JUNE 25th - 28th 2025
TONS OF ROCK
2025

Review & Photo Gallery: Polina Kulikovskikh 
Day 1: http://www.metaltitans.com/concertpics/tons-of-rock-2025-day-1/
Day 2: http://www.metaltitans.com/concertpics/tons-of-rock-2025-day-2/
Day 3: http://www.metaltitans.com/concertpics/tons-of-rock-2025-day-3/
Day 4: http://www.metaltitans.com/concertpics/tons-of-rock-2025-day-4/

Day 1

Having a world-class festival like Tons of Rock in your town is something locals have grown accustomed to, yet each year the anticipation seems to grow. Maybe the daily life around the event changes, or the energy of the festival seeps into Oslo’s summer atmosphere — whatever the reason, the start of Tons of Rock 2025 was a welcome burst of excitement.

Held on the picturesque Ekebergsletta, a sprawling green space surrounded by residential areas and offering scenic walks to city viewpoints, the festival grounds continue to be a perfect blend of nature and urban proximity. The walk from the city center to Ekebergsletta is a challenge—steady uphill climbs test festival-goers’ stamina—but many braved it daily, adding extra steps to their fitness trackers. The site’s gradual yearly expansion was clear in 2025: a fourth stage now hosted concerts alongside talks and panels, while food stalls multiplied and seating areas near entrances increased substantially, improving comfort.

Transport ran smoother than in previous years, with shuttle buses from the city center efficiently ferrying attendees to and from the venue, despite some minor confusion over multiple drop-off points around Oslo’s central areas. The festival’s traffic restrictions helped maintain the area’s tranquility and ensured the site was only accessible to festival traffic, making shuttle buses the best option.

The food options had grown more varied and interesting. Near the Moonlight stage, a newly added fresh fruit and vegetable stall stood out, offering cold-pressed juices and fresh pineapple bits that provided a refreshing break amid the festival chaos. Though a sweets shop occupied part of the same tent—somewhat negating the health benefits—the diversity of treats delighted many.

Sound quality was generally the same as last year, particularly on the main stage - mostly strong middle, sides - not so strong. Those sound arrays could use a better stabelization in a windy place. Just a thought.

The first day traditionally kicks off with Black Debbath, and 2025 was no exception. The band’s heavy, politically charged rock remains a staple, though - maybe an unpopular opnion - this opening act has become somewhat of an old joke that doesn’t really get any fresher—year after year. Perhaps it’s time to give other bands a chance to open the festival and inject new energy into this important slot. Still, Black Debbath delivered a solid show, featuring a choir and an energetic conductor adding musical and political layers to their performance.

Notably, the opening was preceded by an unexpected guest: Jens Stoltenberg, Norway’s former Prime Minister, NATO Secretary General, and current Minister of Finance, who addressed the crowd with a short speech. Stoltenberg seemed genuinely nervous among the metalheads but used his platform to share positive concert memories and encourage mutual support and fun during the festival without pushing political agendas.

Next, Alestorm took over the Vampire stage with their unique brand of pirate metal. Known for their inflatable pirate swords, giant ducks, and raucous party anthems, the band delivered an entertaining show. Their set was a fun highlight, filled with humor and high-energy crowd participation.

Electric Callboy then transformed the Main stage into a wild rave-metal fusion. Their set exploded with energy, pyrotechnics, and confetti, turning daytime into an electrifying party. Songs like “Elevator Operator,” “Everytime We Touch,” and “Hypa Hypa” had the crowd jumping non-stop. The blend of metal intensity and electronic dance beats created one of the day’s most memorable and fun performances. Like quite a few bands from this year's festival lineup, they will play their own concert in Oslo pretty soon - in November at Unity Arena. For whoever couldn't make up their mind regarding if they should attend or not, this show at Tons surely removed the doubts.  

Meanwhile, inside the Moonlight stage tent, Swedish doom metal legends Candlemass offered a completely different experience. Their slow, crushing tempos and rich sound provided a solemn and powerful atmosphere that contrasted starkly with the outside stages. Personally - I only wish they incirporated more of their newer material into the setlist.

Back on the Vampire stage, Lorna Shore delivered an intense symphonic deathcore performance. Frontman Will Ramos captivated with charisma and powerful vocals, supported by dramatic pyro effects. The crowd surfing was at it's peak and people kept falling into the arms of security like a waterfall.

Dream Theater was a highlight for fans of technical musicianship this day. The band’s complex compositions and tight ensemble playing impressed, with a mix of highs and occasional vocal lows. Watching the band synchronize flawlessly through intricate pieces was mesmerizing, and sharing the experience with longtime fans who sang along added to the emotional impact. Unfortunately the vocals broke the joy far too many times.

Powerwolf’s set was a theatrical feast of gothic and power metal. This time they brought much more props and fire compared to their performance two years ago. Songs like “Call of the Wild” and “We Drink Your Blood” had the crowd fully immersed in a dark yet celebratory mood. Next year in February Powerwolf will play at Unity arena in Oslo - that will be a great chance to see their show in all it's glory.

After 25 years away from the stage, Old Man’s Child made a comeback, delivering an intense set of black metal with confidence and passion. Frontman Hoest was on top form vocally, and guitarist Galder seemed visibly thrilled to return to this “old child” project. Their show was a highlight for many, combining the experience of seasoned musicians with raw, powerful black metal energy. The band still plays the old material, I'm curious to see where their musical journey takes them next.

Closing the first day, Muse took the main stage with a massive production. The trio filled the large stage with enormous hanging lights and video monitors that transformed the venue into a spectacular visual experience. While the band’s sound had some odd distortion at the start, the crowd was packed tightly, singing along enthusiastically to classics like “Uprising” and “Knights of Cydonia.” The mix of alt-rock anthems, showmanship, and stage design delivered a fitting end to day one.

\Despite some tired feet and tough scheduling choices, attendees left buzzing with memories of powerful performances, good times, and the knowledge that three more days of metal madness awaited.

Day 2

Day two of Tons of Rock kicked off under even warmer weather and an increasingly electric festival atmosphere. The start of the day was for everyone to chose - Slomosa on Moonlight stage or Carcass on Vampire stage. I chose Carcass. The band looked a bit out of place in a bright sun, but brought joy for many nevertheless. They acknowledge that it is still early in the day, thank us for so many people having shown up, and ask us to make some noise to wake up “the fuckers in the tents”.  

Next choice to make was between The Good The Bad and The Zugly and Dead Poet Society. I've already seen GBZ twice this year and so as fun as it is, I chose to see something new. Dead Poet Society is an American alternative rock band known for their gritty, experimental sound that blends elements of hard rock, blues, and progressive styles with an unpolished, raw aesthetic. If you're into bands like Muse and looking for a modern rock band that doesn’t follow the conventional formula and adds a fresh, sometimes chaotic edge to alternative rock, Dead Poet Society is a band worth exploring. And they are worth seeing live too!

Back at Vampire stage and it's time for Myles Kennedy. Myles is best known as the lead singer of Alter Bridge and as the long-time collaborator of Slash (of Guns N’ Roses). But this time we are seeing his solo project. He is joined on stage by drummer Zia Uddin and bassist Tim Tournier.

Interesting fact - both Myles Kennedy and Mark Tremonti from Alter Bridge have their solo projects and both played one of the smallest clubs in Oslo. But together as Alter Bridge they are soon playing one of the biggest stages - Sentrum Scene. Though personally for me what both of them playing solo is not that far from Alter Bridge one way or another.

If you like great quality American Rock with elements of folk, blues and country you with lyrics based around personal struggles - Myles Kennedy definately has something for you. Myles and his band mates gave a very steady live performance. The setlist was primarely focused on the latest album "The Art of Letting Go".

Turbonegro’s fourth appearance at Tons of Rock brought denim, chaos, and a loyal crowd of Turbojugend fans from around the world. Fronted by Anthony Madsen-Sylvester since 2011, the band delivered a tight, energetic set packed with fan favorites like “City of Satan,” “All My Friends Are Dead,” “Get It On,” and “Back to Dungaree High.” The classic lineup—featuring Euroboy, Rune Rebellion, Happy-Tom, Crown Prince, and Tommy Manboy—sounded sharp and confident, with strong guitar work and a punchy rhythm section.

The band’s mix of rock parody and homage kept spirits high, and the moshpit got going early. Special moments included Slomosa’s Benjamin Berdous joining for “Imorgen Skal Eg Daue,” and a bizarre appearance by Jackass’ Chris “Party Boy” Pontius—clad only in a thong—for the closing number “I Got Erection.” While the gimmick wore thin quickly, Turbonegro’s hour-long set ultimately reminded everyone why they remain one of Norway’s most beloved rock exports.

Orbit Culture was one of the bands I was looking forward to see at this year Tons. Ever since I came across the song "North Star of Nija" about 3 years ago I've been following this band's releases and it's interesting how they progress. They played at Inferno festival last year and now conquered Ekeberg. The setlist started with one of the newest songs "The Tales of War", followed by "Strangler" and mt favourite "North Star of Nija". That's a strong start. Niklas Karlsson did a great job switching between growling and clean vocals with occasional help of bass player Fredrik Lennartsson.

Even if one doesn't like their music it's impossible to deny the crazy energy of Orbit Culture live performance. Wall of death, circle pit, mosh and crows surfing - all the essential elements of a great deathcore gig were there.

The band is planning to release a new album in October and will return to Norway this November with a headline gig at Rockefeller. I definetly looking forward to that one!  

Moving on to the Scream stage and it's time for Sex Pistols & Frank Carter. Two years ago we have seen Generation Sex - a punk supergroup formed in 2023, featuring members of Generation X and the Sex Pistols - on the same stage, playing some of Sex Pistols songs. And as for me - it didn't work very well. This time things were different.

The original members of the legendary band -  Steve Jones, Paul Cook, and Glen Matlock were joined by a new frontman Frank Carter known for a band called Rattlesnakes. While the ex-vocalist Johnny Rotten has loudly criticized the reunion as a “karaoke version” of the band, Carter quickly proved himself more than a tribute act. His voice echoed Rotten’s bite, and his stage presence—complete with mosh pit dives—added fresh energy to the band’s infamous catalogue.

The set kicked off with “Holidays in the Sun” and rolled through nearly the entirety of Never Mind the Bollocks. Early tracks like “Seventeen” and “New York” warmed up the crowd, but it was with “Pretty Vacant,” “Bodies,” and “God Save the Queen” that things truly ignited. Despite their age, the original Pistols brought grit and energy: Cook’s drumming was precise, Matlock’s bass was solid, and Jones—though never a technical guitarist—still captured that raw, driving punk sound.

Carter didn’t just lead the crowd—he joined them. During “New York,” he threw himself into the pit and later encouraged a bizarre moment of audience rowing in unison. The band even offered a bit of theatricality, with archival footage from 1977 flashing behind them, linking past and present. As the band tore through “No Feelings,” “Problems,” and “No Fun,” they sounded tight and vital—not just as a nostalgic act but as a band still able to connect musically and emotionally.

Closing the set, “Anarchy in the UK” exploded across the field, with none other than Billie Joe Armstrong from Green Day jumping in for vocals. It was a raucous, celebratory finish. Whether this lineup is still “punk” in the truest sense is up for debate, but the band clearly had fun—and so did the thousands singing along. The Sex Pistols with Frank Carter may not be rebels anymore, but they still know how to start a fire.

Green Day’s headlining set at Tons of Rock was easily one of the festival’s biggest draws, with Thursday passes selling out long in advance. By early evening, the festival grounds were overflowing, and the crowd near the stage was shoulder-to-shoulder.

The band opened with a mash-up of “The Imperial March,” “Blitzkrieg Bop,” “We Will Rock You,” and “I Love Rock ’n’ Roll,” before tearing into “American Idiot” amid fireworks and flames. From there, they launched into a 90-minute hit-packed set that spanned their entire career—from early 90s punk to their latest album Saviors. While the full stadium tour features almost 40 songs, the festival version delivered 21 essentials, including “Holiday,” “Know Your Enemy,” “Basket Case,” “Boulevard of Broken Dreams,” and “Hitchin’ a Ride.”

Billie Joe Armstrong was in top form, his charisma lighting up the stage and his energy infectious. A fan was pulled on stage to sing during “Know Your Enemy,” and there was constant engagement with the crowd. The band’s visuals—pyro, confetti, and stage screens—amplified the experience, while political lyrics like “I’m not a part of the MAGA agenda” added bite to classics like “American Idiot.”

Even though some fans began to leave during “Jesus of Suburbia” to beat the bus lines, Green Day played on undeterred, wrapping up with “Bobby Sox” and Billie Joe closing solo with “Good Riddance (Time of Your Life).”

Green Day’s set was a masterclass in pop-punk showmanship—nostalgic yet relevant, polished but raw. They reminded everyone at Ekeberg why, nearly 40 years in, they’re still one of the world’s greatest rock bands.

Day 3

Norwegian metallers Djerv delivered a powerful and memorable start to Friday at Tons of Rock, proving that an early set time doesn’t have to mean a sleepy crowd. Led by the charismatic Agnete Kjølsrud, the band pulled in a large audience despite the blazing sun, and the energy on stage was electric from the first note.

Djerv, formed in 2010, blends elements of rock, metal, and punk into an aggressive yet melodic sound. The band quickly gained recognition with their self-titled debut album in 2011 and became known for their intense live shows and Kjølsrud’s striking vocal style—equal parts ferocious and melodic. Though their activity has been sporadic due to other projects and a long hiatus, their return to the stage has been met with enthusiasm.

Agnete’s theatrical presence added even more intensity to the performance. She began the show in a striking costume that gave her wing-like silhouettes when she stretched her arms—creating dramatic poses and a captivating visual contrast to the sunny setting. Later, she switched into a long, black, pianist-style coat, maintaining a dark aesthetic despite the bright daylight. Her bandmates kept it casual in t-shirts and sunglasses, but the focus remained firmly on Agnete, whose vocal performance was as commanding as ever.

The setlist was packed with heavy, catchy tracks that showed off the band’s tight musicianship. A particularly emotional moment came when Agnete paused to speak about mental health before launching into a string of powerful songs. One of the show’s highlights was the surprise inclusion of “Bundy,” a classic from Agnete’s previous band, Animal Alpha, which thrilled longtime fans.

The first band at the Scream stage - Hurra Torpedo. It’s been 11 years since Norway’s most absurd musical export, Hurra Torpedo, last took the stage. Their return at Tons of Rock was everything fans could hope for: loud, chaotic, and hilariously brilliant.

Formed in 1993, the trio—Egil Hegerberg, Kristopher Schau, and Aslag Guttormsgaard—are known for using kitchen appliances as percussion. Wearing matching blue grill suits, they smashed washing machines, stoves, and microwaves with pipes, waffle irons, and whatever else they could find.

The show was equal parts musical performance, absurd comedy, and pure destruction. Schau attacked a freezer lid with such intensity he looked exhausted by the first song. Egil sang “Toxic” with a pipe on his head, then played dishes in dishwashing gloves. Aslag belted vocals while beating up a microwave, delivering a set that was both ridiculous and weirdly impressive.

The crowd responded best to their twisted covers, including Pixies’ “Where Is My Mind?”, Sigrid’s “Don’t Kill My Vibe”, and a now-iconic version of Bonnie Tyler’s “Total Eclipse of the Heart”, where Aslag absolutely destroyed a washing machine. They even slipped in a hilarious nod to Kaizers Orchestra with a few lines of “Hjerteknuser” (“Gryteknuser”).

They closed with their usual mayhem—banging on ironing boards for “Iron Man” and Schau tossing a washing machine across the stage to roaring laughter. Hurra Torpedo may be idiotic fun, but behind the madness is real musical skill.

Kat Von D, best known as a tattoo artist and TV personality from Miami Ink and LA Ink, has in recent years ventured into music, carving out a niche in dark synthpop and gothic rock. At Tons of Rock, she took to the Moonlight stage in her Norwegian debut, performing tracks from her latest album My Side of the Mountain (2024), including “Vampire Love” and “Dead,” which stood out as crowd favorites.

Accompanied only by multi-instrumentalist Sammi Doll on synth, guitar, and keytar, Von D aimed to create a dark, theatrical atmosphere. While her visual presentation was striking, the musical delivery fell somewhat flat. Much of the sound relied on synthetic backing tracks, and her live vocals often came across as weak or uncertain. The absence of a full band left the performance feeling thin and lacked the dynamic energy a rock festival audience expects. However, I think it would be a great fit for festivals like Wave Gothic Treffen or M'era Luna.

Within Temptation brought a sweeping dose of symphonic metal to the Scream Stage at Tons of Rock, delivering a confident and polished set that stood in welcome contrast to some of the more chaotic performances earlier in the week. With nearly 30 years behind them, the Dutch band proved once again why they continue to command such loyalty from their Norwegian fan base.

Frontwoman Sharon den Adel took the stage wrapped in the Norwegian flag, instantly winning over the crowd. Her voice was crystal clear and emotionally powerful throughout the 12-song set, particularly shining on the opener “We Go to War” and the title track from their latest album, “Bleed Out.” Whether soaring through epic choruses or delivering more intimate moments, Sharon maintained a strong, authentic connection with the audience. The setlist also included older hits such as "Stand My Ground", "In the Middle of the Night" and "Mother Earth".

Steel Panther brought their outrageous glam metal parody back to the Vampire Stage late Friday afternoon, drawing a massive crowd for a set packed with crude humor, 1980s stereotypes, and sleazy theatrics. Having last played Tons of Rock in 2022, the band proved that their over-the-top comedy-rock formula still pulls in the fans. Parodying the excesses of L.A. glam bands like Mötley Crüe, Steel Panther’s show is equal parts concert and stand-up routine. Vocalist Michael Starr and guitarist Satchel filled the gaps between songs with raunchy banter, while hits like “17 Girls in a Row,” “Community Property,” and “Gloryhole” had the audience singing and laughing along. The stage featured stripper poles, dancers, and a rotating cast of women invited up to join the chaos—Starr claimed 17 in total. While it’s all clearly a performance, some of the jokes and antics feel increasingly dated. Songs like “Asian Hooker” still go for shock value, but the humor hasn't evolved much over the years.

That said, beneath the wigs and innuendos, the band remains tight and talented. Their musicianship is strong, and they know how to work a crowd. For many, it was a hilarious, no-holds-barred highlight. For others, the shtick is starting to wear thin. Still, Steel Panther delivered exactly what they promised: an unapologetic, ridiculous glam metal party—and their fans loved every minute of it.

Dimmu Borgir took to the Scream Stage in signature theatrical style, with thick black smoke rolling across the front of the stage as the band launched into “Puritania.” It was their first performance with new guitarist Mr. Damage (Kjell Åge Karlsen of Chrome Division), replacing Galder, who left the band after 24 years. Despite the daylight working against the band’s black metal aesthetic, Dimmu delivered a performance that proved both powerful and immersive.

Their set mixed newer material like “Interdimensional Summit” and “Gateways” with classics such as “The Serpentine Offering,” “In Death’s Embrace,” and “Stormblåst.” As always, they struck a distinct balance between aggression, melody, and symphonic grandeur—a formula that appeals far beyond the traditional black metal fan base.

One notable absence was Agnete Kjølsrud of Djerv, who did not appear to perform her guest vocals on “Gateways,” despite being present at the festival and having opened the same day. It felt like a missed opportunity that could have elevated the moment even more.

Exodus hit the Moonlight Stage at Tons of Rock with the force of a sledgehammer, delivering one of the festival’s most intense and energetic performances. With Rob Dukes back on vocals after Steve “Zetro” Souza’s third exit earlier this year, the band opened with the oddly chosen intro music of Queen’s “We Will Rock You”—but before the first note was even played, the circle pit was already raging. Then came “Bonded by Blood,” and the chaos truly erupted.

What followed was a relentless barrage of thrash metal classics: “Piranha,” “Fabulous Disaster,” “Deathamphetamine,” “Blacklist,” and “War Is My Shepherd,” to name just a few. The crowd met every riff with headbanging, crowdsurfing, and non-stop pit action. At one point, the band teased the opening riff of Slayer’s “Raining Blood,” prompting the crowd to prepare for a wall of death—only for the band to laugh and pull back. The real eruption came shortly after with “Strike of the Beast.”

Guitarists Gary Holt and Lee Altus delivered razor-sharp riffs, while Jack Gibson’s fingerstyle bass work stood out once his mix was dialed in.

It was an odd lineup choice to put Exodus on the same time slot as Meshuggah as, I think, there are many fans who like both bands. But Exodus still got their crowd.  

Kaizers Orchestra headlining Tons of Rock sparked debate, with some arguing they didn’t belong on top of the bill. But there’s no denying their place in Norwegian rock history—or their popularity. After reuniting in 2022 following a nine-year hiatus, the band sold out venues across the country in 2023, and many fans were clearly at Tons just to see them. Songs like “Kontroll på kontinentet”, “Evig pint”, and especially “Hjerteknuser” triggered massive sing-alongs, with the latter producing one of the festival’s loudest crowd responses.

Opening with “Maestro”, Kaizers immediately set the tone: raw, theatrical, and full of energy. Their signature oil drums, pump organs, and gypsy-war visual flair transformed the show into more than just a concert—it became a performance. Frontman Janove Ottesen commanded the stage with ease, pounding oil drums, directing the crowd, and keeping the show dynamic from start to finish.

The setlist balanced old favorites like “Ompa til du dør,” “En for orgelet, en for meg,” “Resistansen”, and “170” with newer material such as “Dine gamle dager er nå” and “This Is the Kaizer Family!”.

The field was noticeably less crowded than the night before with Green Day. Some fans left early after the emotional peak of “Hjerteknuser,” and though Kaizers delivered a high-quality show, it lacked the explosive finish audiences have come to expect from Tons headliners.

All that said, Kaizers Orchestra more than earned their place at Tons. Headliner status? Maybe debatable. But a crowd-winning performance? Absolutely.

Day 4

The last day of the festival for me started with the set of The Cruel Intentions at Moonlight stage. Formed in 2015 in Oslo by Swedish frontman Lizzy Devine (formerly of Vains of Jenna), the band set out to revive the dirty, melodic glam-punk spirit of bands like Mötley Crüe, Hardcore Superstar, and Backyard Babies. Since then, they’ve released two albums: No Sign of Relief (2018) and Venomous Anonymous (2022), steadily growing a loyal fanbase across Scandinavia and Europe.

Lizzy Devine, in his trademark backwards cap and dark eyeliner, commands the stage with gritty charisma, while the rest of the band backs him up with tight riffs, heavy hooks, and the kind of swagger that feels both polished and raw. Their set is sharp, confident, and clearly rehearsed to hit with maximum impact.

When Backstreet Girls hit the Scream Stage this sunny Saturday afternoon, it wasn’t just another rock show—it was a tribute to their legendary frontman Bjørn Müller, who passed away in November 2023. Despite his absence, the band—Petter Baarli, Gaute Vaag, and Jonas Amazonas—chose not to cancel their Tons of Rock appearance. Instead, they delivered an emotional and raucous celebration of Müller’s legacy with the help of several guest vocalists.

The band began the set alone, but the rotating lineup of singers quickly took over. First up was Tarjei Foshaug (Hard Luck Street, The Valentourettes), who launched into “Temple of Lust” and “Damn That Man” with fiery energy. Then Roar Leren, a lesser-known but seasoned figure from Oslo’s underground scene, stepped in for “Boogie My Life Away,” “Awright, Awright, Awright,” and “Rattlesnake Charlie.”

Fredrik Juell, better known for his adventures with Jarle Andhøy’s Berserk expeditions than as a musician, fronted the band on “Loaded.” This song also featured a poignant moment as Max Müller, Bjørn’s son, joined on guitar. Finally, Frithjof “Biff Malibu” Jacobsen of Gluecifer fame closed out the set with a triple punch: “Going Down,” “Hizbollah Rock n’ Rolla,” and “Gimme Just a Second.” Tarjei Foshaug then returned for the grand finale, “Motorhellway.”

Though there was little spoken between songs and no major speeches, the tribute carried emotional weight—through the music, the guests, and the crowd’s warm response. The constant rotation of vocalists could easily have turned chaotic, but instead added a dynamic, heartfelt layer to the show.

Next up on Vampire stage - Ukrainian band Jinjer. They already played at Tons of Rock in 2022 and now they are back. Jinjer is far more than a “female-fronted band”—they’re a globally recognized, genre-defying outfit shaping modern metal with emotional depth, technical brilliance, and cultural resonance. With their latest record Duél, they reaffirm why they’re one of the most compelling metal acts live today.

The setlist was focused on the latest album "Duel" and contained five songs from it including the title track.

Next Jerry Cantrell, best known as the guitarist and chief songwriter for Alice in Chains, took the Scream Stage backed by a strong band featuring Greg Puciato (The Dillinger Escape Plan), Zach Throne, Eliot Lorango, and Roy Mayorga. The set, supporting his latest solo album I Want Blood (2024), opened quietly with “Psychotic Break,” but quickly ignited when the first Alice in Chains classic, “Them Bones,” kicked in—instantly energizing the crowd.

Roughly two-thirds of the set focused on Cantrell’s solo material, including the new title track, “Vilified,” and older deep cuts like “Cut You In” and “Atone.” Despite the high quality and tight execution, much of the audience remained unmoved during these parts. It wasn’t until the familiar riffs of “Man in the Box,” “Would?,” and the closer “Rooster” that a real connection sparked—crowd-surfing and sing-alongs broke out, with “Rooster” paradoxically creating the wildest reaction despite being the slowest song.

Vocally, Puciato was a perfect complement—his harmonies with Cantrell evoking the spirit of Layne Staley more than Alice in Chains’ current lineup ever has. Musically, the band was solid, but their static stage presence and lack of crowd interaction didn’t help win over a festival audience.  

The atmosphere shifted dramatically on the Vampire Stage as Norwegian black metal legends Emperor delivered a scorching midday performance, proving that darkness doesn’t need darkness to thrive. Despite the blazing sun, the band’s raw power and musicianship cast a shadow all their own, making for one of the most memorable sets of the weekend.

Led by the ever-composed Ihsahn—whose calm demeanor and priest-like stage presence contrast amusingly with the genre’s usual theatrics—the band tore through a “best of” setlist that included genre-defining anthems like “Into the Infinity of Thoughts,” “I Am the Black Wizards,” “Thus Spake the Nightspirit,” “Curse You All Men!” and “Inno a Satana.”

Joining Ihsahn were longtime comrades Samoth (guitar), Trym Torson (drums), Secthdamon (bass), and keyboardist Jørgen Munkeby (Shining, Jaga Jazzist), all of whom delivered tight, powerful performances without relying on corpse paint, elaborate stage props, or bombast. In fact, Emperor’s stripped-down presence made their performance feel even more authentic and intense.

The mix of material spanned all four of their classic albums (1994–2001), showcasing both the melodic sophistication and brutal force that have made Emperor black metal royalty.

Megadeth was undoubtedly the biggest name of the day and they did not disappoint. Kicking off their first concert of 2025 with the classic “Hangar 18” from Rust In Peace, the band immediately showcased how tight and powerful they are. The sound was impeccable, allowing every riff and drum beat to shine, which isn’t always a given at festivals.

Frontman Dave Mustaine, ever the commanding presence in his trademark white shirt, led a band firing on all cylinders. Drummer Dirk Verbeuren, who has been with the band since 2016, was an absolute monster behind the kit, driving the rhythm with precision and ferocity. James LoMenzo, back for his second stint on bass after a 12-year break, added solid grooves, while Finnish guitar virtuoso Teemu Mäntysaari—who replaced Kiko Loureiro a few years ago—played like a seasoned Megadeth veteran.

The setlist struck a near-perfect balance between classic anthems and newer material. Beyond “Hangar 18,” highlights included fan favorites like “Angry Again,” “Tornado of Souls,” “Sweating Bullets,” “Trust,” and the closing powerhouse trio: “Symphony of Destruction,” “Peace Sells,” and “Holy Wars… The Punishment Due.” Mustaine’s speech before “Holy Wars,” touching on the song’s enduring relevance in today’s world, added weight to the masterful performance.

Despite some minor quirks—like Mustaine’s thin, wheezy vocals and his habit of briefly exiting the stage between songs—the energy was undeniable. The crowd’s response was electric, especially for newer tracks like “We’ll Be Back” from 2022’s The Sick, The Dying… and The Dead!.

Machine Head closed the show on the Vampire Stage with a powerful and energetic set. Opening with “Imperium” from Through the Ashes of Empires, the band immediately ignited the crowd. The current lineup features founding member Robb Flynn on guitar and vocals, Jared McEachern on bass, Matt Alston on drums, and Reece Scruggs on guitar—temporarily replaced by Zack Ohren for this tour supporting their new album Unatøned (2025).

From the start, the atmosphere was electric: circle pits formed, heads banged furiously, and fans eagerly sang along. “Ten Ton Hammer” followed, with inflatable hammers tossed into the crowd to add a fun visual element. The band skillfully mixed material from across their career, playing eleven songs spanning nine albums. Newer tracks like “Choke On The Ashes Of Your Hate” and “Øutsider” from Unatøned got strong reactions, while classics like “From This Day” (with confetti and pyro), and the intense “Davidian” from their debut Burn My Eyes closed the show.

Robb Flynn, known for his intense yet surprisingly laid-back stage presence, was a natural frontman—engaging the crowd and encouraging wild mosh pits and jumping. He also took a moment to address mental health and loneliness, adding depth to the performance. Despite not being a huge fan of the band’s groove metal direction, even longtime skeptics can’t deny the sheer energy and atmosphere Machine Head commands live.

The band’s sound was tight and heavy, with a great mix that perfectly captured their aggressive yet melodic style. Visuals like inflatables, pyro, and confetti helped elevate the experience. While some might miss certain classic albums like The Blackening from the setlist, the broad selection of songs showcased the band’s evolution from thrash pioneers to modern metal stalwarts.

Avenged Sevenfold closed Tons of Rock 2025 with a dark, theatrical performance that felt right at home as the festival’s final act. Kicking off with “Game Over” and “Mattel” from Life Is But a Dream… (2023), M. Shadows appeared seated, masked, as surreal AI visuals and retro video game imagery filled the screens—setting the tone for a unique show.

While the newest songs got a mixed reception, the crowd came alive with “Afterlife” and “Hail to the King.” Shadows, in strong voice, praised the Norwegian fans and joked that both Green Day and Weezer had declared them the best audience of the tour. “So Far Away” served as a touching tribute to their late drummer, The Rev, as the crowd lit up the sky with phones.

The show mixed old and new: “Nobody” and “Cosmic” showcased their experimental side, while “Nightmare” brought one of the night’s biggest moments. Though some left after that peak, those who stayed were treated to the punishing “Not Ready to Die,” the fan-favorite “Bat Country,” and early metalcore staple “Unholy Confessions.”

They ended with the theatrical “A Little Piece of Heaven”—“a happy song about murder and necrophilia,” as Shadows put it—before fireworks closed the night in rainbow hues. Avenged Sevenfold delivered a heavy, visually striking set that capped off Tons of Rock with power and style. A worthy finale to a memorable festival.