If you’ve been following us for a little while, you might have noticed that even though we technically cover all aspects of rock and metal music, some of us are unapologetic progheads who will happily dive headfirst into progressive albums and events whenever given the chance. For years, though, something has been missing in the Nordics. And no, we’re not talking about the sun disappearing for half the year.
What we’ve been missing is a proper progressive music festival. Up here in the North, prog-related events have been few and far between—or, to be more accurate, absolutely nonexistent. Summer after summer, we’ve watched festival posters fill up with the same local bands making their annual rounds, while adventurous, boundary-pushing music was left sitting at the kids’ table.
But the time has finally come, fellow prog enthusiasts. The drought is over.
Nahka Agency and Alt Agency have joined forces to create the brand-new Ankea Festival, a festival built around exactly the kind of music many of us have been craving. And let’s call it a progressive music festival rather than a progressive metal festival, because the lineup reaches far beyond the usual prog metal label. Alongside progressive acts, you’ll find sludge, psychedelic rock, stoner rock, post-metal, post-rock, shoegaze, and plenty of artists that refuse to fit neatly into anyone’s genre spreadsheet. Or, in short: music for geeks. The good kind.
The inaugural edition took place on June 5th and 6th, 2026, during the first weekend of June, in one of my favorite places in the world: Tampere. And what a way to kick things off. With names such as LEPROUS, KATATONIA, TEXTURES, IHSAHN, EARTHSIDE, IHLO, and many more on the bill, Ankea Festival promised to have a very exciting first edition.
Since this was the first edition of the event, I honestly wasn’t entirely sure what to expect. Would it be a fully outdoor setup? Would there be an indoor stage tucked somewhere? As with many debut festivals, there’s always that slight sense of “we’ll find out when we get there.”
As it turned out, the festival site was very thoughtfully designed. Ankea featured two outdoor stages set within the industrial surroundings of Hietaranta in Tampere, and the location added a distinct edge to the whole experience. Rather than trying to hide the environment, the festival leaned into it. The site already had existing structures that worked surprisingly well as part of the festival layout—things like large concrete blocks used as barriers (the kind usually meant to stop vehicles), which in this case doubled as impromptu seating. Many of these surfaces were also covered in graffiti, blending naturally with the surrounding street art that gives the area its character.
I’ll admit, I digress, but it’s worth noting that these existing elements actually contributed a lot to the atmosphere. Because of them, there was more seating available than at many other festivals (including some larger ones like Tuska Festival and Hellsinki Metal Festival), with additional seating areas also brought in on top of that. It made moving around and settling in for sets noticeably easier and more comfortable than you might expect from an industrial festival site.
Getting to the venue was, in theory, refreshingly straightforward. The easiest option was to take the tram, which stopped right in front of the festival area. In my case, however, I went by car, and we were able to park fairly close to the site, which made arrival and departure relatively painless. Our photographer, Marco, on the other hand, relied on the tram to get to and from the festival. While the system worked in principle, he did mention that he ended up missing parts of some of the later sets because of delays and timing issues.
A big part of that seemed to come down to a combination of factors: the Nysse app not always functioning smoothly and marking down the wrong stop as the destination to the festival (which meant some people had to walk a lot more), and the sheer number of people trying to use the tram at the same time, especially on the first day, when things didn’t quite run as seamlessly as planned. It was a bit surprising to hear that additional tram capacity didn’t seem to be arranged for an event of this size, and it’s probably something worth looking at for future editions of the festival.
That said, credit where credit is due: once you actually arrived at the tram stop, it was only a short walk to the main gates, and apart from those early transport hiccups, everything else around entry and on-site logistics seemed to run smoothly, including wristband exchange (although, admittedly, it took them a while to find my name on the list, but I also have an uncommon name). For a first edition festival, that’s still a very solid foundation to build on.
While I was still making my way to the festival grounds, our photographer, Marco was already there in time to catch the very first band of the weekend: DEMONIC DEATH JUDGE. According to Marco, opening Ankea turned out to be both a blessing and a slight curse for the Finnish sludge outfit. On one hand, their heavy, groove-laden sound served as a solid introduction to the festival and gave early arrivals an easy way to settle into the weekend. On the other hand, he felt that DEMONIC DEATH JUDGE are the kind of band that truly thrive in smaller, darker venues, where the oppressive atmosphere of their music can fully envelop the audience. While the performance was enjoyable and did exactly what an opening slot is supposed to do, Marco couldn’t help but feel that the band still had another gear left to show. Put them in a packed club late at night, and the experience would likely be even more powerful.
I have to admit that I had never heard of VIRTA before Ankea Festival, but they ended up being my personal starting point for the weekend, and what a pleasant surprise that turned out to be. The set took its time getting going. For the first few minutes, the stage was filled with soft ambient textures and subtle soundscapes, the kind that make you wonder whether the show has actually started yet. But once the music properly kicked in, VIRTA delivered a mesmerizing blend of sultry atmospheres, jazzy melodies, and immersive soundscapes that immediately pulled the audience in.
For their appearance at Ankea, the trio performed their album “Hurmos” in celebration of its 10th anniversary. There’s something special about seeing a band dedicate an entire set to a single album. In an era where most festival performances feel like a greatest-hits speedrun, it’s refreshing to experience a complete work presented as it was intended. As someone completely new to VIRTA, it also served as an excellent introduction, one that left me wondering how they had managed to stay off my radar for so long.
After VIRTA, it was time for another completely unknown name for me: CIRCLE. Apparently, this is one of those bands that every Finnish prog fan knows and reveres, with some even describing them as the best Finnish band of all time. No pressure, then. I’ll admit that I went into the set with certain expectations. Given their reputation, I was perhaps expecting a very serious group of musicians standing perfectly still while unleashing impossibly complex mathematical riffs and occasionally nodding approvingly at one another. What I was not expecting was the gloriously unhinged chaos that erupted on stage.
While the music itself was excellent, it was the band’s energy that completely won me over. The performance was wildly entertaining, filled with an infectious sense of fun that had me grinning throughout the set. Three different members took turns handling vocal duties, each bringing their own personality and stage presence to the songs, which kept things feeling fresh and unpredictable.
Musically, there were plenty of nods to ’70s progressive rock, and at times the guitar work even reminded me a little of Steve Howe (of YES fame). That’s usually a very quick way to get on my good side. Between the stellar musicianship, the absurd energy, and the complete refusal to take themselves too seriously, CIRCLE turned out to be one of the most enjoyable surprises of the festival.
Then it was time for what many people had probably come to see: the American prog phenomenon EARTHSIDE. Now, I have to admit that I once again walked into this set carrying a few preconceived notions. You see, I’ve seen my fair share of instrumental prog metal bands over the years. You know the type: three to four extremely talented musicians, at least two headless guitars strapped suspiciously high on their torsos, one dude with a fretless bass, and everyone looking like they could prepare your taxes with frightening efficiency, gently bobbing their heads while executing impossible riffs in odd time signatures. Was I wrong to assume EARTHSIDE might fit that description? Maybe a little. Maybe a lot.
Because from the moment they stepped on stage, they completely blew those expectations apart. Not only was their stage presence far more energetic and engaging than I had anticipated, but the sheer heaviness of the performance caught me off guard as well. I’ve spent a lot of time listening to their music—especially “Let the Truth Speak“—but standing in front of the stage, I found myself wondering if they had always been this heavy. At times, it felt like I was watching an entirely different band from the one I’d been listening to through my headphones (that’s honestly a big compliment as well).
EARTHSIDE are also known for their use of guest vocalists on record, with many of those performances originally tied to music videos or integrated into backing tracks during live shows. What I found particularly interesting is how those vocals function in the live mix: rather than dominating the performance, they act more like a guide for the fans through the compositions, while the instrumentation remains firmly in the spotlight. It’s a refreshing balance in a genre where vocals often tend to take center stage whether they need to or not.
So, kudos to their sound engineer, who clearly understood the assignment. And yes—when Jamie thanked him on stage and then the same dude casually Rickrolled the entire audience, that was the kind of petty excellence I can fully respect. Whoever you are, sir, that was a top-tier joke.
Adding even more weight to the performance was cellist Raphael Weinroth-Browne, who many will recognize from his work touring with LEPROUS. EARTHSIDE jokingly claimed they discovered him just three days before LEPROUS did, though judging by his performance, you’d think every prog band on the planet should have been fighting over him years ago. And honestly, it did make me wonder where this guy has been hiding for the past few years and why wasn’t he booked as a separate act because he released a stellar solo album last year?
Here in Finland, we’re admittedly spoiled when it comes to heavy cello thanks to APOCALYPTICA, so the bar is set pretty high. But if there were such a thing as a world championship for prog cello, Weinroth-Browne would have a very convincing claim to the title. His playing added an extra layer of intensity, elegance, and sheer coolness to an already stellar set. As if EARTHSIDE needed any more spice, they somehow found a way to add even more.
After the somewhat intense performance by EARTHSIDE, it was time to bring the heart rate down a few notches with Ireland’s post-rock veterans GOD IS AN ASTRONAUT. Post-rock and metal have always felt like one of those genres that somehow get left out of the regular Finnish festival circuit, so seeing a band like GOD IS AN ASTRONAUT on the bill was a welcome sight. Admittedly, there was something slightly strange about experiencing post-rock in broad daylight. The genre practically demands darkness and atmospheric lighting. But beggars can’t be choosers, and honestly, I’ll happily take a daytime GOD IS AN ASTRONAUT set over no GOD IS AN ASTRONAUT set at all.
For the first time that day, I wasn’t left wondering what on earth I had just witnessed. Instead, I got exactly what I expected… and I mean that in the best possible way. The Irish outfit delivered a strong, immersive, and atmospheric performance full of soaring melodies and carefully crafted dynamics. It was the kind of set that gently pulls you in rather than demanding your attention, creating a welcome contrast to some of the more intense and unpredictable performances earlier in the day.
What also became apparent during their show was just how much thought had gone into the festival’s running order. On paper, placing two predominantly instrumental bands back-to-back might seem risky. In practice, however, it worked beautifully. EARTHSIDE brought intensity, heaviness, and dramatic peaks, while GOD IS AN ASTRONAUT followed with a more introspective and meditative atmosphere; similar ingredients, completely different flavors.
Meanwhile, I thought it was about time to grab some dinner, so I set out in search of food. I was honestly craving a burger. Sadly, when I ordered, I got a very polite but slightly devastating comment about the 1-hour waiting time. That was enough to end the burger dream on the spot. Rather than committing to a full hour of standing around, I walked next door and asked how long their queue was. “Five minutes,” came the answer. That instantly settled it. Mediterranean food it was.
I ended up going for a chicken gyros pita pocket, served with roasted potatoes and a whipped feta topped with pomegranate seeds. I also noticed quite a few people going for the bowl option, which looked equally solid. At around €15, it was slightly on the expensive side considering portion size, but at that point, hunger tends to override financial ethics. More importantly, I didn’t want to risk becoming hangry in the middle of a festival day.
And to be fair, the quality more than made up for it. The flavors were genuinely excellent, and compared to the usual festival food landscape in Finland—which can sometimes lean heavily into the “deep-fried and greasy junk food” category—this felt like a noticeably more polished, almost hipster-adjacent upgrade. It was actually refreshing to have food options that didn’t immediately feel like they may or may not upset your stomach for the rest of the day, and that could almost pass as something you’d willingly order outside a festival setting.
I remember reading an interview with organizer Sami Silvennoinen where he mentioned wanting to avoid queues as much as humanly possible. At the time, it almost sounded like a slightly utopian festival vision. In practice, I’m not entirely sure that ambition fully translated into reality.
There were definitely moments where things worked smoothly, but I also noticed fairly long queues at the bar, which eventually convinced me to abandon the idea of getting drinks altogether and stick to refilling my water bottle instead. Some of the food stalls also had noticeable waiting times depending on the time of day. It also felt like the site could have benefited from just a little more food capacity overall. There were, if I remember correctly, only about five food vendors in total, which for a festival of this size sometimes felt slightly tight during peak hours. None of this was catastrophic, and it’s very much the kind of growing pain you expect from a first edition event. But it did show that even with good planning, the reality of hungry festival crowds has a way of quietly rewriting the schedule. The toilets, however, were plenty, and I never had to queue to find a free stall.
Next up was the French psychedelic rock trio SLIFT. Much like several bands earlier in the day, this was a name that hadn’t really crossed my radar before Ankea. However, their timing couldn’t have been much better: the band released their new album, “Fantasia,” on the very same day as the festival. That alone was enough to spark my curiosity and send me down the rabbit hole before the weekend. And honestly, what a rabbit hole it turned out to be.
“Fantasia” is an absolute banger of a record and an easy recommendation for anyone with even a passing interest in psychedelic rock. Fortunately, the album’s quality wasn’t just a studio trick. Live, SLIFT proved that they know exactly what they’re doing. The French trio delivered a performance packed with intensity, towering riffs, and the kind of hypnotic energy that makes you completely lose track of time. On top of that, the screen behind them had very beautiful psychedelic visuals, which really uplifted their performance. Altogether it looked very artsy and as a visual artist, I couldn’t appreciate that more.
Then it was time for what many people would probably consider one of the highlights of the entire festival: IHSAHN. Unfortunately, the set got off to a slightly rocky start. For reasons unknown, Ihsahn‘s microphone seemed determined to take the opening song off, leaving his vocals absent for a good portion of it. It’s always a shame when technical issues creep into a performance of this scale, especially when you’re dealing with a musician whose voice is such an integral part of the experience. Thankfully, someone at the sound desk eventually realized that having the singer be audible is generally considered advantageous, and the issue was resolved before it could do any lasting damage to the set.
Unfortunately, I had scheduled an interview that overlapped with part of IHSAHN‘s performance. As a result, I missed a chunk of the set. It turned out to be a really regrettable scheduling issue, because while I was conducting the interview, a very familiar voice suddenly echoed across the festival grounds: Einar Solberg.
Before the festival, a friend and I had been discussing the very real possibility of some sort of IHSAHN and LEPROUS crossover happening. After all, the ingredients were all there. Still, festival wishful thinking and festival reality don’t always align. This time, however, they did. The appearance of Einar Solberg for “Celestial Violence” was an absolutely fantastic surprise and one of those moments that instantly becomes part of a festival’s lore. Of course, I only heard it from afar, but later on, I found out that many fans were absolutely buzzing about the surprise guest. But then again, they didn’t know there was another surprise still waiting later that day.
Then it was time for something I had personally been looking forward to quite a bit: KÆLAN MIKLA. The Icelandic trio is usually described as a post-punk band, although that label almost feels too neat for what they actually create. I had seen them once before many moons ago as a support act for ALCEST, and while I immediately felt their music was something I would enjoy, that particular show was unfortunately weighed down by a series of technical issues. It made it difficult to fully sink into the atmosphere, and since then, I hadn’t had the chance to see them again. So in a way, this felt like a rematch I had been quietly waiting for.
And thankfully, they delivered in every possible sense. The set was tight, immersive, and completely captivating from start to finish. There’s something about KÆLAN MIKLA’s music that feels almost enchanting when everything clicks into place, and this time it absolutely did. The cloudy weather that hung over the festival only added to the effect, almost as if the environment itself was syncing up with the music. It gave the whole performance an extra layer of mood that felt almost too fitting to be accidental.
It’s also worth noting the festival’s stated ambition to increase gender diversity in the lineup. This year, if I counted correctly, there were 6 acts out of 21 featuring women, which comes out to roughly 28.6% of the total lineup. While that is by no means perfect, it is still a solid starting point and a noticeable step in the right direction. Of course, there is always room for improvement, and I would personally have no complaints about seeing even more representation in future editions. Especially if that includes bands like LUNA KILLS, VOYAGER, ESOTERICA, GORE., OK GOODNIGHT, NOVELLISTS, ENTHEOS, OU, THE OCEAN (since now Lane Shi is in their lineup) and plenty of others that would fit right into the festival’s broader musical identity.
After that, it was time for the main course of the evening: Norwegian progressive metal outfit LEPROUS. It hadn’t been that long since the band last set foot in Finland, with a show earlier this year in February, so I was curious to see how this festival appearance would compare. LEPROUS are one of those bands where you can almost take it for granted that the performance will be good. Always. That said, after weeks of heavy touring, I remember sensing a slight strain on Einar Solberg’s voice at that earlier show. Even then, it was almost absurd how good he still sounded with what was clearly a cold. This time, however, there were no such caveats.
Whether it was the timing, the setting, or simply the energy of a festival main stage, LEPROUS felt completely unleashed. Everything sounded massive, precise, and emotionally charged in a way that suggested a setlist tailored specifically for the occasion. In fact, it was a noticeably heavy performance overall—arguably one of the heaviest LEPROUS sets I’ve seen in a while.
During the first three songs, while I was still in the photo pit, I looked at the stage, and basically thought, “yeah, I think I have enough photos, I need to be out there in the crowd for this.” And so I cut my time there short without any regrets. Surprisingly, it turned out to be a fairly “Pitfalls“-heavy set, which is interesting considering that album was my own introduction to the band. A late bloomer, sure, but at least I made it to the party before the doors closed.
From there, the band just kept building momentum, pushing from one track to the next with very little breathing room. And just when it felt like things couldn’t escalate any further, the crossover moment of the festival arrived. First, they brought out their former guitarist and long-time friend Øystein Landsverk to a huge reaction from the crowd. Then came the second surprise: Ihsahn joining them on stage for “Contaminate Me.” Whenever those forces meet on that song, something undeniably special happens—it’s one of those collaborations that feels bigger than the sum of its parts, and hearing it live was easily one of the standout moments of the entire set.
It was, however, a bit of a shame that they didn’t bring Raphael Weinroth-Browne back on stage with them for this set. Given how well his cello had already blended into the EARTHSIDE performance earlier, it almost felt like the universe was teasing a crossover that never quite happened. That said, he wasn’t entirely absent from the moment either. At one point during the set, the band actually gave him a shout-out from the stage along the lines of: “why didn’t you tell us you were here, dude!”
And that brings me to something I haven’t really touched on yet: the sound and production side of the festival. At outdoor festivals, sound can often be a bit of a gamble. There are simply so many variables in play: wind, stage positioning, crowd density, the mix at front of house, and a dozen other technical factors that I, admittedly, don’t fully pretend to understand. But even at major festivals like Graspop Metal Meeting, I’ve sometimes found myself wondering why the vocals disappear into the mix, or why the drums suddenly feel like they’ve been turned up to eleven and locked there permanently. Add a strong gust of wind, and it can genuinely feel like the sound is being physically carried away, leaving you with a completely different listening experience depending on where you happen to be standing.
But for some almost mystical reason, Ankea largely avoided all of that. Aside from the early technical hiccups during IHSAHN’s set, I didn’t really encounter any noticeable sound issues throughout the entire festival. No matter which stage or spot in the crowd I ended up in, the sets consistently sounded clear, balanced, and powerful. For a first edition outdoor festival, that’s no small achievement.
The same goes for the lighting. Under Finnish summer conditions, especially in early June, lighting design often doesn’t get much of a chance to shine, literally. You usually end up with daylight washing out most visual effects, making everything look fairly uniform, no matter how much effort goes into the production. This time, however, each performance still managed to have its own distinct visual identity. Somehow, every band looked good on stage, which is not something I say lightly about daytime festival sets.
So credit where it’s due: whatever sorcery the production team was working with, it clearly paid off. Whether it was careful planning, experienced crews, or just festival luck finally being on everyone’s side for once, the result was a consistently professional and polished experience that elevated every performance.
The final act of the day was THIS WILL DESTROY YOU, the American post-rock outfit, and it felt like a very fitting way to close out the first evening of Ankea Festival. After the intensity and sheer momentum of LEPROUS, it was almost as if the entire site collectively exhaled. THIS WILL DESTROY YOU provided exactly that kind of atmospheric release: slow-burning, expansive, and reflective. A wind-down in the best possible sense.
There were noticeably fewer people present by that point, likely because many had already started heading for the last trams home. Still, the performance itself remained captivating. Even with a slightly thinner crowd, the band managed to hold the atmosphere together and deliver a set that felt immersive and emotionally resonant.
We didn’t actually stay for the entire show ourselves, as we had a long drive back to Helsinki ahead of us and an early start waiting for day two. Even so, what we did catch was more than enough to leave an impression. The quality was undeniable, and if they return to Finland in the future, it’s definitely a set I’d want to experience again in full.
All-in-all, it was a lot, both in terms of music and impressions. A hefty report for a hefty day (sorry about that, I just had so much thoughts to share!) While there were a few moments that didn’t quite land perfectly here and there, the overwhelming feeling was positive. Given the lack of expectations going in, I’d say the first day of Ankea Festival can confidently be called a success.
There was admittedly some pre-festival anxiety about how a brand-new event would come together, but my mantra for the day before the festival ended up being: in Sami Silvennoinen we trust (and, by extension, I’d say the same applies to his co-promoter Marko Nikula of Alt Agency, even if I haven’t yet had the pleasure of meeting him face to face). First edition or not, the verdict from day one was simple: well fucking done.
Written by Laureline Tilkin
Photos by Laureline Tilkin & Marco Manzi
