CANDELABRUM METAL FESTIVAL celebrated its fourth edition this year, establishing itself as a young festival with a well-respected name in the Latin American extreme metal scene.
After the explosion of soundscapes, mosh pits, and dance, the second day of CANDELABRUM METAL FESTIVAL arrived on a cloudy Sunday morning. The festival started strongly the day before; however, many highly anticipated bands were still to come, so the lineup promised an even better experience today. In this live report, we will also share our thoughts on the festival and give our final opinion on whether we recommend it or not. If you only want to see that, you can scroll all the way down to the last section. We recommend reading the whole live report, though, just for the festival vibes.
We arrived slightly later than the first day, as we were still recovering from THE KOVENANT’s magnificent late-night show, so again, we could not experience the first two bands of the day. Following a few local names just like the day before, SPLIT HEAVEN were our first concert. Heavy metal vibes were evident in their performance, featuring powerful drums and enduring riffs. Yet it felt more interesting than that; their performance was full of colors and a proper festive environment for a Latin American band, adding that Mexican twist to their heavy sound. It was also pleasant to hear them playing in Spanish, proving that heavy metal can be expressed in many forms, this time in an anthemic mood. The next band were the Swedish A CANORIOUS QUINTET, a brutal death metal act. If we are honest, we already had too much death metal the day before, and there were still some bands of the same genre to catch today, so unfortunately, we did not pay too much attention to A CANORIOUS QUINTET. Nonetheless, the small bits that we saw of them were energetic.
The upcoming act was highly awaited by the fans: the Gothic band PYOGENESIS. Reaffirming their warm bond with the Mexican audience, the crowd screamed intensely as soon as they took the stage. PYOGENESIS is credited with being one of the precursors of Gothic metal in the ‘90s, and in fact, their last time playing in Mexico was in 1995, 30 years ago! This surely was one of the most special gigs at CANDELABRUM, right? The band had such contagious energy, jumping from one corner of the stage to the other, and even approaching the fans while playing. At one point, Flo V. Schwarz, the lead singer, even gave an emotional speech in impressive Spanish, thanking the fans for their support throughout the years and assuring that playing in Mexico back in the ‘90s was one of their best experiences as a band. They finished their set in style with their classic “It’s on me,” as Flo crowdsurfed among the fans while singing. Rarely do we see bands engage in such close communication with their fans, so if we had to give a prize to the most charismatic band of this festival, PYOGENESIS would effortlessly get it! We all had a blast at their gig, and that 30-year absence was well worth the wait.
Even though PYOGENESIS left everyone starstruck, it was time to move on with the schedule, so NECROT were next on the roster. With reckless death metal, they kept the stamina flowing through the audience. Hailing from the USA, they delivered an old-school vibe, good enough to open the first moshpit of the day.
ONSLAUGHT came afterwards, who performed a special set comprising their classic albums “Power from Hell” (1985) and “The Force” (1986). ONSLAUGHT‘s concert was a relentless display of raw energy and classic metal aggression. Taking the stage with thunderous riffs and rapid-fire drumming, the band channeled the spirit of thrash metal, igniting the crowd and maintaining the fierce momentum set by the festival’s earlier acts. Their commanding presence and powerful sound kept fans on their feet, fueling moshpits and headbanging throughout their set.
Next up were TYGERS OF PAN TANG, a heavy metal band originating from the New Wave of British Heavy Metal in the ‘80s. TYGERS OF PAN TANG presented a show full of nostalgia for those early years of metal music. Not what we were expecting after some extreme metal sets, but it felt refreshing to listen to something more relaxing for a bit. After TYGERS OF PAN TANG, we all went back to the brutality that this festival is known for; it was THE CROWN’s turn. THE CROWN is a Swedish death/thrash metal band that mostly lived up to their best days in the ‘90s, hence they performed an old-school set. With an intense setlist, they proved that they are still a big name in the extreme metal world.
The following band was highly anticipated at the festival: the renowned Celtic/black metal group PRIMORDIAL, performing in Mexico for the first time. In their all-black clothing, the band began the show with “As Rome Burns,” an epic piece that created non-stop headbanging. While running from one corner to the other, Alan Averill (vocals) welcomed the fans to their show. In his first words, he mentioned that PRIMORDIAL hails from the Republic of Ireland, which is the centerpiece of the band’s inspiration, as their music narrates sorrowful passages of the resilient Irish history. Transporting attendees to the gloomy storms on the Atlantic shores, PRIMORDIAL navigated through their discography with care, threading together songs both old and new. “No Grave Deep Enough” came next with a forceful atmosphere personified by Alan’s endurance on stage and somber attire. While he took his zombie-like character on stage seriously, Alan approached fans throughout their gig, shaking hands with them and hugging some lucky ones.
Songs like “To Hell or the Hangman” and “The Coffin Ships” were delivered with unbridled force; their intricate rhythms and ancient melodies invoked visions of forgotten gods and primordial chaos. Each band member played with unwavering focus—drums, guitars, and bass locked in an intricate dance of chaos and order. They closed off with “Empire Falls,” an 8-minute melody that has become an anthem in their concerts. Through smooth lights fading among the crowd, PRIMORDIAL awakened a sense of belonging among the audience, driving everyone to sing in unison. Arms raised in salute to the pounding double bass and razor-sharp guitar work, while Alan screamed for more devotion to the band. PRIMORDIAL delivered a simple yet powerful set, showing that charisma and energy are enough to captivate an audience. Their concert at CANDELABRUM was truly memorable, and a more prominent time slot would have been well deserved.
After PRIMORDIAL’s powerful concert, it was time for the most anticipated black metal band of the festival, ABSU, who were playing their album “The Sun of Tiphareth” (1995) in full. When ABSU initiated their ceremonial gig, the atmosphere transformed into a maelstrom of arcane energy and relentless sound. Cloaked in shadows and adorned with occult insignia, the band launched into their set with furious precision, drums thundering and riffs swirling like a tempest. Led by the enigmatic Proscriptor McGovern, ABSU’s performance was not a concert but a ritual—each song a passage through myth, magic, and the esoteric depths of black metal tradition. Between songs, the band paused only briefly, letting the fierce feedback from fans resonate. As the set ended, ABSU’s ritual intensified. The final songs were a crescendo of speed and aggression, culminating in a collective catharsis that left band and audience breathless. An ABSU concert is a journey into black metal’s most mysterious territories: wild, spiritual, and unforgettable. For those who venture into the darkness, it is more than music—it is initiation.
Next on the roster was a band as ritualistic as ABSU, but with a gloomier mood. Few bands possess the ability to conjure entire landscapes through sound as AGALLOCH does. Emerging onto the stage in submissive light, the members of AGALLOCH brought with them an air of mystery, their music steeped in the raw textures of folk, doom, and black metal. The set began quietly, with the opening strains of “Limbs” echoing across the venue like the first breath of dawn. Guitars shimmered with reverb, the earthy resonance of John Haughm’s vocals weaved tales of solitude and longing. The band’s interplay was seamless; Don Anderson’s guitar melodies intertwined with Jason William Walton’s bass, while Hunter Ginn’s drumming moved from delicate shuffles to thunderous crescendos. The mood at the Velaria was reverent, yet the band never lost touch with their audience. Between songs, John shared brief reflections on the inspirations behind their work—nature, philosophy, and the fleeting beauty of existence. When AGALLOCH launched into “Falling Snow,” the energy changed. The crowd surged forward, hands raised in silent tribute as the song’s soaring melodies and introspective lyrics enveloped everyone. Here, metal found its meditative side, urging listeners to contemplate the passage of time and the transience of life. In the end, an AGALLOCH concert is an experience not easily forgotten. It is a journey into the heart of darkness and light, a communion between artist and audience built on a shared reverence for nature, melancholy, and the transformative power of music.
The conclusion of CANDELABRUM was approaching, and as a festival inclined to the radical side of metal music, it concluded with no other than the infamous OBITUARY, recognized for their extreme and high-volume performances. Attendees were gearing up for this final ceremony, grabbing some last drinks and finding a good spot for the view. When OBITUARY took the stage, the atmosphere shifted to pure intensity. With guttural vocals and booming guitar riffs, the legendary death metal pioneers delivered a relentless set that left no moment to breathe. The crowd surged as classics like “Slowly We Rot” and “Cause of Death” ignited a frenzy of headbanging and mosh pits, every note drenched in the band’s signature heaviness. Their setlist comprised a fair mixture of classics and recent works, providing enough material from all their eras to indulge in headbanging. In addition to performing their original material, OBITUARY presented a rendition of the CELTIC FROST track, “Circle of the Tyrants,” which brought a sense of nostalgia for the formative era in heavy music.
Before closing the festival, OBITUARY praised the fans for their energy throughout the concert and remarked that this type of event is what keeps the band alive, as they felt energized by the spirit of the crowd, who were still quite awake at this final gig. The night echoed with raw energy, powerful breakdowns, and that unmistakable Florida death metal groove, ensuring that every attendee left with ringing ears and a memory forged in distortion and sweat—a testament to OBITUARY’s enduring command of the stage.
As a relatively young event, CANDELABRUM METAL FESTIVAL has its share of strengths and weaknesses, yet it clearly holds great promise to become a leading force both in Mexico and on the broader metal festival circuit. Let’s begin with the positives: the festival stands out as a unique name among extreme metal gatherings. If you’re searching for a fresh festival experience outside the usual travel destinations, this one is certainly worth considering. Its location in a medium-sized city off the traditional tourist map keeps costs reasonable compared to other festivals both within Mexico and abroad, giving attendees the chance to enjoy both the city of Leon and the festival itself without breaking the bank. The event may be small, but its lineup is solid—proof that sometimes “less is more” and a carefully curated selection of bands can make for an excellent experience.
However, being a smaller festival comes with some limitations, particularly regarding on-site amenities. The number of food vendors was minimal, and prices were on the higher side. Since local regulations prevented festivalgoers from leaving and re-entering the venue, attendees were limited to the same food options both days. Additionally, there were no water refill stations available in the general admission area, meaning everyone needed to purchase bottled water—a less environmentally friendly solution, especially given the Mexican heat. The same applied to phone charging stations, as none were available outside the press area. While we had access to these services as press, it could be challenging for general attendees to go without them. The festival also offered limited English-language services, so knowing some basic Spanish is advisable for navigating the event. Nonetheless, these challenges are typical of a festival in its nascent years, and we are optimistic that improvements will come with time.
Taking everything into account, our final verdict is that CANDELABRUM METAL FESTIVAL is highly recommended. With a concise yet powerful lineup and a consistently high-energy atmosphere, this event has everything you could want from a festival experience. Without question, we would happily return.
Text and photos by Hector Sanchez
Edit by Laureline Tilkin
