Another year, another Damnation Festival. Has it really been 20 years? I went to the very first one waaaaay back in 2005, and a love affair was born. It has been great to watch it become one of the world’s best festivals. Kudos to the organisers for their continued passion and ability.
This edition is therefore the festival’s twentieth year and sees Damnation bigger and arguably better than ever before. It’s across two days now, and the lineup is strong in both depth and breadth. From veteran classics to newborn sensations, the festival has it all.
Despite being nearly sold out, the festival almost has an intimate feel this year. Maybe it’s the layout, which has been well-thought-out, or maybe it’s the curtained walls of the venue itself. Whatever it is, the vibe is good.
This year, the video screens are bigger, and the atmosphere better. There is more seating this year, strategically placed around the venue to have maximum impact. I must say this is a most welcome development. Although nothing has massively changed since last year, these sort of incremental improvements add up. Overall this is the best Damnation Festival we’ve seen so far when it comes to layout, flow, feel, and general organisation.
I also want to mention the accessibility arrangements. I have learned that accessibility platforms are not a mandatory thing for festivals to offer, so a huge shout out to Damnation for investing in these. They are a great feature to have, and a lifesaver for some.
The photos used in this review are clearly not mine, (they’re too good for that), so a big thanks to Damnation for providing access to them, and the amazing photographers, who are credited below.
Day One – Saturday
There are a lot of different bands and styles on offer today, as well as the usual selection of awful clashes, (shakes fist). In all seriousness, it’s a credit to the lineup that there are so many hard choices to be made across the weekend, and made they will be, for better or for worse.
Oryx – Eyesore Merch Stage
The day starts with 30 minutes of enormous sludge doom, and it’s massive. Oryx have a rumbling, rhythmic heaviness that’s hypnotic. The music crawls, but the time flies, and before you know it two immense songs have dragged themselves by.
A convincing display of doom mastery from Oryx.
Overhead, the Albatross – Pins & Knuckles Stage
Here is a band that have been receiving no small amount of hype of late. I’ve never actually heard Overhead, the Albatross before this, but wanted to catch them to see what they’re all about. It turns out that they play an involved, intricate form of progressive/post-rock. In this way they strike me as an instrumental band, but they’re not, at least not completely. There is lot going on here, and it’s pretty damn good.
Overhead, the Albatross are a very interesting and atypical band. With a host of creative ideas and different stylistic influences – as wide-ranging as classical, indie, dance, and more – their set is like a 70s prog rock rave. It is music that seems to be telling a story; I don’t know what it’s saying most of the time, but largely like the journey it takes me on. The last song is especially strong and ends their set on an emotive high, culminating in a tribute to the late Brian Fitzpatrick, who was an important part of making Damnation Festival what it is.
Necrot – Holy Goat Brewing Stage
Now here we go, some good old-fashioned death metal meatiness. Necrot exude OSDM appeal, and the place is pretty packed for their song-based hooky death metal.
It’s solid stuff from Necrot. Drill the Skull goes down particularly well.
Deadguy – Holy Goat Brewing Stage
Well, it’s only taken me 30 years to see Deadguy, and I’m very happy that it’s finally happening.
The band give an energetic performance that hits the spot. Their charismatic jagged hardcore is rendered bass-heavy and ultra-groovy, giving the closest part of the crowd ample opportunity to move like they mean it. The songs aired may have been created decades apart but they merge seamlessly into a set that is timeless in its appeal.
Deadguy seem to be having a whale of a time throughout their allotted duration, and who can blame them? “You guys are my new best friends”, says the singer at one point. Works for me. As an exercise in controlled chaos, with the occasional shirt being thrown into the crowd, the Deadguy experience can’t be bettered.
Messa – Pins & Knuckles Stage
I have so been looking forward to seeing Messa, it’s silly. Despite having a disappointingly muffled sound, Messa are just great. What else can I say?
Messa’s individual brand of doom metal brims with personality today on the main stage. The sound issues just can’t keep Messa’s inherent excellence at bay, and I spend their set Feeling the Feelings.
The songs are infectious, boasting both style and substance. The singer’s powerful voice is one of the most potent on display this weekend, and the solos flow like liquid silk.
Dimscûa – Eyesore Merch Stage
Here we have a band who are severely hyped up, yet deserve every ounce of it. Their feeling-rich post-metal is a careful balancing act of heaviness and atmosphere, and it’s stunning.
At Damnation, Dimscûa reveal themselves to be every bit as effective as they are on record. Theirs is a raw, heartfelt performance, one that has many a crowd member enraptured.
Dimscûa play an absorbing set. They’re animated and immersed in their own mood-rich soundscapes, and recreate their debut record perfectly. It’s “a dream come true” the singer days at one point. Long may the dream continue.
Orbit Culture – Pins & Knuckles Stage
Orbit Culture are a Big Band and put on a Big Band show, and it’s an enjoyable one. They peel off the Big Grooves and the Big Choruses that are hard to ignore. This is stadium metal, lightshow and all, and I don’t mean that in any disparaging way. Besides, no matter how big they get, I like that Orbit Culture have retained their bite.
Damnation is part of their current headline tour, and they treat the stage like they own it. Aggressive, yet epic alongside it in places, the band dish out their songs and a good portion of the crowd eat them up hungrily. I’m pretty sure by the end of it all they’ll be asking for seconds too.
Orbit Culture know how to put on a good show. They’re a band that are getting ever more popular, and you can see why.
Brodequin – Holy Goat Brewing Stage
Now it’s time for some sheer, unadulterated, wanton brutality. Brodequin play brutal death metal, and they take a wrecking ball to the Holy Goat Brewing Stage.
As much as I really, really want to see Afsky, (so many hard clashes this year), how can I miss this exceedingly rare opportunity to see Brodequin? I’ve been listening to them since 2004’s Methods of Execution, so they were firmly on my Damnation Must-See List.
Brodequin put on a relentless display of savagery. For something so fast and merciless, it comes across surprisingly clear and crisp. The band unleash a surgical assault on the crowd, and a lot of people have shown up to weather it. Precision barbarity at its best. Apparently it’s the first time they’ve played Soothsayer live too.
I wasn’t sure how this uncompromising form of brutal death metal would work on such a big stage, but any doubts I had were utterly destroyed. Brodequin exceeded my expectations in every way.
Panzerfaust – Holy Goat Brewing Stage
Panzerfaust are another band firmly on the Damnation Must-See List. Their black metal is of an uncommon type, full of rhythmic percussion, twisting melodies, and layered vocal patterns. It’s saturated in uncommon atmosphere, and I’m pleased to say that live this is faithfully recreated intact. In fact, more of the music’s nuance comes across than expected. Panzerfaust’s use of deathly brutality enhances the atmospheric whole, rather than detracts from it, lending the music a flavour all of its own.
The singer cuts an imposing figure, stalking the stage and surveying the crowd with his stoic presence. The rest of the band busy themselves with crafting the gigantic apocalyptic worldscapes that dominate the songs, accomplishing this with an easy skill. It makes for a performance that’s detailed and absorbing.
Deafheaven – Pins & Knuckles Stage
Deafheaven open to a sea expectant of people. They offer up a menu of blackgaze delicacies to the audience, who gratefully devour every one of them whole.
The set is one of emotive intensity and colourful extremity. All of the band are giving it their all, but the singer is a ball of energy, running and jumping around the stage, working the crowd with enthusiasm, and delivering his trademark piercing shrieks throughout. His voice is really impressive.
The setlist takes liberally from this year’s Lonely People with Power, (although not exclusively), which few will likely complain about. They even play my favourite song from the record – Revelator – making me a happy bunny indeed. Deafheaven put on a first-rate set.
Wormrot – Holy Goat Brewing Stage
Wormrot are ferocious. Their multifaceted grindcore is flawlessly reproduced tonight and they absolutely destroy the stage. Honestly, it’s difficult to express how much I enjoy their set.
This is grindcore with depth. It’s devastatingly nasty, yet also remarkably moreish. Wormrot perform their short sharp shock material with withering ability, and they make a potent statement. The drummer alone is enough to hold my attention.
The stage is completely rammed and Wormrot get a great reaction. It’s a captivating 30-minute display of hyperviolence, and I couldn’t be happier with the band’s set. Fantastic stuff. Best band of the day for me.
Gaerea – Holy Goat Brewing Stage
The last time I saw Gaerea at last year’s Fortress Festival they blew me away so much they were my band of the weekend. That’s a recipe for unachievably high expectations, unfortunately. I knew this in advance, of course, so didn’t expect a repeat of last time, but that only helped me so much.
This time it’s a more natural outing from Gaerea, without that enthralling choreography that was so impactful to me. The band deliver a far less esoteric performance, instead opting for a more human one, with the singer working and interacting with the crowd much more traditionally. Couple this with some new songs played I don’t yet know, and I was right to temper my expectations. However, that’s not to say this is a poor experience; it is still Gaerea, after all.
The new material finds Gaerea updating their style further, it seems. The band are clearly enjoying themselves, and they put in a good showing regardless of my expectations. It’s apparent this is a different Gaerea this time around though, demonstrating their desire to continually develop their sound. As for the older material, it’s every bit as intense and as well-crafted as ever. Overall, a more conventional, but still enjoyable show from Gaerea.
And that’s that, for me at least. The first day of the 2025 edition of Damnation Festival has been a roaring success.
Day Two – Sunday
It’s another varied, strong lineup today. There are a lot of veteran acts to be caught, and some up and coming ones that I must not miss. Morale is high, and the day sprawls ahead with vibrant metallic promise. There are even more seats unobtrusively scattered around the venue on day two too, which is great to see.
Hidden Mothers – Meliora Stage
We start the day with Hidden Mothers. I really liked Erosion / Avulsion, so wanted get here early enough to catch them.
Post-metal build and release mechanics, screamo dynamics, post-rock fragility, and blackgaze aggressive beauty all combine to make Hidden Mothers a thrilling proposition. The band’s performance is just what’s needed to get the day off to a good start. They sound vibrant and fresh, and their music full of engaging texture and atmosphere. Bolstered by a aggressive kick when needed, it hits the mark.
Top stuff from Hidden Mothers.
Conjurer – Lou’s Brews Stage
Fresh off of the release of Unself, Conjurer open with the title track from that record, and it’s instantly absorbing. When the massive sludge doom kicks in, it’s crushingly heavy. Blessed by a stellar sound, they put on an equally stellar show for the crowd, which is very large for so early on.
Conjurer have a strong stage presence and look comfortable on a stage of this size. It suits them. Watching the band tear through the material with such obvious enthusiasm enhances the already meaty songs. I like their use of the huge video screen too – a backdrop of abstract video imagery that complements their style somehow.
Conjurer’s sludgy post-metal was a firm winner in my book. Conjurer are always good live, but this was the best I’ve seen from them.
Din of Celestial Birds – Meliora Stage
Right then, time for an instrumental post-rock interlude. The place is packed to see Din of Celestial Birds, which I wasn’t expecting, but I can see why as they’re skilled at what they do. It is probably the busiest I’ve seen this stage to be fair, and the band make the most of it.
Din of Celestial Birds fill the stage with their three guitarists and their soaring, epic, dare I say it celestial sound. They sound big, in every sense, and their melodic, atmosphere-rich soundscapes fill the venue, uplifting all that hear them.
Judging by the turnout, the reaction, and the performance, it’ll be the main stage next time for Din of Celestial Birds.
Coilguns – Meliora Stage
After the revelation of how brilliant Coilguns are in the live environment earlier this year at Mangata Festival, you’d better believe I was at this stage early.
I’ll reiterate again just how excellent 2024’s Odd Love is. Today Coilguns pull almost exclusively from that record, with the only exception being the title track from 2018’s Millennials.
The quirky, characterful post-hardcore of Coilguns is a perfect fit for this stage, and the band play a blinder again. They are a joy to watch. The band are an expression of barely restrained raw energy and tempered positivity, and it’s intoxicating. The singer in particular is all over the shop, climbing speaker stacks, taking mobile phones, scaling the barrier to sing in the crowd, and generally having the time of his life. Even when he’s playing a guitar it’s not much different.
I love Coilguns. Absolutely fantastic set. How they’re not way more popular than they are is beyond me.
Psychonaut – Meliora Stage
Here is yet another band I’ve been looking forward to, especially after I heard the recently released World Maker. Today, Psychonaut’s progressive metal is rendered in beautiful shades of ethereal light, melodic hues that fill the venue, and darker progressive heaviness.
Psychonaut give a spirited performance, delivering their layered and detailed songs to an eager audience. The busy crowd gives them a good reaction too, feeding the band to ever further heights of proggery. Or something. Basically, Psychonaut put on a very enjoyable show, and I’m very glad I saw them. They bring their songs to life with emotive grace.
Pig Destroyer – Lou’s Brews Stage
Main stage Pig Destroyer? Don’t mind if I do. They destroyed the place back in 2022 when they played Prowler in the Yard in full. Today they play a non-album set, but the result is the same – total pit carnage.
It’s a display of brutal power, as short eruptions of hostility and depravity obliterate the willing audience. The band know what they’re here to do and dish out the damage with feral abandon. Before one track, the singer gives a heartwarming short story about the first time the band met the sadly deceased singer of At the Gates – Thomas Lindberg – and dedicates a song to him.
The band end the show on a high. Pig Destroyer get the job done nicely. Or horribly, I suppose, depending on your perspective. Either way, it’s always good to see them do their thing.
Anaal Nathrakh – Lou’s Brews Stage
The sheer blackened ferocity of Anaal Nathrakh live is a thing to behold. Rarely has a band’s music ever manifested such extremity and such catchiness at the same time, and this balance is deployed in the live environment with weapons grade effectiveness. Sadly it takes a while for the sound to catch up to the music’s filthy majesty, but it gets there eventually.
Damnation’s self-acknowledged house band are in full furious flow tonight. Thomas Lindberg gets another dedication, with Anaal Nathrakh’s singer announcing that they’re not going to do an At the Gates cover, as The Haunted are here and they’ll only do it much better. Instead, they play Obscene as Cancer, saying it’s their most At the Gates-esque Anaal Nathrakh song. It devastates.
The band give themselves over to the abrasive grinding darkness completely. The set is full of hateful blasting that sees the pit explode and soaring epic cleans that are sung along to with vigour. It’s a mix that was made for the Damnation’s live experience, and the horrifying results speak for themselves.
The closing duo of Forward! and Endarkenment – separated by a lovely speech about the singer’s love for Damnation – is unbeatable.
The Haunted – Lou’s Brews Stage
The Haunted are such a good band. I haven’t seen them in soooo long, so am well-chuffed they’re at Damnation this year.
They start with a strange tinny sound, which struggles to contain the pure thrashy goodness of The Haunted’s opening number – Warhead. However, even hampered in this way, the music cannot be fully denied. Similar to Anaal Nathrakh’s set, the sound slowly catches up with The Haunted, enabling them to better rip the crowd a collective new face. They never achieve the best sound, sadly, but numbers like D.O.A. still flatten the place. The Haunted bring the riffs, and the crowd lap them up.
With songs taken from multiple points across their storied career, it’s a veritable greatest hits set. The new songs mix with the old like they’ve known each other forever.
What thoroughly good fun. The Haunted rule. Long may they dominate.
Mantar – Meliora Stage
Like the Afksy/Brodequin clash, Mantar clashing with Spectral Wound is the stuff of nightmares. Still, we soldier stoically on. They may not have the draw that Spectral Wound have, but if you’re after a sludgy mix of black metal, punk, and grunge, they’re the band for you.
Mantar are an idiosyncratic treat. There’s only two of them on stage, but they seem completely at home. They kick out the jams convincingly and completely. The songs are in their natural habitat, full of barbed hooks and danceable grooves. Era Borealis is a great song to end on, and Mantar deliver the goods to the lucky people in attendance.
Amenra – Lou’s Brews Stage
Amenra offer up a sophisticated brand of weightiness to Damnation. Theirs is multifaceted post-metal, built from controlled catharsis and emotional heaviness, wrapped up in dense guitars, bleak atmosphere, and claustrophobic depth.
The band boast an immense presence as they perform. They are far more energetic and animated than I expected them to be. Amenra come across as a band really into their material, and willing to let it move them as it may.
A Solitary Reign must be their most popular song judging by the reaction it gets. It’s a great rendition too. You can pick any song they play though and be onto a winner. The following song Am Kreuz is a great example, and one I particularly enjoy tonight.
The rumours of Amenra being a potent live act are very true.
Wiegedood – Cult Never Dies Stage
Playing their De Doden Hebben Het Goed trilogy in full, this was always going to be special. Wiegedood have an almost 2-hour set time, meaning they clash with not just one other band, but two; Warning and then Napalm Death. It’s long, but it’s worth it. The three albums fill the space superbly. I was really hoping that the sound would do it justice, and it hasn’t disappointed. Wiegedood sound lethal.
Wiegedood’s music is fast and merciless, and this is translated live with startling sharpness. Around this serrated core they weave in elements of tense melody and dark atmosphere, fleshing out their sound so that no part of the stage escapes its vicious touch.
As a performance it’s an intense one, and the band are focused throughout. It’s a near-relentless assault of scathing aggression, balanced by skilled songwriting and execution. Few black metal bands of this extremity could pull off a set of this length, but here the source material is more than strong enough. Within the maelstrom of fury the band unleash – and sustain – lie the more atmospheric, even contemplative and introspective moments. These add texture and depth, as well as providing islands of respite for both band and audience amidst vast waves of blackened hostility and oceans of immersive worldbuilding.
A truly excellent way to end the day. Wiegedood were brilliant.
After Wiegedood, as a small bonus, I get to watch the very last part of the mighty Napalm Death. It’s brief, but really great.
And that’s that, Damnation Festival 2025, done and dusted. What an excellent weekend. Big shout out to everyone involved in this superlative festival. With the move to two days, I feel this year’s Damnation is the most complete, well-rounded version I’ve been to. It’s been a cracking weekend, and I cannot wait for next year. Tickets are already on sale for next year on Skiddle, so make sure you get yours early, as I have. Additionally, make sure you catch the Damnation debrief on the 2 Promoters 1 Pod podcast that’s sure to be up for everyone to enjoy tomorrow.
Wonderbox Metal 
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