Review by Gary Spiller for MPM
The twelve months since last year’s edition of Rockharz have passed by in the proverbial blink of an eye. Once more we meet up with friends and our kin under the watchful gaze of the omni-present Teufelsmauer, the ever-stoic unique guardian and associated landmark of this festival. It’s our third time at Rockharz, here on the fringes of the beautiful Harz National Park, and it well and truly feels like a homecoming for ourselves.
One of Germany’s best kept ‘secrets’ this gem serves up, annually, a well curated blend of the giants and emerging talents of metal across a quartet of days. This year’s incarnation, its 32nd, sold out all its weekend tickets in a matter of three days, a new record set that, as it transpired, was impressively equalled by sales for 2027.
In a market that, just within the borders of Germany itself, includes the likes of Wacken, Summer Breeze, Reload, Rock Am Ring and Rock Im Park this rapid level of ticket sales is a remarkable salute of support. One bearing testament to the recognition of the level of detail expended in delivering this four-day long metalliferous banquet by all involved in this festival; an event which, in our humble opinion, punches well above its weight.
All is well with the Rockharz universe – we have metal, beer and, of course, good friends to ensure being fully compliant with the festival motto – until, with barely a couple of hours to opening, the heavens open in spectacular fashion. Those responsible for the meteorological oracles have a sting in the tail with a torrential thunderstorm. Have the Brocken witches been agitated, the darkened clouds certainly gathered in the locale of their lofty peak.
Mercifully the tempestuous interlude begins to cease, after approximately half an hour, leaving behind a sodden festival site in its wake as it ebbs away to the north-east with the furious rainfall tapering off to a most welcome nothingness with all the appropriate mystical elements placated.
The honour of opening the 2026 edition of Rockharz is handed to rising homeland dino-metal talent Heavysaurus. A vivid talent which possesses a Scandinavian connection in its family tree. It’s a lineage that can be traced back almost 66 million years to the end of the Cretaceous period and to the impact of a massive asteroid with our planet which wiped out over three-quarters of life including the dinosaurs.
Forward-wind to 2009 and, according to legend, a lightning strike upon the Finnish mountain of wizards revealed the survival of five metal eggs. The powered chants of witches, gathered by chance in the vicinity, caused these eggs to explode. From the shelly remains the five members of Hevisaurus hatched to become the inspiration from which our dino-rocking festival openers are derived.
This is a bold, vivacious concept and one which is on to an absolute winner. “Metal für kinder!” as vocalist Mr Heavysaurus exclaims excitedly. It’s simple in its premise and with a well-executed despatch throughout one that endears children and adults alike. In a very neat touch over a hundred mini-moshers, invited specially for the occasion, are gathered in a designated area right in front of the Dark Stage.
All about the arena gently steams as the festival readies itself for the opening act. Spirits are far from dampened with a gaggle of dinosaurs grouping close to the barrier. Technicians noisily testing the smoke machines set this gaggle off into a comically quiversome excitement. Checking in on their Finnish brethren’s ‘creations’ the Harz witches circle above.
The closer to the 3.30pm commencement we near the hub-hub of anticipation mounts tangibly, a sort of energy normally reserved for bands much higher upon the bill. One senses this is to be a special occasion. And so, it proves with an energised Rockharz response from the rapid opener ‘Metal um die Welt’ right the way to the powered finale ‘Dino-Metalheads’ (I think, though I stand to be corrected). With blue patches appearing above, replacing the lead-grey of earlier, it’s the larger ‘kids’ amongst us that are surfing and moshing. Afterall aren’t we’re all dino-loving metalheads at heart?
The fast-paced power metal of ‘Kaugummi Ist Mega!’ is very well received demonstrating this is most certainly the way forwards as to creating the next generation of lovers of metal. The folky-metal intro of ‘Irosaurus’ has Rockharz in raptures with its overtures towards Visions of Atlantis and Orden Ogan. With a snippet of Twisted Sister’s ‘We’re Not Gonna Take It’ the vibrancy continues into the more traditional metal of ‘Kuhglocke, Go!’ that doffs a celebrated cap in the direction of Accept.
With a catchy, singalong chorus ‘Das weltbestes Versteck’ is energetic at its core with a punky fringe. The delight continues with a joyous medley of ‘7 Nation Army’ coupled with ‘Enter Sandman’ and the evergreen ‘Don’t Stop Believin’’. Throughout the mini-moshpit all I can see are happy wondrous smiles upon the faces of the special guests.
Embracing a neo-classical edge and combining it with a superhero styled despatch ‘Pommesgabel’ proves an infectious metallic romp that delights in symphonic realms. It’s a huge crowd that gives Heavysaurus a huge, huge reception as a thunderous exploding finale erupts. This corner of Germany is unified and applauds homogeneously as the dinosaurs conclude a conquering 45 minutes. United Kingdom you have been warned brace yourselves for the dinosaur invasion at Bloodstock on 6th August, don’t you weren’t prepared!
From the memorable multi-hued opening act we veer into a much more monochromatic dimension, upon the Rock Stage, courtesy of Bielefeld’s Soulbound. Although it’s their first festival date of the summer – with dates at Summer Breeze, Baltic Open Air and Wassenrock, amongst others, lying ahead – you wouldn’t know as they lay down a polished opening gambit from which they construct an edifying set of much splendour.
The atmospheric brooding ‘Abaddon’ serves well as the band’s intro tape with a thundering right out of the blackened cataclysm. Bedecked uniformly in black, with flecks of silvery and golden metal, the band assemble. Charismatic vocalist Johnny Steker points out towards an ever-growing crowd before the quartet dives into ‘sYn’.
The opening number and the intro form the initial couplet of their latest album ‘sYn’ released in January this year with which they agonisingly missed out on a top ten spot in the German charts. The title track packs an almighty Neue Deutsche Härtecrossoverpunch, a strike that commands attention in an instant. It’s a modern metallic despatch that blends the likes of Trivium and Architects with bassist Jonas Langer and guitarist Felix Klemisch a frenzied blur.
From one titular number right into another with ‘Addicted To Hell’ emanating a Marilyn Manson-esque stomp. There’s an underworldly rasp in the gothic undertow providing an avalanching addiction. I’m hooked as are a large number throughout the arena. Delving into 2024’s ‘Obsidian’ album ‘Insane’ detonates violently with this heavy metal poltergeist daubing Cradle of Filth and Combichrist upon the canvas.
It’s enthralling stuff and I rapidly note this band firmly as ‘Ones to watch’; amazingly this atramentous outfit have been gigging for some 15 years now but they’re definitely upon a steep upwards trajectory. Regrouping about drummer Mario Krause’s riser the band pause very briefly before the electronica taped intro of ‘Saint Sinner’ (synth player Pat Winzler is unavailable) reverberates with menace. This raging watercourse packs a pulsating chorus that has a mid-90s seasoning. Goosebumps raised I’m completely under the spell.
Spiritually tingling the 80s goth essence of ‘Undone’ sweeps a majestic grandeur capturing elements of The Mission and High Parasite. It’s a breath-taking bridge that spans the devils’ flow and rolls headlong – as it does on ‘Addicted to Hell’ – into the helter-skelter of ‘Devil’. The contagion rolls forth unabated and Rockharz absorbs every drop intently.
Gripping his angled mic stand Stecker brings in the hushed initial moments of the spellbinding ‘Dark Throne’. “Shadows follow every tear” the vocalist emotes amidst a beautiful depth of passions. Like a heavied-up Lord of the Lost ‘Paralyzed’ hollers from the depths of the crypt with a Cimmerian charm. Klemisch’s raw and bleeding riffing leads the way in the anthemic ‘Neon Battlefield’ that goes down an absolute storm. Bringing together strains of Sisters of Mercy and Lord of the Lost ‘Lioness’ ascends an invisible ladder effortlessly attaining a lofty perch from which the kill is swooped upon without mercy in the showstopping finale of the monumental kaleidoscopic ‘Alive’.
Just two bands into our Rockharz and we have our second significant discovery; two very separate sub-genres but one common denominator which is quality. Put simply, based on our experience of the previous two years, this is very much like the gift that just keeps on giving. It’s why we shall keep returning as long as we are able. Watch out for a set of November / December dates during which Soulbound make their first visit to England. Highly recommended.
As is wont for these parts so the direction of the music veers wildly into another clime. Finnish quintet Ensiferum, with a firm collective hand upon the tiller, steer Rockharz into folkier metal domains. Weaving tales of Nordic myths, historic battlefields and the Viking essence we are transported to the craggy fjords and the rugged windswept hinterlands. The following fifty minutes most certainly belongs to Scandinavian pride.
Thunder rolls across the heavens as the folky intro ‘Aurora’ sparks into life. Kilted bassist Sami Hinkla, looking as ready for close quarters combat as is legally permitted, checks out the Rockharz ranks before motioning for a circle pit as his compatriots set the bull free with the jaunty stampede of ‘Winter Storm Vigilantes’. Crafting Helloween and Amon Amarth a storm is raised in Valhalla; skol indeed.
Fists are raised, as one, across the arena to the punchy commencement of ‘Way of the Warrior’. Powered Orden Ogan the track is a symphonic melody within the tempestuous boisterous turbulence. The Ballenstedt clans are right onside; six-stringing axeman Petri Lindroos roars an appreciative “Dankeschön!” as horns are collectively raised. “It’s good to be back” he adds, making note of the band’s sixth Rock Resin appearance; joining the likes of Powerwolf, In Extremo and Orden Ogan on the next rung of the ‘leaderboard’.
The heavy Celtic vibe of ‘Token Of Time’ takes us back to the band’s self-titled 2001 debut album. As a Cornishman, I find it stirring and can’t help being swept along by its glorious, storytelling torrent. Scandic vibrancy abounds in the veritable headlong charge of ‘Fatherland’; Janne Parviainen’s rat-a-tat percussions rouse the assemble battle-ready lines.
The mythical essence of ‘One More Magic Potion’ is dedicated to “All of you like to drink shitloads of beer at festivals like this!” Looking about as steins are quaffed from, I reckon there’s going to be more than a few ‘magic potions’ required come the hazy morning hours. The victorious triumphal hyper-paced metal of ‘Run From The Crushing Tide’ as we creep deeper into the first evening of the festival.
Spontaneously Rockharz bursts into chanting “Ensiferum!” as Hinkka introduces ‘Andromeda’; a track that in spite of its heaviness manages to bounce along most merrily. Even elephants, not noted for prowess in separating themselves from the ground, would be hard pressed not to jump along. The halls of Valhalla reverberate to the monstrous rampage of ‘Lai Lai Hei’; the battle cry of the warrior’s song if I’ve ever heard one.
With one final heroic forward thrust this Finnish ensemble conclude with clans rising of ‘In My Sword I Trust’. A more apt finale for this fine outfit couldn’t be designed better; it encapsulates all that Ensiferum stands for injecting molten steel into the veins of all within a several mile wide radius. Rousing pipes wouldn’t be amiss herein that said we’ve enjoyed 50 minutes romping through a well curated set that encompasses all bar two of the band’s nine studio releases. Yet another band I shall add to the ever-expanding list of most welcome Rockharz introductions.
Well into their fourth decade of their career UK goth metallers Paradise Lost display no signs whatsoever of slowing down. Far from it with their 17th studio offering ‘Ascension’ being released via Nuclear Blast less than a year ago. What’s even more incredible is that other than switching drummers a handful of times the formative quartet of vocalist Nick Holmes, guitarists Gregor Mackintosh and Aaron Aedy and bassist Stephen Edmondson remain fully committed to the cause.
It’s just about a month shy of 30 years since I last crossed paths with the band in the live arena; the next hour will be the first of several re-unions for me across the four days of Rockharz this year. It’s something I’m quietly excited about on one hand but a touch nervous there won’t be a re-connect on the other.
Rolling back to 1996’s Monsters of Rock, at the fabled environs of Castle Donington, the quintet stepped out into the Leicestershire afternoon sunshine pathing the way for the headliners KISS and Ozzy. Their slot was the last date on the ‘Draconian Times’ tour, an album regarded to have provided a major springboard for the band.
Three decades later and the afternoon has been exchanged for the evening, but the sun remains a constant albeit setting out towards the west. Frontman Holmes quips midway through their allotted hour, motioning towards his left side, “So we are all gonna have a suntan down this side of our faces!”
Smack on time the intro tape’s pulsation, an aptly gothic cascade, initiates as Aedy applauds the Rockharz gathering before being joined by the rest of PL’s complement. Mackintosh tears into the opening riffs of the darkened riptide of ‘Serpent on the Cross’, craned in from last year’s ‘Ascension’ which achieved a top ten album spot here in Germany as well as Austria and Finland.
Paradise Lost’s atramentous gothic metal flows smoothly into the emotive ‘One Second’ that fuses touches of Depeche Mode with an ethereal Mission. The bones of ghosts rattle in an enchanting cogency. Darkened hearts beat as one with the first trip back to ‘Draconian Times’ calling in on the wrecking ball of ‘The Last Time’; the first of a quartet of tracks aired in the German evening that have survived from that 1996 appearance at Castle Donington.
Hairs and goosebumps alike are raised the mournful tones of ‘Faith Divides Us – Death Unites Us’ further evokes deep emotions. It’s highly efficacious matter with the doom laden ‘The Enemy’ continuing to extract from the high-quality lode. Whilst it’s still daylight it’s a masterful performance that sees Rockharz teleported into the shadows of the night with a coupling of the underworld of ‘As I Die’ and the Cimmerian raspings of ‘Hallowed Land’ furthering the descent into the tomb.
Caliginous legions march forth in ‘Tyrants Serenade’ prior to a rumbustious impassioned version of Bronski Beat’s chart-topping debut single ‘Smalltown Boy’. PL’s gritty endeavours are well suited to the discordant nature of the original and it’s with no surprise that it goes down an absolute storm. Mackintosh’s searing solo in ‘Embers Fire’ illuminate whilst we’re immersed in the 80s school of goth in ‘Ghosts’; the Sisters’ ‘Lucretia My Reflection’ anyone?
The final number ‘Silence Like The Grave’ majorly quakes, triggering seismic waves that emanate out in all directions. The Brocken witches’ attention is gained as swirling melodics entwines about the catacombs. Imperious to the nucleus Paradise Lost have produced an hour-long masterclass that surely demonstrates their creative tank is full to the brim. With shows at Wacken, Summer Breeze as well as a hometown show with Opeth at Halifax’s iconic Piece Hall amidst a raft of dates PL have plenty to keep them occupied.
Even before the following band step forwards onto the Dark Stage one can safely assume that whoever they might be packs one hell of an artillery barrage. With gargantuan walls of amps towering either side of the drumkit, and a row in front of the percussion HQ too, Black Label Society aren’t messing about. Airbourne have clearly taken several leaves from this particular book. A tome that has been scripted by master-in-chief Zakk Wylde; everything cranked up to eleven. There is much riffing and shredding, guitar hero posturing and pics held aloft throughout; if there wasn’t we’d be disappointed and shortchanged. Afterall it’s what we’ve come to savour.
The Rockharz crowd are rallied into action by ‘Whole Lotta Sabbath’, the clever mashup of two bands without whom there’s much doubt we would be stood here about to face up squarely to a finest of fine hours in the exulted company of Wylde and co. The frontman appears in a wrestling mask, aptly bearing the colours of the German flag, clutching some figures that he holds out whilst casually grabbing a photo prior to getting down to the business in hand.
Wylde’s rise to prominence was assured when, aged 20 years old, in 1987 he was hired to replace Jake E. Lee who had been sacked from Ozzy Osbourne’s band. The Jackson, New Jersey six-stringer would go on, across the decades, to have three stints – totalling nearly quarter of a century – alongside the Prince of Darkness. It was in 1998, between the first two of these stretches, that BLS came into being with the band outputting a round dozen of long-players to date.
Iron strikes bronze as the no frills ‘Funeral Bell’ tolls; the glare of spots burns through piercing the billowing miasma. It’s an organic metalliferous landslide of bone crushing riffs and percussion that becomes an unstoppable force; an utter battering ram that is an absolute privilege to witness in the flesh.
Wylde, hunkering over his guitar, untethers the powerage by dragging some well-heeled AC/DC fretwork out into the driest of deserts for the sacrificial offering of ‘Name In Blood’. The Ballenstedt chapter of the Doom Crew are transfixed; there’s no wavering in the ranks herein. Pride seeps from every pore with two-wheeled stallions firing up. Excepting no let up in the intensity BLS freight-train into the earthquaking salutation, topping out the Richter Scale, of ‘Destroy & Conquer’. Mercurius Stoner Sabbath with a tasty southern fringing.
As the sun descends horizonward so ‘A Love Unreal’ detonates. Wylde is the ultimate guitar slinger with his band content to respectfully hug the shadows. The eastern Statesider scorches a trail in a blistering solo that reaches the ears of the Brocken coven. Tumbling into ‘Heart of Darkness’ we are shaken into the catacombs. Throughout the set the Ozzy influence is close at hand and no more so that in a tear-jerking ‘No More Tears’. The reverence is beyond respectful and the crowd spontaneously break into a reverential “Ozzy, Ozzy!” chant.
With the Saxony-Anhalt skies reddening into shades of ochre and crimson the hurricane kinetics of ‘Set You Free’ are belied the gentle tremoring intro notes. Crowd surfers dodge a sea of beach balls, human pinball in a crazed inflatable Brownian motion, during a particularly sinuously haunting ‘Fire It Up’. Its incendiary album-mate ‘Suicide Messiah’ raises the bar even higher with its guttural abrasiveness. Think Creedence Clearwater Revival crashing headlong into a doomy Sabbath and you’re on the correct track. “Keep moving on” urges Wylde; nobody does, however.
Pulverisation BLS-style ‘Stillborn’ provides a meteoric conclusion to a fine set clocking in at just a shade over the hour mark. A backdrop of images of the Prince of Darkness further elevates the veneration levels. The Brummie lord of metal always had an eye for a talented guitarist after all. Somehow, I’d never seen BLS in action before this evening but the ‘epicness’ that has proliferated throughout ensures that this personal bucket list moment won’t be the last.
The Rockharz faithful love nothing more than paying respectful homage those homegrown metal heroes that have not only survived the ravages of time but put Germany on the map. To the likes of Dirk Schneider / Accept, Doro Pesch / Warlock, Kreator and Powerwolf one can add tonight’s headliners Helloween. Deeply rooted in the mid-80s the fathers of power metal stormed out of their hometown Hamburg unleashing a horde of pumpkins on an unsuspecting world not once checking in on the rear-view mirror.
The current seven-piece lineup is a perfect melding of the formative years and the later ‘Legacy’ era. It came together a decade or so ago with the return of formative members Kai Hansen and Michael Kiske to the ranks. Slotting in alongside constant ever-presents Michael Weikath and Markus Grosskopf along with ‘newer’ members Andi Deris, Sascha Gerstner and Dani Löble it’s a lineup made in metal heaven. Pumpkins united indeed.
On a personal level it’s the second ‘reunion’ of the opening day and one that goes back further than Paradise Lost earlier on. For the next two hours I’m transported back to being a teenager and the palatial surrounds of Nottingham’s Royal Concert Hall. It’s a couple of days after Samhain ‘88 and Helloween are in town with the short-lived V2 in tow. This is going to be one truly memorable moment in time for me.
At the hour of ten sharp Robbie William’s ‘Let Me Entertain You’ is mercifully culled and put out of its misery. Trust me that track, nor Robbie, entertain me! Replacing the former Take That member (I can’t stretch to describing him as a ‘singer’) is the intro proper that pulses and surges industrially whilst the logo banner dropping with perfectly timed pyros.
High energy, sheering forces are at employ as the resplendent fanfare of ‘March of Time’ is blasted from the rock face. Kiske and Deris face one another with harmonies right on point. A veritable gleaming bullet from the midnight gun. Initial impressions are of a well-oiled machine that has aged like a fine whisky. The sheer spectacle and well-choreographed theatrics make for a dramatic performance.
A bridging tape welcomes one and all to Pumpkin Land of Germany and embracing with “So let the ride begin!” before the heroic epic ‘The King For A 1000 Years’ is winched in off 2005’s ‘Legacy’, the continuation of the ‘Keeper of the Seven Key’s two parts, to great effect. Another recording to check out for sure.
Utilising Grieg’s ‘Hall of the Mountain King’ as the intro for the anthemic ‘Future World’ Helloween demonstrate consummately how closely entwined classical and heavy metal are. Kiske and Deris exchange motioned compliments whilst Hansen serves up a tantalising solo. Three tracks in and we’ve already had inspection of all three elements of the ‘Keeper’ triumvirate.
Out to the west a solitary star shines down on the surfers as the Strawberry Moon, just beginning to wane, rises above the Devil’s Wall. The imagery, and atmosphere alike, is powerful all about; our hearts are full of joy as the arena sings along lustily. The sentimental melodics of ‘This is Tokyo’ are voraciously lapped up as Hansen lights up the night skies. Pumpkins do, indeed, fly free.
The hyper-paced ‘We Burn’ replete with Tetris-esque intro is as Germanic as could be. The original power metal demons speedily hit industrious highs in ‘Twilight of the Gods’ as eras switch seamlessly. The rampageous velocity of ‘Ride The Sky’ is a welcome trek back to 1985’s ‘Walls of Jericho’ debut album. Raw and bleeding a herd of banshees wail wildly.
Extracted from last year’s ‘Giants & Monsters’ the soaring ‘Into The Sun’ provides a gentler interlude as Gerstner sets his fret afire. Helloween don’t tread upon slower plains for long as the uplifting tempo of ‘Hey Lord!’ firmly depresses the accelerator. Guided through the cosmos ‘Universe (Gravity for Hearts)’ the sumptuous trio of guitarists – Hansen, Weikath and Gerstner – front the assault.
Following a rapid drum solo courtesy of Löble, which sees steins raised in appreciation, the oh so familiar guitaring of ‘I Want Out’ and I’m time travelling back to that gig in Nottingham. It’s as punchy as ever with the band hammering down the autobahn in top gear. Helloween aren’t afraid to shift gears down as well as upwards with matters getting stripped back for a couple of tracks. Vocalists Kiske and Deris perch up on stools for acoustic despatches of ‘In The Middle of a Heartbeat’ and the glorious ‘A Tale That Wasn’t Right’. The latter which ascends to a crescendo as the remainder of the band return to the fray with dramatic effect providing a seismic upshift.
In essence basically an old school thrasher ‘Heavy Metal (Is The Law)’ takes us back once again to ‘Walls of Jericho’ and to a time when life seemed so much less complicated. Weikath and Hansen’s strings entwine as this mid 80s romp thunders along. The majestic speed metal of ‘Halloween’ somehow, even though it’s out of season, doesn’t seem out of place on this balmy summer’s night. It’s a showstopper for sure with the production in full regalia but Helloween, despite having royally entertained for 100 minutes, are far from done.
There is, naturally, time for an encore that is heralded by the 70 seconds of the eagle cry of ‘Invitation’ that ushers the band members back to their respective stations for a coruscant delivery of the speedster ‘Eagle Fly Free’. Trademark Helloween to its nucleus ‘Power’ is most worthy of its inclusion in the encore, an indication of how highly it’s regarded by the curators.
Rumbustious without fault ‘Dr. Stein’ is unleashed. Rockharz has waited patiently and are now rewarded with this signature track in all its finery and splendour. Segueing seamlessly into the final chorus of ‘Keeper of the Seven Keys’ a triumphant finale is ensured to what proves to be the longest set of the festival. Day one is, for us, complete and we return to our motorhome with heads full of metal and memories. Rockharz couldn’t have provided a better opening day if they had tried to, it’s been exemplary for sure.
Photography by Kelly Spiller for MPM
