If anyone questioned whether death metal and humour can coexist, Party Cannon quickly settled the debate. The Scottish outfit transformed the opening slot into an absurd celebration, decorating the stage with inflatable unicorns and an army of equally ridiculous inflatable props that perfectly matched their colourful visual identity.

It was impossible not to smile while watching the madness unfold. Beneath all the comedy, however, sat an incredibly heavy wall of sound. The band’s crushing low end seemed powerful enough to shake parts of the venue, something that could even be felt from elsewhere in the arena. Party Cannon may never take themselves too seriously, but musically they hit with undeniable force, providing a wonderfully chaotic start to the day.

One of the day’s biggest surprises came courtesy of Canada’s AngelMaker. Their blend of deathcore and metalcore landed with enormous impact, delivering one of the strongest performances of the afternoon.

The band’s dual-vocal approach proved particularly effective. Rather than competing for attention, both vocalists complemented one another beautifully, seamlessly switching between guttural brutality and piercing aggression. Between songs, the contrast became almost comical, with cheerful, humble interactions that felt unmistakably Canadian before immediately descending back into absolute sonic destruction.

The audience responded enthusiastically throughout the set, and by the final songs it was clear AngelMaker had won over plenty of new fans.

Few bands can channel chaos quite like Napalm Death. Decades into their career, the British grindcore legends still perform with an intensity that borders on manic, driven by genuine passion rather than simple aggression.

Barney Greenway remained a captivating frontman, throwing every ounce of emotion into the performance as he paced, gestured and delivered his unmistakable vocals with relentless conviction. Even when addressing social themes between songs, his words carried the same intensity as the music itself, encouraging the audience to reflect alongside the band’s trademark sonic assault.

It was another reminder that Napalm Death have never been about speed alone. Their performances continue to carry purpose alongside their aggression, something that has kept them relevant for more than four decades.

Despite drawing only a modest audience initially, Sweden’s Alfahanne delivered an enjoyable set that gradually attracted more curious festivalgoers as the performance progressed.

Blending black metal with rock ‘n’ roll swagger, the band once again proved why they leave such a positive impression in the live setting. Vocalist Alfahanne maintained easy contact with the Finnish crowd, throwing in familiar Finnish expressions that were met with appreciative smiles from those gathered before the stage.

One rather unexpected moment came before the performance properly got underway, when the drummer dramatically smashed a water bottle onto the stage, leaving everyone wondering whether it formed part of the act or reflected genuine frustration. Whatever the explanation, it certainly got people’s attention before the music took over.

By the time Enslaved took the stage, the festival grounds had noticeably filled up. The Norwegian pioneers demonstrated exactly why they remain one of extreme metal’s most respected live bands, effortlessly blending black metal roots with progressive ambition.

The connection with the audience felt wonderfully natural. Conversations between songs often turned into exchanges with longtime fans, whether discussing favourite albums or teasing the next song through musical hints that were immediately recognised by devoted listeners. Moments like these illustrated just how deeply the band’s catalogue has become embedded in the lives of many attending the festival.

The warm interaction culminated in appreciative remarks about Finnish “sisu”, earning loud cheers from the crowd. It was a performance built as much on mutual respect as musical excellence, and one that left both band and audience visibly satisfied.

If there was one band that simply radiated joy, it was LANDMVRKS. Playing their very first Finnish show, the French metalcore outfit looked genuinely thrilled to finally perform for a Finnish audience, and that excitement proved completely infectious.

From the opening moments, the band barely stood still. Jumps, spins and constant movement kept the stage alive while the audience answered with circle pits, moshing and an impressive wall of death. Even towards the end of the set there was no sign of the energy fading, as the crowd eagerly embraced the band’s invitation to create one final “black hole” in the pit.

Musically, LANDMVRKS continue to demonstrate why they stand out within modern metalcore. Their seamless integration of rap influences adds another dynamic layer to already energetic songs, giving the music an identity that feels entirely their own. Combined with their obvious enjoyment on stage, it resulted in one of the festival’s most entertaining performances.

Following the relentless energy of LANDMVRKS, Michael Schenker offered a welcome change of pace with a celebration of classic hard rock built around material from his years with UFO.

Schenker himself remained exactly what many came to see: calm, focused and entirely absorbed in his guitar playing. Wearing his trademark fluffy hat, he allowed the rest of the band to provide much of the visual movement while he concentrated on delivering the iconic solos and melodies that have influenced generations of guitarists.

There were no unnecessary surprises here, nor did there need to be. It was simply a reliable, expertly executed rock performance from one of the genre’s most celebrated guitarists.

A short delay caused by technical issues briefly postponed Cult of Luna‘s appearance, but once the Swedish post-metal masters began, any frustration quickly disappeared.

Their music has always been something to experience rather than merely hear, and nowhere was that more apparent than during the crushing low-end passages that seemed to resonate through every corner of the venue. Combined with overwhelming bass frequencies, dense smoke and carefully orchestrated backlighting in deep reds and blinding flashes, the performance became almost hypnotic.

Cult of Luna demand patience from their audience, rewarding complete immersion rather than instant gratification. It was easy to lose track of time while being absorbed into the band’s enormous soundscapes, making it all the more unfortunate to leave early in order to catch the next performance.

Returning to the main stage meant diving headfirst into one of the weekend’s biggest explosions of energy. Hatebreed remain masters of commanding a crowd, and within minutes the area in front of the stage had transformed into a sea of movement.

Jamey Jasta balanced motivational speeches with his trademark humour, joking about “mosh pit retirement” while reminding everyone to “respect your elders” after asking how many people had seen the band before. The audience eagerly played along, laughing before immediately launching back into another wave of crowd surfing and circle pits.

The set also included a heartfelt tribute to Venom, with Jasta acknowledging the enormous influence the pioneers have had on countless heavy bands, including Hatebreed themselves. It was a fitting gesture on a day that would later see Venom close the main stage.

Nergal‘s dark Americana project provided one of the festival’s more unusual musical detours. Trading blast beats for brooding country-inspired storytelling, Me and That Man brought a welcome change of atmosphere after the relentless heaviness that had dominated much of the day.

Although the performance started several minutes later than scheduled, the band’s stripped-back approach worked remarkably well within the festival setting. Their dark, bluesy songs offered a chance to catch one’s breath without sacrificing intensity, proving once again that heaviness comes in many different forms.

Few names carry as much historical weight within extreme metal as Venom. Long before black metal evolved into its own genre, the British pioneers had already planted many of its seeds, making their appearance one of the weekend’s most significant bookings.

Their set celebrated that legacy without becoming trapped by it. Between songs, Cronos joked about playing “something old, something borrowed and something black metal”, earning enthusiastic cheers from an audience fully aware of the band’s influence on generations of musicians.

Watching Venom perform remains a reminder that history is still very much alive, especially when delivered with the same mischievous spirit that made the band so groundbreaking in the first place.

Closing both the evening and the festival was a performance unlike any other. Blood Fire Death assembled an impressive collection of renowned musicians to honour the legacy of Bathory, one of the most influential names ever to emerge from Scandinavia.

Rather than functioning as a simple tribute act, the project felt like a heartfelt celebration by musicians who themselves were shaped by Quorthon‘s music. Seeing so many respected figures from the black metal world unite on one stage added genuine significance to the occasion, making it a fitting finale for a festival that had celebrated metal’s past, present and future across two memorable days.