Inferno Festival 2025
Day 1: Straight into the Fire. A First-Time Experience in Norway’s Black Metal Stronghold.
Inferno Festival has long been one of the most significant gatherings for extreme metal fans, turning Oslo into a dark epicenter of black, death, and other extreme metal genres every Easter. Since its inception in 2001, the festival has become a meeting point for fans and musicians worldwide, offering not only an intense lineup but also an immersive experience through its conference, exhibitions, and club shows across multiple venues.
This year, Inferno takes place from April 17 to 20, and for me, it marks a double first: my first time attending the festival and my first visit to Norway—ironically, the only Scandinavian country I still had pending to visit. The fact that Inferno coincides with Easter caught my attention since time, considering it’s primarily a black metal festival, making the contrast all the more intriguing.
As every year, the concerts took place in the two main venues, Rockefeller and John Dee, as well as other well-known pubs on the local scene such as Kniven, Dattera til Hagen, Vaterland, and Brewgata, with last year’s addition of the recently opened Goldie, located right around the corner from the main stages. The city pulsed with anticipation as metalheads from all over the world gathered for another edition of Inferno—and if you ask me, Oslo was for sure already waiting, ready to be stormed and claimed by the ever-growing metal horde.
Due to travel constraints, I arrived in Oslo on the very day the festival was already underway, checking into the official festival hotel, Clarion Hotel® The Hub, with no time to lose and a rush of excitement to dive headfirst into the chaos alongside hundreds of other festivalgoers. I was instantly struck the moment I stepped inside—completely overwhelmed by the sheer mass of riff junkies flooding the lobby. So many people dressed in black, all gathered in one place, completely taking over a hotel like the Clarion. There was no time to take it all in; I barely dropped off my suitcase before grabbing my camera gear and heading straight to Rockefeller. I picked up my accreditation and photo pass at Badstugata—the street just to the left of the Rockefeller entrance—and from that moment on, I was fully immersed in the festival’s dark and electric atmosphere. Along with my wristband, I received the Inferno Festival bag—the classic goodie bag packed with festival materials and a few surprises. With no time to settle in properly, my first hours in Norway were an immediate plunge into the heart of Inferno—dark, raw, and unapologetically extreme.
This year’s edition of Inferno carries a deeper emotional weight, as it is dedicated to the memory of former festival director Jan-Martin Jensen, who sadly passed away on February 10th after a courageous battle with cancer. Jan-Martin was a cornerstone of the Norwegian metal scene, having organized thousands of concerts throughout his remarkable career and helping shape Inferno into one of the world’s most respected extreme metal festivals. Inferno 2025 marks the final edition he was involved in planning, and as the days unfold, a shared sense of loss can be felt among the team, artists, and attendees. While many tears will be shed, this year’s gathering also stands as a powerful tribute to everything Jan-Martin helped build. His legacy lives on in every note, every roar, and every moment of this unforgettable celebration. Although I, unfortunately, couldn’t attend the warm-up event yesterday at Salt, I am sure it held deep meaning for everyone who did. Beginning at 18:00, the evening opened with the usual delegate mingle, followed by a keynote speech by Anders Odden (Cadaver, Celtic Frost, Order)—who co-founded the Inferno Music Conference alongside Jan-Martin in 2006. A heartfelt tribute program followed at 20:00, including a special performance by Kathrine Shepard (Sylvaine), as well as an open invitation for those present to share their favorite memories or stories of Jan-Martin on stage. A guest book was available for everyone to sign, which will be gifted to his children, Andrea and Simon, who were also in attendance. A touching painting by Den Unge Herr Holm was unveiled, giving everyone the chance to have their photo taken in front of it—symbolically sharing the moment with Jan-Martin. A limited-edition Jan-Martin tribute t-shirt was also made available, with proceeds going to a cancer research fund chosen by his family. Donations could also be made directly for those wishing to contribute in his memory. Even from afar, it was clear that this was more than a memorial—it was a celebration of life and a declaration of how deeply Jan-Martin impacted this community. Though I missed being there in person, his presence has been felt throughout the festival. He may be gone, but his spirit remains—forever part of Inferno’s beating heart.
With barely a moment to breathe, I stepped into Rockefeller—arriving just in time to catch the second half of Tiamat’s set. The atmosphere was already electric, and almost immediately, I ran into a handful of familiar and friendly faces. I bumped into lovely Violeta, a talented Greek photographer living in Norway whom I’d first met at a Heilung show in Copenhagen. Nearby was Franck, bassist of Dutch band Cryptosis, who was attending for a conference, Gabriel Artina whom I met when I was still playing in the black metal band Atrexial, and not long after, Seth—who’s set to perform on Saturday—came by to say hi after spotting me in the crowd; we originally met last fall when he opened for Rotting Christ. I also got to catch up with Jeremy Saffer and his lovely girlfriend Tara, both of whom added to the warm, welcoming vibe that filled the venue.
Before heading to the main hall, I stopped by the room just to the right of the stage, where the signing sessions were underway. In the Woods... had been meeting fans since 20:00, and the room had this calm, almost cozy energy—a peaceful pause in the middle of the storm. It was the perfect way to ease into the darker rituals the evening still had in store.
At 20:30, I made my way downstairs to John Dee for my first pit shots of the night, where Spectral Wound had just begun their set. Unfortunately, while exiting the pit, I had a minor accident—I took a hard hit between my eyes, and the area swelled up almost instantly, leaving me dizzy and out of sorts. I have to give enormous thanks to the incredible and attentive Inferno Staff; several people quickly came to my aid, offering ice, painkillers, and genuine care. Although the blow threw me off for the rest of the evening, after taking a short rest and regaining a bit of composure, I made my way back into the main hall—just in time for one of the most anticipated acts of the day: Batushka at 21:15.
When I entered again the main venue, it was already teeming with black-clad devotees, their eyes fixed on the stage that glowed in dim candlelight and drifting incense. Krzysztof Drabikowski’s incarnation of Batushka delivered a transcendental set that felt more like a ceremonial rite than a traditional show. Cloaked figures moved with solemn grace under the glow of flickering iconography and veils of incense smoke, blurring the line between performance and spiritual invocation. Their signature blend of atmospheric black metal and Eastern Orthodox liturgical elements—complete with Byzantine chanting, blasts of crushing distortion, and funeral-like pacing—created an unholy yet meditative ambiance that swept over the audience. It was a stunning way to kick off the festival: not with fury, but with reverence, mystery, and awe.
Following that mesmerizing performance, the much-anticipated headliner Abbath was set to take the stage at 23:30, promising his trademark chaotic energy, frostbitten riffs, and theatrical presence. But before surrendering to the madness upstairs, I couldn’t resist slipping downstairs to John Dee—Rockefeller’s more intimate basement venue—where In the Woods... were about to begin at 22:30. Descending the staircase felt like stepping into a different realm: a smaller, moodier world where the crowd stood with eyes closed, swaying gently as the first melancholic notes drifted through the dimly lit room.
In the Woods… delivered an atmospheric and progressive set, rich with layered guitars, haunting melodies, and a sense of introspection that contrasted beautifully with the raw aggression dominating the festival’s larger stage. Their music felt vast yet personal—like being pulled into a slow-burning dream where time moved differently. It was hard to leave, but I returned upstairs just in time for Abbath.
As the lights dimmed in Rockefeller and smoke curled upward like the breath of a mountain beast, the crowd erupted into wild cheers. Abbath stormed the stage in full force, exuding charisma and icy fury in equal measure. From the first crushing chord, his blackened anthems surged through the venue like a blizzard, carried by his unrelenting vocals and theatrical flair. Whether you were a longtime fan or new to his solo work, there was no denying the electricity in the air—this wasn’t just a concert, it was a spectacle. With a whole lot of attitude, Abbath sealed the night with a bludgeoning yet triumphant performance, marking the perfect beginning to this long-awaited descent into Norway’s extreme metal underworld.
Before their set, I also had the pleasure of meeting up with Stéphane Azam, Abbath’s sound engineer. Stéphane is also a musician himself—he plays in the band Your Inland Empire, formerly known as CROWN, who have just signed with Season of Mist and will soon be releasing their debut album. Despite the haze I was still feeling from the earlier accident, Stéphane kindly let me join him at the sound desk after I stepped out of the photo pit, offering a quieter spot to enjoy the show while I recovered. I was deeply grateful for his thoughtful gesture—it made a world of difference.
As a side note for those curious about the musicians behind the storm, I once had the chance to interview Abbath’s phenomenal drummer, Ukri Suvilehto. He’s not only a powerhouse behind the kit but also a truly interesting person. If you're intrigued in the perspective of one of the driving forces behind the band’s thunderous rhythm section, I highly recommend checking it out here.
Once their show was over and the adrenaline began to settle, it was finally time to retreat, rest, and recharge for what lay ahead—my first day in town and the second day of Inferno Festival, promising even more intensity, music, and exploration. Still, I couldn’t help but feel a twinge of regret for having missed some of the earlier performances that day, especially several local and up-and-coming bands I had hoped to catch, like Dødheimsgard or YR. Arriving late in the afternoon meant missing a good portion of the Thursday lineup—and even worse, I hadn’t been able to attend the official warm-up night on Wednesday, April 16th. Acts like Denmark’s Eyes, presenting their third full-length Spinner, Madrid’s powerful post-hardcore/post-rock trio Boneflower, and Gothenburg’s emotionally charged Young Mountain had all kicked things off with a bang, and I could only imagine the energy I had missed.
Back at the hotel, determined to capture at least some of the day’s atmosphere in words, I grabbed my laptop and headed down to the Hub Bar. There, I found the perfect corner to write this review while enjoying one of the most surreal and unexpectedly charming experiences of the festival: Heavy Metal Barpiano. Germany’s hardest bar pianist transformed the space into a lounge of dignified chaos, blending jazzy riffs with classic heavy hits—no vocals, no walls of distortion, just pure, emotional grand piano. People clapped, smiled, and even banged their heads lightly in sync with the stomping rhythms. Between spontaneous announcements and familiar melodies reimagined with elegance and mischief, it was the perfect way to unwind, reflect, and write, surrounded by fellow denizens of darkness soaking in this beautifully bizarre moment.
And with all this said and still a bit dizzy, I'll leave for today to regain strength and be more present tomorrow. Good night!
(Visual content coming soon! In the meantime, please follow Obnubil Magazine or Obnubil.)
