Review by Gary Spiller for MPM
The fourth day at Rockharz, Saturday dawns with a cool freshness in the air; the final chapter of 2026’s edition gets underway albeit a touch creakingly. No complaints from these quarters mind you, none whatsoever. Our third meet-up at the Devil’s Wall is nearing the final stretch but much remains ahead of us. There is, of course, the one burning question that only time will tell; whether Doro will join headliners Feuerschwanz onstage for ‘Valhalla’, their collaboration of last summer.
Without trying to get too sentimental there is a most simple of reasons as to why we keep returning to this corner of Saxony-Anhalt. That reason is pure and, we believe, untainted; it’s a sense of belonging and an annual return to what has firmly become our second home. Be it the warmth of welcoming back, through smiles from friends and strangers alike to a feeling of camaraderie this is a 25,000-capacity festival that has the vibrancy and intimacy of much smaller scale events.
Whether as a punter or as media, in our experiences of the UK festival circuit, there is absolutely nothing that we have experienced that succeeds in comparison to Rockharz. Whilst some UK festivals do come close, there are notable examples that fail to provide even the bare minimum for the attending press. Coincidentally those are the events we have since stopped attending.
Expressing our gratitude for all that is provided only begins to cover our overall appreciation of what Rockharz does. As media we’re provided with everything, and emphasis upon the ‘everything’, we require to carry out our job. Attention to detail is key and observation is invited in the knowledge that implementation is generally assured.
Gracefully a solitary red kite, scanning for remnants and potential tasty morsels from the previous night, glides upon skies adorned with light clouds. It’s another early start and catching sights such as this, crossing an empty infield ahead of gates opening, makes it all worthwhile. For a few short moments tranquillity has an upper hand; it won’t remain this way with the hordes of metalheads that are beginning to amass at the entrances.
Just twenty minutes after the arena gates open for the last time the intro for the day’s opening band fires up proclaiming “Reality!”. For 25,000 people Rockharz provides a very real escape from the reality of day-to-day trivialities but with Hanoverian quartet Pinhead, across the course of the following half hour, we’re taken along a sonic journey through their very unique soundscape.
Their industrial lines are clean in definition and sleek and modern to the touch. Whilst being musicians this is a band who perform with a progressive artistry as if wielding a brush and easel. Opening gambit ‘Stigmatizer’ is a meaty morning magnificence that jars Rockharz into something resembling consciousness. Afront the machine is the familiar face of Ilja John Lappin (bassist with one of last year’s headliners Mono Inc), his vocals impress ebbing and flowing between guttural harshness to angelic cleanliness.
Reminiscent, in part, of Trivium and Architects the territory inhabits is 21st century metalcore but with a slab of prog metal thrown into the melting pot with unerring accuracy. Gentle yet simultaneously destructive ‘III’ reaches detonation point as the hounds of Hades snarl; it’s all rather wonderfully brutal. Set into the wilds just a week or so previously ‘Beauty In Pain’ sets a tranquil serenity that echoes vehemently. Melodics embrace in the inferno with slick prog metal elements reflecting the inner bleakness of the soul.
With an achingly stunning intro guitar tone ‘Absurdist’ is a starburst that packs darkened elements with haunting reiterations in a flickering existence. Lappin takes on his cello as the track ebbs into a lithe interlude that possesses a daub of early Pink Floyd in its grandeur. Firmly in their stride Pinhead wrap up an impressive set with the skittering slither of ‘Lament Box’ and its industrial fringing. A phenomenal, in my humble opinion, way to get day four’s wheels in motion; a band that once again demonstrates Rockharz’s commitment to emerging talent and output that dares to challenge the norm.
Tasked with the role of shepherding the festival out of the ‘am’ and into the ‘pm’ is Celle thrash / metalcore crossover outfit Drone. With this their 6th appearance beneath the Devil’s Wall the quartet prove a popular choice with the Rockharzers. It’s their first here since 2018 which was about the time the band elected to go in hiatus.
Out front is Moritz ‘Mutz’ Hempel who is no stranger to these parts with his role as Head of Stage that ensures the set-to-set smooth running across the four days of action. As one would expect the intro tape rolls bang on time with ‘A Gringo Like Me’ (from the Ennio Morricone score of ‘Gunfight at Red Sands’) issuing the timely advice of keeping one’s hand upon your gun to be the first one to fire.
As Rockharz simmers it’s most certainly first strike to Drone as they launch into the meteoric set-opening impact of ‘Croak in Your Waste’. This seismic wrecking ball is designed for the sole purpose of getting heads banging and its mission carnivorously accomplished on that score as we edge closer to the afternoon. Ascending from the sewer tunnels ‘Format C’ guarantees that seismometers continue to record their geological agitations.
A circle pit ignites, appropriately, into life for the uncompromising Slayer attitude of ‘Welcome to the Pit’; a theme tune for Rockharz perhaps? With a strenuous rockhammer despatch last year’s single ‘Under The Blood Red Sun’ is the first new material since the return from inactivity in mid-2023. Chaos reigns with its heavy chopping riffage being paid much respect across the arena.
‘Theopratical’ proves to be Drone’s most substantial moment of their set thus far; clouds of dust are kicked up into the early afternoon air as the circling pit intensifies. The expended kinetics herein are the clear barometer the brutalistic ‘Hammered, Fucked & Boozed’ cranking the dynamo upwards. There are some isolated spots of rain, but no-one notices nor cares.
The set ends on a humorous note with Hempel rudely ‘removed’ from his station by a couple of burly security personnel; the festival has to continue in a parallel with that old adage. It’s been a hugely appreciated return to Ballenstedt, and one wouldn’t bet against a seventh appearance being on the cards. Metalcore and thrash is a good mix.
A healthy-sized mid-afternoon ensemble is gathering afront the Rock Stage for a capacious dollop of Scandinavian power metal courtesy of polished Swedish four-piece Tungsten whilst over on the adjacent Dark Stage Necrotted are outroing to the highly unlike strains of AOR legends Toto’s ‘Africa’. Shades of pewter-grey remain above but encouragingly the cloud levels are high and seem not too threatening.
The orchestral intro does its level best to teleport us back to a time of Saturday morning matinees at the local cinema as white spotlights circle. Formed, in 2016, by ex-Hammerfall drummer Anders Johansson along with his sons Karl (bass) and Nick (guitar) with charismatic vocalist Mike Andersson later completing the ranks this quartet has proven a most stable of lineups.
Throughout the following forty minutes the Swedes enthral as Rockharz is taken, tumbling and frolicking, by the hand along the band’s very own symphonic metalliferous rollercoaster. Opening number ‘Joker’ – the latest single ahead of the impending release of ‘Ashes’ – skips brightly through its high-voltage symphonics. Bedecked in a fetching black and white harlequin’s jacket Andersson provides a theatrical edge.
It’s a radiant commencement and one that draws in numbers; a jester capers gleefully as Karl leads the infield in a spot of Nordic yodelling; it’s all rather madcap and most certainly welcome in these quarters. The hither and tither ataxia of ‘Tundra’ is one moment, in part, Helloween and the very next flashes towards the realms of Feuerschwanz. Fortifications tremble as spirits are elevated within the contagion.
The Scandinavian battering ram of ‘Lullaby’ turns its subject matter upon its head, very much in the style of Dominum. Tingling of spines this is a track that should be issued with a serious warning of high levels of addiction herein. Nick’s shimmering solo urges the twinkling of stars as flecks of blue begin to appear upon high. By the time ‘Misled’ issues its charm offensive a prodigious percentage of Rockharz have fallen under the Swedish ensorcellment.
Another glimpse into the autumn release of ‘Ashes’ is provided by the uplifting ‘Bite My Tongue’. Mountain ranges are born as magma from the depths of the earth. Mid-track Andersson declares Rockharz “the best festival in the world” ahead of some exemplary fretwork from Nick; the frontman fits well into the Johansson clan, and my hunch is that DNA testing would reveal him to be a long-lost relative such is unspoken connectivity with them.
The imperious symphonic lines and Viking characteristics of ‘King of Shadows’ tempts the sun into an appearance. The jaunty nautical metal of ‘On The Sea’ channels the serious sides of Alestorm and Feuerschwanz. Every last drop is voraciously consumed during this mariners’ uprising.
With the most delicate and graceful of thunderclaps ‘The Fairies Dance’ springs forth from its woodland glade. Hearty and striking this is a heavy metal version of Magnum with Rockharz fully onboard. Sadly, the allotted time runs out and whilst there is more to give and more wanted that’s our lot. For now, I eagerly await ‘Ashes’ landing in September.
Upon unseen currents the Ballenstedt red kite circles as beneath it on the infield expectation levels begin to tangibly increase ahead of Brazilian death metallers Crypta. Immensely impressive at Bloodstock ’24 I’ve been hooked by this quadrumvirate ever since, and this is one set I’ll willingly walk barefoot over hot coals to partake in. One of the genuinely hardest working bands on the circuit they are seemingly continuously on the road. This afternoon’s slot is the final one of the first leg of this summer’s European tour with further dates coming at the end of July and into August.
Since splintering from Nervosa Fernanda Lira (bass / vocals) and Luana Dametto (drums) have embarked upon successfully building their own legacy with underworldly pulverising riffs and bone crushing percussives that blends modern and classic death metal. The pair, along with the six-string partnership of Tainá Bergamaschi and Victoria Villarreal, have not glanced backwards. Sadly, this afternoon Dametto is out of action through health reasons so Cierra White (Emasculator and Oak, Ash & Thorn) steps in behind the kit.
Uniformed bedecked in black the band are heralded onstage by a pulsating intro that, once gathered, the quartet brutally transition into the rasping raw thrashing ‘The Other Side of Anger’; legions of the undead are unleashed upon the unwitting populous wreaking their wretched doing within an ever-expanding circumference. The demonic possession is now complete, and the scene is perfectly set enticing a large ensemble closer.
Crypta go beyond the general brutality of what is expected of a death metal outfit creating a bewitching emotive whilst not derailing the rage whatsoever. It’s a tightrope balancing act that they demonstrate in the virtuosa thrasher ‘Lullaby For The Forsaken’. Lira, full of emotion, ‘attacks’ the Rockharz barrier and far beyond during the forceful ebb and flow of ‘Stronghold’; the infield’s passionate approval is notable for its strength.
Funerial and sombre in its tone ‘The Outsider’ marches from the crypt before jumping upon its skeletal stead and hitting an unearthly stampeding velocity faster than any gallop known. Its doom-laden death metal entrances, fists are raised to the screams of the bowels of the abyss. The Crypta frontline salute the hordes; we are as one.
There’s a feral spring to the Cimmerian stylings of ‘I Resign’; a provision of a terrifying interlude that is entirely absorbed by a spellbound gathering. Melodics dance unerringly amidst the darkened hurricane. “What a dream come true playing here!” notes Lira before adding a collective gratitude “Thank you for getting in early to watch!”
‘Under The Black Wings’ is an unhallowed ululation of Abaddon. A death metal march the collective foot is depressed through the floor. Twin guitaring takes centre-stage in melodic death metaller ‘Lord of Ruins’ atop a super-solid unquakable low-end foundation. The ultra-rapid speeds of ‘From The Ashes’ graciously provide one final demonic onslaught as Rockharzers, multi-hued unicorns and all, express an almighty unified gratitude. It’s been one hell of a Rockharz debut.
From South America to Denmark the festival undergoes a subtle change from death to thrash with the introduction of legendary speedsters Artillery. It’s a vanquishing fanfare that accompanies the Danish quintet to the stage barrelling right into the all-out pace of ‘Into the Universe’. The symphonic-fringed thrasher delivers hammering blows to chest cavities for miles about. The Brocken witches stir restlessly.
This is the Danish outfit’s second appearance here at the Devil’s Wall, coming just over a decade since their debut here back in 2015. The maxed-out thrasher ‘The Challenge’ sees a few drops of the wet stuff descend from the leaden skies. A couple of costumed squids (one pink, the other blue) wriggle gleefully. It’s a personal festival first (the squids not the wriggling I hasten to add) though I’m not sure whether the squids’ wriggling is directly associated with matters of a meteorological nature or not.
The Brocken, in the distant haze, is shaken brusquely by the old school thrash of ‘By Inheritance’. There is a distinct absence of thrills, this is pure no-nonsense thrash the way it should be done. ‘The Face of Fear’ is naturally born gelignite, ready-made for crowd detonation it’s primed to explode at a moment’s notice. Only the long-serving nucleus of lead guitarist Michael Stützer and bassist Peter Thorslund since I last saw Artillery nine years ago in Copenhagen; there’s been some sweeping changes in personnel, but the output firmly remains unaltered.
Tackling the controversial subject of artificial intelligence ‘Ghost in the Machine’, the first all-new material from this current incarnation, constructs a roaring delight atop a Saxon underpinning. The rousing optimism of ‘Khomaniac’ is coupled with the strident metaller ‘Terror Squad’. The latter alloying Metallica and Motörhead in a superweight energisation. Over four decades on from formation there’s plenty remaining in the metaphorical tank. There’s new material in the bank and a re-firing of engines. Round after round has been despatched to much delight; raising a defiant steadfast middle digit Artillery have sent out the message that they aren’t going anywhere during the foreseeable.
Remaining with Scandic lands we head up the Baltic Sea to Northern Sweden’s second largest town Boden and exchange thrash for symphony with the heady brews of Majestica. Since parting ways with Sabaton a couple of years ago guitarist Tommy Johansson has reverted to his one-time solo project (originally called ReinXeed) and given his full attention in this particular direction. Having seen them open up for Battle Beast back home in the UK this is yet another eagerly awaited set.
Their intro is as grandiose as one would expect; a regal rockslide that calls forth warrior knights with imperiousness. It’s a call to arms most royal, one that simply cannot be ignored. The quartet hasten forwards, from out of the shadowy depths, in readiness, under threatening skies laden with dark grey shades, to mount their steads of high pedigree.
Sat in the station, patiently awaiting departure, the engine’s firebox is fully stoked as the title-track of last year’s studio album ‘Power Train’ gets the show on its way. Leaving punctually from the Dark Platform, offering Rockharz the opportunity to get to the destination at the speed of light, it’s a thing of beauty and I have no doubt that Saxon would be proud of its sleek lines. The full-blooded metaller surges along the lines with power and symphonics balanced in equilibrium.
Glittering keys strike out initially then are joined by west coast guitaring and suddenly it’s the eighties once more. The AOR radio-friendly shape of ‘Night Call Girl’ doffs a cap towards fellow Swedes The Night Flight Orchestra. There’s even a moment of opportunity for a spot of indulging in some Accept-style choreography from the front-line.
Hooves spark vividly on the nighttime cobbles during the ‘Thunder Power’. The threatening rain now falls with a touch of venom; let’s hope the weather doesn’t fully mimic the output. Spotting a circling people-snake Johansson chuckles “It looks like a power train in the crowd!” With a strong seafaring vibe ‘Rising Tide’ makes serious attempts to at brightening up the afternoon holding the rain at bay for the time being.
With an arcane brew of Sabaton and Helloween ‘No Pain, No Gain’ is a smiling buoyant canticle that replicates Tungsten’s earlier vivacity. Continuing to extract from a similar vein ‘A New Beginning’ sees a breakout of crowdsurfers. Clearly the sporadic rainfall is not dampening spirits in the slightest. The surfers have a tangible momentum and celebrate the powerage of ‘Above The Sky’ and its Germanic metallic elements.
The anthemic romp ‘Metal United’ focuses a Celtic ambience beloved of the late, great Gary Moore in his ‘rock-era’ to great effect as the rain takes over the pantomime bad-guy role. Outroing to ‘Alliance Forever’ it’s a moment to savour; band and arena alike have enjoyed the previous 45 minutes. Majestica have found their way into the hearts of the Rockharzers in emphatic fashion.
Having been impressed when I caught Annisokay supporting the mighty Within Temptation in my adopted capital city Cardiff back at the tail-end of 2024 I am eager to reacquaint myself with this Halle metalcore quartet. The rain, in full flow, is teeming down as the Iron Maiden-esque intro blares out. However, this is, with Halle less than an hour to the south-east, relatively speaking home turf for this outfit and they’re not going to permit a drop of the wet stuff ruin things.
With the rain washing out my notes for the opening two tracks making them totally ineligible whilst enjoying the 21st century metal I take the time to ponder on what-on-earth the band’s description, in some quarters, as post-hardcore actually means. Well, I’m absolutely none the wiser only being able to ascertain that it’s possibly a sub-genre of a sub-genre. Mercifully the rain eases back into notetaking territory and I refocus my attentions.
Dwelling an unlikely region somewhere between Amaranthe and Architects (closer to the latter in truth) ‘Ultraviolet’ ensnares as the Brocken emerges from its rainy shroud. Rockharz responds in rage to the fierce ebb and flow of ‘My Effigy’; crowdsurfers double-deck with one sprinkling confetti en route to the pit.
Via an ethereal segue the bonafide headbanger ‘Human’ unleashes unholy hell as the skies out west begin to promisingly brighten. The cathartic outpouring of modern-day angst ‘H.A.T.E.’ peels away the layers of the inner soul to reveal a bleeding core. Steadily building up and up ‘Inner Sanctum’ applies a multiplying factor on the surfers ahead of the heavy artillery bursts of ‘Coma Blue’.
As in Cardiff the set-closing pairing of the showstopping ‘Calamity’ and raucous acronymic ‘STFU’ prove once again a cracking closing ‘eins-zwei’. Coming eight years after their first Rockharz appearance the local lads have stormed the bastions with a rare gusto, even with the elements against them early on, and proven most worthy. On a personal level they’ve, with one of the highlights of the final day, burrowed into an area reserved for my favourite selections.
Seasoned road warriors the Canadian hard-rocking trio that is Danko Jones have racked up countless miles between countless gigs across three, no doubt, debauched decades. The rain that sought to mar Annisokay’s set has mooched off to the north-east and, mercifully, it remains dry. There’s good money on this triumvirate will bring cheer to drab evening skies.
Beginning with the decent, honest rock n’ rolling of ‘Guess Who’s Back’ the Toronto trio set about letting the good times roll. Frontman Danko Jones proves himself a larger-than-life character with a grin as wide as the airfield and a self-belief that has already announced itself in Berlin. Pinching a riff or two from The Cars the Canadians make a positive impact with stoner anthem ‘Get High?’.
This is an outfit who clearly doesn’t want to end up, forgotten, on the shelf. Their rock most certainly rolls in a stripped-back straightforward sort of a way much like they are jamming, carefree, in their folks’ garage back home. “It started to rain a few hours ago” notes Jones adding “You guys stuck around for the rock n’ roll show!” It’s always good to have a variance in shades, it’s something that Rockharz consistently does well.
We truck along with the highway rocking of ‘I’m in a Band’; the dial is turned to Kid Rock then it’s tuned into The New Roses. It’s infectious and designed for winding the soft-top down. The message is a simple one but one that means an awful lot with ‘I Gotta Rock’ surely the soundtrack for the four days of Rockharz.
You get the sense that this is a band who live by the credence of their songs. With ‘Everyday is Saturday Night’ there isn’t any debate; be the engine V8 or V-twin it doesn’t matter as this a first-class pugnacious hard rocker. It’s a theme that continues into the AC/DC feelings of ‘First Date’. The hooky ‘Good Time’ further elevates party mode with the line “I came here to fuck shit up and have a good time” resonating all about. The open freeway beckons.
Relating the tale of the ‘Mango Kid’ with a video that features none other than Lemmy ‘Full of Regret’ is what I would imagine The Eagles could have sounded like if they had pursued a heavier direction. The buzz sawing ‘Had Enough’ is turbo-fuelled leading into ‘Lovercall’ that is crammed full of rough-edges and seismic activity. Drawing inspiration from Kiss and Joan Jett the chrome decorated ‘My Little RnR’ gives an encapsulating conclusion to 45 minutes in the gregarious company of Danko Jones. Here’s to more decades of rocking and rolling.
A hushed reverential quiet descends across the packed arena ahead of the arrival of the metal legend that is Doro Pesch. This, the fourth appearance of Germany’s Queen of Metal here at Rockharz, has been a long time coming. Rockharz has come a long way since Doro’s last appearance in 2010; the second year following the move from Osterode to here at Ballenstedt-Harz airfield.
From 5000 attendees to sellout figures approaching 25,000, expansion to the current four-day extravaganza along with many initiatives such as ‘Inclusion – Culture for All’ improving accessibility and ‘Happiness in Cans’ that raises incredible sums for charity (105,000 Euros in 2025!) by collecting the deposit empties. Rockharz does remain Rockharz it has evolved into a different beast that possesses the same beating heart.
Emerging in the 80s with Warlock Doro built a legacy standing firm against misogynistic attitudes within the music industry. Certain less than desirable elements viewed the presence of women in rock as, at best, a novelty and much worse as ripe for exploitation in terms of glamour and sexualisation. Meanwhile Doro’s overriding drive was the music and its substance well and above ideas of image.
Breaking point came in the late 90s at the time of the release of her sixth solo album. Doro recollected in a 2010 interview with Rush on Rock website. “For the ‘Love Me In Black’ album the label said I should cut my hair off and dye it black. I said I didn’t want to do that at all, but they were determined to make me more feminine and more commercial. In the end I said, ‘It’s cool – if you don’t want to release the record with me looking like me, then that’s fine’. But for a lot of years the talk was always about changing the image when I just wanted to talk about the music!”
Forward-wind to the present and Doro, along with her band, can stride out on to the stage with a confidence of continuing to make a meaningful impact. Putting the political aspects to one side the next hour is firmly and squarely about the music. Kicking off with the powerhouse ‘Earthshaker Rock’ the evening is set on fire. Make no mistake Doro well and truly packs a punch that is highly relevant.
No messing just pure unadulterated heavy metal finery ‘I Rule The Ruins’ kicks posterior in the finest manner. With flecks of Priest’s ‘Turbo Lover’ this is full throttle V-twin monster. This classic vein is further upheld with the timeless ‘Time For Justice’ that packs a dystopian Mad Max punch. Doro exclaims “I think you guys like old school metal!” There’s not a single voice of dissent to be heard. This is a heavy metal crowd; this is Doro’s crowd.
Incongruously a giant inflatable Stitch ‘gatecrashes’ the front-row party, not even the Queen of Metal is immune from the oversized rapscallion rodent’s antics. It’s all very good natured and received as such and doesn’t derail the anthemic metal of ‘Burning the Witches’ or the dynamism of ‘Fight for Rock’. Once a pioneering torchbearer Doro is now a hugely inspirational figure; wave upon wave of deserved reverence is rightfully forthcoming.
Like the majority of German metallers Doro isn’t averse to a good degree of pyrotechnics as the iconic metal of ‘Raise Your Fist’ is celebrated in the most apt of manners. Naturally, clenched fists are offered skywards by the horde’s massed ranks. A change of tack for the maritime metal of ‘Warriors of the Sea’ throws a touch of Feuerschwanz into the mix prior to the gentle haunting balladic offering ‘Für immer’ sets pulses racing with a memorable singalong. Massive cheers erupt right across the infield.
Detonating a volcanically scaled eruption ‘Fire in the Sky’ sees heads banging at Doro’s behest. No second invitations are required. ‘Hellbound’ provides a special moment amidst deferential scenes before the anthemic ‘All We Are’ receives an emphatic singalong. It’s been one of those kinds of performance with the Rockharzers in the finest of fettle. Riding pillion the arena hurtles along the autobahn with the nitrous-injected ‘Metal Racer’ proving a fine culmination to a spectacular hour. Doro has conquered, as expected, in the shadow of the Devil’s Wall. There remains just that the one question as to whether our Queen will appear with the ascendent princes and princesses of Feuerschwanz.
Over the course of a little in excess of two decades Bavarian folk-metallers Feuerschwanz have embarked upon a rollicking escapade from a comedic medieval outfit to the more serious warrior clan that stands before us late on the final day of 2026’s Rockharz festival. It’s an evolution precipitated in part by their signing with the might of Napalm Records prior to the mid-2020 release of their ninth studio album ‘Das elfte Gebot’.
There has been much success in their native Germany with eight consecutive top ten albums but a more than casual eye is being cast upon foreign territories. Tonight is their seventh appearance here at Rockharz, an incredible feat equalled by just three acts and bettered by only two, and the incendiary Napalm effect is firmly in hand.
It was last summer at the UK’s premier metal festival Bloodstock that this troupe really caught my attention. In just 45 rabble-rousing minutes, in their first ever UK gig, they crept up on a largely unsuspecting crowd and issued a resounding ‘slap’ that lifted the roof with their fusion of Powerwolf and Orden Ogan, amongst many. That roof didn’t recover in time for this year’s Bloodstock but the UK, now aware, is prepared in readiness for their next invasion.
Though the skies are portending the mood is buoyant to the extreme, there’s nary a single soul who doesn’t know what lies ahead during the next 90 minutes or so. A veritable fanfare for higher powers the band’s intro, an orchestral fusion of ‘Memento Mori’ and ‘Knightclub’, rouses the inner soul.
Proudly hanging the front stage banner flutters in the breeze before the serious business of hardcore carousing gets underway. Whisky and beer alike are swigged lustily to the stirring opener manoeuvre ‘Drunken Dragon’; looks like the bars are going to be overworked.
The vocal pairing of Hauptmann and Hodi provide a highly spirited focal point and lead the arena into an empire that is in one-part Tolkien and in the other Pratchett. Being a reader of both authors, this rumbustious hi-fantasy fare is right up my alleyway. Drenched in Sabaton-esque screams of battle the intoxicating brew of ‘SGFRD Dragonslayer’ whips up a storm both onstage and in the arena where the circling pit stirs up clouds of dust.
It’s defcon one as top-gear party mode is engaged with the frenetic folk-metal of ‘Memento Mori’ – title track of their first German number one long-player – the catalyst. With blood-curdling screams reminiscent of Rob Halford ‘Untot im Drachenboot’ sees the band’s two shieldmaidens – Hela and Yennefer – add to the astounding levels of fire – with flamethrowers. Johanna von der Vögelweide’s violin delights darting through the melee with unerring precision. It’s a metallic hammerblow in the Gloryhammer vein that will result in a more than a few sore heads come the morn.
The anarchic festivities of ‘Knightclub’ where folk and metal collide headlong with a euro-techno element resulting in one almighty detonation. The party is going to head into the wee hours looking at the enthusiasm expended as Rockharz bounces along with abandon. The sharp, witty lyrics (a mixture of German and English) prove high contagion.
‘Packing the screaming bagpipes of Honi and equally screaming vocals from Hauptmann ‘Bastard van Asgard’ raises goosebumps. With Hans the Upright’s conflagrant fretworking combining with Vögelweide’s violin it’s a surefire conclusion that this outfit is a multi-faceted gem of the highest order. With a Mediterranean vibrancy ‘Name der Rose’ holds a symbolic mirror to a mystical forbidden love. Stirring stuff indeed.
The Powerwolf underpinning of ‘Ultima Nocte’ harks back to their emphatic headline slot of twelve months previous. The folky metal stomp that is ‘Schubsetanz’ pounds away afore a vigorous workout is provided by a heightened ‘Kampfzwerg’. The infield could be forgiven for wilting in the face of this frenzied onslaught but there is not one jot of shirking the task in hand as the red-hot shower of ‘Testament’ dives into the affray.
Muscles are flexed as the full-blooded ‘Bezerkermode’ engages the warrior spirit of the North. Violin and bagpipes join forces out front as Nordic gods awaken. We are teleported to the Shire as the Tolkien romps of ‘Sam the Brave’ and ‘They’re Taking the Hobbits to Isengard’ tell their epic tales. The party scenes are escalated even further with a stellar metalling up of O-Zone’s Euro-dance belter ‘Dragostea din tei’ providing a natural endorphin buzz.
Yes! In reply to my pondering of this morning the answer is a resounding yes! Doro marches forth wielding an axe to join up the ranks for an epic despatch of ‘Valhalla’. It’s THE moment to savour and recollect about the fire for many moons to come. To glory Rockharz rides as this spinetingling moment proves to be even better than we dared to imagine.
Chaos is the keyword as Hodi disappears into the crowd during a particularly mayhemic ‘Rohirrim’. The final battle is fought during the set-closing climax of ‘Das Elfte Gebot’. It’s typical Feuerschwanz in its rousing essence and is most palatable for the enthralled Rockharzers. Spirits have been uplifted beyond all known sciences, and a late night is guaranteed. Feuerschwanz, as they outro to their cover of PSY’s ‘Gangnam Style’ have discovered the recipe required to breakout from their native stronghold.
Photography by Kelly Spiller for MPM
