Welcome to a new chapter in the Finnish metal scene – the Hellsinki Metal Festival! This new and exhilarating metal festival has nestled in the heart of Helsinki. For two days, the Nordis area – the area adjacent to Helsingin Jäähalli – transformed into the heart of heavy metal. Currently, festivals like Sideways already take place in this area, but there was yet to be a metal festival hosted there! The festival’s first edition was organized on August 11th and August 12th, 2023, with a diverse lineup ranging from extreme metal and power metal to progressive metal with bands like EMPEROR, BLIND GUARDIAN, LEPROUS, STRATOVARIUS, APOCALYPTICA, WATAIN, and many more!
The festival’s first day included bands like MORS SUBITA, ARION, VOIVOD, ASAGRAUM, CLAWFINGER, MONUMENTS, BLIND GUARDIAN, DARK FUNERAL, and APOCALYPTICA.
Admittedly, upon arrival, we were a little skeptical about whether things would go smoothly. For starters, having never been to Sideways Festival, we just couldn’t imagine how a festival could be hosted in this area and at the same time create a buzzing summer festival atmosphere. Additionally, the doors were set to open at 13:00, but opened a mere 20 minutes later, without any communication on the issue. It seemed a little like the venue’s security was a little bit clueless about what to do. As we navigated the festival terrain, we couldn’t help but notice a few other minor hitches that came with any fledgling festival. The limited seating areas prompted some challenges for the audience’s sore feet between sets. Additionally, the single water tap generated quite a queue during the hottest hours, a testament to the nice and hot weather. The concerns we may have initially had and the minor inconveniences, however, were overshadowed by the overwhelming camaraderie and enthusiasm that Finnish metal festivals are well known for.
The organizers had done their best in creating a cozy atmosphere and really had thought about how to best organize the site to accommodate everyone’s wishes. The two outdoor stages were next to one another, which is something done in international festivals to smoothly transition from one show to the other with less risk of technical issues or delays. The indoor stage provided fans of extreme metal for entertainment along with a wrestling ring where occasional wrestling matches would take place. The R.I.P. area (the VIP area) had a nice outlook on both outdoor stages, a separate bar, a bouncing castle, and seemingly free popcorn. The festival’s food selection was diverse with some places we had never seen at festivals before, with one of the oddities phallic-shaped waffles with NSFW names. If you were a daredevil, you could engage in bungee jumping next to the main stage.
The indoor stage at Jäähalli also offered shows from up-and-coming acts, such as the technical death metal act OMNIVORTEX. The early slot on a Friday meant that there was, unfortunately, a low turnout at the start of their show, but as their performance progressed, more and more people tuned in. While we were unfamiliar with their music, we noticed that the band delivered a solid set. We also discovered that the band is set to release their new album, “Circulate,” on September 29th, 2023.
Kicking off the festival weekend on the outdoor stage with a burst of energy, we found ourselves immersed in the sonic assault of Finnish melodic death metal powerhouse, MORS SUBITA. As I set up my camera to capture their performance, the band acknowledged the initial worry of a sparse crowd, a sentiment I had shared when I first arrived. Yet, as if summoned by the music itself, a tide of metalheads quickly swelled before the stage.
With each thunderous riff and bone-shaking drumbeat, MORS SUBITA demonstrated why they are a force to be reckoned with in the world of metal. Their performance was a testament to the unwavering nature of their genre, delivering a relentless barrage of melodic death metal that resonated with the crowd. From the frenetic pace of their opening notes to the final chords that reverberated in the air, their set was a masterclass in intensity and skill.
Familiar with their established reputation for delivering solid and energetic shows, I was not disappointed. MORS SUBITA held nothing back, maintaining an unyielding momentum from start to finish. The marriage of aggressive riffs and soaring melodies created an atmosphere that was both cathartic and captivating. In the end, any initial fears of a lackluster turnout were quashed, replaced by a sea of dedicated metal fans who stood united in the kickstart of the festival weekend. With Mors Subita’s unwavering passion and formidable stage presence, they set the bar high for the remainder of the festival.
Next up, we were offered something completely different: power metal act ARION was scheduled to open up the main stage for its festival audience. From seeing the gear set up, we noticed already that keyboardist Arttu Vauhkonen‘s instrument wasn’t set up. It turned out he was sick, but the show must go on. The band opted for a show without him, which they managed to pull off, despite his lacking energy. ARION is always a fun live band with singer Lassi Vääränen hyping up the audience like a true showman, bassist Georgi Velinov headbanging and enthusiastically shouting along, and guitarist Iivo Kaipainen showing off his stellar soloing.
As ARION took the stage launching the “No One Stands In My Way” from their second studio album, the crowd’s energy was infectious, and the band wasted no time in harnessing that fervor. It was an honor to witness the evolution of a band that had once graced UMK [Finnish Eurovision Song Contest’s preselections] and to see them ascend to a level where their live show stands as a testament to their musical journey.
Hailing all the way from Quebec, the old-school thrash metal titans, VOIVOD, graced the stage with a live performance that was nothing short of surprising in its sheer fun and unadulterated enjoyment. As the echoes of their music filled the air, I couldn’t help but be transported back in time, immersed in the vibes of a garage band playing purely for the love of the craft. VOIVOD‘s performance radiated a nostalgic charm that resonated deeply with the crowd.
Drawing in a crowd primarily composed of the older generation of fans, their presence was anticipated long before the festival gates even opened. Their classic thrash metal sound was a powerful reminder of the genre’s roots, executed with a genuine passion that showcased their unwavering dedication to their craft. Their set opened with “Killing Technology,” and we were amazed at how entertaining these guys were to watch despite the complexity of their music. Guitarist Daniel Mongrain was waiving around his hair, making funny faces to the cameras, and bass player Dominique Laroche was just focused pretty much on headbanging as much as possible. Vocalist Dennis Bélanger was very charismatic, entertaining the audience to the max. The band was able to play about ten songs, coming from all of their albums, and even managed to include two tracks from their latest effort, “Synchro Anarchy.”
Their set may have concluded earlier than some would have liked, VOIVOD‘s live performance was a testament to the enduring legacy of thrash metal and its power to unite generations under the banner of pure enjoyment.
Diving headlong into the uncharted waters of black metal, I found myself facing an intriguing anomaly within the genre: ASAGRAUM, an old-school death metal band composed entirely of four talented women was set to play on the indoor stage. While my knowledge of black metal was limited, the prospect of witnessing a unique convergence of musical and gender boundaries was undeniably enticing. While my familiarity with black metal was limited, the intensity of their performance transcended any preconceived notions I had held, especially by opening aggressively with “They Crawl from the Broken Circle.“
Having inked a deal with the Finnish record label KVLT, the band’s ties to Finland are hopefully enough to see them take the stage again soon as I was left craving more. ASAGRAUM‘s performance left an indelible mark on both the festival and my own understanding of the genre.
When we first noticed the inclusion of CLAWFINGER, we thought we didn’t know who they were. It turns out that somewhere buried very deep inside our minds, we actually did know a couple of songs, like “Biggest & the Best” and “Do What I Say.” A wave of nostalgia swept over us as we experienced the electrifying fusion of rap and metal, a genre that encapsulated the essence of our millennial childhood. Swedish powerhouse Clawfinger took the stage, delivering a performance that transported me back to the days when rap metal, nu-metal, and other variations of the same species dominated the airwaves.
It also turned out that the Swedish rap metal act was a delight to see live and that the set was one of the more entertaining shows of the festival; the funny intro tape with Goldfinger‘s soundtrack booming from the speakers with adapted lyrics to suit the band, was already an illustration of that right from the start. At the heart of their performance was the charismatic Zak Tell, whose dynamic stage presence effortlessly bridged the gap between the band and the audience. His constant interaction with the crowd injected an element of spontaneity that mirrored the raw energy of the music. As the riffs collided with the rhythmic cadence of rap, the atmosphere crackled with an intensity that echoed the genre’s rebellious spirit.
British progressive metal maestros, MONUMENTS, took the festival’s energy to an unexpected turn, igniting a torrent of excitement that culminated in young vocalist Andy Cizek‘s crowd surfing and standing on the gate between the stage and the audience. The band’s dynamic performance showcased their youthful energy widening the smiles of the audience.
Their performance marked not only the first crowd surfing of the festival but also a powerful testament to the genre’s capacity to inspire and unite. During the Monuments show, we also witnessed the legendary #Pittipaavo [an inflatable dinosaur that enjoys the occasional mosh pit; first spotted at Tuska] had been found in the midst of the Hellsinki Metal Festival audience as well.
Returning to the depths of the Ice Hall‘s enigmatic Black Box, I was engulfed by a storm of thrash metal courtesy of SUICIDAL ANGELS, hailing from Greece. Formed by guitarist/vocalist and main songwriter Nick Melissourgos, since its inception, the band has released seven studio albums and has gone through several line-up changes leaving Melissourgos as the only constant member.
The band’s relentless energy resonated with the crowd, culminating in the exhilarating spectacle of the festival’s first mosh pit I witnessed. As I maneuvered through the darkness with my camera gear, the urge to join the frenzy was nearly overwhelming, a testament to the band’s magnetic stage presence.
Venturing into unfamiliar territory, I delved into the world of SLAM Wrestling, a stark departure from my childhood memories of larger-than-life Hollywood personas engaging in testosterone-fueled soap opera spectacles. This marked my first experience of witnessing wrestling live. While the soap opera aspect was toned down next to American WWE, what unfolded before me was an unfiltered display of pure action, providing an unexpected complement to the thrash metal fervor of the preceding Suicidal Angels show at Black Box.
The wrestlers’ intricate maneuvers and acrobatics elicited a sense of awe, as well as a chill that ran down my spine, harkening back to my own experiences in martial arts before an injury forced me to step back. As I watched the performers execute their stunts with precision, I was reminded of the dedication and athleticism that underlie the spectacle.
For power metal fans, STRATOVARIUS was definitely one of the festival’s highlights, and to no one’s surprise, they delivered a solid performance with a setlist focused on lots of classics. The band recently released a new album, “Survive,” and we were happy to hear the inclusion of at least a couple of newer tracks, we were actually hoping to have a chance to hear the djent riffing-induced “Broken,” however, it seems like we have to see this song live in a different capacity. The trio of “Black Diamond,” “Unbreakable,” and “Hunting High and Low,” did a great job of rounding out a dynamic set.
German thrash metal act SODOM is one of those bands that you more than likely won’t see on the more mainstream metal festivals, so it was great to finally be able to get an opportunity to see at least part of their set. As one of the revered “big four” German thrash metal icons, SODOM‘s name reverberates through metal history.
SODOM‘s presence on stage was a testament to the enduring power of their music. Their performance was a relentless barrage of thrash metal fervor and I personally loved the guitarist Yorck Segatz’s energy on stage. While the band played ten extremely aggressive songs and we noticed Paavo, the mosh pit dinosaur, in the pit once again, we had to cut the band’s performance short due to an overlapping interview.
As the sun-drenched summer day transitioned into evening, we opted for classic metal icons that were set to play at Black Box. I prepared to immerse myself in the visceral world of extreme death grind, courtesy of France’s own BENIGHTED. The anticipation was palpable, the contrast between the two experiences adding an element of thrilling unpredictability.
Julien Truchan, the barefooted vocalist, stood as the charismatic conductor of chaos. With no hint of mercy, he unleashed a torrent of guttural growls and frenetic movements that galvanized the audience into a wild frenzy. The energy was infectious, sweeping through the crowd like a tempest of raw power.
One of the festival’s true highlights was having scheduled BLIND GUARDIAN, who somehow hadn’t been to Finland since 2015. Naturally, because of having missed the legendary speed/power metal act from the Finnish metal scene, the show attracted a lot of people, and a few people in the front row, while already a little intoxicated, were screaming very loudly for their entry on stage. It also turned out that vocalist Hanski Kürsch had a birthday recently, so the audience chanted Happy Birthday in unison.
Since this was a 1-hour festival slot, it meant that the band had a lot of time allocated to play a lot of classics. Song after song, the audience was able to sing along to lyrics they have known for a long time, like “Welcome to Dying,” “Nightfall,” “Lord of the Rings,” “Mirror, Mirror,” and “Valhalla.” The band only included one song from their latest album, “The God Machine,” but “Violent Shadows” was definitely the right choice. There was a little bit of miscommunication with the photo pit’s security at the very beginning, as they didn’t realize at first that the pyros present were actually the ones for APOCALYPTICA and denied us entry for the first three songs. Thankfully, somebody did inform them it was okay, and we were okay to snap some photos.
We were also denied entry from DARK FUNERAL‘s photo pit, so we opted to watch the show from afar while having a bite to eat. DARK FUNERAL emerged during the second wave of black metal founded by guitarists Blackmoon and Lord Ahriman in 1993. With a history steeped in satanism and an overarching theme of anti-Christian lyrics, the band took the stage, prepared to weave their dark magic upon the metal aficionados. Their set was exactly how I had imagined it, with lots of smoke, grim black metal songs, and fairly little engagement with the audience other than the occasional thank you from frontman Heljarmadr.
While the theatrics and the band’s presence were undeniably compelling, a longing for pyrotechnics resonated within me. The absence of these fiery accents was a noticeable gap in an otherwise mesmerizing show during the early darkening evening. Thankfully, they were scheduled when it was getting darker, nothing is worse than watching an atmospheric black metal band in the blazing sun. Nevertheless, their performance stood as a potent reminder of the genre’s ability to elicit strong emotions and leave an indelible imprint on the souls of those who bore witness.
Initially, the festival had planned for HELLOWEEN to end the festivities on the first day. However, singer Michael Kiske managed to get acute laryngitis, which meant that the band had to cancel their performance. Last minute, APOCALYPTICA came to the festival’s rescue. Having only gotten the call on the Tuesday before the festival, they managed to pull together a solid set, which also included lots of pyros, and focused on the heavier end of their discography.
Despite a minor hiccup resulting in a delayed start of 15 minutes due to technical issues with the back screen, anticipation hung in the air as the crowd eagerly awaited the grand spectacle that was about to unfold.
The band hinted that they would have special guests and APOCALYPTICA‘s long-time friend Tipe Johnson joined the stage for at least a couple of songs, as well as LOST SOCIETY‘s Samy Elbanna who was featured on songs like “Bring Them to Light,” and a SEPULTURA cover. Inviting somebody who can do growls, naturally means that the band can also include songs that they don’t often play live with a guest. However, it would have also been nice to have some of the other vocalists who were set to play a show that day joining in, but understandably, the band didn’t have much time to prepare for this show.
Personally, we wished to hear their “Nothing Else Matters” cover from METALLICA and that expectation was met during the later half of their show. Eventually, APOCALYPTICA played two other METALLICA covers, “For Whom the Bells Tolls” and “Seek & Destroy.” On top of that, there were also two from SEPULTURA. “Refuse/Resist” (featuring Samy Elbanna) and “Inquisition Symphony.” And the amazing show ended with “In the Hall of the Mountain King.”
APOCALYPTICA‘s performance, complete with its (un)expected guests and fiery visuals, was a powerful reminder of the festival’s ability to adapt to unforeseen circumstances and deliver an unforgettable experience.
The final ritual of the night unfolded in the form of BATUSHKA, a Polish black metal entity that brought a fitting conclusion to the evening’s symphony of darkness. With a distinct blend of theatrics infused with Eastern Orthodox Church elements, their performance was a captivating crescendo that lingered in the air.
As the night embraced the festival grounds, BATUSHKA‘s presence created an aura of mystique and solemnity. The intricate theatrics and cool costumes added an air of authenticity to the performance, transporting the audience into a realm that blurred the boundaries between reality and the arcane. The cool costumes and elaborate stage design, while impressive, didn’t fully compensate for the energy that was perhaps expected. This left me with a desire for a more dynamically charged atmosphere. Perhaps the upcoming show at Vanha Ylioppilastalo on October 15th, 2023, will be a better opportunity to see the band’s set.
Altogether, Hellsinki Metal Festival‘s legendary first day is one for the books. While there were a few hiccups during the day, especially when it came to being able to photograph the bands, overall, the festival performed very well. There were hardly any queues to get drinks and food, and according to a lot of people, they felt a little nostalgic for the very beginning of Tuska Festival, when it was still a smaller festival. Overall, we do understand why Hellsinki Metal Festival fills a gap that simply doesn’t exist anymore within the Finnish metal scene, and look forward to seeing how the festival will develop over the coming years!
Text and Photos by Laureline Tilkin and Richard Forsman
