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 second and final day included bands like PENTAGRAM, BLOODRED HOURGLASS, SAMAEL, PRIEST, I AM MORBID, LEPROUS, FIT FOR AN AUTOPSY, and EMPEROR.
The second day started with a tough choice once again as two Finnish legacy bands were set to play. We divided and tried to cover both as much as possible. On the outdoor stage, TERVEET KÄDET were set to play. The show existed from old school punkers who delivered a solid set. While we didn’t know any of their songs, we were amazed by their infectious energy and understood instantly why this was a great band to open up the festival.
On the other hand, our other party decided to opt for Finnish-Swedish hardcore punk with BOB MALMSTRÖM on the indoor stage. However, a series of unfortunate delays in the public transportation system conspired against their plans, leaving them with a mere glimpse of their closing moments. Frustration tinged with irony washed over them, as this marked yet another instance where they found myself missing out on witnessing BOB MALMSTRÖM‘s festival performances. It appears that fate is nudging us toward their standalone shows, where we hope to finally experience their live show firsthand, or here’s to hoping the band will become a festival staple and gets to be scheduled a bit later in the afternoon!
Nine years after the release of their critically acclaimed album “The Singularity (Phase I – Neohumanity),” Swedish melodic death metal SCAR SYMMETRY act finally returned with its successor, “The Singularity (Phase II – Xenotaph),” marking a highly anticipated return! Hellsinki Metal Festival managed to lure the Swedes as an opening act on the mainstage and since we had never seen the band perform their music live, we were looking forward to seeing what was cooking! We were happy to witness a very playful and dynamic show with altogether great energy and the best sort of chemistry between the band members.
As pioneers of heavy metal, PENTAGRAM’s presence on stage was a living testament to the genre’s historic roots, invoking a sense of excitement that was evident in the air. Having missed out on their earlier Finnish performances, the opportunity to finally witness their live show was an experience that brimmed with anticipation. PENTAGRAM’s legacy as one of the earliest heavy metal bands in history lent their performance a sense of gravitas. The audience bore witness to a living relic of metal’s evolution, their music a bridge that connected the past with the present. The echoes of their first sold-out show in Finland back in 2011 resounded through the venue, a reminder of the enduring impact of their music on the metal community.
As Bobby Liebling, the iconic figure at the helm of Pentagram, took the stage in his high heels, the performance took on an added dimension of flair. His presence was a testament to the enduring spirit of rock ‘n’ roll, and his solid showmanship was a tribute to the decades he has dedicated to his craft. Adding to the enchantment of the evening, the legendary Victor Griffin returned to the forefront, wielding his guitar with a sense of mastery, but it was the bassist Greg Turley who captured my camera lens most of the time with his showmanship. PENTAGRAM’s performance was a celebration of metal’s heritage, a reflection of the genre’s resilience and ability to adapt to the changing tides of time. The opportunity to witness their live show, even in the intimate setting of the Black Box, was a remarkable experience that left an indelible impression.
At the same time, Swedish death metal act VOMITORY was scheduled to play at the second outdoor stage. The band recently released a new album, “All Heads Are Gonna Roll,” via Metal Blade Records, so we weren’t exactly surprised to find them on the festival’s roster. Admittedly, going into their show, we hadn’t really ever had the chance to get into their music, so it was nice that Hellsinki Metal Festival presented a great opportunity! While the band was mostly focused on playing their music and thus didn’t engage a lot with the audience, they played a very solid aggressive set that impressed us!
Melodic death metal act BLOODRED HOURGLASS might be only ready to release their new album in Fall, but it didn’t stop them from being booked on lots of festivals this summer! Thankfully, we were able to check out their show at Hellsinki Metal Festival as well.
The stark contrast in audience size between Saturday and Friday was unmistakable, with the festival grounds buzzing with a heightened sense of energy and enthusiasm, an illustration of how popular these lads from Mikkeli have become in recent years. As I threaded my way through the densely packed crowd, it became evident that Saturday had drawn a significantly larger turnout, and this surge in attendance created moments where movement through the area was notably challenging.
The band’s setlist started off very well with dynamic songs such as “Nightmares Are Dreams Too,” “Waves of Black,” and “Drag Me the Rain” early on in the set. Since we were standing a little bit further from the stage due to the massive audience, we noticed a fair few times, the wind dragged the performance away a little bit, but other than that, the overall sound was pretty good. Towards the middle of the set, the band had opted for a little bit of a slower, more mellow passage, that we felt would have fitted more in a venue setting than a festival show. BLOODRED HOURGLASS also included a few new songs and specifically “The Sun Still In Me” turned out to be a great live song. We can’t wait until their new album drops!
The moment had finally arrived, fulfilling a long-standing entry on my bucket list as SAMAEL took the stage. With a name that shares a connection to my own middle name, I eagerly awaited the chance to witness their live performance. What better way to savor the experience than capturing a few photographs while immersed in their show? This Swedish extreme metal ensemble commanded the stage with an authoritative presence, engulfing both the venue and the audience in a maelstrom of sound and spectacle.
The stage seemed to shrink beneath the sheer magnitude of SAMAEL‘s performance. Their mastery over the art of live showmanship was evident as they dominated the space, owning every inch with a magnetic energy that radiated from their presence. The symbiotic relationship between the band and the audience was palpable, with their music serving as the conduit for a shared emotional journey.
SAMAEL‘s performance was a testament to their status as consummate performers, delivering an unforgettable show that resonated deeply with the audience. The culmination of years of anticipation and the thrill of being able to document the experience through photography was a realization of a dream that lingered far beyond the closing notes. SAMAEL’s performance was easily one of my personal favorites of the festival so far.
While the majority may have been drawn to Hellsinki Metal Festival by the allure of more aggressive metal acts, my personal focus was directed towards the darker electronic tunes conjured by the PRIEST. The anticipation of a Saturday night infused with their unique brand of feverish electronic sounds had driven me to the festival grounds.
My affinity for their live performance was kindled during my previous encounter at the Helsinki Industrial Festival, leaving a mark that inspired my return. With a larger stage this time, PRIEST seized every inch of it, transforming it into a pulsating electronic sanctuary.
However, even the expanded space seemed insufficient to contain the infectious energy that vocalist Linton Rubino, also known as the leading character Mercury, exuded while creating an intimate connection that reverberated through the first-row spectators. A show well worth the wait just as I was hoping for. I’m yet to witness a vocalist having a more uplifting stage performance than Linton Rubino and I’m sure I’ll be there for future shows when I have a chance.
One of the festival’s most legendary acts to play was definitely I AM MORBID. The band featuring former MORBID ANGEL members David Vincent (bass, vocals) and Pedro “Pete” Sandoval (drums), along with guitarists Richie Brown (EXMORTUS, THE ABSENCE, TRIVIUM) and Bill Hudson (NORTHTALE, DORO) were celebrating the 30th anniversary of “Covenant,” MORBID ANGEL‘s third full-length album, during their European summer tour, and it proved to be an excellent reason to go check out their show! The setlist included mostly songs from the legendary album, which was a moment fans clearly had been waiting for.
Meanwhile, we were getting ready to brace ourselves for melodic death metal combined with scorching heat during BEFORE THE DAWN‘s set. Due to the band’s pyros, photographers had to stay put in the photo pit, being very careful not to get their faces burnt – an improvement considering the previous day we weren’t allowed to shoot anything in the vicinity of pyrotechnics.
Admittedly, I have yet to listen to the band’s latest album, “Stormbringers,” so I was actually pretty much looking forward to the show, thinking it’s an excellent moment to get myself acquainted with the new material. The band did play three new songs, which blended in beautifully with their earlier compositions. It was interesting to see Tuomas Saukkonen (who is mostly known as the frontman of WOLFHEART) so focused behind his drumkit and Juho Räihä in a different setting than SWALLOW THE SUN. Altogether, we were amazed at how well new vocalist Paavo Laapotti blended in with the band as if he’s always been there.
Hailing from France, DÉLUGE took the stage following PRIEST in Black Box. As a newcomer to the sounds of DÉLUGE, I approached their performance with no preconceived expectations, ready to embrace the experience with fresh ears.
France has long been a fertile breeding ground for the black metal genre, and among its hidden gems lies DÉLUGE. Since their inception in 2014, the band has been conjuring a captivating blend of black metal and post-hardcore elements. Their debut full-length release, “Æther,” dropped in 2015, followed by their sophomore effort, “Ægo Templo,” in 2020, which expanded their sonic horizons while maintaining their core essence.
Originating from the northeast of France, DÉLUGE‘s dedication to their craft is unwavering. Their music, characterized by its luminous intensity, resonates with power and authenticity. Drawing inspiration from the black metal genre, they unapologetically refuse to adhere strictly to its conventions, boldly labeling themselves in their early days as “untrve French black metal,” signifying their unique perspective and creative approach.
The great thing about Hellsinki Metal Festival‘s first edition was definitely the variety in the lineup and the overall nice flow that came with it. That’s why it was a great thing to be offered a little bit of respite from the intensity by going to see Norwegian progressive rock/metal outfit LEPROUS. The band has been to Finland quite some times in the recent year, but we simply cannot resist their music.
The band’s recent “Aphelion” tour was a great success, but it was refreshing to have them switch up their setlist a little bit, enough so that it felt like watching a different show. The set included greatest hits ranging from all of their albums, allowing for showcasing their heaviest material, as well as some of their more intimate, emotive songs, like “Below.” While I was having an emotional moment during the latter one, a random fellow proghead started to chat with me saying that he couldn’t believe he had never heard of the band. I told him I couldn’t believe that either and urged him to check them out. It serves to say that excellent musicianship like LEPROUS – the complex drumming courtesy of Baard Kolstad, the soothing bass lines from Simen Børven, and the enchanting voice of Einar Solberg – just illustrates how festival performances really can attract new fans to a band.
BURY TOMORROW, a band that had somehow eluded my musical radar until now, emerged as an unexpected revelation during the Hellsinki Metal Festival. Despite a vague familiarity with one of their songs, the experience of their live performance was a transformative moment that solidified my newfound appreciation for their craft. It was no surprise that many attendees cited BURY TOMORROW as their primary motivation for attending the festival.
This English hardcore outfit ignited the stage with a potent mix of electrifying energy and infectious camaraderie. Their presence inspired daring feats of audience participation, including enthusiastic crowd surfing that symbolized the unifying power of music to connect strangers in a shared experience. The sprawling moshpits that persisted throughout their performance served as a testament to the band’s ability to catalyze unadulterated excitement and uninhibited expression among the crowd. Vocalist Daniel Winter-Bates’ efforts to initiate a wall of death, while perhaps not flawlessly executed, symbolized the band’s enthusiasm for engaging with their audience on a visceral level. Even though the plan may have transformed into a conventional moshpit, the sentiment behind it remained intact: to foster a sense of community and kinetic interaction.
EMPEROR, a Norwegian black metal band, had long occupied a coveted spot on my musical bucket list. Immersed in the lore of the Norwegian black metal scene, with its infamous church burnings and tales that had reverberated even across the Finnish metal scene, the allure of EMPEROR‘s music and legacy was undeniable. Although my personal tastes leaned more toward other genres, EMPEROR stood as one of those transcendent bands that seemed to transcend genre preferences, calling upon every metal aficionado to experience their performance. The moment had finally arrived, and as their iconic presence graced the stage, it was a testament to the power of live music to fulfill long-held dreams.
The echoes of history reverberated through their performance, as their music bore the weight of an era that left an indelible mark on the metal landscape. As I stood amidst the thousands gathered at the Nordis parking lot, it was apparent that EMPEROR‘s music had transcended its genre origins to unite fans from across the spectrum of metal. The mystique that had surrounded their name was tangible, and the collective experience of witnessing their live show was a culmination of years of anticipation and reverence.
The opportunity to witness their performance in the flesh was a reminder of the profound impact that music, regardless of genre, can have on shaping cultural narratives and individual experiences. As the night was soon to end, I marveled at the power solidifying their place not just in the annals of black metal history, but in the hearts of all who bore witness.
“I want you to show me the biggest fucking pit this hall has ever seen,” commanded FIT FOR AN AUTOPSY‘s vocalist Joe Badolato, setting the stage for one of the most monumental mosh pits the Helsinki Black Box had ever witnessed. Hailing from the USA, this deathcore outfit ignited the night with their fierce performance, igniting a mosh pit that spiraled and surged throughout most of their set.
Their performance held a dual role as a climactic precursor to the festival’s conclusion, effectively priming the crowd for the final crescendo of the evening. The searing intensity of FIT FOR AN AUTOPSY‘s deathcore anthems acted as a sonorous rallying cry, guaranteeing that the festival’s grand finale would remain etched in the minds of attendees long after the final notes had dissipated into the night.
As the stage was shrouded in theatrical illumination resembling a hellish pit, the atmosphere was set ablaze, quite literally, when the fires were ignited during the festival’s very last performance, WATAIN. During the outset of the performance, a heart-stopping moment ensued as the vocalist Erik Danielsson hurled a torch towards the front row, nearly intersecting my path. A sense of relief washed over me as a fervent fan successfully captured the fiery projectile, sparing my hair to burst into flames.
The experience elicited a reflection from one of my friends, who aptly remarked, “This is the show I always imagined black metal shows to be when I was a kid,” a sentiment I agreed with. While the scene may often feature an abundance of individuals adorned in black studded leather and intricate corpse paint designs, WATAIN offered a show on a totally different level that should be witnessed at least once by every metal fan. Their show proved to be an embodiment of the very essence of black metal, transcending the surface aesthetics to create an immersive and evocative experience that resonates with the genre’s essence. It’s no wonder that the festival’s promoter Toni Törrönen decided to save the most impressive performance of Hellsinki Metal Festival as the very last one.
Regrettably, the constraints of capacity (only about 3000 people could fit into the indoor venue) prevented some festival goers from gaining entry to the Black Box due to security concerns. This is an utter shame when you think of people who actually decided to go to the festival because of the band, and is hopefully something the festival can learn from during future editions. The synergy of WATAIN‘s performance and the indoor setting was undeniable, with the pyrotechnics creating a mesmerizing display that seamlessly complemented their dark sonic and visual narratives. The intricate choreography of fire and sound created a symbiotic relationship that would have been difficult to replicate in an outdoor setting.
In essence, WATAIN‘s performance was a manifestation of the black metal ideal, serving as a conduit to transport the audience into the very heart of the genre’s thematic and sensory intricacies. The flames that danced in synchronisation with their music were a reflection of the inferno that burns within the hearts of both performers and attendees alike, a confluence of artistry and audience engagement that will continue to linger as an unforgettable chapter in the narrative of the Hellsinki Metal Festival.
Altogether, Hellsinki Metal Festival was a great experience that will be long talked about. From the explosive energy of deathcore pits to the haunting allure of black metal’s flames, this two-day metal odyssey really provided a nostalgic longing for a smaller-scale festival, also hosting bands that you do not frequently see on the mainstream festivals’ lineups. The few hiccups we had during the festival’s first day, were solved by the second, showcasing the festival’s will to succeed.
Throughout the weekend, we had the privilege of witnessing awe-inspiring performances from a diverse array of artists, many of whom we were experiencing live for the very first time. From the relentless drumming of death metal to the soaring guitar solos of power metal, the stage was a canvas for sonic exploration. The bands brought an electric atmosphere, igniting the crowd with their impassioned performances. It was a euphoric convergence of music and metal culture, uniting both newcomers and seasoned festival-goers in a shared celebration of metal. Hellsinki Metal Festival‘s next edition will be held at the same location from August 9th until August 10th, 2024, we have marked our calendars already and hope you will save the date too!
Text and photos by Laureline Tilkin & Richard Forsman
Photo of I AM MORBID by Marco Manzi
