You might’ve noticed we haven’t exactly been making the rounds at conferences lately. Why, you ask? Simple: most of them are in entirely in Finnish—which, for a music journalist with a migration background, is about as accessible as a prog-metal concept album with no context whatsoever. Add in sometimes ridiculously high registration fees, no event dedicated to metal alone, and a general lack of inclusivity, and it’s hard to justify sending our tiny (but mighty!) independent webzine into the fray.
But then came WTF Capital of Metal, held on May 23rd and 24th, 2025, at Tavastia and Semifinal. Hosted by Nahka Agency, this was their first-ever edition—and honestly, props to anyone trying to shake things up in this scene. So, naturally, we showed up to see what the fuss was about and whether this thing actually delivered.
The conference offered plenty of networking opportunities, but also featured some engaging panels. On the first day, there were two. The first? A deep dive into Helsinki’s bustling metal festival scene, asking: how many metal festivals is too many for one city?
Moderated by Laura Vähähyyppä from Radio Rock, the panel brought together Ilkka Laaksonen (Helsinki Death Fest), Jouni Markkanen (Tuska Festival), Jyri Kuukasjärvi (Sonic Rites Festival), and Toni Törrönen (Hellsinki Metal Festival). One of the more surprising takeaways was that these organizers don’t really see each other as competitors. Instead, they’re eyeing the international scene as the real battleground. For example, Tuska is looking toward the U.S. market, which, according to Markkanen, is currently blooming.
Markkanen also touched on Tuska’s goal of attracting a younger crowd by booking more modern and metalcore bands, which, honestly, makes a lot of sense. On the flip side, Törrönen explained that Hellsinki Metal Festival wants to fill the gap by doing the opposite—offering a space for the more traditional metalheads. And again, no beef there. Törrönen doesn’t view Tuska as competition at all.
Inflation was another hot topic, specifically how it’s squeezing ticket prices and putting serious pressure on smaller festivals like Sonic Rites and Helsinki Death Fest. These events can’t keep raising prices without scaring off attendees, which makes it harder and harder to break even. Honestly, this might be one of the biggest disadvantages facing festivals in Finland right now and it’s something that affects my own willingness to attend, too. Take Rockfest in Turku this year as an example: ticket prices are nearly on par with something like Graspop Metal Meeting in Belgium. However, Graspop offers a much more expansive experience—more bands, bigger production, and a more international lineup. So… how do you justify those kinds of prices here? At what point do rising costs threaten the very existence of these festivals?
Another angle I personally would’ve loved to see explored more was lineup diversity. With so many Finnish bands playing multiple festivals, it can feel like you’re watching a summer-long STAM1NA or TURMION KÄTILÖT residency. Don’t get me wrong, these bands put on really great shows, but if you’re hitting a few events, you’ll see the same acts again and again. Some fresh blood wouldn’t hurt.
Now, onto panel number two: “World, Can You See Me?!” A discussion about the struggle for visibility in metal media. With metal-focused outlets fading fast, how can bands get their message out there anymore? Is there still a place for new metal on the radio? Should every band just give up and start making cooking videos on TikTok?
Moderated by Katja Vauhkonen (Backbone Management), the panel featured Darren Edwards (Live Nation Sweden), Jussi Mäntysaari (Nelonen Media), Matti Österman (AWAKE AGAIN), and Merle Doering (Catch 22 Agency). This was the panel I found myself disagreeing with the most since some views felt a bit… well, outdated.
This is something that’s been gnawing at me for a while: how do major industry players define “metal-focused media”? Because as an active, consistent outlet, we often struggle to get accredited for major events. If there’s a shortage of metal coverage, why not give smaller or medium-sized outlets a shot? Surely there are alternatives—but perhaps the real issue is the sheer volume of bands, PR reps, and press releases flooding everyone’s inboxes. Take mine, for example, I get hundreds of press releases a day. I physically can’t post them all. So of course, you pick and choose what’s most relevant to your audience.
There was also a side convo about social media, with the usual complaints: “bands don’t like doing it,” “it’s exhausting,” and so on. Fair enough, but here’s a radical idea: if your band doesn’t like it, hire someone who does enjoy it and is good at it.
Next on the schedule was the showcase—but before that, there were more networking opportunities. I’ll spare you the small talk and jump right into the showcase itself.
To be honest, I don’t think I’ve ever attended a proper showcase before, mainly because there just aren’t that many in the metal scene here. So, how did it work at WTF Capital of Metal? Bands were scheduled at Tavastia and Semifinal, each given a tight 30-minute slot to show their music. The selection was diverse—there was a little bit of everything—but most acts seemed to share one thing in common: they’re still looking for (international) partnerships to help them further their careers.
The variety made it genuinely fun to discover new music. For example, while I’ve posted about RABBIT CULT before, I hadn’t actually caught them live. It had also been ages since I’d last seen AWAKE AGAIN, and CVLT OF THE SUN was a completely new name to me.
The showcase kicked off with a set from RABBIT CULT. The band has a few singles out on streaming platforms and has been building a solid buzz, even landing festival slots—including a spot at this summer’s Hellsinki Metal Festival.
Both musically and visually, they lean into Japanese-inspired, hyper-kawaii aesthetics with a Nordic twist, perhaps not totally my cup of tea. But hey, the otaku scene has its audience. Musically, the one song that I remembered was their track “Bunny Anthem,” which gave me big Eurovision vibes—not unlike the cult classic “We Are the Winners,” by LT UNITED. Except here, the chorus goes “We are the bunnies you don’t want to f*ck with”… all sung in sugary voices. That kind of cutesy-meets-aggressive juxtaposition clearly works for them.
It was also interesting to see how they handled things live, considering the band consists of just two members. Vocalist Salla-Marja switched between instruments throughout the set and even whipped out a kantele at one point, which was a nice surprise. Despite the minimal lineup, they managed to put on a solid and memorable show.
Then it was time for something completely different: VERMILIA. I’d seen her once before, opening for SOAR, but this performance felt like a proper introduction. VERMILIA fuses epic Nordic pagan metal with raw, melancholic melodies, all sung in Finnish. What stood out most was how distinct her set felt compared to the rest of the lineup and a welcome change of pace. And judging by the crowd that gathered, I wasn’t the only one curious. Unlike many closed-door showcases, WTF Capital of Metal also sold tickets to the public, so the room had a healthy mix of fans and industry folks alike.
Next up: AWAKE AGAIN. As their set kicked off, I found myself wondering why I hadn’t seen these guys in so long. There was a time when they seemed to be everywhere—practically glued to every Finnish festival lineup. I couldn’t even remember the last show I caught, but as soon as they started playing, it felt like catching up with an old friend. You know the kind—no awkward small talk, just instant familiarity.
Live, they reminded me exactly why they stood out in the first place. These guys are still one of the tightest and most energetic acts the Finnish metalcore scene has to offer. They slipped in a few tracks I didn’t recognize—presumably new material—and while their sound has evolved a bit, it still carried that same fun, high-voltage energy that makes their shows so infectious.
Then came ST. AURORA, and it was immediately clear that a lot of people had shown up just for them. It was the most packed set of the night so far. I’d seen them once before and they impressed me back then, so my expectations were already high. Luckily, they didn’t disappoint.
The band brings a huge amount of energy to the stage and are genuinely fun to watch. Their sound taps into a nostalgic vein that instantly transported me back to my teenage years back when MY CHEMICAL ROMANCE still ruled the world. That same emo-meets-alt-rock vibe is alive and well in ST. AURORA’s music, and clearly resonated with the crowd. They delivered another strong, high-energy performance, proving once again that they know exactly how to work a stage and a room full of fans.
Next up was CVLT OV THE SVN, a completely new name for me. From the first few minutes, it gave off strong gothic GHOST vibes—dark, theatrical, and musically intriguing. Their self-described “Occult Murder Pop” is honestly right up my alley, and I’ll definitely be digging into their catalog after this.
That said, something felt slightly off. It’s hard to pinpoint exactly what, but there was a certain spark missing. Maybe it had more to do with the venue than the performance itself. Semifinal doesn’t exactly scream “ritualistic atmosphere,” and a band like this could really benefit from a stage setup that leans into the eerie and dramatic. With a bit more ambiance and room to get weird, I could see them putting on a killer show.
Last but definitely not least, STONED STATUES closed out the night on the Tavastia stage—and what a way to end it. This progressive metal trio has been turning heads since their self-titled debut, and honestly, it’s about time international stages caught on.
I’ve seen them live a handful of times now, and they never miss. Despite being just three people, they manage to bring a massive sound, tight musicianship, and a level of energy that keeps the crowd locked in from start to finish. It’s always a tight set, always engaging—and this one was no exception. A strong, confident closer to a day packed with surprises.
All-in-all, day one of WTF Capital of Metal was a solid success. Sure, it was a bit exhausting_like most good things are—but absolutely worth the effort. A packed schedule, fresh discoveries, and a few standout sets made it a day to remember.
Text and photos by Laureline Tilkin
