Live Review: Wacken Open Air Festival

Germany’s Wacken Open Air has become a pilgrimage for devotees of the genre, thousands travelling extensively to help defend the faith.

After beginning life in 1990 as a small-scale gathering for German bands, organisers eventually began booking bigger names and it has remained a bastion of heavy metal festivals, while incorporating the many flavours the genre has to offer. It’s so well-regarded that despite the 2014 line-up arguably not reaching the grandiose heights of certain other European festivals’ more star-studded rosters, the 2015 event has already sold out within a staggering 12 hours. This easily surpassed this year’s record-breaking effort of less than two days.    

If you missed out, never fear - there are still methods to acquire a Wacken ticket after the sold out sign is posted, via the name change and ticket exchange. Keep an eye on the festival website for more details. It would make an ideal Christmas present for any metal-head. 

Anyway, it’s on to the 2014 edition. Traversing throughout balmy Hamburg during the days leading up to Wacken was again an event in itself. Metal and rock pubs, especially those in and around the red-light district of the Reeperbahn were teeming with fans from numerous countries; the drinking (and debates) often spilling out from the venues into alleyways. Record stores were also littered with festival punters. The Music managed to catch a few bands, including an entertaining set from American metallers Trauma (best known as bass virtuoso Cliff Burton’s pre-Metallica outfit) at The Rock Café in St. Pauli. 

Tales of previous festival experiences were swapped, comparisons of respective metal scenes occurred en masse and many ales consumed. The ideal physical (drinking) and mental (becoming increasingly enthused for the week’s shenanigans) preparation for what lay ahead. 

Day 1 – 31 July

As is the norm, the majority of the approximately 75,000 punters (some pundits have estimated in excess of 80,000 attended this year, although such claims remain unsubstantiated) attending Wacken’s 25th anniversary arrived at the otherwise quiet, unassuming village in northern Germany the day prior to the festival proper kicking off. Finding an ideal camping space was obviously a priority; boozing surely a close second. Some of the temporary homes fans established for a scant four-night stay were impressive in scope as always - portable cabins, expensive campervans, and elaborate gazebos included, many of their owners blaring a variety of heavy metal tunes (and of course, AC/DC) at all hours. Despite copious amounts of alcohol flowing, the vibe was convivial, a real international gathering of the tribe palpable. 

Enormous lines to purchase official festival merchandise entailed, while the markets remained a popular attraction for the entirety of the festival. One could easily lose themselves there for several hours without seeing a solitary band. Almost any metal-related item you could desire can be located in this area. If you ever attend, be sure to dedicate some time for further investigation. Other entertainment spanned a movie field screening films such as Lemmy, a meet-and-greet area, the Bullhead City Circus, pro-wrestling displays, cage fights and plenty more. 

Although some Wacken residents again utilised the festival as motivation (or just an excuse) to leave the municipality for a holiday, others remained and embraced the spirit (and the money that it undoubtedly affords too). Outside the festival grounds, Wacken flags and banners lined the streets and shopfronts, surrounded by numerous food outlets and bars, while the town’s supermarket did a roaring trade. 

The day before the official festivities featured obligatory appearances from the likes of the WOA firefighters, as well as perennial Wacken favourite, comedy covers performer Mambo Kurt. The international Metal Battle finalists from assorted countries also appeared. Later in the festival, Spain’s [In Mute] took out first place, announced amid much fanfare to the press. 

On that front, the world’s metal media also converged on the heavy music mecca. One of the primary reasons bands are perceived to want to play Wacken is the extensive press coverage they receive as a result of appearing there. Bands hosted press conferences (Apocalyptica even revealing that a return to Australia is on the cards within the next year), new acts showcased and numerous one-on-one chats scheduled. A daily festival newspaper circulated, outlining set times, live photographs, profiles, Q&A’s with fans and more. The press tent also provided a welcome breather from the heat, but with so much to see, The Music rarely stayed there for too long, as you’ll soon discover in later parts of our coverage. 

Day 2 – 1 August

The official inaugural day of music at Wacken typically features far less bands than days two and three, perhaps enabling punters to get settled, recover from their initial hangovers and check out the markets and other stalls before the acts kick off later in the afternoon.

The Music took the opportunity to attend a media launch of We the People of Wacken, a photo book documenting the festival’s fans. Created by award-winning photographer Pep Bonnet, the 180-page tome seemed like a great collectors’ item. 

Over at the main stage, leather pants-sporting Swedish power metal heroes HammerFall presented their devotees with an exclusive treat; performing every song (not in sequential order however) from debut LP Glory to the Brave. To the even greater joy of the faithful, they recalled former members for the occasion. This was the ideal environment to witness such bombast; favourites like closer Hearts on Fire best understood by thousands of already well-lubricated folks singing along with unbridled passion. 

“Who here likes heavy fucking metal?” Although stylistically far removed from their predecessors, preening and pouting Steel Panther are also well-honed crowd-pleasers. The Los Angeles glam satirists’ amusing, energetic schtick is well-rehearsed by now, but they’re rather adept at it, infectious festival fodder like Death to all But Metal and Party All Day helping win over some remaining doubters. Ditto their blurring of the lines between parody and pastiche by encouraging females to display their wares for viewing on the big screens, and inviting others to dance on-stage. You couldn’t have wiped the smiles off numerous fans’ faces with a sand-blaster.

NWOBHM survivors Saxon are Wacken royalty by now, having played an integral role in helping establish the event’s early credibility. Grizzled but engaging, motorcycle-sporting front-man Biff Byford even dubbed it “the greatest festival in the world”. Their set-list practically bulged with classics - Heavy Metal Thunder, Wheels of Steel, 747 (Strangers in the Night), et al - while their presence and experience commanded widespread approval. Orchestral flourishes were a welcome fresh edge for those who had caught their live show numerous times before. The “denim and leather brought us all together” refrain proved a true rallying cry for those old and new, a sentiment that perhaps struck at the festival’s very core.

Here’s a tip for all Australian readers - don’t miss Accept’s maiden voyage Down Under later this year. They remain in mighty fine form. Just how their fist-pumping, mass sing-a-long anthems will translate to club audiences will be a source of curiosity though, because in front of an adoring home crowd, aptly appearing on the True Metal stage, they were very much in their element. Off-set by that trademark riff crunch, vocalist Mark Tornillo was a more than appropriate replacement for the beloved Udo Dirkschneider. It’s testament to the quality of new cuts like Teutonic Terror and Stalingrad that they can slot alongside early efforts ala Restless and Wild and London Leatherboys, or a bona fide classic like Balls to the Wall and not seem misplaced. A fitting end to the day’s activities, while subsequently an appealing appetiser for what was to follow. 

Although the music they have crafted with current singer Johnny Solinger continues to be middling at best, Skid Row possessed enough hard rock anthems to help punters shake off their hangovers. The vocalist’s often cringe-inducing “us against the world” banter quickly wore thin, and new songs didn’t elicit the level of response afforded likes of Monkey Business, I Remember You or Slave to the Grind, but was serviceable enough.

The searing, punishing afternoon sun certainly wasn’t the ideal conditions for grim, fast and furious black metal. Despite appearing somewhat uncomfortable as a result and greeted by only a modest attendance at best in the main arena, Germany’s Endstille still executed their bile-spitting, yet melodic extremity with fire and brimstone. This was a case of wrong place, wrong time.

"Grim, fast and furious black metal."

Five Finger Death Punch appeared an odd fit for such a bill, but their Americanised chest-beating bravado obviously connected with a sizeable chunk of the Wacken audience, particularly those in the pit. Bad Company and LL Cool J covers helped their cause, and they had hooks in spades. It again felt contrived though, and not merely Ivan Moody’s irritating, even nonsensical chatter. Their balancing act between tough guy metal posturing and sensitive balladeers made them a tough sell for some, while exuberant Burn MF and Hard to See endeared them to numerous others. 

After sitting in the gloriously air-conditioned Gibson bus for a round of interviews, it was back to the True Metal stage for heavy-hitters Heaven Shall Burn, the Germans accentuating their bridging of the gap between metalcore and melodic death metal amid a barrage of flames and smoke machines. Marcus Bischoff’s vein-popping screams were off-set by thunderous breakdowns greeted with religious-like fervour. Circle pit carnage ensued throughout Endzeit and Voice of the Voiceless, their highly recognisable cover of Edge of Sanity’s Black Tears appropriate audience interaction fodder. 

Not so much Wacken veterans as they are part of the furniture these days, Children of Bodom are seasoned festival performers. Head-banging like a dervish, Alexi Laiho’s guitar pyrotechnics drew an enormous crowd. The Finns opened with a blistering Needled 24/7, beginning a display littered with beloved fan favourites (Kissing the Shadows, Lake Bodom, Bodom After Midnight) from their creative peak, easily sustaining the crowd’s interest. Latter day tracks lack the inspiration of their early work, but there are far worse prospects than giving your fans exactly what they want. 

While carving a rather respectable following in countries such as Australia, in Europe cello-wielding Finns Apocalyptica are a very big deal indeed. The metallers even enlisted an orchestra for the occasion, pulling out all the bombastic stops for such a prestigious appearance. Much of the intricacies were muffled by the outdoor environment and overall uneven mix, the absence of a guest vocalist not affording them that welcome extra dimension. However, obligatory neo-classical nods to Metallica in the form of Fight Fire with Fire and Nothing Else Matters, alongside their own quality cuts like Grace and Worlds Collide were widely appreciated. 

It was the clash that split the majority of the Wacken faithful - death metal legends Carcass and rock mainstays Motörhead. Adding greater intrigue was the latter’s abruptly ended set in 2013, and rumours (or just plain gossip) spreading throughout the grounds that due to his ailing health it may be the final opportunity to see main-man Lemmy Kilmister in action. Age seems to finally be catching up with rock’s immortal being, ensuring an even larger turnout for them. 

Faced with such a conundrum, The Music opted to catch Motörhead open with a rousing Damage Case, before dashing to the Party Stage for Carcass’s timeless opening one-two punch of Buried Dreams and Incarnated Solvent Abuse, in addition to selections from brilliant latest disc Surgical Steel. Front-man Jeff Walker’s snarky wit was in full force (“do you think it’s your last chance to see me as well?”) and the band ruthlessly taut. 

Just a few hundred metres away, from Doctor Rock onwards The Music managed to time things expertly to encounter a series of hits. Metal queen Doro Pesch stopped by for Killed by Death, before the predictable yet necessary classic Ace of Spades and towering Overkill. Lemmy also referenced suggestions of it being their final stint at the festival. This reviewer isn’t a betting man, but would wager good money he’ll be back – even if extended guitar and drum solos and his wearied demeanour suggested it may be a few years between drinks while he fully recovers. If it signalled a winding down of their live activities, it was archetypal Motörhead - no surprises, but certainly no bullshit either. 

Flanked by more flames than a season of Chicago Fire, Slayer was uproariously greeted as the thrash legends they are, despite also showing inevitable signs of age after more than three decades in the game. The mosh violence also helped dislodge a sizeable amount of dust, which noticeably began to litter throughout the grounds.

Irrespective, any act with so many genre-defining cuts (you name it, they probably played it) up their sleeves was tailor-made for easily one of the weekend’s largest attendances. Front-man Tom Araya’s charisma and Kerry King’s commanding stage presence was more than matched by fellow axeman Gary Holt, his sheer energy invaluable. South of Heaven and Angel of Death, interspersed by a tribute to late guitarist Jeff Hanneman were no-brainer moves to end proceedings. Hardly life-changing for anyone who had previously witnessed Slayer live; but many folks’ necks surely felt the effects upon waking up in their tents the next morning.

Gargoyles, inverted crosses, skulls, pentagrams and a series of visits from the venerable “Grandma” character - it could only be a King Diamond show. Decked out in his trademark make-up and clutching that microphone handle (allegedly made from human bones, naturally, and also proving handy for air-guitar), after health scares of his own the falsetto-spouting metal mainstay only tours selectively these days. Hokey theatrics, sure, but rockers still turn up in their droves to see Alice Cooper decades since he was actually dangerous, because it’s highly entertaining. Thus, cue many fans clutching at invisible oranges and imitating the Danish veteran’s vocal style throughout At the Graves, Sleepless Nights, an imitable Welcome Home and many others.

Sprinkled among the King Diamond favourites were a small dose of Mercyful Fate fare; the latter’s Come to the Sabbath in particular aired lovingly by a band spanning long-time guitarist Andy LaRocque and new bassist Pontus Egberg. Despite finishing well after 1am, devotees would have waited as long as necessary. Long live the King. 

Day 3 – 2 August

The combination of a few intermittent showers, the gathering dust and heat had some seemingly a tad worse for wear by the time the final day of acts rolled around. It certainly didn’t detract from a jam-packed day, however, and the festivities began in earnest early on.

For one, said factors didn’t hinder a large turnout gathering at midday for Arch Enemy, bedraggled punters leaving their tents out of curiosity (or perhaps just a gander at eye-catching new vocalist, Canadian Alissa White-Gluz). The Swedes are in the unusual position of their new vocalist being hand-picked by former front-woman/manager Angela Gossow, but that counted for nought as they tore into visceral opening triumvirate Yesterday is Dead and Gone, War Eternal and Ravenous. Aided by the taut band, White-Gluz’s presence is no less commanding than her predecessor. A well-received closing We Will Rise and Nemesis possessed an air of familiarity, but a reassuring, vibrant one.

As German thrashers Sodom furiously led their charges through their paces, The Music accepted an invitation from the European arm of Century Media Records to a listening party showcasing almost-completed mixes of half-a-dozen songs from the upcoming At the Gates album, At War with Reality, due in October. The record, the Swedish legends’ first in nearly two decades sounds like it will be an absolute belter, melodic death metal fans anticipating this LP with a glee akin to a kid discovering online porn for the first time. Rest assured, from the teaser this reviewer heard, it should be amazing.

Over at the smaller indoor stages, Indian black/death outfit Demonic Resurrection performed for a mere 100-150 individuals. What they lacked in distinctive songs they somewhat compensated for with pure enthusiasm, also good-naturedly battling technical difficulties. Furthering the festival’s international flavour, they’ll be better for the run and experience, despite one of the weekend’s smallest crowds.

Behemoth appears to be an unstoppable juggernaut right now. Plenty has transpired within their camp during the past few years; namely front-man Adam “Nergal” Darski’s battle with serious illness and legal strife. Regardless, the Poles are riding high on crushing latest album The Satanist and their live shows are as vital as ever, as this set brutally and (literally) fierily reinforced. Although understandably not digging as deep into their catalogue as during their headlining gigs, the wide-ranging song selection underlined that their progression from straight-up black metal fury to blackened death hasn’t softened the intensity of their execution. Slaves Shall Serve and Conquer All damn near levelled Wacken; yet another stellar performance.

"Lampooning many of the genre’s stereotypes while decked out in a dapper white suit."

A dash to the indoor stage again resulted in catching the latter stages of fellow Polish bruisers Decapitated, whose sizeable death metal aggression was once again prevalent. Their new platter can’t arrive soon enough. On the flipside of their po-faced demeanour was Canada’s metal mad scientist cracking jokes about his allegedly small member, heavy metal clichés and its fans “needing love too”. Devin Townsend Project’s atmospheric wall of sound underpinning Seventh Wave, Deadhead, sublime Grace or cuts from 2011’s mammoth metal suite Deconstruction may not have been ideal festival fare, but “HevyDevy” is anything but conventional, lampooning many of the genre’s stereotypes while decked out in a dapper white suit. After amusingly encouraging a mass group hug in lieu of a wall of death, the uninitiated and already converted alike were unified by a typically irreverent, memorable display bristling with guitar wankery.

Some pyrotechnics aside, there was little else flash or sizzle about Emperor – the complexity of the material instead demanded much of the players involved. Reciting much-revered debut album In the Nightside Eclipse in its entirety in honour of the landmark release’s 20^th anniversary was akin to black metal nirvana for those so inclined. This was increasingly prevalent considering long-estranged drummer Faust’s inclusion in the celebrations. Currently enjoying the second run of their career victory lap (and undoubtedly the lucrative pay-days the European festival circuit affords), the Norwegian progenitors paid further homage to their origins, delving into the band’s first demo as well as a Bathory cover. Having scratched the nostalgia itch, any chance of a new studio album, lads?

It was back to the W.E.T stage for German progressive/post-metal maestros The Ocean, who drew a strong turnout indoors. Often shrouded in darkness, their sludge-laden riffs and whopping crescendos were an appropriate fit for more intimate quarters. For some, an unexpected highlight; for others, simply a further example of this collective’s weighty heaviness being enhanced in the live arena.

Despite early sound glitches, Megadeth opening with Hangar 18 was like having Red Bull tapped directly into the veins of anyone considering heading for an early bed-time. Front-man Dave Mustaine’s voice was thinning, but such concerns were largely rendered obsolete by the mass sing-a-longs which accompanied a litany of heavy metal staples (Sweating Bullets, Peace Sells, Holy Wars, Symphony of Destruction, et al) the quartet effortlessly knocked out. As divisive as the band leader is the Americans are tailor-made for festivals; more poses than a Mr. Universe competition and visit from mascot Vic Rattlehead included. Thankfully there was only a cursory nod to mostly awful latest record Super Collider. A most welcome, rejuvenating 75 minutes for many, and remarkably this was their maiden Wacken appearance.

Tobias Sammet’s guest-laden, rock opera-meets-heavy metal caper Avantasia thrilled the masses on the main stages, eliciting much passionate audience interaction. Two hours of such shameless bombast (assisting performers including ex-Helloween singer Michael Kiske and Mr. Big’s Eric Martin) would surely have tested the patience of all but the most dedicated though. Thus, The Music ventured to witness Italy’s Fleshgod Apocalypse; The Forsaking and Pathfinder’s symphonic death metal even more immense indoors. They left a highly favourable impression on a few friends of this reviewer who weren’t previously privy to their grandiose brutality. 

Bathed in red lights and hitting the stage after midnight, Kreator’s presence alone urged many present to summon their remaining energy. It worked; despite the circumstances the Germans drew an enormous crowd. Playing with an urgency and vigour their 80s thrash contemporaries hadn’t been able to muster earlier in the festival, front-man Mille Petrozza’s distinctive manner did his utmost to rally the troops and enhance the pit violence. Being armed with timeless songs like Pleasure to Kill and Phobia, and more recent, yet no less bruising efforts in the vein of Enemy of God meant there was no lagging throughout. It the ideal fashion by which to wrap up a diverse weekend of heaviness.

The 25^th anniversary was this reviewer’s second visit to Wacken, and it’s a trek every bona fide metal fan needs to make at some point. Although the 2015 event already sold out within a staggering 12 hours, there are still ways to attend, including the ticket exchange which will take place closer to the festival. Book a flight and take the plunge, as it’s an experience unlike any other. Just allow yourself a few days afterwards to recover; The Music’s crew certainly needed it.