After a successful (and slightly exhausting) first day at WTF Capital of Metal, the conference rolled on for round two. The second day promised more panels, more networking—and an evening lineup featuring KNEEL BEFORE THE DEATH, BRYMIR, and KIUAS. So, needless to say, there was plenty of reason to show up again on May 24th, 2025.
That said, I showed up running on fumes after a night of tossing and turning as the day kicked off with a very stressed-out version of me, since—somehow, in the weeks leading up to the event—I found myself agreeing to moderate a panel. Blame it on my self-declared “yes year” and a soft spot for throwing myself into the deep end. Long story short, I ended up moderating the first panel of the day: Comebacks vs. Supergroups, featuring Heta Hyttinen (Ginger Vine Management), Janne Wirman (CHILDREN OF BODOM, WARMEN), Tuomas Saukkonen (WOLFHEART, BEFORE THE DAWN, DAWN OF SOLACE), and Mikko Salovaara (KIUAS).
Now, full disclosure: I’m a pretty introverted person, and public speaking is… not exactly in my comfort zone. So forgive me for not giving you a detailed play-by-play—honestly, the whole thing is kind of a blur. It feels a bit weird to recount my own panel experience anyway. That said, I’m genuinely grateful for the opportunity and proud I pushed myself to do it.
After all that adrenaline, I definitely needed a breather—some quiet time to reset—so I ended up missing part of the next discussion. It featured IKINÄ vocalist and Northsound CEO Katariina Sorsa, who was sharing the story behind their latest single, “Jumalatar,” which brought together 18 female vocalists. Thankfully, I caught most of it.
At one point, someone in the audience noted that a male deathcore band had done something similar not long ago, but it barely made a ripple in the media. And honestly? That really resonated with me. The way “Jumalatar” was covered across a lot of outlets felt—intentionally or not—like another round of exoticizing women in metal. And in 2025, I don’t think that’s where the conversation should still be.
Yes, it’s incredible that so many talented women came together for one track—but let’s talk about the song because it’s genuinely great (and it is a great song), not just because of the novelty of female participation. Projects like this should be celebrated for their artistry, not framed like they’re breaking some kind of glass ceiling just for existing.
Next up was a panel diving into the world of collaborations—think feature tracks, split EPs, and even full albums. While the pop world has been casually doing this forever, metal is only now starting to warm up to the idea. The panel explored questions like: Should metal songwriters embrace more co-writing? Are guest features the future? The discussion featured Iivo Kaipainen (ARION), Katariina Sorsa (IKINÄ, Northsound), Melanie Schmidt (Century Media), and Riku Pääkkönen (Ranka Kustannus), with Niklas Aaltio (G Livelab, Radio Helsinki) moderating. It was another thought-provoking session. I haven’t worked directly with Melanie Schmidt before, but I genuinely appreciated so many of her comments throughout the entire conference—and especially in this panel.
If I had to point out one downside to the whole WTF Capital of Metal experience, it’s the rather long gap between the conference and the evening showcases on the second day. It felt like a lot of people took the opportunity to head home for a quick break… and then just never came back. Honestly, I get it, energy was running low, and naps are seductive. But skipping the final shows? Not an option for me. BRYMIR sits comfortably in my personal Top 10 of “This Finnish Band Is Dope,” so with whatever energy reserves I had left, I powered through.
I made it back just in time for KNEEL BEFORE THE DEATH, a band I’ve posted about plenty of times but hadn’t really taken the time to properly dive into. Consider me pleasantly surprised. They delivered a solid deathcore set—tight, aggressive, and full of potential. With deathcore having a bit of a renaissance right now (shoutout to LORNA SHORE for cracking that door wide open), I honestly think KNEEL BEFORE THE DEATH could carve out a serious place for themselves on the international scene if they keep at it.
The main reason I personally showed up for day two was BRYMIR. It had been way too long since I last caught them live—don’t ask me why, life happens—but let me tell you, BRYMIR is one of those bands that simply doesn’t do bad shows. They’re always tight, always deliver, and always add a healthy dose of silliness to the mix.
Earlier in the day, I was trying to explain the concept of their infamous fish pit to someone who’d never seen them live. It sounded absolutely ridiculous, and yet… once the show started, there it was again—pure chaos, people in a mosh pit, tossing around a plush fish and all. And as if that wasn’t enough, they’ve now upped the ante with a nugget pit, thanks to their song “Wings of Fire.” I’m assuming they couldn’t find a plush chicken wing, so a nugget had to do—and honestly, it worked. The crowd loved it.
The setlist leaned heavily on newer material, and we even got a sneak peek at an unreleased track that sounded absolutely massive. At this point, I’m begging: BRYMIR, release new music already. Pretty please.
I’m pretty sure most of the crowd showed up that night for one main reason: KIUAS, who were celebrating the 20th anniversary of “The Spirit of Ukko.” Now, full honesty, before moving to Finland, I had zero clue who KIUAS were, and certainly hadn’t heard of that album. But judging by the crowd’s excitement, it was clearly a nostalgic milestone for a lot of people. That said, after finally giving “The Spirit of Ukko” a proper listen, I totally get it. It’s a killer record, and hearing it played live in full was an unexpected but very welcome bonus to the evening.
Since their comeback during the pandemic, KIUAS have been back on the scene for a few years now, and I’ve caught them live before—but this show still felt like something special. Playing “The Spirit of Ukko” in full, plus a few extra hits, they brought a ton of energy to the stage and the crowd responded in kind. Honestly, it didn’t feel like a nostalgia act phoning it in. It felt like a band still very much in their element, giving it everything they’ve got.
Altogether, WTF Capital of Metal was the kind of event the industry has been sorely missing. Between the panels, the networking, and the top-tier performances, it struck a great balance between business and passion. Whether you’re a band, a manager, or just trying to make it in music, it was a space that truly felt worthwhile. Here’s hoping it becomes a yearly staple—because we need more of this.
Text and photos by Laureline Tilkin
