SUMMER BREEZE OPEN AIR 2025: FULL FESTIVAL REPORT

This was our second experience in the Summer Breeze Open Air. We had last year´s visit and we truly enjoyed it. Its a festival that is in our hearts forever. Again we stayed in the beautiful town of Dinkelsbühl. The festival has a shuttle bus that takes you from the city to the festival area and it takes you also back in the night. Many metal lovers prefer to stay in the campsite and enjoy the full Summer Breeze experience. On our social networks (Instagram, etc.) you can find all the videos that we recorded on the festival.

Tuesday, August 12th 

On Tuesday 12th, the Summer Breeze Open Air has a warm up day with shows on the Campsite Circus Stage, a stage that is on the camping ground. You can watch amazing bands from 5 in the afternoon up to 1 a.m. We had the opportunity to watch the full aggression of the band that opened the show, DEFIANCE HC, with their set of pure hardcore music. Coming directly from Stuttgart, the band has released a powerful EP entitled "Blossom". And the band delivered pure aggression on stage with clever lyrics and a killer direct sound. 

Then came SEASONS IN BLACK. The band has a big audience and their music can be labeled as death black metal with interesting catchy riffs. The band has a charismatic frontman in bassist / vocalist Ludwig Maurer. And that was essential here because the band had a power cut almost in the beginning of the set. The band interacted really well with the audience until the electricity came back and they could conclude their set. A memorable show.

THE NARRATOR followed. The metalcore band from Essen delivered a killer set with tracks like "Die

Down", "Stained Glass Reality" and "Sinister". It was a really enjoyable show. SPACE CHASER came next with killer thrash metal. Crushing fast riffs, intense drumming, agonic vocals. All of these are Space Chaser´s trademarks. With influences of bands like Agent Steel, Slayer, Kreator or Heathen the band construct catchy tunes with full aggression.

After Space Chaser came an interesting and funny part of the night with TRAGEDY, an all metal Tribute to the Bee Gees. And it was really fantastic to see these guys deliver metal versions of disco tunes. I have listened metal covers of disco tracks in the past but not in this quantity. And this is not only about the Bee Gees, but here we had tunes by Abba, Village People, Neil Diamond and even Kiss.

The agression returned by the hand of BAEST. This was the first of two shows that the Danish death metal band did on the Summer Breeze 2025. The main difference is that this more intimate show consisted mostly on death metal covers tunes. The band delivered Bolt Thrower´s "No guts, no glory", Entombed´s "Wolverine Blues" and even a death metal version of the all time classic "Paranoid". This was a killer end of this warm-up day. 

Wednesday, August 13th  

We arrived to the festival for the opening and went directly to the Main Stage to watch GUTALAX show. This was one of the most expected shows for the audience. You could see all the fans disguised as Gutalax members and many people with toilet paper and other paraphernalia. The band delivered what it was expected from them, short tracks, pure speed, pig squeals, bowel evacuation vocals, pure goregrind.

We decided to try to cover as many bands as we could to enjoy the full festival so we went to the T Stage to watch again death metal masters BAEST but this time with their own tracks. Kicking off with "Genesis", the band delivered a set full of brutality with tracks like "Colossus", "Misfortunate Son" and "Necro Sapiens"

The more effective way for us is to switch between the T-Stage and the Wera Tool Stage and then go to the Main Stage ocassionally.
Our debut on the Wera Tool Stage this year was with DEFECTS and their modern metal set. The band sounds compact and aggressive and tracks like "Lockdown" and "Scapegoat" sound faster and more powerful than on record. I find really enjoyable the Wera Tool Stage because in really sunny days it has some shadow where you can find some shelter. 

Then came the HELLRIPPER show and it was exactly what I expected from them: fast tunes, agonic vocals, intense drumming. We trully enjoyed the combination of speed metal with black metal elements that are a trademark of the band´s sound. Tracks like "Hell´s Rock´n´Roll", "Goat Vomit Nightmare" or "Bastard of Hades" are essential in the band´s shows. It was a really enjoyable show.

COFFIN FEEDER was a great suprise, pure brutality featuring ABORTED´s Sven De Caluwé on vocals and Siebe Hermans from UNDEAD on  drums. And this was one of our favorite shows: fast, crushing riffs. Every single tune is designed to crush the listener and generate moshpits. Growling and guttural voices, blast beats. Everything is on the slam / brutal death metal that Coffin Feeder unleashed over the Summer Breeze Festival.

CRYSTAL LAKE from Japan unleashed their metalcore on the T-Stage. The band hit the stage with an aggressive opening sequence, launching into songs such as "Mephisto", "Disobey", and "Hail to the Fire." From the start, the crowd responded with constant movement, crowd surfing, and mosh pits. Musically, Crystal Lake balanced technical metalcore precision with hardcore intensity. The set moved quickly between crushing breakdowns, fast riffs, and massive singalong moments. Their performance showcased material from several eras of the band's career, including tracks from newer releases.

Then came TO THE GRAVE with a relentless barrage of modern deathcore: downtuned guitars, blast beats, machine-gun drumming, guttural growls, and breakdowns designed to provoke constant movement in the crowd. The Australian deathcore group attracted fans looking for something far more extreme than other melodic and mainstream acts. Vocalist Dane Evans appeared wearing a blood-splattered butcher-style apron and a grotesque dead pig mask, immediately since the band carried the slogan "Kill your local animal abuser,"  which showed the band's animal-rights activism. 

We then went to the Main Stage to watch the IN EXTREMO set. As we have seen them some times before we knew how to expect: bag pipes, intense guitar riffs, a medieval / celtic atmosphere. Songs such as "Weckt Die Toten", "Troja", "Spielmannsfluch" and "Vollmond" generated massive audience participation, with thousands singing along despite the intense heat that had dominated the festival grounds all day. Frontman Michael Rhein maintained constant interaction with the crowd, encouraging sing-alongs and keeping the atmosphere festive rather than aggressive.

Then we watched the amazing BORKNAGAR on the T-Stage. The Norwegian band combined atmospheres with aggression as is their trademark. Songs such as "Nordic Anthem", "The Fire That Burns", and "Rhymes of the Mountain" helped elevate the set into something increasingly grand and immersive, emphasizing the band's blend of progressive metal, black metal, and folk-inspired atmospheres. Keyboardist and vocalist Lars A. Nedland provided much of the visual energy through expressive gestures and dramatic vocal delivery, while the rest of the band concentrated on reproducing the complex arrangements with precision. What made the performance memorable was the contrast between harsh and clean vocals, soaring melodies, and the band's recurring themes of nature, seasons, and Nordic landscapes. 

DIMMU BORGIR was one of the climaxes of the day. The stage lights dimmed and the intro tape rolled, the atmosphere shifted dramatically. This was way darker than the In Extremo show  and then the band launched into "Puritania," thousands of fans erupted, and the area in front of the stage immediately became one of the densest crowds of the day. The show relied on Dimmu Borgir's classic strengths: towering stage presence, dramatic lighting, and a constant interplay between orchestral grandeur and aggressive black-metal riffing. Frontman Shagrath commanded the stage with his familiar theatrical style, while Silenoz and the rest of the band delivered the material with precision and power. The setlist was designed as a career-spanning celebration rather than a focus on any single album. Songs such as "Gateways," "The Serpentine Offering," "Council of Wolves and Snakes," and "Cataclysm Children" showcased the band's symphonic side, while classics like "Stormblåst," "Progenies of the Great Apocalypse," and the closing "Mourning Palace" delivered the nostalgic moments longtime fans were waiting for.

We then run to the Wera Tool Stage in order to watch France´s AEPHANEMER´s show. The band delivered a polished and highly melodic set that impressed fans of melodic death metal, symphonic metal, and modern extreme metal alike. Musically, Aephanemer's performance stood out for its balance between aggression and beauty. Their sound combines rapid melodic death metal riffing, blast beats, folk-inspired melodies, and symphonic keyboard arrangements. Aephanemer focused on uplifting melodies and cinematic atmospheres while maintaining plenty of heaviness. At the center of the performance was vocalist and guitarist Marion Bascoul, whose harsh vocals contrasted with the band's sweeping melodic arrangements. The guitar work featured harmonized leads while the keyboards added an epic, almost soundtrack-like dimension. The set focused on the band's recent material, particularly songs from their album "A Dream of Wilderness", along with fan favorites from earlier releases. Tracks such as "Panta Rhei," "Antigone," "Bloodline," and "Le Radeau de la Méduse" .

Our last band of the day was KUPFERGOLD. We had never listened the band´s music before so everything was a big suprise for us. The music was sort of a mix between folk rock, medieval festival music, and drinking-song tradition. Rather than focusing on heaviness, the band emphasizes catchy choruses, playful lyrics, and audience participation. The show focused on making the crowd dance and sing along the tunes. Songs such as "Grüner Drache," "Fasan Alarm," "Der Metmeister," and "Zum goldenen Rammler" encouraged immediate crowd participation, while later songs kept the festive mood going until the end of the performance.

Thursday 14th August   

We kicked off the day watching ELVENKING on the Main Stage. Elvenking delivered exactly what
many festivalgoers hoped for from an early-afternoon folk-power metal set: melody, energy, and epic sounds. Their performance was built around rapid power-metal riffing, prominent violin melodies, and fantasy-themed storytelling. Rather than overwhelming the audience with technical complexity, the band focused on creating a celebratory atmosphere. Songs from albums such as "Reader of the Runes" translated particularly well to the festival setting, with choruses designed for audience participation. Their set served as a bright and uplifting start to a day that would gradually become much darker and heavier.

On the Wera Tool Stage we enjoyed the FROZEN CROWN set. Frozen Crown delivered one of the strongest power-metal performances outside the main stage. Fast guitar harmonies, melodic choruses, and excellent musicianship defined the show. Their youthful energy translated exceptionally well to the festival environment, attracting both dedicated power-metal fans and curious newcomers. The twin-guitar work by Alexandra Lioness and Alessia Lanzone, was especially impressive, producing soaring melodies that stood out amid the day's heavier offerings. Giada Etro´s voice was another of the fantastic trademarks of the band´s sound.

We returned to the Main Stage to watch WARMEN´s show. The band features, as always, former Children of Bodom keyboardist Janne Wirman and also Endiferum´s Petri Lindroos on guitars and vocals who has been on the band since 2023. The band combined melodic death metal aggression with highly prominent keyboard arrangements. Their performance emphasized technical precision, intricate solos, and strong musicianship. Fans of Finnish melodeath particularly appreciated hearing material that captured some of the energy and virtuosity associated with the golden era of Scandinavian melodic metal.

Back on the Wera Tool Stage it was the turn of STESY and their modern metal approach. The band  incorporates electronic elements, pop sensibilities, and highly energetic stage presence. Their performance felt contemporary and accessible, attracting younger fans while still providing enough heaviness to satisfy metal audiences.

Then came BENIGHTED. They were a complete contrast to Stesy. Their set was a storm of blast beats, guttural vocals, and relentless brutality. The crowd response centered around intense moshing and headbanging, while the band maintained overwhelming intensity from beginning to end. This was one of the most extreme performances of the day and the festival.

Incredible bands like ARCTIS, BETWEEN THE BURIED AND ME, ENSIFERUM and HIDEOUS DIVINITY followed delivering killer shows on the different stages.

HIRAES was one of my favorite shows of the day. The band delivered a powerful modern melodic death metal performance. HIRAES frontwoman, the amazing Britta Görtz provided commanding vocals while the band balanced aggressive riffs with memorable melodic hooks. Her range and different types of voices are really inclredible (he also did a workshop on extreme vocals during the festival) Their set continued the strong tradition of German melodic death metal with killer riffs and intense drumming with killer technical skills.

RIVERS OF NIHIL delivered one of the day's most sophisticated performances. Their music blended progressive death metal, technical precision, atmospheric textures, and emotional songwriting. Live, these elements created a rich sonic experience that rewarded attentive listeners. The band's use of melody, saxophone passages, and layered arrangements gave them a unique identity among the many extreme metal acts performing that day.

DESTRUCTION represented old-school German thrash metal at its finest. The veterans attacked their set with relentless speed and aggression. Classic songs generated immediate reactions from longtime fans, while younger attendees experienced firsthand why the band remains one of Germany's most influential thrash acts. "Mad Butcher", "Nailed to The Cross", "Bestial Invasion" and "Tthrash Til Death" were among the crushing anthems delivered. The atmosphere revolved around nonstop headbanging, circle pits, and pure thrash energy.

Names like FIRTAN, IOTUNN and THROWN followed making killer and aggressive moments in the festival.

Firtan

Iotunn

GOJIRA was one of the climaxes of the day. For many attendees, Gojira delivered the performance of the day and the festival.The French quartet demonstrated why they have become one of the most respected metal bands in the world. Their set balanced crushing heaviness with remarkable emotional depth. Massive songs such as "Flying Whales", "Stranded", "Silvera", and "Amazonia" generated enormous crowd reactions. The band has a huge sense of dynamics. Quiet atmospheric passages often exploded into colossal grooves, creating emotional peaks that few bands can match. The crowd response was extraordinary, with enormous circle pits and singalongs throughout the set.

Then we watched SEPTICFLESH and their show was really amazing The band's music combined orchestral grandeur with death metal brutality. Massive riffs collided with sweeping symphonic arrangements, creating a sound that felt both ancient and apocalyptic. Frontman Seth Siro Anton commanded the stage with authority, while the band delivered an immersive performance full of atmosphere and power.

Finally we went back to the Wera Tool Stage and we witnessed a lesson in old-school death metal history by MASTER. A trully underrated band led by mainman Paul Speckmann, the band presented a raw and uncompromising set rooted in the earliest days of death metal. There were no elaborate visuals or modern production tricks—just crushing riffs, aggressive vocals, and pure underground spirit. A crushing ending for the day.

Friday 15th August:

This day was quite different. Clouds started to gather and it seemed that the rain was coming down. We started the day with ANGELMAKER. This band delivered one of the most devastatingly heavy performances of the festival. The set was built around relentless breakdowns, technical riffing, and constant crowd movement. Their trademark three-vocalist attack created a wall of growls, screams, and guttural vocals that few bands can match live. The audience response was immediate. Circle pits formed within the first songs, and crowd surfers continuously poured over the barricades. Despite the brutality, the band maintained remarkable precision, reproducing their complex arrangements with impressive accuracy. 

On the Wera Tool Stage AVRALIZE was waiting. This is a band that represents the newer generation of German metalcore. Their set combined modern production aesthetics, electronic elements, melodic choruses, and crushing breakdowns. The band displayed significant confidence on stage, engaging the audience continuously and building strong momentum throughout their performance. Their modern approach contrasted sharply with many of the more traditional metal acts appearing elsewhere on the festival grounds.

On the T Stage started the EVERGREY show, really emotional, full of harmonies and melodies. Frontman Tom S. Englund delivered a powerful vocal performance full of melancholy, intensity, and dramatic expression. The band's songs explored themes of loss, struggle, and personal reflection, creating a very different atmosphere from the more party-oriented acts. Their combination of progressive arrangements and memorable melodies resonated strongly with longtime fans.

Rain came falling down when the NATTVERD show was going to start. But the band delivered their traditional Norwegian black metal.The band focused on cold tremolo-picked riffs, relentless drumming, and a bleak atmosphere rooted firmly in the genre's classic era. Their performance felt like a direct link to the underground black metal scene of the 1990s with corpse pain, with rain falling but at 4.30 in the afternoon.

In full contrast came ADEPT with their style of melodic metalcore that helped define a generation of European fans during the late 2000s and early 2010s. Massive singalongs accompanied many of their best-known songs, while the crowd enthusiastically embraced every breakdown and chorus. It was a set full of modern sounds and nostalgia for many people.

The Wera Tool Stage was waiting for us to witness the DESTINITY show. The band delivered a highly energetic melodic death metal performance that balanced aggression and melody effectively. Their songs featured rapid riffing, strong choruses, and technical musicianship. The band appeared determined to maximize every minute of their festival slot, maintaining constant energy and momentum from beginning to end.

Valhalla came to the Summer Breeze with UNLEASHED. Pure Swedish death metal in the old school way sounded really well when  the sun was going down. The viking imagery is evident every time that frontman / bassist Johnny Hedlund screams "Warriors" to the audience. The band emphasized crushing mid-tempo riffs, Viking-inspired themes, and old-school death metal heaviness. Their performance demonstrated why they remain one of the foundational names of Scandinavian death metal. Tracks lie "To Asgard We Fly", "Hammer Battalion" and "Into Glory Ride" were really enjoyable and crushing.

We went to the Main Stage to watch HÄMATOM. The band brought one of the most theatrical and entertaining shows of the day. Known for masks, costumes, and large-scale stage productions, the band transformed their performance into a visual spectacle. The crowd responded enthusiastically to the combination of heavy riffs, catchy choruses, humor, and social commentary. "Bleibt in der Schule" nd "Es regnet Bier" were trully memorable tracks.

On the Wera Tool Stage EVIL INVADERS from Belgium was delivering their sonic assault. The band delivered one of the fastest performances of the festival. Drawing heavily from classic speed metal and early thrash traditions, they attacked their set with relentless velocity. High-pitched vocals, blazing guitar solos, and nonstop momentum defined the performance.

KUBLAI KAHAN TX took the stage with a completely different sound from the previous bands. This is pure hardcore with massive grooves, crushing breakdowns, and pure physical force. Every breakdown seemed designed to trigger another eruption in the pit. Simple tunes with pure aggression are the band´s trademark. Unlike more technical bands, Kublai Khan TX focused on impact. The simplicity and power of their riffs translated perfectly to a festival environment.

We then witnessed killer shows by SLOPE, OBITUARY, WARDRUNA, HARAKIRI FOR THE SKY, YOTH IRIA and NON EST DEUS closing a devastating day on this killer festival.

Obituary

Harakiri For the Sky

Saturday 16th August  

We were a little sad because this was the last day of the Summer Breeze Open Air 2025. Some thing should never end. Our first band of the day were the Spanish thrash masters ANGELUS APATRIDA we even had the opportunity to chat a little bit with them later in the Century Media stand. Angelus Apatrida delivered one of the sharpest and most energetic thrash metal performances of the festival. The Spanish veterans attacked their set with relentless intensity, combining lightning-fast riffs, technical precision, and a contagious enthusiasm that quickly won over the audience. Their live strength has always been the ability to blend old-school thrash aggression with modern tightness. The crowd responded with nonstop circle pits, while the band maintained impressive accuracy even at breakneck tempos. 

STELLVRIS was our first band of the day on the Wera Tool Stage. Their music is  a polished and contemporary metalcore built around modern production values, heavy breakdowns, and memorable vocal hooks. The band's energetic stage presence helped them connect with an audience that may not have been familiar with their material beforehand. Their mix of aggressive passages and accessible melodies made them one of the more approachable acts among the heavier performers of the day.

And then came the Polish death metal masters VADER. Every time we have the opportunity to see them we enjoy it more. Led by Piotr Wiwczarek, the band delivered a merciless set filled with classic death metal anthems. Their performance emphasized speed, precision, and professionalism. Decades of experience were evident in every aspect of the show. The audience response was immediate, with veteran fans and younger death metal enthusiasts alike embracing the band's uncompromising approach. "Cold Demons", "The Calling" and "Triumph of Death" blew away the audience.

The brutality continued with EXTERMINATION DISMEMBERMENT. And this was one of the most brutally heavy performances of the festival. Their trademark "downtempo slam" style produced breakdowns that felt almost physically oppressive. Massive low-end frequencies, guttural vocals, and crushing rhythmic patterns dominated the set.The crowd reaction reflected the extremity of the music. Rather than traditional singalongs, the audience responded with violent pits and overwhelming physical energy.

Contrasting with the brutality, OMNIUM GATHERUM took the stage with atmospheres and death metal melodies. Their performance showcased soaring guitar leads, emotional melodies, and progressive songwriting. The band's music possesses a unique sense of melancholy and optimism that translates exceptionally well to a live setting. Fans of Scandinavian melodic death metal were rewarded with one of the genre's finest contemporary live acts.

We also witnessed killer shows by HAMMER KING, the almighty SUFFOCATION, APRIL ART and BREAKDOWN OF SANITY.

April Art

Breakdown of Sanity

Then came the main show in the Main Stage, MACHINE HEAD. "Imperium" and "Ten Ton Hammer" opened the show with pure aggression. Led by Robb Flynn, the band combined groove metal power, massive choruses, and arena-level stage presence. Their set balanced classic material with newer songs, creating a performance that appealed to fans from multiple generations. The audience was one of the biggest (if not the biggest) of the Festival. "Locust", "Bulldozer" made the audience sing and also to headbang and mosh. The show ended with the all time classic "Davidian" to give a well deserved to the crowd.

We run to catch ABBIE FALLS on the Wera Tool Stage. The band delivered a compact but highly effective deathcore assault. Kicking off with "Purge" the band focused on impact rather than complexity, employing massive breakdowns, aggressive vocals, and a relentless pace. Their youthful energy translated well to the festival environment, generating strong reactions from fans of modern extreme music. Tracks like "Pitch Black", "Black Void" and "Victim".

PRIMORDIAL took the stage next and  offered one of the festival's most emotional and powerful performances. Frontman Alan Averill remains one of metal's most captivating performers, capable of commanding a crowd through sheer intensity and conviction. Their music blends black metal, doom metal, folk influences, and historical themes into something uniquely epic. Rather than relying on speed or technicality, Primordial focused on atmosphere, storytelling, and emotional weight.

We went back to the Wera Tool Stage to check the CYTOTOXIN show. And this was another of the most brutal shows of the Festival. Their nuclear-disaster-themed aesthetic was matched by music that combined astonishing technicality with overwhelming heaviness. Rapid-fire riffing, complex rhythms, and devastating breakdowns kept the audience constantly engaged.

The band's precision was particularly impressive given the sheer complexity of their material and the speed that each composition unleash.

GAEREA was the last band on the Festival that we enjoyed. And what a great way to end this amazing experience. Gaerea delivered one of the most atmospheric and visually striking performances of the weekend. Known for their masked appearance and emotionally charged style, the band blended black metal aggression with post-metal textures and dramatic dynamics. The performance gradually built from haunting passages into explosive climaxes, creating an immersive experience that felt almost cinematic. Their use of atmosphere, lighting, and emotional intensity made the show truly memorable.

Overall we have to say that the 2025 edition of the Summer Breeze Open Air Festival was with no doubt one of the best experiences of the year. All metal genres are represented and the quality of the bands is really amazing. This were five days that we will not forget.