The first full performance we caught on Saturday came from Japanese visual kei outfit JILUKA. It meant passing on Cemetery Skyline, but the opportunity to see a band like JILUKA in this part of the world felt too rare to miss.

The group delivered exactly the kind of spectacle many had hoped for. Musically, their blend of alternative metal, electronic influences and catchy hooks proved highly effective, but visually they were equally captivating. The members looked as if they had stepped straight out of a manga or anime series and onto the Tuska stage.

The audience response reflected the band’s dedicated fanbase. A sizeable group had gathered at the barrier long before the performance began, and throughout the set there was constant engagement between band and crowd. It carried that distinctly Japanese style of performance where enthusiasm, interaction and entertainment go hand in hand.

Songs such as “VENOM”, “ELIZA”, “KUMARI” and “OVERKILL” kept the energy levels high throughout. Most importantly, it was simply a lot of fun. Sometimes that is all a festival set needs to be.

If there was any doubt that Orbit Culture belonged on the Karhu Main Stage, Saturday put that discussion firmly to rest. For years, the Swedish band felt like one of metal’s best-kept secrets. Looking around the crowd at Tuska, that description no longer applies. The field was packed with fans sporting Orbit Culture shirts, and we even spotted more than a few tattoos inspired by the band. Every chorus seemed to be shouted back towards the stage.

Orbit Culture‘s strength lies partly in their simplicity. There are no unnecessary gimmicks. Just massive riffs, huge hooks and a sound that feels uniquely theirs. Nobody else quite sounds like Orbit Culture at the moment. Opening with recent single “The Tales of War”, the band immediately took control of the crowd. New material such as “Death Above Life” blended seamlessly with fan favourites including “North Star of Nija”, “Alienated” and “From the Inside”. The audience responded in kind, with circle pits opening up and crowdsurfers regularly appearing above the sea of heads.

The performance was already firing on all cylinders thanks to the band’s relentless grooves and bursts of pyro, but one final surprise remained. For the closing “Vultures of North”, Avatar frontman Johannes Eckerström joined the band on stage, sending the crowd into an even bigger frenzy.

Step by step, Orbit Culture continue climbing towards the top of the metal world. A future headline slot feels less like a question of if and more a question of when.

The KVLT Stage is not somewhere we spend a lot of time during Tuska. The limited capacity often makes it difficult to get inside for the more popular acts. For Eihwar, however, we made an exception. It proved to be one of the best decisions of the day. The French duo has been attracting increasing attention across Europe, and after witnessing this performance it is easy to understand why. Imagine if Heilung and Carpenter Brut somehow collided and decided to throw a Viking dance party rather than perform a ritual.

Asrunn immediately commanded attention. Dressed in animal skins and partially concealed behind a skull headdress and war paint, she moved effortlessly between commanding vocals and pounding percussion all the while dancing all over the stage with seemingly limitless energy. Behind her, Mark remained shrouded in mystery beneath black fabric and a helmet while handling programming, percussion, guitar and additional vocals.

The result was impossible to resist. The crowd began dancing almost immediately and never really stopped. There was an infectious positivity radiating from the stage that made the entire room feel welcoming and celebratory. Before we knew it, the hour-long set had come to an end.

Eihwar feels like one of those projects destined to explode in popularity over the next few years. When they do, we hope Tuska (or anyone really for that matter) is quick to bring them back.

Few bands on the lineup arrived with as much discussion surrounding them as Slaughter to Prevail. A small group of protesters had gathered near the festival entrance earlier in the day, highlighting some of the controversy that continues to follow the Russian deathcore outfit. Once the band took the stage, however, the focus shifted entirely towards the music. And what a show it was.

The performance began with the entire band wearing their now-iconic demon masks, creating an imposing visual presence. By the second song, “Baba Yaga”, Alex Terrible had already removed his mask and launched into the monstrous vocal performance everybody came to witness. The set delivered exactly what fans expected: crushing breakdowns, enormous grooves and enough brutality to shake the festival grounds. One of the standout moments arrived during “Viking”, where Alex took away the microphone and unleashed his growls completely unamplified during the breakdown. Even surrounded by festival noise, the impact was impossible to ignore.

Newer material sat comfortably alongside established favourites, while the closing run of “Behelit”, “Kid of Darkness” and “Demolisher” pushed the audience into absolute chaos. Massive circle pits dominated the field and the energy levels never dipped for a second. Judging by the response at Tuska, Finland seems more than ready to welcome Slaughter to Prevail back again in the future.

For those who miss the classic Gothenburg sound that helped define melodic death metal, The Halo Effect continues to provide exactly what they are looking for.

The Swedish supergroup features several former members of In Flames, and that heritage can be heard throughout their music. Yet rather than feeling like a nostalgia project, The Halo Effect has carved out an identity of its own through strong songwriting and consistently high-quality performances. At Tuska, the formula worked once again.

Mikael Stanne remains one of metal’s most charismatic frontmen, effortlessly connecting with audiences while delivering his trademark vocals. Around him, the band showcased material from across their catalogue, with tracks such as “Days of the Lost”, “The Needless End”, “Gateways” and “Shadowminds” receiving particularly warm reactions.

It may not have been the flashiest performance of the weekend, but it was another reminder that great songs and experienced musicians rarely need much else.

There is something about thrown that feels different. Trying to explain exactly why is not always easy, but the Swedish band occupies a similar space to the one Knocked Loose currently inhabits. The music draws from hardcore, metalcore and even flashes of nu metal influence, yet ultimately feels entirely its own.

From the moment they stepped on stage, the band made their intentions clear. There would be no unnecessary introductions, no lengthy speeches and no wasted movement. They arrived, fired off one explosive song after another and left devastation in their wake. The crowd response was among the wildest we witnessed all weekend. Crowdsurfers appeared constantly, which is already notable given how uncommon that can sometimes be at Finnish festivals. The atmosphere felt chaotic in all the right ways as songs such as “look at me”, “bloodsucker”, “new low” and “on the verge” landed with devastating force.

The entire set felt over almost as quickly as it began, leaving behind a dazed audience and a strong argument that thrown may become one of heavy music’s next breakout names.

After a day filled with breakdowns, grooves and pure aggression, Powerwolf offered something entirely different as Saturday’s headliner. Having already witnessed the band headline Alcatraz Festival, we knew they were more than capable of handling a slot of this size. Once again, they delivered a performance worthy of the occasion.

The theatrical presentation was impressive from the start. A large curtain adorned with giant “P” and “W” lettering concealed the stage before eventually revealing the band’s elaborate setup. The deep red velvet aesthetic gave everything the appearance of a grand gothic theatre production.

Of course, Powerwolf brought plenty of spectacle with them. Pyro erupted throughout the evening, audience participation was encouraged at every opportunity and the chemistry between the band members elevated the show far beyond simply playing songs. At one point, white streamers were launched into the crowd, creating an effect that unintentionally looked as if the audience was being thoroughly TP’ed.

The music itself barely left room for complaints. Fan favourites arrived one after another, generating countless singalong moments. Looking around the front rows, we even spotted several attendees dressed as nuns and other characters that perfectly matched the band’s tongue-in-cheek religious aesthetic. Tracks such as “Army of the Night”, “Amen & Attack”, “Demons Are a Girl’s Best Friend”, “Sanctified With Dynamite”, “We Drink Your Blood” and “Werewolves of Armenia” ensured the crowd remained engaged until the very last note.

It may not have been the heaviest show of the day, but it was undoubtedly one of the most epic and entertaining. As a Saturday night festival headline performance, it delivered exactly what it needed to.