FESTIVAL REVIEW: Rockstadt Extreme Fest 2025 – Day 4

You know what they say about the fourth day at every big festival? That’s when tiredness starts creeping in, and the sun beating down doesn’t help. Still, the acts lined up for Day 4 of Rockstadt Extreme Fest 2025 pulled the crowd back to the stages, shaking off the fatigue and reigniting the energy.

First up were Urban Grey from Bulgaria on Brașov Stage – straight-up hardcore that shook off the tiredness built up over the past three days. Veterans of their local scene, they channel frustration into songs that speak directly about political realities at home, and on stage that same spirit translated into an early but convincing fire.

Dobromir Ganchev’s megaphone shouts carried across the field, while the rest of the band matched him with tight, energetic playing – a delivery that made the whole thing feel urgent rather than just loud.

Their setlist pulled from across the years, with pieces chosen to fit the moment and keep the pace sharp. The crowd, still gathering, got caught in it – voices rising to answer the megaphone calls, showing that Urban Grey’s way of welding music and message still works when tested live.

They left behind the kind of impression that makes you want to see them again, no matter the time of day.

The noise didn’t stop there – Benighted, from France, came next on Adrian Rugină Stage. Brutal death metal and grindcore at full tilt. Benighted are inclined toward themes of psychological disorders, horror, and evil, which they channel into songs that showcase the vocal and instrumental abilities of every member.

On stage, Julien Truchan spat out every line as if it had to be torn free, while the band hammered with precision that stayed menacing rather than sterile.

For the setlist they leaned on the latest album but wove in older material too, each transition being well-received by the crowd. From time to time, the voices joined the frontman’s shouts, underscoring the darkness, madness, and horror that ran through every song.

By the end of the performance, my blood was boiling even more.

The shift at Andrei Calmuc Stage brought Wolfbrigade, the Swedish crust-punk veterans. They draw their influences from Entombed and Napalm Death, that much is clear, but they bring something fresh that makes you want to hear one more song, and then another, until you’re stuck at their stage until the very end.

Their songs revolve around disgust with humanity, frustration, and anger, flowing through every track and giving the music its driving force.

Vocals carried that kind of repugnance and contempt for humanity, spat out with conviction, while the rest of the band kept the energy simmering on the edge of chaos.

Wolfbrigade’s setlist was generous, pulling enough songs to keep people pinned there longer than they may have planned.  The crowd gave back as much as they could under the sun, driven by the sheer force of what was coming off stage. For me, catching them live was a rare treat – and one I didn’t regret.

And speaking of being glad to stay from start to finish at one stage, I did exactly that with Discharge, the band hailing from the United Kingdom, and playing at Andrei Calmuc Stage. Oh, boy! Hardcore punk at its finest. 

Discharge have reached a maturity that lets them take on themes many bands shy away from – corruption, war, politics, destruction, rebellion. These are heavy subjects, not easily tackled, but they approach them with the conviction and clarity that comes only from decades of living inside their music.

The vocals came shredded and jagged, while the band behind them rumbled like collapsing walls. What a band! What a show!

With a discography that vast, the setlist couldn’t have been anything less than rich. They dug deep, picking tracks that gave them room to stay energetic and keep the crowd constantly stirred. And it worked – people were right there with them, feeding back every ounce of noise and fire.

By the end I even turned to a friend and said that despite its length, it felt short. That’s the mark of a band that still knows how to make time fly on stage.

And time kept moving with Rivers of Nihil – the progressive/technical death metal band from the United States who gave everything they had on Brașov Stage.

Their lyrical focus reaches into the metaphysical, the natural world, the cosmos, human nature, and the esoteric, breaking away from conventions and managing to channel those ideas into song.

Their compositions are intricate – the kind that make you want to revisit them twice to grasp the depth. Both vocally and instrumentally, they are captivating to follow. There’s range in the vocal delivery, shifting between guttural death metal growls and melodic clean passages, while instrumentally they succeed in achieving exactly what they set out to.

On stage they were compelling, and it was clear that the audience also welcomed Rockstadt Extreme Fest’s decision to host them. As for the setlist, they leaned heavily on older material but made sure to bring in newer tracks as well.

Back to Andrei Calmuc Stage, we got the chance to see Aura Noir, black/thrash metal, from Norway. I’ve been listening to them for a long time, so spotting their name on the line-up was already a highlight – and even more so when the fourth day finally came and they took the stage. Aura Noir have always been defined by themes of blasphemy, death and darkness, which they’ve consistently turned to throughout their discography.

On stage, they radiate a chaotic energy that sparks an immediate surge in the crowd – and at Rockstadt Extreme Fest, that’s exactly what they brought.

The vocals came across abrasive and biting, more like curses hurled into the night than anything neatly provided, cutting straight through the mix. Instrumentally, it was hostile – guitars slicing forward with spiky riffs, the bass grinding underneath, and the drums driving everything with a reckless urgency that never slipped out of control.

They opened with “Black Thrash Attack” from their debut album, setting the tone without hesitation, and pushed straight into “Sulphur Void” – a track they also unleashed at Inferno Metal Festival 2025, and once again it hit home with the crowd. Later came the classic “Conqueror”, greeted with the same enthusiasm from myself and many others, sealing a set that stayed true to Aura Noir’s feral identity.

At Adrian Rugină Stage, I managed to catch a part of the show that the Italians from Fleshgod Apocalypse put on. I hadn’t seen this symphonic death metal act since my early university years – back when they had just released the album “King”, which was warmly received in Bucharest. I was curious to find out whether they had added new elements to their music or remained faithful to the image they had built back then.

By sound and stage delivery, they stayed very much in line with what I remembered. The only notable change was that opera singer Veronica Bordacchini now plays a key-role in their compositions and live interpretation – a wise decision for this style, especially since they choose to include during the performances several tracks that highlight her vocal range. At Rockstadt Extreme Fest, this was underlined even more strongly. Instrumentally, too, there was nothing to fault.

Their set featured a good number of pieces from the new album “Opera”, but also included the acclaimed “The Violation” towards the end.

A band that will certainly hold interest for fans of the genre.

From opera to Vikings, with the Finnish epic folk metal band Ensiferum at Brașov Stage. Like Fleshgod Apocalypse, this was another band I hadn’t seen in years. It kindled a faint spark of nostalgia, I won’t deny.

They started with compositions about legends, battles, and heathenism, and continued with them – a mark of their consistency.

On stage, they sounded as strong as ever, both vocally and instrumentally. Everything came across clearly and convincingly, without a hint of hesitation.

The setlist moved through their most recent album, “Winter Storm”, namely “Fatherland”, and “Winter Storm Vigilantes”, and concluded with the long-awaited “In My Sword I Trust”.

Over time, they’ve built a loyal fan base, clearly visible throughout the show.

Back at Andrei Calmuc Stage, I caught Kataklysm, the Canadian veterans of melodic death/groove metal. With themes ranging from history and materialism to retaliation and self-realisation, delivered at a fast pace with intricate song structures and forceful vocals, Kataklysm still manages to captivate listeners, both with their studio compositions and live performances.

The show was pure frenzy in the best sense – a musical shockwave, a surge of energy, sharp riffs, and a voice that obliterated any calm, commanding full attention.

The setlist was carefully chosen, taking the crowd through several stages of the band’s evolution. They opened with “The Ambassador of Pain”, then shifted into “At the Edge of the World”, and “Goliath”. They also played “As I Slither” and “The Black Sheep”, much to the delight of everyone present.

Kataklysm certainly kept the security team on their toes, even adding a hint of mischief with lines like, “This is when we put security to work”.

Things calmed down a bit at Brașov Stage with the Finnish quartet Apocalyptica and their set of Metallica covers. Jaw dropping skills on those Cellos, and a very good selection of Metallica songs. 

They opened with “Ride the Lightning”, a choice warmly received by the fans, then moved into “Enter Sandman”, which drew an even larger crowd in front of the stage.

“St. Anger”, “Master of Puppets”, and “Seek & Destroy” sounded phenomenal, each piece highlighting their technical mastery while keeping the energy high. They closed the set with “One”, ending on a grand, dramatic note.

Even though I hadn’t listened to Apocalyptica in a long time, I have found their performance mesmerising. There’s something almost magical about musicians who can make their instruments speak in such a powerful, expressive way – it’s impossible not to be drawn in.

The stage changed, the set design changed, and so did the musical approach. Adrian Rugină Stage hosted Powerwolf, the German power metal band with an affinity for myths and horror stories. Intriguing both vocally and instrumentally, they were full of ideas on how to keep the audience engaged from start to finish.

The facial expressions and gestures were on point, especially from vocalist Attila Dorn, complemented by well-chosen props and attire that further emphasised the messages behind the songs performed live.

They chose to play a song from from their latest 2024 album, “Wake Up the Wicked”, namely “Bless ’em With the Blade”, which sounded solid, while treating their fans to enduring favourites such as “Army of the Night”, “Amen & Attack”, and “We Drink Your Blood”.

I don’t know who could have stayed still during their songs.

In fact, I doubt anyone managed to stay still in the hours that followed. Dark Angel, on Andrei Calmuc Stage, made sure of that long before the last stragglers arrived at their show. Now, Dark Angel are the kind of band you fully discover live, regret not having seen sooner, and that send you back to your accommodation determined to revisit their discography.

Thrash metal from the United States, active since the 1980s, their music carries clear, direct messages about society, politics, depression, and violence. Naturally, these themes lend themselves to sizeable compositions, which live are even more powerful and keep the crowd attentive. This was felt very clearly at Rockstadt Extreme Fest.

Ron Rinehart’s voice sliced through the set, perfectly suited to the band’s fierce pace. Supporting him, Eric Meyer, Laura Christine, and Mike Gonzalez powered a dense, commanding wall of sound, while Gene Hoglan was a beast behind the drumkit. You could see the chemistry between them in how each part connected perfectly.

For the setlist they rolled out the heavy artillery: “Merciless Death” and “Death Is Certain (Life Is Not)”, that allowed for some serious crowdsurfing. They played the emotional piece “Time Does Not Heal”, too, one of my personal favourites, which sounded absolutely phenomenal live.

A killer show.

Still – Rockstadt Extreme Fest had more to offer: Nile. Very solid old-school death metal from the United States, built on themes of Ancient Egyptian mythology and history, rituals, and Lovecraftian horror.

They’ve visited Romania in the past, and I’ve caught them on those occasions – each time a true delight. They know exactly how to win over even the ears of those who’ve heard their compositions live countless times.

Like a finely tuned machine, Nile ripped through Andrei Calmuc Stage leaving the audience no choice but to follow their onslaught. Karl Sanders’s voice hasn’t aged a bit, while Dan Vadim Von and Zach Jeter matched him seamlessly. Not to mention drummer George Kollias – a true master of his craft. The three-pronged vocal attack was exceptionally commanding, showcasing titanic talent.

Nile went for a set of around ten songs – including “Stelae of Vultures”, “Defiling the Gates of Ishtar”, “In the Name of Amun”, “Sarcophagus”, and “Black Seeds of Vengeance”. There was plenty of headbanging, serious crowdsurfing once again, and that unmistakable feeling that no matter how often you see them live, you’ll still be first in line when the next show in your country is announced.

With Nile, Day 4 came to an end. It was the kind of festival day where you didn’t notice the hours passing, but you definitely felt that you had discovered something new, had a few more bands to revisit, and maybe a couple of t-shirts to pick up from the merchandise stand.