Photography by Niels Vinck
The saying “better late than never” fittingly captures the timing of my recent Roadburn Festival reviews. As an academic, my return from Tilburg is typically met with a backlog of marking, and this year was no different. Life’s various demands also intervened, relegating tasks such as this festival review to the backburner. However, the delay afforded me the opportunity to thoroughly absorb and reflect on the numerous exceptional performances and bands I encountered at this year’s festival.
Due to a change in my usual accommodation, I had the opportunity to attend the Roadburn pre-show, The Spark, for only the second time since my first Roadburn experience in 2016. Every year, my friends rave about how relaxed The Spark is, with plenty of space and people coming and going freely. However, this year was exceptionally busy, likely due to the “Thou effect”. I realised just how crowded it was when I stepped out during Temple Fang‘s performance to use the restroom and couldn’t get back in. It was unfortunate, as Temple Fang was delivering a masterclass in slow-building psychedelia, captivating the audience and gradually inducing a trance-like state, only to be sharply interrupted by the second act, Rattenburcht. Rattenburcht took black metal back to its raw, punky origins.
Temple Fang – Photo by Niels Vinck
Thou – Photo by Niels Vinck
Seeing Thou perform on the smaller 013 stage was a highlight. Their presence there made my decision to skip their main stage performance later in the festival much easier. Where Temple Fang excelled in psychedelic music, Thou proved themselves as masters of doom-laden sludge, delivering a loud, intense set that perfectly set the tone for the upcoming four days of Roadburn.
Instead of following a chronological order, I’ll highlight the performances that stood out most, beginning with the commissioned piece, Something to Lose, crafted and performed by Dutch underground heavy bands Throwing Bricks and Ontaard. This collaboration highlighted the intricate dynamics between the bands, seamlessly integrating their unique styles into a powerful and cohesive performance that captivated the audience. This effect was enhanced by the rotating lineup of band members and additional guest artists. I sincerely hope this performance is released on vinyl, as I would love to experience it all over again!
Throwing Bricks and Ontaard – Photo by Niels Vinck
As a nearly 50-year-old Dutchman, I was surprised that I had never experienced The Ex live, perhaps explained by my having lived abroad for the last 20 years. Seizing the opportunity on Thursday at Roadburn, I was treated to their full set, which was a brilliant display of noise rock. The performance featured dissonant guitars, poetry, and various percussion instruments played on the guitar, all masterfully executed by this legendary Dutch band in an engaging performance.
Another standout moment was going from watching GNOD perform alongside White Hills to witnessing Smote play their album A Grand Stream in its entirety. This performance was notably enhanced by the talents of additional musicians: John Perry from GNOD and Holy Scum, Adam Sykes from Pigs Pigs Pigs Pigs Pigs Pigs Pigs, Lisa Ekelund from Flowers Must Die, and Ian Lynch from Lankum and One Leg One Eye. Spanning a few hours, this show encapsulated quintessential old-school Roadburn psychedelic vibes, perfectly concluding the festival’s Friday lineup. The Smote set, in particular, was magnificent, energizing the crowd with a palpable electricity reminiscent of the wave of excitement GNOD provoked when they played at the same venue in 2017. By the end of the performance, the entire audience was dancing, caught up in the thrilling, collective live music experience that defines Roadburn’s unique atmosphere.
Coilguns – Photo by Niels Vinck
My final three main festival highlights included a highly anticipated performance and two surprising ones. Coilguns, presenting their latest album Odd Love in full, was a must-see for me and they delivered an energising and satisfying show, living up to the dynamic spirit typical of their performances. This album is a stellar continuation of their work, making any live show by them a must-see event. The surprises came from pageninetynine (Pg. 99) and Violent Magic Orchestra, both recommended by my eldest teenager. Previously unfamiliar to me, pageninetynine delivered an intense hardcore/punk set, complete with four guitarists, a bass player, a drummer, and dual vocalists who spent more time in the crowd than on stage, performing what I assume are classics from their repertoire and making their Roadburn debut truly memorable. Violent Magic Orchestra, on the other hand, offered an exhilarating blend of loud punk metal with a gabber beat reminiscent of Rotterdam’s Parkzicht club in the nineties. Visually stunning, their performance was one of the most outlandish spectacles I’ve witnessed at Roadburn, rivalling even Mysticum’s 2017 main stage set in sheer madness.
pageninetynine – Photo by Niels Vinck
One of my major goals for this year’s Roadburn Festival was to explore the Paradox venue, which I had often overlooked in the past. My resolve was fuelled by recollections of missing out on electrifying performances there as evidenced by videos I stumbled upon after previous festivals. This decision proved worthwhile when I saw Envy’s intense set at the main stage, where they featured selections from their latest album, Eunoia, along with tracks from their modern era. Still buzzing from the energy of Envy’s performance, I headed to the Paradox to catch Patrick Walker from 40 Watt Sun. His solo performance, comprising only his haunting voice and acoustic guitar, was a poignant moment that prompted a reflective pause in my hectic festival schedule. Later that Saturday evening, I returned to Paradox to experience something completely different – the Heavy Jazz Jam led by Theo Holsheimer. This unique set blended heavy Meshuggah-like sounds with various jazz instruments and freestyle passages, presenting a stark contrast to the earlier, more introspective performance by Patrick Walker.
Patrick Walker – Photo by Niels Vinck
I first encountered Oranssi Pazuzu at Roadburn Festival 2017, where their set at the Patronaat venue had a profound impact on me. The following year, they collaborated with Dark Buddha Rising to form the Waste of Space Orchestra, debuting a Roadburn-commissioned piece on the main stage that left a lasting impression. Excited by the chance to see Oranssi Pazuzu perform their latest album Muuntautuja in full, I eagerly anticipated their show this year. Unfortunately, scheduling conflicts are inevitable at Roadburn, and this time was no different, as
Buñuel – Photo by Niels Vinck
Many were thrilled about the return of the legendary sludge metal band Kylesa to Roadburn, and I was eagerly among them. Unfortunately, a scheduling conflict arose, with another favoured sludge band, Great Falls, set to begin their performance at the Hall of Fame just as Kylesa’s main stage set was winding down. Knowing the Hall of Fame’s reputation for being overcrowded and having long queues pretty much all the time, I faced a tough decision: skip Great Falls entirely or catch part of Kylesa’s set before heading over to secure a spot for Great Falls. I chose the latter, and it proved to be a wise decision. Great Falls delivered a powerful, heavy set that admirably filled the void left by Neurosis’s absence. What I managed to catch of Kylesa was exceptional, although I was slightly disappointed they performed with only one drummer. However, Roy Mayorga was a standout, impressively compensating with a performance that highlighted him as one of Roadburn’s most remarkable drummers that year.
Roadburn Festival is renowned not just for its lineup but also for the “secret shows” held at the Hall of Fame skatepark, which always add an element of surprise and excitement. This year, I once again missed Thou’s secret set due to a scheduling conflict with Violent Magic Orchestra—so much so that I joked about needing a t-shirt that says, “I missed Thou at the Skatepark again.” However, I did have the pleasure of discovering some promising Dutch underground acts. Oust delivered a quintessential hardcore punk set, with their vocalist energetically making use of every inch of the skatepark, engaging directly with the audience, and skillfully managing a wired microphone all the while. Later, I watched Bombstrap, also hailing from my hometown of Rotterdam. They performed a very raw, hardcore punk set, self-described as “Rotterdam Terror Punk.” This label might be a playful nod to the classic gabber act Rotterdam Terror Corps, though that’s merely speculative. Both Oust and Bombstrap exemplified Roadburn’s knack for spotlighting younger bands brimming with raw talent, providing them a valuable platform to perform in front of an enthusiastic crowd. This facet of the festival is a testament to its role not just as a stage for established acts but as a cultivator of new, vibrant scenes.
The Bug – Photo by Niels Vinck
As a big fan of The Flenser label and its acts, I was particularly excited about Midwife being an artist in residence at this year’s Roadburn Festival, which afforded her the chance to play several sets. Unfortunately, I was only able to attend her collaborative performance with Vyva Melinkolya, where they presented their release, Orbweaver. It always amazes me how the Roadburn crowd embraces artists who opt for a softer, more intimate sound, and Midwife is a prime example. The performance of Orbweaver was beautifully executed, capturing the album’s delicate essence perfectly. Later, I attended Midwife’s performance of her latest solo album No Depression In Heaven, where she was joined by Thou. I had high expectations for this set, but I ended up leaving halfway through. While Thou is undoubtedly skilled, their addition felt overpowering and detracted from the subtle nuances of Midwife’s music. I would have preferred a solo presentation by Midwife, though I acknowledge my viewpoint might be in the minority here. Additionally, Vyva Melinkolya’s solo set was another highlight of the festival and certainly memorable, showcasing her unique talent and style.
Xiu Xiu – Photo by Niels Vinck
At this year’s Roadburn, I was furthermore treated to a range of standout performances that each brought something unique to the festival. Opening Thursday, Xiu Xiu lived up to expectations with their quirky, noisy sound and Jamie Stewart’s distinct stage antics. The Bug closed out the night in spectacular fashion, their performance was an ideal late-night set, with deep, heavy drum and bass sounds that easily induced a trance-like state. CHVE, the solo venture of Amenra’s vocalist Colin H. van Eeckhout, delivered a mesmerising set with his hurdy gurdy and ethereal vocals, even starting a contained real-life fire onstage. Human Impact catered to the older crowd with a tight set of post-hardcore noise rock classics. Saturday’s openers, Witch Club Satan, stirred some controversy, particularly among traditional black metal fans who questioned whether young radical feminist women belong in the genre. This debate only heightened their profile, and their performance was definitely memorable. They delivered raw, old-school-sounding punky black metal with a fantastic stage presence, including an entrance through the crowd and a mid-set costume change. SUMAC, always a must-see at Roadburn, performed twice this year. Their first set included activist poet Moor Mother, adding a fascinating layer to their crushingly heavy music. The second performance showcased their new album The Healer, an epic 76-minute journey into their unique sound. Both sets highlighted why SUMAC is considered a supergroup, with Aaron Turner, Brian Cook, and Nick Yacyshyn bringing their exceptional talents to the forefront. Uniform released one of my favourite albums in 2024, called American Standards, and they performed this album in full at the festival, which was a great opportunity to see the band delivering their abrasive sounding industrial noise rock sound.
Witch Club Satan – Photo by Niels Vinck
This festival report captures just a fraction of the extensive offerings at this year’s Roadburn, a testament to the broad and diverse lineup that caters to various tastes in heavy and experimental music. The unique aspect of Roadburn is that it allows for such varied experiences among its attendees; it’s entirely possible for two festival-goers to see completely different performances, yet both come away with rich, full experiences. What makes Roadburn stand out, and has solidified its reputation as a premier music festival, is its ability to accommodate a wide spectrum of musical tastes. This year, the lineup was exceptionally aligned with the preferences of older, perhaps more traditional, Roadburn fans. There was a significant presence of sludge, doom, and generally heavy bands that delivered the intense, engulfing sounds these fans cherish.
However, Roadburn is also about evolution and expanding the definition of what heavy music can be. This year continued the festival’s recent trend of “redefining heaviness,” incorporating a slew of artists who push the boundaries of their genres. These performances were not only about displaying unique music but also about interaction and engagement with an enthusiastic and receptive crowd. This dialogue between artists and audience creates a dynamic environment that elevates each set beyond just a musical performance into a full-fledged immersive experience. Moreover, the festival has become a platform for emerging trends in the music scene, showcasing up-and-coming talents alongside seasoned veterans. This blend of the old and the new ensures that Roadburn remains on the cutting edge, offering experiences that are fresh and intriguing each year. As Roadburn continues to evolve, it remains steadfast in celebrating the spirit of innovation and the love for the heavy and the experimental, making it a continually anticipated event for music enthusiasts worldwide.
See you next year Tilburg!
