Wednesday 13 and his band stormed the stage to “Look What the Bats Dragged In”  from the classic Transylvania 90210: Songs of Death, Dying, and the Dead . The lack of a safety barrier between the band and crowd only heightened the intensity. This was punk intimacy at its finest. The frontman’s charisma was undeniable: Wednesday 13  remains one of the most entertaining and magnetic vocalists in the genre, seamlessly blending snarling attitude with spot-on vocals. Backed by a powerhouse band clearly enjoying every moment as the nearly 20-song setlist was a career-spanning celebration. Fans were treated to horror punk staples and fan favorites from across Wednesday ’s discography, along with a few Murderdolls  gems like “Summertime Suicide”  and “Nowhere”  that sent longtime followers into a nostalgia. Drummer Mike Dupke  also took the spotlight for a dynamic solo punctuated with classic horror movie samples that perfectly fit the night’s macabre vibe. As the show drew to a close, Wednesday 13 delivered his irreverent anthem “I Love to Say Fuck” as a closer leaving the audience shouting along word for word. Throughout the night and clearly touched by the crowd’s energy, he repeatedly thanked the Finnish fans, calling them “one of the best crowds on the whole tour by far.” After such a fiery return, let’s hope it won’t take another 12 years for Wednesday 13 to bring his headliner horror circus back to Finland. Judging by the crowd’s reaction, Tavastia would gladly welcome him any night.

American heavy metal legends W.A.S.P.  brought their 40 Years of W.A.S.P.  tour to Finland, marking four decades since their groundbreaking 1984 debut. With all three Finnish shows - in Oulu, Helsinki and Tampere - completely sold out, the band once again demonstrated the unbreakable bond between themselves and their loyal Finnish fanbase. Saturday night’s Helsinki concert was a particularly special celebration, filled with nostalgia, energy, and moments of genuine emotion. The show began about fifteen minutes behind schedule, but anticipation quickly turned to eruption when the first notes of “I Wanna Be Somebody”  blasted through the hall, followed by the equally iconic “L.O.V.E. Machine”. From there, W.A.S.P. powered through nearly the entire debut album, performing 10 out of 13 tracks from their first record. Each song hit with the same reckless spirit that made the band infamous in the ’80s, while the crowd sang along word for word — fists in the air, voices hoarse, smiles wide. Much has been said throughout the years about Blackie Lawless  and his health, with many questioning whether the frontman could still deliver at the same level. On this night, he answered every doubt with authority. Lawless moved confidently across the stage, engaging the audience with fiery charisma and delivering his vocals with impressive strength. His voice carried the grit and power that defined W.A.S.P. ’s early years, and his performance showed both conviction and gratitude. The rest of the lineup played tight and well, a clear reflection of the chemistry built over years of touring together. Every member shone with no weak links. Every once in a while the setlist however felt if some of the so called fan favorites after the debut album celebration could have been changed to even better options like the mysteriously dropped from the setlist classic "Animal (Fuck Like A Beast)" having its way back. After finishing most of the debut material, W.A.S.P. treated fans to a few beloved staples before closing with an explosive “Wild Child”  and “Blind in Texas”. Before the final number, Lawless delivered an emotional speech in memory of his longtime friend Ace Frehley , who had passed away just days earlier. Though a few drunken voices attempted to interrupt, most of the audience stood respectfully still, clearly moved by the sincerity of the moment. The sold-out the House of Culture was proof that W.A.S.P. and Finland share a special, enduring connection. Fans of all ages filled the venue, celebrating four decades of defiance, melody, and metal attitude. After 40 years, W.A.S.P. seem to remain a live force to be reckoned with: loud, proud, and unapologetically themselves. And while it’s hard to say how many tours are still ahead, if this were to be the band’s final bow, they would be leaving the stage on a true high note. But judging by the energy in Helsinki, it feels like Blackie Lawless and W.A.S.P. are far from done.

On a crisp October Tuesday night, Helsinki Ice Hall was buzzing with nostalgia and energy of pop-punk and punk rock in general. The Offspring and Simple Plan brought their co-headline tour to Finland, filling the sold out arena with thousands of fans eager to relive the soundtrack of their youth. Opening the night, Simple Plan reminded everyone why they’ve endured for a quarter of a century. Celebrating their 25th anniversary as a band, the Canadian pop-punk veterans took the stage with contagious enthusiasm and an easy charm that instantly won over the Finnish crowd. Despite the years, the group radiated the same sincerity and fun-loving energy that made them famous in the early 00s. They came across as genuinely humble, down-to-earth guys simply happy to be performing again — especially after nearly a decade since their last Finnish show. The band’s drummer Chuck Comeau especially stood out, delivering a tight, powerful performance that anchored their set with precision and passion. The singer Pierre Bouvier seemed to also be having fun running from side to side with a joy on his face. The lighting design was surprisingly elaborate for an opening act — a dazzling, professional-grade spectacle that could easily rival a headliner’s show. It’s hard to remember the last time an opener had such impressive light show. Fans sang along to every chorus, waving arms and bouncing beach balls that flew across the crowd, creating a summer festival atmosphere despite the autumn chill outside. Chuck Comeau even crowd surfed a bit during their second last song and put on the Finnish ice hockey shirt on which for sure won some doubting crowd. There was something warm and heartfelt about the band’s presence overall and the way the audience responded. By the end of their set, Simple Plan had not only warmed up the hall but left it glowing. Before The Offspring took over, the stage crew and video team kept the crowd entertained with a series of tongue-in-cheek “cams” displayed on the big screens: a Kiss Cam, a Headbang Cam, and even a mischievous “Fuck You Cam”. The audience loved it, laughing, cheering, and waving as cameras panned across the sea of faces. It was a clever and hilarious way to bridge the transition between acts — part comedy sketch, part crowd bonding exercise. Then came The Offspring . As the Californian punk icons hit the stage, the first confetti cannons fired within half an hour, marking the beginning of a wild, high-energy ride through their decades-spanning catalogue. The band paid tribute to their influences with snippets of Black Sabbath’s “Electric Funeral”  and “Paranoid,”  as well as a spirited nod to Ozzy Osbourne with a taste of “Crazy Train.”  It was a playful gesture from one set of rock legends to another — and the crowd roared in approval. The Offspring ’s young drummer Brandon Pertzborn was another drummer standout of the night — a powerhouse performer whose energy, speed, and precision brought a fresh spark to the classic material. Watching him attack the kit was pure fun. As the set progressed, the band skillfully built momentum toward an explosive finale featuring all their biggest hits — “Pretty Fly (For a White Guy),” “Why Don’t You Get a Job?,” “The Kids Aren’t Alright,”  and “Self Esteem.”  The Ice Hall turned into one massive sing-along, voices echoing through the rafters as confetti rained down again in a perfect blend of nostalgia and celebration. Both bands proved that pop-punk and punk rock are far from dead — they’ve simply grown up with their fans. Simple Plan ’s warmth and professionalism paired perfectly with The Offspring ’s raw, seasoned energy, creating a night that felt both classic and freshly alive.

The first day of Hellsinki Metal Festival kicked off with a lineup that spanned the full spectrum of metal – from old-school doom to raw black metal, from pyro-heavy performances to pure thrash chaos. Despite some unpredictable weather and a few technical issues, the day delivered plenty of highlights for the metal faithful. I arrived just in time for Warmen to hit the stage, and they wasted no time proving their chops. Blending their own material with a few well-placed Children of Bodom classics, they had the crowd instantly locked in. The performance was tight, sharp, and a strong reminder of why these guys are more than just a COB offshoot – they’ve carved out their own sound, and it works brilliantly live. Kanonenfieber once again brought a full-scale warzone to the stage, complete with pyro and immersive props. Having seen them earlier this summer at Nummirock, I knew to expect a solid show, but the reception here was even better. The crowd was fully engaged – fists in the air, voices roaring, and energy peaking throughout the set. Easily one of the most hyped crowds of the day. When the rain began, I decided to choose Night Shall Drape Us instead of Candlemass, expecting a larger audience due to the weather pushing people under cover – but the turnout was surprisingly modest. What they lacked in crowd size, they made up for in atmosphere. Their raw, unfiltered black metal was a welcome tonal shift from the rest of the day’s more polished acts, adding a dark, abrasive edge to the festival’s first day. I caught only the latter half of Candlemass ’ set and instantly wished I’d been there from the start. Their stage looked like a gothic graveyard, complete with crosses and tombstones – the perfect visual match for their old-school doom. Even without the full set experience, it was clear they still hold their crown in the genre. Forbidden delivered a blast of old-school thrash, tight and relentless. By the second song, pyro effects were already firing, quite literally warming up the crowd. A straightforward but effective set – fast riffs, sharp solos, and plenty of headbanging fuel. Decapitated drew a healthy crowd, delivering their trademark technical death metal with precision. While their set was solid, I have to admit they felt a bit tighter when I saw them at Nummirock earlier in the summer. Still, they had no trouble getting heads banging and keeping the pit moving. Pure, unadulterated old-school death metal – that’s what Dismember brought to the table next. The front row was in full frenzy: constant headbanging, screams, and relentless energy. Circle pits erupted at a breakneck pace throughout the set, and the fact that they had a Finnish vocalist added an extra local connection that the crowd clearly appreciated. Fear Factory was one of my most anticipated acts of the day, having last seen them at Tavastia a few years back. Tony Campos wasn’t on bass this time around – he’s currently touring with Static-X – but Butcher Babies ’ bassist Ricky Bonazza stepped in and delivered a rock-solid performance. The whole band was tight, professional, and in sync, with excellent sound mixing throughout. The classics sent the crowd into overdrive, with circle pits opening up within the first few songs. They’re a band I might not spin daily at home, but live – especially with the older material – they absolutely crush it every time. This was my first time catching Old Man’s Child live – essentially the creative playground of ex- Dimmu Borgir guitarist Galder . With him at the helm, the sound was aggressive, well-executed, and dripping with the kind of dark, melodic edge that begs for a deeper listen. I left their set thinking I should finally give their catalog some proper attention at home. The undisputed headliner of the day, King Diamond ’s arrival was nothing short of theatrical. The stage was an elaborate metal opera in itself, with stunning props and visuals. No photo access this time, but the performance spoke for itself: the band was razor-sharp, and King Diamond ’s voice was as chillingly on point as ever. The crowd reaction was electric – it was obvious they’d been waiting all day for this moment. The setlist was pure fan service, covering essentials and deep cuts alike. Unfortunately, the PA system glitched around the fourth song, cutting out intermittently for a few minutes, but even that couldn’t derail the atmosphere too much. Hellsinki Metal Festival’s opening day offered a well-balanced blend of genres and eras, with standout performances from King Diamond , Fear Factory , and Kanonenfieber . While the weather and some technical gremlins briefly threatened the vibe, the energy never dipped for long. If day one was any indication, the rest of the weekend promises to be equally ferocious.

The final day of Hellsinki Metal Festival was a true rollercoaster of styles, atmospheres, and energy levels — a perfect conclusion to a weekend that proved once again why this event has cemented itself as one of the top metal gatherings in Finland. Final day brought an eclectic mix of hardcore, grindcore, deathcore, black metal, and even dark folk, showing the broad palette the festival curates so well. Filling in for Ill Niño might have been a last-minute change, but it turned out to be one of the best early calls of the whole festival. Lähiöbotox stormed onto the stage with an infectious energy that never let up. The band looked like they were having the time of their lives — and the audience was right there with them, moshing, shouting along, and feeding back the enthusiasm. It was the perfect slot for them, and the “good vibe” they created was arguably one of the best moments of the entire weekend. If intensity could be weaponized, Angelmaker would be considered a weapon of mass destruction. With three guitarists and two vocalists, they delivered a wall of sound  that could crush bones. Their massive tone, blistering riffs, and guttural growls left no room for subtlety — this was pure sonic punishment in the best way possible. Seeing Napalm Death live for the first time is like being strapped to a rocket and launched into a chaotic maelstrom. The grindcore veterans were razor-tight, relentless, and unapologetically loud. Frontman Barney Greenway was his usual animated self, firing off bursts of banter between songs and twisting his body into bizarre shapes as if the music itself was possessing him. Napalm Death also brought a huge crowd despite being that early to see their set. One of the highlights for most of the audience for sure. One of the best “discoveries” of the day came from France in the form of Landmvrks . Their set was high-energy from start to finish, whipping the crowd into a frenzy of jumping, clapping, and movement. It was impossible not to get swept up in their energy, and by the end, they had won over a ton of new fans — myself included. Their singer, Florent Salfati , also did some spray painting in the middle of the show which was a cool add to their rap metal-ish sound. Hardcore titans Hatebreed were always going to be a crowd favorite, and they delivered exactly what everyone wanted — and then some. This was one of the true highlights of the entire festival. The synergy between the band and the audience was electric, with walls of death, circle pits, and a constant roar of voices singing along. You could tell both sides were feeding off each other’s energy in a way that only happens during special sets. Probably the most intriguing act of the weekend, Me And That Man brought a moody, atmospheric contrast to the otherwise crushing lineup. Nergal (of Behemoth fame) showed a completely different side of his artistry, delivering a set steeped in dark blues, folk, and gothic Americana. It was the kind of performance that pulls you into its world — and I’ll definitely be diving deeper into their catalog when I’m back home. Black metal royalty took the stage next, and while Venom ’s raw, gritty sound might not have the precision of some modern acts, their sheer legend status and influence cannot be overstated. They played with conviction and reminded everyone why their name is carved into the very foundations of extreme metal. Haven't paid much attention to them during the last 15 years or more but no matter what you think about them, you gotta give it to them being legends and that they've influenced so many bands from Metallica to Hatebreed . If there was one set that truly encapsulated the magic of day two, it was this. A rotating cast of musicians came together to honor the late great Quorthon and the legacy of Bathory under the name Blood Fire Death . The hall was absolutely packed, the stage lit with pyro, and the atmosphere dripping with reverence and excitement. Even for those not deeply familiar with Bathory ’s music, the performance was mesmerizing — both a heartfelt tribute and a powerful spectacle. One of the unspoken traditions of Hellsinki Metal Festival is that the final act is always something special. Past years have given us Watain ’s fiery ritual and Mayhem ’s shadowy career-spanning celebration — each an unforgettable closing statement. This year’s choice, the Bathory tribute, was yet another spot-on finale. It felt like a communal moment, a celebration of metal’s history and spirit, and a perfect way to send the crowd home buzzing. Hellsinki Metal Festival 2025’s final day was a triumph: varied yet cohesive, energetic yet atmospheric, brutal yet soulful. Well done, Hellsinki Metal Festival — you’ve done it again.

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 mov e , 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 tou r , 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.

It's that time of the year again when all the metalheads from Finland — and some from abroad — gather to celebrate the Finnish Midsummer at Nummijärvi, more specifically at Nummirock. This year’s lineup featured acts such as Fit For An Autopsy , Alestorm , Paleface Swiss , Marduk , and Humanity's Last Breath , not to mention Finnish staples like Mokoma , Korpiklaani , Turmion Kätilöt , and Stratovarius . The celebrations had already started on Wednesday with bands such as Assemble The Chariots , Havukruunu , and Arion , but unfortunately, we arrived at the site on Thursday. The first band for us was Paleface Swiss . We were only familiar with the name but had never heard their music, so it was something we were definitely looking forward to. Friends had told us they’re worth checking out, and considering they're on the bill for most major European festivals this summer, they must be one of the most exciting new acts out there. Their show kicked off with high energy, and those screams really hit hard. Their brand of deathcore immediately made an impact. The audience wasn’t exactly warm at first, but by the midway point, people were getting into it. It’s also worth mentioning that Thursday didn't have a huge crowd overall — but that’s expected as the main festival days were still ahead. Paleface Swiss left a strong impression, and frontman Marc Zellweger repeatedly expressed how much he loved the festival’s natural setting. And really, who wouldn’t love a metal festival surrounded by forests and lakes? Toward the end of the set, they played a ballad-ish track that felt a bit out of place compared to the heavy-hitting songs surrounding it. While it's understandable to slow things down occasionally, this one didn’t quite fit. Still, it was probably one of their better-known songs. Overall, it was a great show and a solid start to the festival for us — we’ve had the band on repeat ever since, so they definitely earned a fan. Next up was Aquer , a band from Chile delivering aggressive black/thrash metal. Formed in 1999, they seemed to know their craft well. Musically, not quite our style, but they had a small crowd and gave their all. After Aquer , it was time for Humanity's Last Breath . These Swedes came to melt faces with their brutal deathcore, and they absolutely did. A slightly bigger crowd had gathered, and their mosh-inducing heaviness did not disappoint. Given how many legendary heavy bands come from Sweden, it was no surprise to learn where they’re based. Intense and tight — maybe just a bit too brutal for our taste, but undeniably powerful. Then came Anal Vomit  — and things got even heavier. The blast beats crushed the Kaaos Stage, and the crowd was packed. Clearly, this was a highly anticipated act. Circle pits erupted, and clouds of dust filled the air. A highlight for some, no doubt. Full respect to the band — from their name to their sound, they’re committed to going all in. Bloodred Hourglass , every Finn's favorite modern metal newcomers, were next up on the main stage. Fans were already screaming in the front row before the band had even appeared. With their three-guitar powerhouse lineup, the wall of sound was massive. Having seen them a couple of times before, it’s easy to see why they’ve become a summer festival staple. Tight playing and total professionalism — they’re clearly filling a space that’s been missing in Finnish metal for a while. After Bloodred Hourglass , we returned to the Kaaos Stage for Shereign , though we didn’t stay long enough to comment in depth on their performance. Meanwhile, Kanonenfieber  was about to begin on the Inferno Stage. The German blackened death metal act had drawn a lot of buzz. Anonymous members in black hoods and military props like barbed wire gave their set a chilling aesthetic. A quick dive into their background revealed that their lyrics center on World War I, which made the visuals even more meaningful. Though the band has only been around for about five years, their strong identity ensures they’ll be remembered. Luna Kills  took the stage after Kanonenfieber . Having seen them numerous times — both before and after their name change — it’s been exciting to watch their steady rise. Fresh off their own headlining EU tour and support dates with Northlane , it’s clear they’re a band to watch. Their energy and professional hunger are palpable. With their debut album under the new name recently released and a fresh deal with Sharptone Records, they’re firmly on the map. Can’t wait to see what their second album brings. Meanwhile, the main stage was being prepped for the final act of the night: Stratovarius . Quickly brought in to replace Cattle Decapitation , they may not have been a perfect genre match, but given the short notice, they were likely the best choice. Stratovarius is a long-time festival favorite among Finnish fans. Their last appearances at Nummirock were in 2023 and 2016, so it had been a while, and the return felt special. The front row was clearly enjoying themselves, and their pyro show warmed up the chilly Midsummer night. A professional, hit-filled performance — solid all around. The night turned darker and colder, both literally and musically, with Moonlight Sorcery  delivering a chilling set of modern black metal. Hailing from the shadowy forests of Tampere, the band delivered a tight, atmospheric performance that fit perfectly with the mood of the night. Their set stood out thanks to both timing and execution. A great booking by Nummirock. Finally, the day ended with a surprise performance. Throughout Thursday, speculation ran wild about the secret act — names like Turisas , Fröbelin Palikat , and Pikakassa were tossed around. But when the time came, we were greeted by none other than the comedic duo Bat & Ryyd . Whether they matched the hype or not is up for debate, but judging by the packed Kaaos Stage and all the smiling faces on the way back to camp, it was a fun way to close out the first full day of Nummirock.