Vive Le Rock and Fistful Of Metal magazines went along to Finland's premier rock festival-ROCKFEST 25 and this is what went down!
Rockfest 2025 took place in Turku from 12th to 14th June, and it delivered a powerful weekend of music, spectacle and community. Despite drawing around 35,000 attendees, the event felt spacious, efficient, and thoughtfully organized. There were no long queues, and the over-18 crowd — mainly in their 30s to 50s — created a respectful yet energetic atmosphere.
Friday – Power, Pyro and Polis: Nestor (Sweden) opened the festival with a throwback to melodic rock glory. Formed in 1989 and reactivated in 2021, the band channelled pure AOR spirit — think Bon Jovi’s 'Someday I’ll Be Saturday Night' meets Europe and Van Halen. High-register vocals, glittery guitar solos, and shoulder-pad nostalgia flooded the stage, but there was no irony here — just joy, hooks, and optimism. Sweden clearly still knows its way around a chorus.
Battle Beast followed and obliterated any doubts about power metal’s strength. Noora Louhimo stormed the stage like a Valkyrie with a battle cry, her scorching vocals proving more intense than many of her male contemporaries. Their synth-driven anthems and her commanding presence left the crowd stunned. This wasn’t a support act — this was a headline-worthy performance.
Die Krupps dragged the evening into industrial territory. One of Germany’s pioneers of EBM and metal fusion since 1980, they brought dark, relentless energy. The Pirkka Stage trembled under a barrage of synths, guitar riffs, and rebellious lyricism. Their sound has always explored themes of identity, conformity, and resistance — and they delivered all of it with raw, punk-infused intensity. Where Rammstein brings the flame, Die Krupps brings the soul.
Bullet for My Valentine lit up the night with melodic metalcore precision. Celebrating 20 years since The Poison, the band unleashed fan-favourite anthems like '4 Words (To Choke Upon)' and 'All These Things I Hate' with the pit in full chaos. One fan from Ukraine called it 'empowering'. Another said 'Unforgettable'. Razor-sharp riffs, emotional screams, and cathartic breakdowns — pure adrenaline.
Till Lindemann (of Rammstein) closed the Main Stage with a twisted, theatrical solo set. It was more than a concert — it was a performance ritual, filled with flames, snarling German monologues, industrial filth, and brutal visual art. Think propaganda film meets adult horror cabaret. It was punishing, obscene and unforgettable.
Saturday – Icons, Intensity, and Emotional Highs: Demolition 23 (top), led by Michael Monroe (Hanoi Rocks), kicked things off with sleaze-punk grit. Backed by Sami Yaffa and Nasty Suicide, the band tore through a raw, stripped-down set that oozed '90s rebellion. Songs like 'Ain’t Nothing to Do' and UK Subs’ 'Endangered Species' landed with punk venom, while Monroe — though a bit slowed by recent injuries — remained a charismatic firebrand.
Immortal Disfigurement, a rising force in symphonic deathcore, delivered a blackened, blistering set inside the Gatorade Center. This wasn’t entertainment; it was an assault. Crypt-growled vocals, seismic breakdowns, and apocalyptic atmosphere marked one of the most intense performances of the weekend. “We’re living our dream,” the band said post-show. No-one doubted it.
The Cult brought gothic glam and spiritual swagger to the Main Stage. Ian Astbury (above), dressed in black and gold, leapt, spun and channelled mystic energy as the band powered through classics like 'Rain', 'Fire Woman' and 'She Sells Sanctuary'. Their reverb-soaked soundscapes turned the field into a reverent wave of movement. It felt like a ceremony as much as a concert.
Manic Street Preachers offered a moment of melodic relief — polished, poetic and passionate. Their set glided from stadium-sized anthems to introspective cuts. James Dean Bradfield’s voice cut clean through the air, while Nicky Wire brought his usual glam-punk flair. 'A Design for Life' closed the set with a thunderous sense of unity.
Black Flag, now fronted by Max Zanelly (above) — the first woman to ever lead the band — tore into their legacy with raw urgency. Greg Ginn and the rest of the reformed crew summoned the spirit of '80s hardcore but added a new dimension. Zanelly didn’t mimic the past — she redefined it. The generational clash onstage was exactly what Black Flag has always stood for: breaking rules, not repeating them.
Muse closed out Rockfest 2025 with a stadium-sized sci-fi opera. Lasers sliced the sky, pyro lit up the horizon, and Matt Bellamy shredded like a hero from a dystopian anime. The music was huge — dystopian electro-metal layered with emotion and technical perfection. 'Knights of Cydonia' brought chills, and confetti fell like a final blessing. For 90 minutes, Muse didn’t just play — they transported.
Conclusion – A Festival Without Filler: Across three stages and dozens of acts, Rockfest 2025 gave no room for mediocrity. From nostalgic glam rock to punishing metal and transcendent stadium shows, it was a weekend where every set mattered. Thoughtfully curated, brilliantly executed, and packed with unforgettable moments — this was one to remember!
Words: Kati Brugnoli/Dana Paredes Kajan.
Photos: Kati Brugnoli
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