JUNE 5th 2025
TRONDHEIM ROCKS
2025

Review & Photo Gallery: Polina Kulikovskikh 
Gallery: http://www.metaltitans.com/concertpics/trondheim-rocks-2025/

There’s something unmistakably special about Trondheim Rocks. It’s a one-day festival that manages to feel like a full summer’s worth of energy crammed into a single, roaring burst. This year’s edition offered a lineup as diverse as the beer selection at E.C. Dahls Arena, with everything from singalong-friendly Norwegian rock to unhinged punk chaos and, of course, a headliner that needed no introduction: Iron Maiden.

But before the legends took the stage, the crowd was treated to a buffet of great performances — a warm-up that in any other context could’ve easily been its own festival.

The Raven Age kicked off the day with slick, modern metal. There was definitely some curiosity in the air — after all, guitarist George Harris is the son of Steve Harris, which comes with both a legacy and a spotlight. But the band didn’t coast on the name. They delivered a tight, confident set of melodic metalcore that got even the early-bird crowd fired up. There was a polish to their performance that showed they’ve been grinding hard on the road, and by the end of their set, any questions about nepotism were drowned out by well-earned applause.

Then came Danko Jones, a walking fireball of swagger, wit, and hook-heavy rock 'n’ roll. Simple, raw, loud — and perfect under the afternoon sun. Songs like “Lovercall”, “First Date”, and the new single “What You Need” hit like cold beer on hot pavement. Danko threw in a confusing rant about a past gig in Bergen (probably an inside joke), but he won us right back with more riffs and more grins. It was classic Danko: loud, fast, fun, and gone too soon.

Wig Wam were next, and if you think glam rock can’t be sincere, think again. These guys are riding high lately — boosted by a Peacemaker-soundtrack revival and a Eurovision throwback in their back pocket — but what really stood out was their sheer joy. Their performance was all glitter and grit, and the band played like their lives depended on it. The crowd? Ecstatic. Even the stiffest Norwegians couldn’t help but smile. Frontman Åge Sten Nilsen's voice? Still a monster.

Then the whole atmosphere changed — suddenly louder, faster, and far more unhinged — as The Good The Bad and The Zugly (GBZ) stormed the main stage. This was no-bull, high-octane punk rock delivered with a sneer. Ivar Nikolaisen was a snarling, manic presence, and the band shredded through their set without mercy. It was punk as it should be: chaotic, sharp, and soaked in sweat. Following GBZ must be one of the toughest jobs in rock, but the crowd? Electrified.

Enter CC Cowboys, the odd band out on the bill — and surprisingly, that worked. As the sun mellowed and the beer settled in, the band’s melodic rock gave the audience a breather. Not every slot needs to be ear-shattering distortion, and CC Cowboys brought exactly the kind of nostalgic, feel-good energy that reminded us all why Norwegian rock has its own proud place. A pause, yes — but a poetic one.

A definite standout was Halestorm. Lzzy Hale’s voice? Utterly volcanic. The band came out swinging with swagger, precision, and sheer power. With a setlist that included “Love Bites (So Do I)” and “Freak Like Me,” Halestorm blended grit with melody and made a strong case for being one of the most polished and dynamic live acts in modern hard rock. Their ability to move seamlessly between aggression and vulnerability gave the festival an emotional depth it hadn’t yet reached.

Battle Beast brought things back into the absurd, in the best possible way. Imagine a wild fever dream where Nightwish, Lordi, and Andrew W.K. all share a stage. Bombastic? Absolutely. Ridiculous? At times. But undeniably fun. For some, it was a bit much — for others, a glorious overload. And as the band’s epic metal operatics boomed across the arena, a quiet shift happened: the crowd began gathering with purpose.

Because now, the sun was setting. And it was time.

Iron Maiden: A Legacy Reforged

You could feel it in the air — that slow-building hum of anticipation. Eddie the Head was everywhere: t-shirts, flags, tattoos. Every metalhead present knew what was coming. This wasn’t just another concert. This was Iron Maiden, back in Norway, celebrating 50 years of metal glory with a setlist pulled straight from the dreams of diehard fans.

A vintage-style video opened the show, whisking us through East London’s foggy alleys and straight into the early days of the band. Then — bang! — “Murders in the Rue Morgue” kicked things off, and we were off to the races. “Wrathchild” followed hard and fast, and by “Killers”, the crowd was screaming every word. The sound wasn’t perfect at first, but it tightened up quickly.

Seeing these legends up close, you wouldn’t guess that most of them are nearing retirement age. Adrian Smith and Steve Harris bounded across the stage like teenagers, while Janick Gers spun, kicked, and showboated with delight. New drummer Simon Dawson held it all together with power and precision, giving older songs a new heartbeat.

The setlist was a masterpiece — a curated journey through Maiden’s golden age. “Phantom of the Opera”, “The Number of the Beast”, and “The Clairvoyant” all hit like sacred scripture. “Powerslave” and “2 Minutes to Midnight” showed just how intact the band’s musicianship still is. “Rime of the Ancient Mariner” and “Seventh Son of a Seventh Son” turned the show into full-blown epics.

Now, about the visuals: the LED screen backdrop was a game-changer — an innovation that frankly should have come years ago. The way it transformed the stage from song to song was often stunning. Scenes shifted from grimy London streets to cosmic battles and ancient pyramids with cinematic flair. At their best, the animations elevated the music, pulling the crowd into Maiden’s storytelling world.

Now it is time for an unpopular opinion. I personally think, not all visuals hit the mark. A few animations felt oddly repetitive, and some transitions lacked the polish or creativity you’d expect from a band of this caliber. There’s also the matter of the band’s stage presence. With no standout costumes or distinguishing visual elements, the members sometimes got a bit lost in the screen-heavy setup. Hopefully, Maiden finds a better balance in the future — the LED show can enhance the experience, but it shouldn’t overshadow the performers themselves.

A good example of balancing innovation with classic stagecraft is Judas Priest. Their recent shows feature a multi-leveled stage setup, bright and bold props, and smaller LED screens used more sparingly — creating a layered, dynamic look without overpowering the band. It’s not about being flashy for the sake of it, but about building a visual identity that supports the performance rather than competing with it. Maiden could absolutely take a cue here and still remain true to their legacy.

Still, the emotional impact of songs like “Hallowed Be Thy Name”, “Iron Maiden”, and the closing trilogy — “Fear of the Dark”, “Aces High”, and “Wasted Years” — was nothing short of electric. Bruce Dickinson’s voice faltered slightly in the upper reaches, particularly in “Aces High”, but his passion, presence, and charisma made up for it tenfold. He’s a born performer — still ferocious, still funny, still full of fire.

As we filed out of the arena, sweaty, smiling, and dazed, it was clear: we had just witnessed something unforgettable. Iron Maiden may be aging, but they’re not fading. Not yet. They still deliver an experience that most younger bands can only dream of replicating — not just musically, but emotionally and visually. This was more than a concert. It was a celebration. And Trondheim Rocks? What a perfect place to start the festival season.