Damnation Festival, Manchester, England, 7-8 November 2025
Omne: Well, I'll be damned.
As the calendar nears the end of the year 2025, it can mean only one thing... Christmas! For many a metalhead, however, there is one more big date left to celebrate before seeing out the first quarter of the century of the new millennium, Damnation Festival. Celebrating its twentieth year, Damnation Festival 2025 was not going to be just another edition of the festival; no, it would be the biggest, and most ambitious, edition of the festival to date. Now a full-fledged two days, it took its anniversary to heart by having one day (largely) dedicated to debut appearances at the festival, and the second being a reunion of sorts, a line-up composed of bands that appeared at the festival previously, and had helped build it into what it has become. If this wasn't ambitious enough for you, however, amongst the line-up were European exclusives, one-off reunions, bands appearing after releasing their strongest album in years, album-in-full sets, and bands who are rare sights for UK audiences. One thing was for certain:
Damnation Festival 2025 was not going to be any ordinary festival.
After having a rather lacklustre experience at last year's festival owing to illness, I had done the smart thing this year and gotten ill a few weeks prior to the festival instead. Still, it gave me more time to listen to the bands on the bill at least. I had also decided to splurge somewhat and get a ticket for the returning (but scaled back) A Night Of Salvation event the day before Damnation kicks off proper, and a cantina pass (which basically is entry to a VIP area), the latter more so as a means of ensuring somewhere to sit after three years of experiencing what long periods of standing on concrete floors and inadequate seating does to me. So, going all in on Damnation, it was time to kick off the event!
Matt: It had genuinely shocked me when the anniversary edition was announced that Damnation had been going for 20 years; the festival had only popped up on my radar in 2016 when the Cult Of Luna/ Julie Christmas – Mariner was announced (I missed the festival that year due to flying to the States the day before, instead catching the Mariner tour in Stockholm, and it would be another five years before I made it to Damnation for the first time). Having now attended four of the past five editions (2025 included), I had really been missing out for a majority of the past two decades. Although this was a bumper full-weekend version of the event, the increasingly expanded Friday pre-shows had effectively turned Damnation into a two-day event in the preceding couple of years; the decision to return A Night Of Salvation into a smaller-scale affair was appropriate for honouring the festival’s heritage, although its near-instant selling out meant that I was not in attendance, so the next section of this write-up will be reported by Omne only.
Table Of Contents
Friday: A Night Of Salvation
Saturday
Sunday
Omne: Having arrived and checked in at the accommodation me and my friends were staying in this year, there was time to kick back and relax before journeying to a different part of Manchester for A Night Of Salvation. Decamping to the smaller Bread Shed (a 450-capacity venue further afield in Manchester), Night Of Salvation's line-up was to be a mystery, with the only information being that it would feature four bands who were appearing on the main line up playing unique sets... until Deadguy leaked that they were playing Near-Death Travel Services in full. Still, given the track record Damnation have accrued, myself and the group I was attending with took the plunge on nothing but the promoter’s word.
Deadguy plays Near-Death Travel Services
Kicking off tonight's show were Damnation favourites Deadguy, playing their new album in full. Perhaps their early set was penance for leaking the show several months ago. Three things hit me immediately as the band started: the first was that it was incredibly warm in the venue; secondly, it was incredibly cramped (probably the reason it was so hot); and third, that the acoustics in the venue weren't great (the sound all evening wasn't ideal). Deadguy's maniac chaos suffered the most from the latter, with the sound guy struggling to know what to do with a band like this.
The sound issues had the side effect of highlighting the band's hardcore roots, stripping back their mathcore leanings and exposing what the band are truly about, namely hardcore run through a mangler (so this is how Black Flag fans felt when they released My War).
It wasn't the greatest start but hey, it's a party night, so it wasn't bad.
Stampin’ Ground – An Expression Of Repressed Violence/Carved From Empty Words set
Metalheads of a certain vintage will remember the days when Stampin' Ground were almost omnipresent in the UK metal scene; their brand of metallic hardcore brought them to the fore of the UK metal scene in the late 90s and early 00s before breaking up. Alas, another entry on the list of 'what could have beens', the band have recently reformed (after a brief return in 2014) and are back at it again. While the members have aged, the quality and aggression of their music is as timeless then as it is now, and was perfectly suited to the intimate surroundings that the Bread Shed offered.
Warm, sweaty and extra cramped owing to the circle pits that opened up, Stampin' Ground was perhaps best suited to this environment, with their metallic hardcore slamming extra hard thanks to the sound guy clearly loving the lower end. While the vocals would get swallowed up, the slamming rhythms more than made up for it.
Conjurer plays Mire
Up next were the only band tonight who formed post-2000, UK underground sensations Conjurer. Now, I've given Conjurer many attempts over the years to win me over; the decision to play Mire in full was perhaps the best chance of them doing so, given I'm regularly told it’s the band's best work. To be fair, the band came exceedingly close here, with their performance overcoming any lingering scepticism I had coming into this; however, the aforementioned heat was quickly sapping my energy and took me out of the moment. It was enjoyable, but damn hard going.
With the heat beating me, I decided to skip the final band, which was Raging Speedhorn, as I was already planning to see them on the Sunday, and one set of them a weekend was enough.
All in all, it was a fun night, and a good way to highlight the roots of metal in small, cramped rooms, before the weekend highlighted how far it had come in the surroundings of the B.E.C. One thing is for certain, I would not want to go to a show at The Bread Shed in summer; it was hot enough in there as it was in November.
Omne: With the rest of Friday evening spent in the local pubs and clubs in Manchester, I was slightly worse for wear come Saturday morning. Still, after breakfast and a glass of hair of the dog, I was back up and out to Damnation again. While I enjoyed last night's mystery line-up, I can't say I wasn't happy to be back to knowing the line-up in advance and being able to plan my day accordingly. The mystery show a nice novelty, but one I'd be hesitant to repeat without establishing trust in the promoter's track record prior; the loot box experience isn't something live music needs.
With Saturday largely reserved for bands who had not yet played Damnation before, it was shaping up to be a day to remember for years to come in its own right. With the queue to get in already sizable before any bands had started, it seemed many, including yours truly, were eager to get their Damnation experience started.
Matt: Having heard about Omne’s experience at A Night Of Salvation, I had little in the way of regret for missing it; as much as I would have loved to see Mire in full, I am not a fan of any of the other acts that played, and considering I have often flagged at Damnation due to the long days, late ending times and lack of seating, getting a good night’s rest felt paramount to enjoying two full days of this. Following a Saturday morning parkrun, we made it to the venue anticipating long entry waits, but while queues were building up, they moved extremely quickly, and as such my partner and I were in place to enjoy the first band of the ay.
Devastator / Oryx 12:00-12:30, Holy Goat Brewing Stage / Eyesore Merch Stage
Matt: Oryx were a band I was familiar with, having heard their 2024 release Primordial Sky. At the time, I had enjoyed its long-form sludge doom, but it didn’t linger in my memory. Live was a different story; this was a monumental way to kick off the day, with a thick sludgy sound bolstered by a massive snare. Huge, slow, punishing riffs offered beastly groove accentuated by pained shrieks and deep growls, while the occasional atmospheric passages offered brief respite. In a world where Torpor have disbanded and Kurokuma have lost their way, I need Oryx to become regulars over here to give me lots more of this kind of devastating heaviness. This was very much a case of throwing the gauntlet down to the flurry of bands to follow.
Omne: Having the honour of kicking off the festival (and my day) proper were blackened thrashers Devastator. It was clear that many others had the same plan, as the second stage was already well attended as the band kicked off. Any lingering cobwebs were quickly blown away in the hurricane of riffs the band unleashed. Ripping out the choice cuts off their first two albums, tracks like "Worship The Goat" and "Baptised In Blasphemy" got my day off to a great start and set a high bar from the beginning.
Overheard, The Albatross 12:30-13:05, Pins & Knuckles Stage
Matt: This band was completely unknown to me until they somehow got booked at both ArcTanGent and Damnation in the same year. Having seen them at each, I’m not entirely sure I see what the apparent fuss is about, but the cinematic post-rock vibe was a pleasant sound, and followed in the footsteps of Nordic Giants and A.A. Williams in opening the main stage in calmer fashion (even if they have a bit of a Temu Nordic Giants feel at times). There is some decent variety to their sound, with busy mathy drum parts in some tracks and indie/post-punk vibes emerging later on; that said, I can’t say I’m particularly fond of the recurring spoken word vocal style they keep using.
Omne: Having spontaneously decided to pick up a Cantina Pass, this allowed me and an exclusive group (not Matt, they have standards) access to the Star Wars-themed bar. While I enjoyed the novelty (the lack of cantina music hindered it), it was the seating and short bar queue that won me over. I could hear Overhead, The Albatross in the background, and enjoyed what I heard, but with the packed schedule ahead of me, some time off my feet was welcome (this would be my biggest gripe with the festival, all-concrete floors kill your feet).
Necrot / Zeruel 13:05-13:40, Holy Goat Brewing Stage / Eyesore Merch Stage
Omne: Thanks to Covid, the one chance I had of seeing Necrot prior to today didn't happen, leaving me watch the band go from strength to strength as I waited for our paths to cross once more, which Damnation graciously offered me. While rather earlier than I had hoped, Necrot didn't allow the early billing to faze them, producing a performance that is sure to convert those in attendance into hardcore fans of the band. With the sound at the best it had been thus far, Damnation was treated to a heafty slab of old school death metal, something I was eager to indulge in. The band performed a set that mixed old and new, delivering cuts such as "Drill the Skull" and "Stench Of Decay". A highlight of my day and only two bands in? Things had picked up considerably since yesterday.
Matt: I have stated my lack of enthusiasm for revivalist OSDM in the past, but I know I am in the minority when it comes to the current scene, as Necrot played to a very busy second stage. They benefitted from a good mix, and delivered a take on the style that was better than many of their peers; I appreciated the blackened tinge to the tremolo riffs during the full-pelt parts of songs. That said, the songs rather tended to go on and on, and after half the set I had had more than my fill of the sound, so opted to pop over to the far quieter third stage for a glance at Zeruel, a fully unknown band to me. Their soporific doom/post-/gaze sound (a bit reminiscent of Jesu) was pleasant enough for the remainder of the set.
Castle Rat 13:40-14:20, Pins & Knuckles Stage
Omne: My first trip to the mainstage this weekend was to see fast-rising doom stars Castle Rat, a band quickly making a name for themselves with their fantasy doom mix. While I was surprised when they were slated to play the mainstage, the size of the audience they amassed proved this to be a wise decision.
With pantomime-cum-live concert, the band produced a performance that was enthralling as it was lore-filling. Castle Rat mixed solid renditions of songs from both their debut record and latest album The Bestiary to great effect, both vibrant and engaging throughout. Highly recommended.
One thing that bothered me, however, was that while I understood each member's persona, the guitarist's confused me, looking like KISS in a kimono (turns out he was supposed to be a count, but I had to look that up).
Matt: That large crowd meant I spent most of this set stuck at the back chatting with acquaintances; the sound in the main stage hall carried very well to the back, sustaining the heft of the doom riffs and powerful retro vocals. The one thing I missed out on was a clearer view of the band’s costumes, which from a distance seemed a bit scattergun (especially the plague doctor mask on one of the guitarists).
Deadguy / Meryl Streek 14:20-15:00, Holy Goat Brewing Stage / Eyesore Merch Stage
Omne: Faced with my first clash of the weekend, I was torn between the lo-fi musing of Meryl Streek or the insanity that is Deadguy. After last night's showing, I was inclined to give the latter band another go, to hear them on a larger stage, which turned out to be a great decision. While less chaotic, the band still brought an anarchic energy that is intrinsic to their music. The hardcore element of their sound was reduced owing to a far better live mix, but it was compensated for with the inclusion of older, classic cuts off of Fixation On A Coworker. While the second stage had plenty of room, this was a blessing as I wasn't cramped up like a tinned sardine as I was at The Bread Shed. Another good set.
Messa 15:00-15:40, Pins & Knuckles Stage
Matt: While Omne was struggling with a clash, I was non-fussed about either act, and used this as an opportunity to peruse the merch and get a bit of rest, with a packed line-up in store for the latter stages of the day. Up next was a band I had enjoyed three years ago at Roadburn, and Messa did not disappoint this time either. An excellent full sound allowed the full range of the group’s talents to shine, with plenty of soul alongside retro groove as the band blended doom and classic rock, separated by nice quiet passages. There were some very pleasant and elongated blues/jazz solos, and the final song of the set, “Thicker Blood” from this year’s The Spin, was wondrous in its melancholia.
Omne: Having discovered Messa as a result of being announced for Damnation, I had fallen hard for the band, especially with the release of the amazing The Spin in the interim. The band's lo-fi and subdued presence did seem at odds with everything that had come before them, but the music did the talking and won me over. With brilliant renditions of "The Dress" and "Fire On The Roof", Messa enraptured me with their playing, which was handy, as their show was largely 'hide in the dark and let the music do the talking', a real change of pace coming after Castle Rat and Deadguy. The find of the festival, and a performance that lived up to the hype.
Portrayal Of Guilt / Dimscûa 15:40-16:20, Holy Goat Brewing Stage / Eyesore Merch Stage
Omne: At this point, I had nothing planned until High On Fire, so I was going with the flow of the mates I was with and ended up at Portrayal Of Guilt. Well, it served to highlight one of the weaknesses of democracy, as the majority opinion took me to a set that was passable at best. Something has to be the worst, and for me it was the lowlight of the weekend and the only time I didn't really enjoy myself. It wasn't bad by any means, and the sound and visuals were good, but it just wasn't for me.
I tapped early and got some food and was back up at the cantina bar having beers and honing my Jedi skills.
Matt: Having seen Portrayal Of Guilt open for Deafheaven several years ago and not particularly being enthralled by them, I instead went to see Dimscûa, who in the wake of their June debut album Dust Eater have really exploded, being subbed in as replacements at both ArcTanGent and Damnation. While I rather enjoyed their (rather Amenra-influenced) debut when it came out, I was a bit surprised to see how just large the crowds for them were at both festivals (apparently the Damnation organizer had shouted them out on his podcast, leading to their soaring popularity). I preferred their performance to what I would have gotten out of Crippling Alcoholism had they not dropped out, and I imagine this would have sounded great closer to the stage (we were stuck at the back), but I’m not quite as awed by them yet as many seem to currently be.
I checked out a bit of Orbit Culture after grabbing dinner in spite of my waning enthusiasm towards them with each successive release, and a glimpse of them live did not threaten to change my mind; overly reverbed vocals did little to lift up generally bland songs.
Brodequin 17:10-17:55, Holy Goat Brewing Stage
Omne: Having mastered the force, it was time for me to get back at it again, beer in one hand and light saber in the other. I decided to make the most of the festival, and was intrigued at experiencing a band who I've often seen touted as the most extreme metal band around, so jumped in spontaneously.
Well, I can see why the band got that reputation, as this was intensity cracked up to eleven and then some... which turned into a strength as well as a weakness. While it was certainly an experience, it was one that got monotonous quickly, as if it wasn't for the singer calling out the track name, I'd have no idea which song was, as each just turned into a sonic blur of blast beats and guttural vocals. Not bad, but a one trick pony that lost momentum before the set finished.
Matt: I had some curiosity to see Brodequin when they were announced, having somewhat enjoyed Harbinger Of Woe (winner of the 2024 Best Grindcore Album award), and as my brutal death-loving partner had them as her most anticipated band of the weekend, we got a spot close to the stage. The full-pelt relentless blast beat onslaught was impressive, even if some of the technicality got lost in the mix, but like Omne, I did find the sound lost some of its charm before the end of the set, particularly with the monotonous gargled vocal delivery. I also agree that the similarity of each song made introducing each new track slightly comedic as a non-fan.
High On Fire 17:55-18:45, Pins & Knuckles Stage
Matt: High On Fire were the final of the three Sleep-attached bands (after Om and, well, Sleep) that I caught live, and the first time I saw them in 2022, I was mildly underwhelmed. No such issues this time; High On Fire sounded beastly, the riffs were crunchy as well, and the energy was infectious, particularly when the iconic “Snakes For The Divine” got rolled out. Easily one of my favourite sets of the weekend, and while I’ve passed on a tour or two of High On Fire since the first show of theirs I went to, I feel far more inclined to grab a ticket for any future UK visits.
Omne: Somehow, seeing Matt Pike live had eluded me in all my years of being a metalhead, something Damnation thankfully enabled me to put right. The vocals and guitars were a bit buried, but the music managed to creep through the sonic mess. A powerful set filled with High On Fire classics like an electric "Snakes For The Divine", it had me and those around me hooked for the duration. Minus points, however, for the drummer managing to somehow throw his drumsticks anywhere but at the crowd at the end.
Panzerfaust / GosT 18:45-19:30, Holy Goat Brewing Stage / Eyesore Merch Stage
Matt: My one major bugbear from this year’s festival tour has been that both times GosT have been on the bill, they have been in clashes with unskippable set. First I missed them at ArcTanGent for Karnivool’s headline show, and this time they lost out to Panzerfaust. While Omne’s summary of their show inspires a degree of envy in me, I ultimately made the right pick. Panzerfaust were a bit too trebly in the mix to begin with, but by the time they had gotten to “Occam’s Fucking Razor”, all guitar details were fully audible. This was a scintillating show, culminating in “To Shadow Zion”, as the enormous masked vocalist stepped out to the barrier to roar into the crowd.
Omne: Faced with my second clash of the weekend, I was by now in a jubilant mood (read: several pints deep) and decided something to throw shapes to was in order. Thankfully Metal Storm don't do video reviews or vlogs, so I was able to dance like an uncoordinated plastic bag in a hurricane. GosT was the perfect tonic and mid-evening pick-me-up, as the dark synth was synthy and the smoke machine was in overdrive; everyone seemed in a party mood and was enjoying themselves. Unfortunately, the band finished early for some reason, leaving everyone standing bemused and wondering if they were going to return for an encore.
Deafheaven 19:30-20:20, Pins & Knuckles Stage
Matt: Deafheaven are a band that I have gradually come to warm to after being initially rather perturbed by them; a good part of that journey can be pinned down to seeing them headline a show in Slovenia in 2019. Compared with that experience, I was not quite as enamoured here, perhaps due to the drums being a bit overbearing in the mix from where I was stood behind the sound desk. Nevertheless, George Clarke’s rampant energy on stage is quite infectious, and with a set drawing extensively from this year’s sensation Lonely People With Power (just the one song apiece from New Bermuda and Sunbather to shake things up), the band made good use of their 50 minutes.
Wormrot 20:20-21:15, Holy Goat Brewing Stage
Omne: After a break for some food and a trip up to the cantina bar, I decided the best way to digest it was with a heaping dose of grindcore. Ramming out the second stage (don't think I've known it so busy), Wormrot received a hero’s welcome before they had even played a note. Intense and chaotic in all the best ways, the band blasted through the hits and managed to go beyond mere circle pits, creating perhaps the first ever whirlpool recorded in the middle of an industrial estate. It's crazy just how much noise a power trio can make. Wormrot will surely be invited back in short order after a performance like that.
Matt: I’ve never quite got on board the Wormrot hype train, even as I’ve gradually acquired a slight taste for grindcore, and with so much big-name grindcore on offer this weekend, I didn’t find myself too enamoured by them here, coming after the ballistic intensity of Brodequin, although their backdrop was certainly eye-catching. A near-hour of this sound was more than I could ever need, so I left early to grab a good spot on the main stage.
Perturbator 21:15-22:05, Pins & Knuckles Stage
Matt: The last time I had seen Perturbator was shortly after the release of their goth rock-leaning Lustful Sacraments, whereas this set came hot on the tails of their minor reversion back to synthwave with Age Of Aquarius. As much as I like Lustful Sacraments, I feel like this set really underlined where the project’s strengths lie; the different in energy between opening song “Excess” and the debauchery as the set ventured back towards the era of Dangerous Days/The Uncanny Valley/New Model was apparent, and the spectacular light and fog show lifted everything up to another level. Hits like “Humans Are Such Easy Prey” and “Neo Tokyo” went down a storm, and the final track “Tainted Empire” really milked the last ebbs of the set for all it was worth.
Omne: Why they decided to split GosT and Perturbator up was a mystery; instead of carrying on the rave train, Perturbator had to restart it from a stop. Still, having already shown Damnation what dancing really was, I decided to take my moves to the main stage and show everyone how it's done (hint, with plenty of Holy Goat Red in your system). Like someone mashing the buttons on a controller while playing Tekken for the first time, I grooved with the best of them, and exhausted myself in the process. Perturbator was fun, and alongside GosT, added a level of eclecticism that enhanced the festival experience. I'd be up for more festivals throwing in curveball acts here and there.
Gaerea / The World Is A Beautiful Place & I Am No Longer Afraid To Die 22:05-23:00, Holy Goat Brewing Stage / Eyesore Merch Stage
Omne: It's rare to describe Gaerea as a moment to calm down and catch my breath, but after the dance dance revolution that was Perturbator, the black metal majesty was something to settle myself down to, and to replace the shiny neon with some dark and malevolent black. Another band who had filled out the second stage, Gaerea managed to evaporate any lingering rave mood and turn it into alluring black metal majesty. On point and powerful from start to end, Gaerea made a last-minute attempt at winning band of the day title, but just came up slightly short, despite rolling out veritable classics.
Matt: I was slightly surprised to see that the second stage was not as busy for Gaerea as several other acts on the day. Still, it was a sizeable crowd that witnessed the vocalist’s contorting presence on stage, adding a peculiar dimension to a black metal set along with the screen behind the stage playing the band’s music videos. In truth, with a set mostly focused on Coma and subsequently released singles, the metal was a bit less blackened than it could have been, instead being a bit wet and post-hardcore-leaning in places. The vocals were very prominent, and the guitars less so; still, I do like Coma, and I enjoyed this set, although I appreciated the rare ventures towards pre-Coma material.
I didn’t stay for the full set; I have a small level of fondness for The World Is A Beautiful Place & I Am No Longer Afraid To Die, and having missed them at previous festivals, I ducked my head into the (very sparse) third stage for the end of their set. Their odd mix of styles (some heavy, some less so) was an intriguing choice for the festival, and I somewhat enjoyed the mix of hardcore energy with lighter melody, but I don’t think I need to seek them out in future.
Corrosion Of Conformity 23:00-00:00, Pins & Knuckles Stage
Omne: I was running on fumes at this point; the raves of GosT and Perturbator had only exacerbated the ache in my feet. Still, the sole chance to catch Corrosion Of Conformity in Europe this year was something I had to at least try for. The band were in fine form, but I was too tired to really enjoy it, and decided after the third song to cut my losses and head back to the hotel.
It was rare to have so many back-to-back high-quality sets, but Damnation had spoiled me. With Sunday being my anticipated day, the gauntlet had been laid and tomorrow only looked more tantalising a prospect.
Matt: Having never cared that much for Corrosion Of Conformity, and also running low on energy, I elected to catch the first few songs of their set before departing; a good mix allowed perfectly fine bluesy southern rock to shine best it can, but I was never in danger of being tempted to stay longer.
Omne: Having shown Manchester how it's done, I had returned to my hotel and soothed my aching feet. Largely reserved as the day of returning heroes, Sunday was the strongest day for my tastes, and featured perhaps one of the strongest run of back-to-back bands at a festival I've experienced; from 13:40 through 21:10, I was blocked solid with acts I wanted to see (oh, my aching feet). Sunday was going to be a test of endurance as much as a day of entertainment, and I was going into it slightly hungover...
Matt: In contrast to Omne, the Saturday had been the more promising day of the festival for me, and had very much delivered, but with a good night’s rest, I was eager make the most out of the many good acts in store on Sunday.
Hidden Mothers 12:00-12:30, Meliora Software Stage
Matt: I was only able to catch the final 2 songs of the opening slot due to encountering issues with public transport on the Sunday morning, but what I saw of Hidden Mothers was in keeping with past experiences; a solid mix allowed the cleaner post- parts to shine, even if the extreme sections and wetter clean singing parts didn’t quite do it for me.
Conjurer 12:30-13:05, Lou’s Brews Stage
Matt: With Conjurer performing Mire in full at the Friday pre-show, I wasn’t shocked that their set here (surprisingly early in the day, considering their renown at Damnation) drew mostly from new album Unself. While I like the record, some of the minor misgivings I expressed towards it in my review felt applicable here; the new record’s songs lack the consistent bite of Conjurer, which the set ending with “Choke” from the debut underlined. This was a good show, but lacked a bit of the sheer force and malevolence that the band’s sets in the past have delivered.
Omne: Thankfully, a slightly later start meant more recovery time; it would have been longer, but having come close to crossing the line into fandom on Friday, a second crack at Conjurer in short order was needed. I wasn't boiling alive this time, and the live mix lightyears ahead this time, so Conjurer had it all going for them. Still, perhaps it was the lingering hangover, but I again couldn't fully get into the groove; it was OK to watch, and I wasn't put off, but something was missing for me. Still, it was a good way to ease myself into what was going to be a busy day.
Deciding a break before heading into the long haul was necessary, I headed up to the Cantina bar once more.
Din Of Celestial Birds 13:05-13:40, Meliora Software Stage
Matt: Another ArcTanGent/Damnation recurring post-rock/metal name that I’ve yet to be fully won over by, I enjoyed the lively instrumental post-rock of Din Of Celestial Birds, with the mix balance across the three guitars good (although the bass was almost overwhelmingly loud), but didn’t leave with much expectation of this set lingering in my memory.
Onslaught plays Power From Hell 13:40-14:20, Lou’s Brews Stage
Omne: Kicking off my extended glory ride of bands was one of Britain's finest thrash institutions in Onslaught. Celebrating the anniversary of Power From Hell, the band had opted to play the album in full, at least on paper anyway. With Sy Keeler back behind the microphone once more, the band emerged on stage and tore into "Power From Hell" ... and it became apparent that the soundman hadn't realised that Onslaught were not an instrumental band, as Keeler's vocals were barely audible for the first few songs, which was one way to welcome his first British show back (and the guitarist's backing vocals were never audible).
I say it was on paper a Power From Hell set, as after 4 tracks, the band ripped into "Killing Peace" and other choice cuts not off Power From Hell; I wasn't complaining, as the band nailed "Let There Be Death". I don't know if the band forgot, or thought better of it changing the setlist, but aside the vocal issues it was a great set.
Matt: A thrash set was low on my list of wishes from the festival, but for what I caught of Onslaught, it was passingly enjoyable. The band had a lot of bite to them with a quite vicious sound, albeit with the glaring issue noted by Omne of the buried lead vocals.
Stampin' Ground / Coilguns 14:20-15:00, Cult Never Dies Stage / Meliora Software Stage
Omne: With barely a moment to catch my breath, it was off to the second stage to carry on the mosh antics for my second Stampin' Ground set of the weekend. With the second stage a healthy size already, the band returned to a hero’s welcome, before tearing Damnation a new one with a hefty dose of metallic hardcore. While Friday's showing was good, this performance blew it away, with Frakes-Sime often found in the crowd. Stampin' Ground got the crowd moving and headbanging as they tore through a set of overlooked cult classics like "Emasculate", "Mid Death Crisis" and ending on their signature "Officer Down". This was just the start of my day and I was already being spoilt rotten.
Matt: While I had been slightly surprised by getting some enjoyment out of Onslaught, Stampin’ Ground (a name I was not aware of before this festival, since I got into metal after they had disbanded) were ultimately not for me, with a thrashy metalcore sound that ticked none of my boxes (that the band shouted out Orbit Culture, the least impressive band of the Saturday, as a highlight probably says a lot about our divergent musical tastes). After a couple of tracks, I went over to catch a bit of Coilguns, who had been recommended to me by my bandmate after their ArcTanGent set that I skipped there. I liked the tom drum rhythms, lively loud parts and occasional crunchy djent moments, but the noise/indie rock portions were again something I could live without more of, so I went to claim a good spot on the main stage.
Primordial 15:00-15:45, Lou’s Brews Stage
Matt: While the bulk of my anticipated names for Damnation were on the Saturday, perhaps the band I was most looking forward to was Primordial. One of those rare bands who reliably play their best songs in their sets, the Irish pagan metal icons crammed 45 minutes full of hits in “As Rome Burns”, “Gods To The Godless”, “To Hell Or The Hangman”, “The Coffin Ships” and “Empire Falls”, plus a truncated rendition of “No Grave Deep Enough” in the sound check (and how gutted I was that this didn’t make it into the set proper). A guitar issue during the final song was unfortunate, but the sound was otherwise great, and Alan Averill was as magnetic a stage presence as ever, even with a bit less time to chat than usual. I had an awesome time singing along to this whole set, which was easily the highlight of my Sunday.
Omne: It was straight back to the mainstage where the tempos may be dropping, but the intensity remained the same. Irish doom legends Primordial were next up, and kept the day moving along nicely. With only 45 minutes, the band stuck to the classics (how awful) and given how hooked I was, the set flew by (which is odd for doom) in the blink of an eye. With the length of their songs necessitating that the band let the music do the talking, Averill still managed to let his personality shine through during the short breaks between tracks.
Raging Speedhorn (fan picked set) / Psychonaut 15:45-16:25, Cult Never Dies Stage / Meliora Software Stage
Omne: After the brief respite from aggressive and abrasive metallic attacks, it was back to the second stage for sludge masters Raging Speedhorn, who had opted to allow attendees to curate their setlist via the Damnation app. Which, on paper at least, was a good idea, but it wasn't the most exotic of setlists (especially given the potential); it did, however, give me a chance to hear overlooked gems "Hard To Kill" again. An enjoyable set, but compared to the rest that was going on today, it was the least excitable, but that is largely due to the quality of the competition.
Matt: Raging Speedhorn are a band that I have neither the nostalgia nor the current taste for, so it was an easy choice to instead see Psychonaut, who were arriving shortly after the release of their excellent World Maker. I have seen Psychonaut a few times live now, and as much as they are probably my favourite of the three Mechelen post-metal bands on record, I’ve never quite got as much out of them live compared to Hippotraktor or Pothamus. This remained the case here, as a slightly muddy mix caused some guitar details to be lost, and stopped the heavy moments having the same peak potency. Nevertheless, it was still a very enjoyable set, and “The Fall Of Consciousness” was reliably engrossing as the highlight of the set.
Pig Destroyer 16:25-17:15, Lou’s Brews Stage
Omne: There was no time for rest for the wicked, as it was back again to the mainstage for Pig Destroyer. Compared with their performance three years ago, the band had come on leaps and bounds in quality, thanks to a live mix that didn't reverberate into a sonic mess. The band were tight and concise as they bludgeoned the crowd with grindcore classic after grindcore classic. Rarely stopping for more than seconds at a time, Pig Destroyer knew what the fans wanted and they kept it coming.
Matt: In contrast to Wormrot the day prior, I was on board with this onslaught of grindcore from Pig Destroyer. So were the crowd, evidently, as there was a bombardment of crowdsurfers throughout for the security to deal with. I was amused by the samples module being front and centre stage for a grindcore band, but being largely unacquainted with Pig Destroyer, I was surprised by how many samples and atmospheric interludes there were; it also helped that the samples guy had a lunatic stage energy, and he popped into the mosh pit towards the end. While there were moments of this set that reminded me of how unabrasive Napalm Death have always sounded to me live, there were plenty of full-speed frenetic songs, and some really hench riffs to get stuck into.
Hellripper 17:15-17:55, Cult Never Dies Stage
Omne: It was back to the second stage for the final time this weekend (I know, it had felt like it had barely just started and it was already near the end of the festival) for Scottish blackened thrash mob Hellripper. Launching into their no-frills (but plenty of thrills) set, Hellripper kept the party vibe going as they ripped through their set at lightning speed.
Alas, the lack of a break meant at some point I was going to have to skip out on a band to use the loo and grab a beer, and given I had tickets to their April tour, it was Hellripper that drew the short straw today. The half of the set I saw did make it hard to pull myself away, but in just twenty minutes they put in more quality and entertainment than many bands manage in a full set.
Matt: I could only see this from the band of a rammed second stage, but Hellripper’s fast and furious blackened thrash was stirring up a storm; the riffs were a tad muddy in the mix, but the solos came through pleasantly clearly, as did the vocals. James McBain also had some good stage banter between songs to enjoy.
Anaal Nathrakh 17:55-18:45, Lou’s Brews Stage
Omne: Refreshed, I was back into the fray for what would be the most intense show of the day. Something about the oppressive, brutal assault of Anaal Nathrakh’s industrial extremity mixed with nihilistic imagery on the backing screen makes for an unmissable experience. With the band again on fine form, they performed another festival highlight of a set that assaulted the senses with brutal renditions of "Of Fire, And Fucking Pigs", before ending with a tandem of "Forward!" and "Endarkenment" that saw their set out perfectly for me. The band were tight and the sound on point to beat you into oblivion before pulling you back into reality. An experience for sure.
Matt: Anaal Nathrakh made reference on stage to being a ‘house band’, given their frequency playing Damnation; I had seen them for the first time 2 years prior at this festival, and the crowd enthusiasm both times made it clear that Damnation attendees are happy for them to continue to fulfil this role. The mix was drum-heavy (with a few slightly distracting clipping artefacts), but the vocals (clean and extreme) and guitar riffs were clearly audible. The set was relentless, but the melodic hooks of the vocals made it exciting throughout, and the double header of "Forward!" and "Endarkenment" wrapped things up in serious style. Dave Hunt was one of several frontmen to pay tribute to the recently departed Tomas Lindberg, although The Haunted on right after were sure to offer more on that front.
Author & Punisher / Nordic Giants 18:45-19:30, Cult Never Dies Stage / Meliora Software Stage
Omne: After the soul-crushing experience that Anaal Nathrakh offered, it was time to heal the wounds with a soothing escape into sound. I rarely consider music art, but Nordic Giants offer a sensorial experience that feeds the soul and feels as much like a show as it does appreciating an art exhibition. Where Anaal Nathrakh had broken my soul, Nordic Giants refilled it, and was the perfect tonic and respite in a hectic schedule of extremity. You stood there rapt by the music while a video presentation opened your eyes and rewired perspective into your mind. It truly is something to be seen to believed.
Matt: I had loved Nordic Giants when they were on the main stage two years ago; here, stuck towards the band of a filled third stage, I didn’t get quite the same experience, but a clear loud sound and busy light show allowed the piano-and-drum core of the group to shine, with the usual backing visuals to accentuate them. After a few tracks, I felt sated enough to pop over to the second stage and catch the end of Author & Punisher; I had found them oddly dreamy and light when I saw them previously at ArcTanGent, but here the expected big mechanical heft of their industrial drone delivered what I was hoping for. The droning atmosphere was punctuated by high-pitched harsh vocals as the guitarist added nice texture, and overall this was a far more satisfying experience than the previous time.
The Haunted 19:30-20:20, Lou’s Brews Stage
Omne: After what felt like an out-of-body experience, it was back into the fire once more, this time for an all-too-rare UK appearance (and my first time seeing them) for The Haunted. Not only did the band have the aforementioned to get excited about, but in Songs Of Last Resort, they have one of the strongest albums of 2025 to mine for setlist content. With the Gothenburg vibe coming through crystal clear, The Haunted ran through all the hits with near-note perfection, finally breathing life into tracks I had long only heard on record, with the likes of "99" having a sledgehammer groove, while "Hate Song" has some underrated riffs that were imprinted on my conscience here.
Pour one out for Tomas Lindberg R.I.P.
Spectral Wound / Mantar 20:20-21:10, Cult Never Dies Stage / Meliora Software Stage
Matt: I only caught glimpses of The Haunted, instead using this gap in my schedule to grab some dinner. What I heard sounded good, although as someone with no nostalgia for the band, nothing really reached out to me. After eating, we went to catch some of Spectral Wound, a band that plays a raw form of black metal that doesn’t scratch that much of an itch for me, but which clearly does for many others given the quickly growing crowd. The mix was ideal, with the frozen riffs coming through clearly, but ultimately their sound is just a bit too ‘norsecore’ for my liking, so I left before the end to claim a spot for the next band on the main stage.
Omne: At this point, I was exhausted; this extended run of back-to=back bands had done a number on my feet as well as my senses, with my ears ringing and eyes weary from constant bright lights. Going into Mantar with the attitude that this was the last push wasn't the way I wanted it, but alas, it was what it was. Mantar performed well and took my attention away from my aching and tiring body, but it was an uphill battle to stay upright throughout. I'll have to keep an eye out for a chance to see them again, as I felt I wasn't able to fully immerse and enjoy myself as I had hoped to.
Amenra 19:30-20:20, Lou’s Brews Stage
Matt: This was the tenth time that I had seen Amenra like (as it had been with Conjurer earlier in the day), and while they are a reliably strong live act, I have had my slight fluctuations in enjoyment of their shows over the years, with their 2023 set one that had left less of an impression on me. However, after loving them at ArcTanGent in 2024, I was similarly enraptured here. This was the first time for me seeing them with Year Of The Cobra’s Amy Tung Barrysmith on bass (the third bassist I had seen perform alongside an otherwise constant roster of musicians), and I believe she contributed a few clean vocals, but the experience was otherwise the same as always: huge sound with monumental heavy riffs contrasted with spacious delicate soft passages, backed up by ample stage fog, dazzling lights and a black & white backing video. The set was devastating, and made for a great final climax to the festival for me.
Warning 22:00-23:00, Cult Never Dies Stage / Wiegedood [i]22:00-23:55, Meliora Software Stage
Matt: That said, there were still two hours of entertainment left. First, cult doom act Warning were on the third stage for an hour, before veterans Napalm Death closed out the night on the main stage. During both sets, Belgian black metal act Wiegedood were playing for a whopping 2 hours as they performed their De Doden Hebben Het Goed trilogy in full.
Having been consistently unengaged by Napalm Death live, I already knew I would not be lingering around that long, but I did want to catch some of the other two acts, in spite of my fatigue. In truth, I have been in the consistent minority of the Metal Storm user base in not clicking with Warning, and while the sound (thick bass, clearly audible guitar nuances) was ideal, I still find their crawling sound a bit too turgid for my liking. One song was enough for me to know I would not be dissuaded, so we instead switched over for some Wiegedood. I knew from the beginning that there was no chance of me seeing two hours of them, but I do wish they had been on a bit earlier when I had the energy for it, as I enjoyed what I caught of them. A solid mix let the warmer guitar textures to come through in the post-black metal sections while still lending a lot of weight to the plentiful blasting that the band unleashed on the crowd.
Omne: I had hoped to make Warning and Napalm Death, but in between waiting around for Warning and the high chance their style of doom would in all likeliness send me to sleep in my current state, I called it a night and headed off to my hotel. It’s been a while since I've had such an extended run of bands at a festival; it was enjoyable as it was tiring, but damn, I don't think I will complain at having one or two bands playing next year that I don't want to see, so I can sit down and rest for a bit.
Omne: This was perhaps my favourite Damnation Festival to date; the sheer amount and quality of the live performances was something every metalhead hopes for when attending a festival. With a few minor sound niggles across the festival, it was a weekend that was well executed, and one that largely fixed the shortcomings of last year's edition (more seating, vendor queues were far shorter) and also improved on things the festival already did well (sound quality, room to manoeuver).
Band of the weekend? Extremely tough to choose, as aside from Portrayal Of Guilt (who I hadn't even planned on seeing) I enjoyed every other set that I saw, but if I had to choose then it would be Nordic Giants. The ability to pierce through my battered senses and take hold of my attention and take me away from my myself is something every music fan strives to experience, and they offered it here.
Matt: I’d be on board with Omne’s assessment that this was the best edition yet; while I’ve arguably seen sets I’ve enjoyed more at previous Damnations I’ve attended, this has possibly been the one where there’s most consistently been acts I wanted to see, and aside from a few small niggles, I found the sound reliably good across genres, which wasn’t the case for some bands drowning in washy mixes the last times I’ve gone up to Manchester. I also appreciated the general organization, between the quick entry to the arena area at the start of each day, the much more manageable food queues, and the welcome capping of beer prices to £7 for most drinks after some obscene costs last year. The festival remains a level or two below ArcTanGent in terms of organization and band quality for me, but it’s getting gradually closer, and makes for an excellent autumn counterpart to that summer gem.
Band of the weekend is difficult for me to say, as Oryx, Panzerfaust, High On Fire and Amenra all made solid claims, but in terms of my own sheer enjoyment of their sets, it’s a dead heat between Perturbator and Primordial as to which will live longest in my memory.
