Yet another Wacken Open Air is successfully over, and one thing's for sure; it was one for the books. This year, however, might as well have popped out of a Mad Max movie; hot, dry and extreme conditions were unusual for the area that early in August . One of the hottest summers in the recent years for sure.
Words by Sabrina Schiavinato
Pictures by Peterson Marti photography
Our first day (Thursday, 2/8) started with Dirkschneider and the Accept tune "The Beast Inside". As expected, the setlist revolved around Accept repertory, with hits such as "Midnight Mover", "Up To The Limit", "Fast As A Shark", and closing with "Balls To The Wall". Having achieved veteran status, Udo had many fans of all ages singing along to his legacy, while the band didn't fail to perform one of the most discussed tracks of the 80's iconic outfit, "Son Of A Bitch". It's safe to say that, no matter how old he is, his performance will always be powerful and rebellious.
Next stop was the Harder stage and Behemoth. Starting the underworld exploration with "Ov Fire And The Void", the band engaged the crowd, which became more and more involved with "Ora Pro Nubis Lucifer" and "Conquer All". Their latest single, "God=dog", off of their forthcoming album, "I Loved You At Your Darkest", was released just in time for the festival, bringing darkness in plain sunlight with those dramatic and anticlerical lyrics and chords. (Side note while we're on the subject. During the press conference, Behemoth mainman Nergal discussed how, through studying -and being inspired by- the Bible, the title derives from a statement Jesus made referring to the fallen angels being left behind by God). "Messe Noire" paralyzed the crowd, as Nergal transformed the stage into a ritual ground, while "Blow Your Trumpets Gabriel" evoked a compelling energy throughout the entire field. The change of the banner marked the return to the album "Satanica", with ace executions of "Decade Of Therion" and "Chant For Eschaton". The last bits of sunlight reflected on the masks the band used for the closing track, "O Father O Satan O Sun". The rise of the fallen angels was complete.
After a quick sprint, we got to the Louder stage where Hatebreed was about to go on stage. The crowd response to their charged metallic hardcore was imediate. The opening track, "To The Threshold", got kids literally off their feet while the following songs gathered all the people from the infield, eventually igniting a massive moshpit with the classic "Destroy Everything". The impact was so grat that the kids kept chanting even after the band left the stage.
Up next was Watain at the Headbangers stage. The initial ritual started with "Stellarvore" and the vocalist setting on fire the crosses/props on stage. The misty and smoky atmosphere brought us into an ethereal world where souls are damned for eternity, singing to a crowd of dead anthems such as "Nuclear Alchemy", "Malfeitor" and closing with an astonishing performance of "Waters Of Ain". The deepest black metal tradition was echoing through the entire Headbangers stage, casting a dark spell over the fans. Smoke and fire were predominant on stage and the execution was clean and technical from start to finish.
Dying Fetus is not a band to mess with. With countless shows under their belts, the solid execution of the butal and technical riffs of the songs from their latest album, like "Panic Amongst the Herd", "Fixated On Devastation" and of course "Wrong One To Fuck With", didn't come as a surprise. The transition from the newer to the olde rmaterial felt natural although, to be fair, it was the classic hits like "Grotesque Impalement" and "From Womb To Waste" that really got the moshpits going. Besides, it's no secret that the key to the band's sound is the contrast between the guttural vocals of John Gallaghar and the deep growls of Sean Beasley.
Day two (Friday, 3/8) got us standing under the scorching heat to catch Dark Tranquility. The Swedish band brought their renowned simplicity on stage, with such a natural performance, friendly and overwhelming. Starting with "Encircled", they performed their latest songs to then jump back to the older material. "Atoma" was like a lightning striking in full daylight, with an excellent execution from frontman Mikael Stanne, involving a passionate singalong by the crowd.
Korpiklaani had an intoxicating performance. Literally. Even if you don't speak Finnish, it's not difficult to end up mumbling to their songs. Jonne Järvelä has a unique ability to mentally transfer you to a real Finnish medieval tavern experience with "Happy Little Boozer", "Tequila", "Beer Beer" and "Vodka". The band had also released their latest single, "Henkselipoika", earlier that day and got a warm reaction from the crowd when they performed it.
Epica is pretty consistent performance-wise at festivals, especially when the promotional cycle for an album is almost over, so that the band can incorporate older songs again to the setlist. Kicking off with an epic (pun intended) "Edge Of The Blade" and "The Essence Of Silence", lead singer Simone Simons proved the wide range of her voice. "Victims OF Contigency" and "Storm The Sorrow" followed with a very active (and smiling) band putting on a great show under the burning sun and on the dusty grounds. After an hour on stage, the show concluded with "Consign To Oblivion", as always.
The German "mushrooms", Mantar, delivered an exceptional performance at the WET stage. An absolute metal and punk crossover. The facing each other aspect of the performance manifests the bond between the duo, leaving the public curious to be part of that experience.
On a side note, while we were equipped with our sunscreen, it was truly beautiful to see people supporting and helping each other under the hot weather, providing water and drinks. That's how music connects people; if one falls, we all fall. What was also noteworthy was the assistance provided to the people with disabilities to move around the infield with the festival crew supporitng them, and an entire area with facilities to accommodate their needs.
The third and final day (Saturday, 4/8) would be very rewarding but also very exhausting, as we had to leave in the early hours to catch our flight home.
Alestorm probably had the most outrageous performance of this festival edition. The band brought their sea chanty feels on stage waking up the crowd on the very last day of the festival. Under the boiling sun, people were singing along to "Keelhauled", "Mexico" and "Captain Morgan's Revenge". The infield was transformed into an amusement park with inflated toys and baloons flying on people's heads, as people were fully participating and fighting to surf on the stage over and over again. The funny riffs and alcoholic references entertained the fans from the beginning to then conclude with one of their classics, "Drink", inviting everyone to drink responsibly so that they don't end up with a "Hangover" (Taio Cruz cover song).
As the fun continued, Steel Panther took over with their sexual, highly comedic (and borderline sexist) rock n roll, getting things to a new extreme when they brought on stage a bunch of singing and screaming girls during "17 Girls In A Row". Good times!
All in all, Wacken Open Air was a blast. We braved the sun and the excruciating heatwave, and have once again returned home with beautiful memories. Until next time!
Words by Sabrina Schiavinato
Pictures by Peterson Marti photography
Our first day (Thursday, 2/8) started with Dirkschneider and the Accept tune "The Beast Inside". As expected, the setlist revolved around Accept repertory, with hits such as "Midnight Mover", "Up To The Limit", "Fast As A Shark", and closing with "Balls To The Wall". Having achieved veteran status, Udo had many fans of all ages singing along to his legacy, while the band didn't fail to perform one of the most discussed tracks of the 80's iconic outfit, "Son Of A Bitch". It's safe to say that, no matter how old he is, his performance will always be powerful and rebellious.
Next stop was the Harder stage and Behemoth. Starting the underworld exploration with "Ov Fire And The Void", the band engaged the crowd, which became more and more involved with "Ora Pro Nubis Lucifer" and "Conquer All". Their latest single, "God=dog", off of their forthcoming album, "I Loved You At Your Darkest", was released just in time for the festival, bringing darkness in plain sunlight with those dramatic and anticlerical lyrics and chords. (Side note while we're on the subject. During the press conference, Behemoth mainman Nergal discussed how, through studying -and being inspired by- the Bible, the title derives from a statement Jesus made referring to the fallen angels being left behind by God). "Messe Noire" paralyzed the crowd, as Nergal transformed the stage into a ritual ground, while "Blow Your Trumpets Gabriel" evoked a compelling energy throughout the entire field. The change of the banner marked the return to the album "Satanica", with ace executions of "Decade Of Therion" and "Chant For Eschaton". The last bits of sunlight reflected on the masks the band used for the closing track, "O Father O Satan O Sun". The rise of the fallen angels was complete.
After a quick sprint, we got to the Louder stage where Hatebreed was about to go on stage. The crowd response to their charged metallic hardcore was imediate. The opening track, "To The Threshold", got kids literally off their feet while the following songs gathered all the people from the infield, eventually igniting a massive moshpit with the classic "Destroy Everything". The impact was so grat that the kids kept chanting even after the band left the stage.
Up next was Watain at the Headbangers stage. The initial ritual started with "Stellarvore" and the vocalist setting on fire the crosses/props on stage. The misty and smoky atmosphere brought us into an ethereal world where souls are damned for eternity, singing to a crowd of dead anthems such as "Nuclear Alchemy", "Malfeitor" and closing with an astonishing performance of "Waters Of Ain". The deepest black metal tradition was echoing through the entire Headbangers stage, casting a dark spell over the fans. Smoke and fire were predominant on stage and the execution was clean and technical from start to finish.
Dying Fetus is not a band to mess with. With countless shows under their belts, the solid execution of the butal and technical riffs of the songs from their latest album, like "Panic Amongst the Herd", "Fixated On Devastation" and of course "Wrong One To Fuck With", didn't come as a surprise. The transition from the newer to the olde rmaterial felt natural although, to be fair, it was the classic hits like "Grotesque Impalement" and "From Womb To Waste" that really got the moshpits going. Besides, it's no secret that the key to the band's sound is the contrast between the guttural vocals of John Gallaghar and the deep growls of Sean Beasley.
Day two (Friday, 3/8) got us standing under the scorching heat to catch Dark Tranquility. The Swedish band brought their renowned simplicity on stage, with such a natural performance, friendly and overwhelming. Starting with "Encircled", they performed their latest songs to then jump back to the older material. "Atoma" was like a lightning striking in full daylight, with an excellent execution from frontman Mikael Stanne, involving a passionate singalong by the crowd.
Korpiklaani had an intoxicating performance. Literally. Even if you don't speak Finnish, it's not difficult to end up mumbling to their songs. Jonne Järvelä has a unique ability to mentally transfer you to a real Finnish medieval tavern experience with "Happy Little Boozer", "Tequila", "Beer Beer" and "Vodka". The band had also released their latest single, "Henkselipoika", earlier that day and got a warm reaction from the crowd when they performed it.
Epica is pretty consistent performance-wise at festivals, especially when the promotional cycle for an album is almost over, so that the band can incorporate older songs again to the setlist. Kicking off with an epic (pun intended) "Edge Of The Blade" and "The Essence Of Silence", lead singer Simone Simons proved the wide range of her voice. "Victims OF Contigency" and "Storm The Sorrow" followed with a very active (and smiling) band putting on a great show under the burning sun and on the dusty grounds. After an hour on stage, the show concluded with "Consign To Oblivion", as always.
The German "mushrooms", Mantar, delivered an exceptional performance at the WET stage. An absolute metal and punk crossover. The facing each other aspect of the performance manifests the bond between the duo, leaving the public curious to be part of that experience.
The third and final day (Saturday, 4/8) would be very rewarding but also very exhausting, as we had to leave in the early hours to catch our flight home.
Alestorm probably had the most outrageous performance of this festival edition. The band brought their sea chanty feels on stage waking up the crowd on the very last day of the festival. Under the boiling sun, people were singing along to "Keelhauled", "Mexico" and "Captain Morgan's Revenge". The infield was transformed into an amusement park with inflated toys and baloons flying on people's heads, as people were fully participating and fighting to surf on the stage over and over again. The funny riffs and alcoholic references entertained the fans from the beginning to then conclude with one of their classics, "Drink", inviting everyone to drink responsibly so that they don't end up with a "Hangover" (Taio Cruz cover song).
As the fun continued, Steel Panther took over with their sexual, highly comedic (and borderline sexist) rock n roll, getting things to a new extreme when they brought on stage a bunch of singing and screaming girls during "17 Girls In A Row". Good times!
All in all, Wacken Open Air was a blast. We braved the sun and the excruciating heatwave, and have once again returned home with beautiful memories. Until next time!
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| Dirkschneider |
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| Dirkschneider |
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| Dirkschneider |
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| Dirkschneider |
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| Danzig |
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| Danzig |
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| Epica |
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| Epica |
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| Epica |
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| Epica |
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| Epica |
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| Epica |
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| Epica |
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| Epica |
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| Epica |
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| Epica |
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| Hatebreed |
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| Hatebreed |
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| Hatebreed |
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| Hatebreed |
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| Hatebreed |
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| Hatebreed |
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| Watain |
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| Watain |
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| Watain |
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| Korpiklaani |
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| Korpiklaani |
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| Korpiklaani |
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| Korpiklaani |
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| Korpiklaani |
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| Dark Tranquility |
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| Dark Tranquility |
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| Dark Tranquility |
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| Firewind |
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| Firewind |
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| Firewind |
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| Firewind |
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| Firewind |
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| Converge |
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| Converge |
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| Converge |
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| Converge |
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| Heilung |
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| Heilung |
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| Heilung |
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| Heilung |
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| Heilung |
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| Heilung |
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| Heilung |
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| Heilung |
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| Die From Sorrow |
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| Die From Sorrow |
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| Die From Sorrow |
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| Die From Sorrow |
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| Die From Sorrow |
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| Die From Sorrow |
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| Die From Sorrow |
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| Dying Fetus |
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| Dying Fetus |
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| Dying Fetus |
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| Dying Fetus |
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| Dying Fetus |
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| Exit Eden |
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| Exit Eden |
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| Exit Eden |
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| Exit Eden |
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| Exit Eden |
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| Exit Eden |
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| Trollfest |
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| Trollfest |
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| Trollfest |
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| Trollfest |
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| Trollfest |
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| Destruction |
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| Destruction |
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| Destruction |
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| Destruction |
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| Destruction |
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| Mantar |
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| Mantar |
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| Mantar |
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| The Charm The Fury |
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| The Charm The Fury |
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| The Charm The Fury |
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| The Charm The Fury |
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| The Charm The Fury |
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| The Charm The Fury |
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| The Charm The Fury |
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| Arkona |
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| Arkona |
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| Arkona |
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| Arkona |
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| Arkona |
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| Arkona |
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| Arkona |
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| Arkona |
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| Arkona |
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| Alestorm |
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| Alestorm |
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| Alestorm |
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| Alestorm |
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| Alestorm |
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| Alestorm |
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| Alestorm |
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| Alestorm |
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| Alestorm |
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| Ensiferum |
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| Ensiferum |
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| Ensiferum |
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| Ensiferum |
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| Ensiferum |
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| Ensiferum |
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| Ensiferum |
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| Ensiferum |
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| Ensiferum |
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| Skiltron |
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| Skiltron |
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| Skiltron |
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| Skiltron |
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| Skiltron |
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| Skiltron |
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| Skiltron |
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| Enslaved |
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| Enslaved |
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| Enslaved |
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| Heidevolk |
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| Heidevolk |
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| Heidevolk |
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| Heidevolk |
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| Heidevolk |
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| Heidevolk |
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| Heidevolk |
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| Heidevolk |
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