INFERNO FESTIVAL – Day 1
- Posted on 03-05-2025
Full photo galleries from day 1 by photographer Jonathan Mazin
Review by Karina Noctum
Dødheimsgard delivered a performance that was full of surprising moments at Inferno Festival. A considerably big crowd gathered in Oslo to witness the Norwegian experimental metal band, and they were not disappointed.
The band appeared on a simple stage with a modest backdrop—that later on changed colors due to a light effect, subtly enhancing the performance without overshadowing it. The visual simplicity only highlighted the eccentricities on stage: the vocalist, draped in a shiny fabric headdress and his personal clone, commanded attention with theatrical presence, while two extra keyboardists, clad in balaclavas and training suits, added a surreal layer to the already unconventional setup.
Dødheimsgard’s setlist took us on a journey throughout their discography. From their latest album, it featured “Tankespinnerens smerte” and “Det tømme kalde mørke.” These songs stood out for their constantly shifting tempos and a musically mature sound. They showed a musical evolution that keeps true to the innovative spirit of the band.
The highlights for long-time fans first came with the live debut of “Regno Potiri” from the album 666 International, a track that fits right into their chaotic yet calculated soundscape. Then the special appearance of former DHG vocalist Kvohst to sing “All is not Self.” Other crowd favorites included “It Does Not Follow” and “The Snuff Dreams Are Made Of,” both delivered with intensity and atmosphere.
Unfortunately, there was a slight letdown when “Oneiroscope” had to be shortened, just before its classical section started. However, the band quickly picked up the pace with the forceful and driving “Traces of Reality.” In all, Dødheimsgard’s performance was a perfect storm of controlled madness and experimental vision—a powerful opening to the festival that set the bar high for what was to come.
If Dødheimsgard opened the festival with avant-garde experimentation, Necrophobic came in as a force of pure metal tradition. Taking the stage with no gimmicks or surprises, the Swedish veterans delivered exactly what their fans came for: raw, aggressive, and tightly executed mix of black metal and old-school Swedish death
The band thundered through a powerful set featuring “Tsar Bomba,” “Stormcrow,” “Mark of the Necrogram,” and “Grace of the Past,” each track hitting like a sledgehammer. They also dug into their classic material with “Darkside” and “The Nocturnal Silence,” both of which stirred a wave of nostalgia and energy from the crowd.
And the crowd was ready. Clearly familiar with Necrophobic’s discography and style, they responded with a strong moshpit that added a physical intensity to the sonic assault.
Visually and musically, Necrophobic stood in stark contrast to Dødheimsgard. Where the openers were theatrical and experimental, Necrophobic remained rooted in their signature image and sound—no frills, no surprises, just metal. And that, for their fans, was exactly the point. Their performance was a powerful reminder of how consistency and conviction can still ignite a crowd.
After the sonic pummeling upstairs, I ventured down to John Dee with a sense of curiosity to catch Udåd, a band featuring Thomas Eriksen of Mork. What unfolded was a performance that combined the rawness of black metal with a surprisingly atmospheric edge.Though raw and unpolished, Udåd’s sound had an unmistakable nod to Ulver’s early era—that distinct blend of icy melodies, haunting ambience, and bleak emotion.
The vocals, clearly influenced by the early Norwegian black metal wave, fit seamlessly into this harsh soundscape. While this was far from the most theatrical or polished act of the evening, Udåd’s performance stood out for its authenticity and deep connection to black metal’s roots.
Having already witnessed Spectral Wound live on a few previous occasions, I came into their set at John Dee with high expectations—and once again, they did not disappoint. Drawing clear inspiration from Scandinavian black metal, the Canadian band continues to honor the genre’s cold, relentless spirit while delivering it with their own distinct intensity.
From the moment they launched into their set, it was clear that Spectral Wound was in top form. The vocals were fierce and commanding, while the drums provided an unrelenting backbone that kept the energy surging throughout the performance.
Despite the venue being fully packed—perhaps even a bit too cramped for the atmosphere the band’s sound deserved—it was evident that the audience was locked in. Still, it felt like a shame that more people couldn’t witness the sheer force and quality of this performance. Spectral Wound has clearly become a live force to be reckoned with, and they continue to prove that black metal’s flame burns strong well beyond Scandinavia. Their set was tight, focused, and deeply atmospheric—a testament to a band that knows exactly what it wants to communicate and does so with precision and fire.
If any performance could be described as a ritual rather than a concert, it would be Krzysztof’s Batushka. As the lights dimmed and the candlelit stage came into view, the atmosphere shifted dramatically—an eerie transformation into an Eastern European funeral, somber, solemn, and steeped in blasphemous mysticism. There were no flowers, no warmth.
Musically, Batushka’s uniqueness lies in the way they intertwine black metal with liturgical music, and this show made that contrast and convergence crystal clear. Both Monk-like chants and blasphemous black metal shrieks echoed through the venue, alternating with crushing guitars and blast beats, creating a hypnotic ebb and flow that both approached and veered away from the sacred origins of their inspiration.
Draped in their “Polish black veils” that concealed their faces, the members performed with a cold discipline. It was a really good performance delivered with the well-known Polish extreme metal precision. It wasn’t just music—it was ritual, spectacle, and performance art, all rolled into one.
What makes their performance truly compelling is that this isn’t just aesthetic—it’s a fully formed sound identity. The result is a black metal experience unlike any other, where the sacred and the profane merge into a single, unrelenting force. An experience beyond good and evil.
The culmination of this long, intense extreme metal ritual came at the hands of none other than Abbath Doom Occulta, the legendary King of the Winter Realm. As the final act of the night, Abbath’s presence alone commanded reverence, but the show went beyond expectations—complete with the dramatic appearance of a mythical frostdemon, as if summoned straight from the frostbitten landscapes of Blashyrkh itself.
Despite spring’s arrival in Southern Norway, Immortal’s chilling legacy swept over Rockefeller like an icy storm. The icy riffs and battle-like chants brought forth by Abbath and his band cast a deep freeze on the venue, making the crowd forget the season entirely. That’s the magic of his music—it can transport you straight to the heart of winter in the blink of an eye.
The contrast between Immortal’s cold, sharp legacy and Abbath’s solo project was noticeable. This wasn’t just nostalgia—it was a celebration of Norwegian black metal’s most iconic sound. The crowd, particularly the die-hard Immortal fans, responded with total devotion, singing along and raising horns with fervor. There was even a moshpit, which is rather a rarity at black metal shows in Scandinavia.
The setlist was a gift to fans. In addition to “Years of Silent Sorrow,” “Withstand the Fall of Time,” and “The Sun No Longer Rises,” they played “Solarfall”—which hadn’t been performed in a long time. These stood right beside battle anthems like “Nebular Ravens Winter,” and “All Shall Fall,” among others. A truly special moment came when Abbath played one of the band’s earliest songs, “The Call of the Wintermoon”—a track whose infamous video has become legendary. Each song reminded the audience why Immortal’s music remains so enduring—it’s cold, it’s grand, and it’s undeniably epic.
It was clear that for many, this performance was more than just a concert—it was a moment where legend and legacy met the present. A lot can be said about this grand closing, but it is best to be experienced. Abbath proved once again that the spirit of Blashyrkh is ever-present, and in Oslo that night, the dark winter reigned supreme.