From 27 July to 1 August 2026, Rockstadt Extreme Fest took place. This edition brought together prominent names from the metal scene, alongside acts that have, over time, ventured into different musical horizons.
Until this year, the Romanian festival had been held in Râșnov, but the 2026 edition brought it to a new location in Ghimbav. The change of site had been one of the festival’s biggest talking points for months, leaving some to look back fondly at the old setting while others were eager to discover what the new one would bring.
Official announcement poster
© Rockstadt Extreme Fest
And so, we set off towards the new location, line-up in hand, waiting to see what the first day had in store.
It fell to the members of Reverse the Moment to open what the organisers called “One Last Extreme Summer”, taking to the Adrian Rugină Stage first. With their metalcore sound, the Romanians had no difficulty drawing the audience into songs centred on inner struggle, personal trauma and the journey towards healing, helped in no small part by a vocal performance that impressed me from beginning to end. It was a sincere delivery, filled with emotion, one I would like to experience again in the near future.
Implant Pentru Refuz followed on the Brașov Stage. Few names had continued to write the history of Romanian hardcore quite like they had, and their place on the bill felt entirely deserved. Their energetic show quickly gathered the masses, while the lyrics that cut into the social and political decay of the country, lost none of their weight. Among the highlights of the set was their rendition of “Simplu și greu”, taken from the album “Oameni fără fetze” [2001], a performance I particularly enjoyed.
Making my way back to the Adrian Rugină Stage, I had the opportunity to listen once again to the songs of the Germans from Groza. When it comes to black metal centred on nihilism, they rank rather high among my personal favourites, so I was pleased to see them included in the festival line-up. I found the performance faultless and touching. Much of that impression rested on the instrumental passages, with no small measure owed to the vocals as well. Of all the songs, “Daffodils” from “Nadir” [2024], dedicated to Mike [R.I.P.], moved me the most. I also appreciated the speech that preceded the song, delivered in the members’ characteristic manner.
Groza
© Art Through Photography
Hackneyed
© Art Through Photography
As the dose of German black metal had been more than welcome, I decided to find out what the German death metal of Hackneyed was all about. Truth be told, I had never seen them live before, and since I had the opportunity on the Andrei Calmuc Stage, it would have been a shame not to make the most of it. It turned out to be a good decision. The guys are absolute beasts when it comes to riffs and drumming, but neither did the vocals fall behind. They brought an infectious energy that spread to everyone gathered in front of the stage. Violence, suffering, atrocities, gore… some traditions are worth keeping.
Creeper
© Art Through Photography
Changing both the place and the musical direction, I made my way to the Brașov Stage for the performance of the English members of Creeper. It is difficult to place a single label on their music, as the concept of reinvention has never been foreign to them. Nor do the concept of stage seemed unfamiliar, as they looked completely at home throughout the performance. There was plenty going on in every composition, yet nothing felt excessive. The guitars, keyboards and vocals all knew their place. The props appeared at just the right moments, earning more than a few smiles from those gathered before the stage.
After that, I remained at the Brașov Stage for Black Label Society, the veterans from the United States rooted in heavy metal. With personal struggles, war and death standing at the heart of their lyrical themes, and Zakk Wylde determined to demonstrate exactly what he is capable of, Black Label Society tore through “Funeral Bell” from “The Blessed Hellride” [2003] and “Suicide Messiah” from “Mafia” [2005]. They also performed “War Pigs” from Black Sabbath, a cover that stirred the masses even further. As for me, it was a performance I shall not forget.
Black Label Society
© Art Through Photography
Of course, as with every major festival, some performances inevitably overlapped. It would have been a great shame not to make a quick stop at the Andrei Calmuc Stage for the members of Majestica from Sweden, especially after a friend had told me they would put on a memorable show. Thus, I made my way there, eager to spend some time in the company of symphonic power metal and themes of adventure, fantasy, and literature. What I found were towering choruses, vocals that travelled from guttural depths to notes that seemed well beyond the reach of ordinary mortals, and guitars that never missed an opportunity to race across the fretboard. I particularly enjoyed “Night Call Girl” from “Above the Sky” [2019] and “No Pain, No Gain” from “Power Train” [2025]. To be honest, I would gladly see the members of Majestica more often.
Then it was time for Sabaton and power metal from Sweden on the Adrian Rugină Stage. I had already seen videos of them, and it was clear to me that they were there to offer a spectacle, not merely a repertoire. Think about it, dear reader: a giant tank on the stage, historical re-enactments, and a chorus sung in unison by the audience. Even though I do not listen to Sabaton every day, I was won over by “Stormtroopers” from “The War to End All Wars” [2022], “Great War”, and “The Attack of the Dead Men” from “The Great War” [2019]. Very bold, highly theatrical show.
Sabaton
© Art Through Photography
Still, I wanted to make a quick stop at the Andrei Calmuc Stage for the members of Alcest from France. Nostalgia, childhood, beauty and spirituality; I had therefore changed both the themes and, of course, the musical style, as the members of Alcest are playing post-black metal and shoegaze. I had seen them before and had listened to their music quite a lot a few years ago, and I was pleased to find that they still sang from the heart, that they still did it for the people standing before them. Indeed, their determination was again impressive. The atmosphere they created was simply beautiful. I liked the performance of “Kodama” from the album of the same name [2016], while “Autre temps” from “Les voyages de l’âme” [2012] marked the peak of the experience.
Alcest
© Art Through Photography
Marilyn Manson
© Art Through Photography
Marilyn Manson
© Art Through Photography
After so many bands and so many walks between the stages for most of us, the time had finally come to stop at the Brașov Stage for Marilyn Manson. Perhaps many of us were there out of curiosity; perhaps many others had come specifically for this performance. Without a doubt, Manson, remain a key figure in aggressive, boundary-challenging rock music. For him, there was no such thing as ceremony before launching into a song, only the desire to make an impact. The Brașov Stage certainly felt it.
Manson looked every bit the performer many had come to see. He delivered songs that, I would wager, ninety per cent of those gathered had heard at least once, put on a show, and reminded everyone why he continue to command such attention. I particularly enjoyed “Nod If You Understand” from “One Assassination Under God – Chapter 1” [2024], as well as, of course, “Dried Up, Tied and Dead to the World” from “Antichrist Superstar” [1996]. Judging by the audience’s reaction, those songs captivated them as well, as thousands of voices rose together. The conclusion is simple: after all these years, he still possess an engaging stage presence and a strong vocal performance.
Marilyn Manson
© Art Through Photography
I ended the night at the Andrei Calmuc Stage with the Americans from Fu Manchu, a band I had often heard described as one of hard rock’s most celebrated names. They had a good sound and a generous setlist, with “Evil Eye” from “The Action Is Go” [1997] and “Hell on Wheels” from “King of the Road”, issued in 1999, standing out as my favourites of the night.
