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Getaway Rock Festival 2014

After the record attendance last year, Getaway Rock Festival in Gävle, Sweden stuck with the same formula this year as regards to the organisation and layout of the festival site. There was however one new important feature: every visitor was handed a wristband with a chip which you could charge with money and then use to pay for drinks and food. This system seemed to work fine overall, although there were still some long queues. It will probably work better and better with time and it is undoubtedly a good idea.

The line-up was very strong again, with Slayer being a long-awaited booking plus Volbeat attracting a massive crowd. Complementing these two biggest names were numerous popular acts such as Opeth, Watain, Doro and Dimmu Borgir, and there was good diversity giving options for everyone. The number of visitors were a bit smaller this year but still impressive. There is no doubt that Getaway Rock have built a strong brand that attracts big bands, and they are standing up well against the other premier hard rock/heavy metal festival in Sweden: Sweden Rock.

The latter is of course bigger though, and Getaway Rock do their thing formidably and do not need to copy others. I'm sure I speak for many when I say that Getaway Rock is great the way and size it is now, and the festival area - an old industrial site - does not really allow expanding anyway. The festival is intimate and inviting all-round, with the stages and all facilities close to each other. And on a more personal level, it is indeed nice to have the option of staying in a hotel during the festival, as the city centre of Gävle is not far from the site. Plus Gävle is in the more Northern parts of Sweden which makes the journey shorter for us living in that part of the country. If Getaway Rock look after their concept and keep doing what they do, the visitors will continue to arrive in big numbers. See you next year, everyone!

See also my interviews conducted backstage at the festival - in the interview section to the left on this homepage - with Airbourne, Black Star Riders and Doro, all of whom had nice things to say about Getaway Rock, which is a very positive thing in itself.

|Thursday| - |Friday| - |Saturday|

Reviews by Mozzy

Thursday - August 07

Band: The Haunted
Red Stage 14.30 - 15.30

The recent resurrection of The Haunted, with a line-up including former members Marco Aro and Adrian Erlandsson plus Ola Englund replacing Anders Björler on guitar, was excellent news in the metal world. Their appearance at Getaway Rock was an appetizing happening and tremendous start to the festival. Unfortunately, rain is pouring down which dampens the mood initially. This is soon forgotten, however, and when awesome numbers like 99 and Trespass are aired early on everyone's head is nodding and banging along.

There are no tracks from the last album Unseen, with the focus solely on the older, more aggressive material. Although the sound is not perfect, the performance has a hard-hitting impact. The faster numbers like Undead and Hate Song are great, with drummer Adrian Erlandsson putting in an sweaty effort. Simply put, this is a The Haunted back in their older, pure metal mode, and it feels just right. Eye Of The Storm, from the upcoming album, also stands up well to the older stuff.

With the colourful Peter Dolving gone, Marco Aro's frontmanship is more straight-forward and Aro's happiness to be back cannot be mistaken. He is smiling a lot and interacting with the crowd while putting in a forceful vocal delivery. Englund, meanwhile, fits in effortlessly, clearly proving his talent. The ever-present members, Patrik Jensson on guitar and Jonas Björler on bass, are rock-solid and are enjoying themselves too.

The set is rounded off with two vicious old thrashers, No Compromise and Bury Your Dead, and it is a great finale. Having played just a few gigs since the comeback, one can sense a small bit of rustiness and that the confidence is not 100 percent. This will surely improve later on, and this is without doubt a convincing display that confirms that The Haunted are back in strong force, to the delight of many a metalhead.

Performance: 7 chalices of 10
Stage sound
: 6 chalices of 10
: The tunes from the first album
: The dodgy sound at the start

Setlist: (incomplete)
Eye of the Storm
Hollow Ground
No Compromise
Bury Your Dead
All Against All

Band: Edguy
Green Stage 15.30 - 16.30

Edguy is a name that is quite often found in Swedish festival line-ups, and it is always a popular booking. With their new album released a couple of months ago, the band are eager to promote it, and four tracks from it are performed this afternoon. They go down well with the audience and two of them, Defenders Of The Crown and Out Of Vogue, are played live for the first time. As always, the Germans display energy, joy of playing and an all-round cheerful attitude which is infectious. Vocalist Tobias Sammet leads the way in his usual style, with numerous jokes and typical self-mocking.

Other than the new songs we get some old gems that get an excited response. The crowd reaction today is warm indeed, not least during Vain Glory Opera, a number which Sammet jokingly states is stolen from Europe. He duly salutes the crowd and the Swedish fans for embracing Edguy at the start of their career. Once again, an enjoyable time is had together with Edguy. Their catchy tunes are an excellent fit at a festival, creating a feel-good vibe, which is especially needed when the weather is not as appealing, like today.

Performance: 7 chalices of 10
Stage sound
: 7 chalices of 10
: Vain Glory Opera
: Four new songs out of the total nine is one too many, really.

Love Tyger
Space Police
Defenders Of The Crown
Tears Of A Mandrake
Vain Glory Opera
Out Of Vogue
Lavatory Love Machine
King Of Fools

Band: Kreator
Green Stage 17.30 - 18.30

Having delivered an awesome performance at the first edition of Getaway Rock four years ago, it was very nice to see that Kreator would return this year. As always, frontman Mille Petrozza is fired up from the start and has the fans participating in frequent moshpits to old thrash missiles such as Endless Pain and Pleasure To Kill. It is once again clear that the songs from Phantom Antichrist have a class that can match the old favourites. One of the highlights of the set is Civilization Collapse, a fabulous composition featuring both memorable melodies and an annihilating attack.

Petrozza is in an upbeat mood and proves he is one the best frontmen in thrash metal, oozing confidence and presence. However, he does not seem to be fully up to date, calling the festival 'Gateway Rock', something he did last time they were here as well, which is funny. Nevertheless, that extra spark is missing this time. Perhaps it is the energy of the band, or the crowd, or the early stage time, but the atmosphere never reaches the highest level and I have definitely witnessed superior performances by the band. Still, the awesome thrash metal which is played means that this cannot be anything other than another pleasurable Kreator display.

Performance: 7 chalices of 10
Stage sound
: 8 chalices of 10
: Civilazation Collapse
: The feeling that this is not a top Kreator concert.

Mars Mantra
Phantom Antichrist
From Flood Into Fire
Coma Of Souls
Endless Pain
Pleasure To Kill
Hordes Of Chaos (A Necrologue For The Elite)
Enemy Of God
Civilization Collapse
The Patriarch
Violent Revolution
Flag Of Hate/Tormentor

Band: Steel Panther
Green Stage 19.30 - 20.45

One can sense the expectations in the air before Steel Panther take the stage, and everyone's anticipation of entertainment will be fulfilled. Opening with two numbers from their latest release All You Can Eat, the glam metal outfit has the audience in their grip from the start. Aside from the music, a mix of tunes from their three albums, the comedy side is a big part of the show as well.

There are endless jokes and comments about sex, drugs and other popular rock n roll clichés, and while you feel that you've heard quite a bit of it before, it's hilarious all the same. Guitarist Satchel demonstrates that he has picked up some Swedish dirty words. One of the appealing things about these funny gentlemen is that they do their thing with humour and tongue-in-cheek, and it has the desired effect: you cannot fail to be entertained by these guys.

More importantly though, Steel Panther possess potent and catchy material. Tunes like Just Like Tiger Woods, Asian Hooker and Eyes Of Panther really get the party in full swing. And the most amusing lyrics, a vital factor in the Steel Panther concept, are sung with passion by a crowd grinning from ear to ear.

During 17 Girls In A Row and a couple of numbers onward, the stage is invaded by a bunch of female crowd members which contribute to the fun, although it all gets a bit drawn-out and the musical bit gets a little unfocused. The party is then rounded off in a kick-ass fashion with two irresistible anthems, Death To All But Metal and Party All Day, which have everyone letting loose and singing on the top of their lungs.

Performance: 7,5 chalices of 10
Stage sound
: 7 chalices of 10
: The all-round entertainment
: The part with the girls onstage is too long

Party Like Tomorrow Is The End Of The World
Asian Hooker
Just Like Tiger Woods
Gold Digging Whore
Girl From Oklahoma
Community Property
Eyes Of A Panther
17 Girls In A Row
It Won't Suck Itself
Death To All But Metal
Party All Day

Band: Arch Enemy
Green Stage 20.45 - 21.45

Performing at Sweden Rock Festival two months earlier, Arch Enemy are back at Sweden's other big hard rock/metal festival, Getaway Rock. Compared to Sweden Rock, the set includes a couple of numbers less, and there are some sound issues during the first songs and the mix is for the most part not ideal. We are treated to quality Arch Enemy tunes throughout, though, and the delivery is top-notch.

Alissa White-Gluz again proves she is a terrific replacement for the departed Angela Gossow, working hard and putting in a dynamic stage performance while demonstrating her tremendous singing capabilities. She is backed up by a band who also put in a busy performance and who are flawless musically. Together, the band feels like a very solid unit which makes the loss of Angela almost forgotten.

Arch Enemy get a great reception at Getaway as well, but personally, I found their show at Sweden Rock more memorable. It really feels like that one had more impact when looking at all aspects, also because the band had a bigger stage production and played a longer set then. Under all circumstances, this is another strong and professional display by Arch Enemy, and their late slot in the schedule, just before headliners Volbeat, feels natural.

Performance: 7 chalices of 10
Stage sound
: 6 chalices of 10
: Nemesis
: The sound during the first part

Khaos Overture
Yesterday Is Dead and Gone
War Eternal
My Apocalypse
You Will Know My Name
Bloodstained Cross
As the Pages Burn
Dead Eyes See No Future
No Gods, No Masters
We Will Rise
Fields Of Desolation

Band: Volbeat
Green Stage 21.45 - 23.15

Volbeat were one of the headliners at this year's Sweden Rock Festival, playing for an enormous crowd, and that position in the line-up is repeated here. That the Danish outfit has enjoyed a large and fast increase in popularity during the last five years has been well-noticed, but it is nonetheless impressive to see them draw such a big attendance, which is the case at Getaway too. Following the first part of Motörhead's Born To Raise Hell as an introduction, Volbeat's Doc Holliday takes over, the huge curtain drops and bombs go off which turns the audience wild. Apart from the frequent pyro during the concert, the light show is impressive too, and the stage show is ambitious and evidently well-planned. Add a great, huge sound and the conditions for this headline show are excellent.

Then again, what matters most is the music and those who perform it. Michael Poulsen has developed into a great frontman with much assurance and charisma on the big stages. He also has a tremendous rapport with the audience, cracking jokes and getting the crowd to participate in the show. Connecting with the crowd is something the whole band do well, in fact, and it certainly is a winning factor. The response during big fan favourites like Sad Man's Tongue, Maybellene I Hofteholder and Still Counting is amazing, with loud singing taking place. It is also obvious to see that the 'new' member Rob Caggiano, joining in 2013, is relishing his role in Volbeat. He is cheerful and moves around much onstage, which is good to see since he was often quite a dull figure during his last years with Anthrax.

Volbeat definitely have a number of class tunes in their repertoire, and the music is accessible with great hooks and riffs which grabs the listener. Still, I find some of the material rather ordinary and samey, a feeling I get tonight as well. In addition, I tend to find Poulsen's voice a bit annoying in the long run. All in all, it is a very solid performance though, and while I may not feel the same thrill myself, the overall response in front of the main stage is jubilant and the party atmosphere is easily achieved. There can be little doubt that the Volbeat will see their success continue.

Performance: 6,5 chalices of 10
Stage sound
: 8 chalices of 10
: Sad Man's Tongue
: Some songs are quite average to my taste

Doc Holliday
Hallelujah Goat
Boa [JDM]
Lola Montez
Sad Man's Tongue
Heaven Nor Hell/A Warrior's Call/I Only Wanna Be With You
16 Dollars
Dead But Rising
The Nameless One
Radio Girl
Maybellene I Hofteholder
Still Counting
Pool Of Booze, Booze, Booza
The Hangman's Body Count
Guitar Gangsters & Cadillac Blood
The Mirror And The Ripper

Band: Opeth
Red Stage 23.15 - 00.30

Playing at the second edition of Getaway in 2011, Opeth were back this year, headlining the Red Stage on the first festival day. Opener The Devil's Orchard sets the mood nicely before Heir Apparent introduces some real heaviness, complete with Mikael Åkerfelt's awesome growl. The heaviness continues with the grand old staple Demon Of The Fall, and by now the crowd's excitement is high. Then the character of the performance is shifted as the first notes of Hope Leaves appear. The excitement does not decline though, as the track from Damnation is a beautiful piece of music with gorgeous, reflective melodies. Here, Åkerfeldt really proves that he has a tremendous clean voice as well - full of feel, emotion and passion.

The inclusion of Atonement mid-set is a surprise, but while it contains some cool, spaced-out bits it does not really do the trick live, late at night in front of a crowd that is a bit weary. This is the only downside to a concert that creates a fabulous atmosphere. The superb music is of course the main ingredient, but there is also a great bond between band and audience. As usual, Åkerfeldt delivers many humorous comments and anecdotes between songs, also with an appealing self-distance. Although not as outgoing as Åkerfeldt, instead letting their playing do the talking, everyone of the other members really impress: Fredrik Åkesson on guitar, Martin Mendez on bass, Martin Axenrot on drums and Joakim Svalberg on keyboards.

Their playing - and let's not forget Åkerfeldt's own excellent guitar playing either - has so much focus and professionalism, as well as skill and feel. The Swedes gel together and shift seamlessly from heavy and brutal to tender and delicate sections. This mix is of course descriptive of Opeth's music, and the result is captivating and simply brilliant. The lengthy, amazing Deliverance is a prime example, and a highlight in the set. Having just watched Volbeat before this concert, I think to myself just how much more depth and class there is to this musical performance by Opeth. It is at times magical and after the monumental closing number Blackwater Park the band receive a heartfelt salute from the crowd.

Performance: 9 chalices of 10
Stage sound
: 8 chalices of 10
: The brilliant music and musicianship.
: Atonement brings the momentum down a bit.

The Devil's Orchard
Heir Apparent
Demon Of The Fall
Hope Leaves
The Lines In My Hand
Blackwater Park

To the top

Friday - August 08

Band: Napalm Death
Green Stage 16.45 - 17.45

It's always a treat to see Napalm Death take the stage, strolling on in a relaxed, modest manner and then suddenly bursting into a frenzy of extreme metal. Singer Barney Greenway turns into an enraged animal, throwing his body and limbs about while sporting a disturbed, manic facial expression. It is pure passion, and it is entertaining and engaging.
As always, the effort from the whole band is very committed, and they play with intensity and edge. The stage sound has some flaws, but it does not prevent aggressive numbers like Unchallenged Hate and The Wolf I Feed from being much pleasurable. Guitarist Mitch Harris, now in short hair which is a bit odd to see, complements Greenway with high-pitch screams and the band's delivery is relentless.

It is a bit early in the day for that extra action in the crowd, but the response is warm nonetheless. The fondness for Napalm Death is clear, and aside from offering quality metal the band members are plain, likable chaps. Greenway's statements about peace and liberty, among other fundamental topics, are greeted with loud cheers. Towards the end, the moshpit is filled with enthusiasts going mental to old gems such as Scum and Nazi Punks Fucks Off, the latter sending out a message that is most significant in today's society.

Performance: 7 chalices of 10
Stage sound
: 6 chalices of 10
: Barney's frontmanship.
: The sound makes the songs a bit muddy at times.

(sorry, no setlist)

Band: Airbourne
Green Stage 18.45 - 19.45

When it comes to bands playing live, it is common and natural for some to have gigs which are more like a day in the office; gigs that lack that extra effort, and this is something you can sense as a spectator. Safe to say, Airbourne are not one of these bands. Kicking off their set with the suitably titled Ready To Rock, these boys give nothing else but 100 percent from the first note to the last. The sweat is pouring and the adrenaline pumping as the Australians rock out onstage as if it was their last live gig, riffing hard, headbanging and running around. You can tell that they are genuinely into it and that they love their rock 'n' roll.

This passion is not least obvious with singer/guitarist Joel O'Keefe, who you just can't take your eyes off. He is all over the place, rocking like crazy, grinning and spurring on the crowd in between songs. During Girls In Black, he jumps off stage and runs out to the wheelchair ramp by the mixing desk. There he does a bit of riffing and soloing right in the faces of those in wheelchairs, before he sprints through the crowd onto the stage again. Such a cool thing to do.

As for the music, the AC/DC/Motörhead-inspired rock 'n' roll, albeit with a harder edge to it, is irresistible and the catchy tunes go down great with the audience who do their best to keep up with the rocking onstage. After all the years and touring together, the band's rock 'n' roll sound is powerful, and O'Keefe's singing has such bite one wonders how his voice can cope the strain on tour. During the awesome closing number, Running Wild, some AC/DC and Motörhead riffs are played before the frontman does his trademark beer can-cracking to his head which has the drink spurting out onstage. Airbourne treat us to a very entertaining hour and a festival is indeed an arena where they fit perfectly.

Performance: 8 chalices of 10
Stage sound
: 8 chalices of 10
: The awesome rock 'n' roll energy.
: No One Fits Me (Better Than You) could have been replaced with an older tune.

See also: interview with David Roads the same night

Ready To Rock
Too Much, Too Young, Too Fast
No One Fits Me (Better Than You)
Diamond In The Rough
Girls In Black
Cheap Wine & Cheaper Women
Black Dog Barking
No Way But The Hard Way
Stand Up For Rock 'N' Roll
Live It Up
Running Wild

Band: Black Star Riders
Green Stage 20.45 - 22.00

After functioning solely as a live band for many years, the modern version of Thin Lizzy eventually felt like recording an album with new material. As a respect to the iconic, late band leader Phil Lynott without whom it is not the real Thin Lizzy, the band name was changed to Black Star Riders. The album which was released last year was well-received, and the numbers from the album go down very well tonight.

All Hell Breaks Loose is a good rocking start of the show, the epic Kingdom Of The Lost is one of the highlights of the set, and the catchy Bound For Glory fits in great towards the end when the crowd is in a happy mood. The mood has been raised to high levels following renditions of other well-known songs. I'm of course talking about the Thin Lizzy songs, and you cannot really get much better classic, timeless rock. Tunes such as Jailbreak, Suicide and Emerald have the audience singing, grooving along, playing air guitar and displaying joyful faces.

The band makes a vital impression and it is apparent that they have a good chemistry and enjoy themselves, also interacting with the audience. Latest addition Robbie Crane on bass fits in great and contributes energy onstage, and the collective musicianship among the quintet produces a great sound. Scott Gorham really gets to shine with his soloing, and his partnership with Damon Johnson, not least during the lovely twin guitar sections, is excellent. Ricky Warwick is very confident in his role, being an excellent frontman with a great raspy rock voice and he interprets the Lizzy songs well, in his own style.

The beloved classics Cowboy Song and The Boys Are Back In Town get a roaring reception, as does Whiskey In The Jar during the encores. There is simply a wonderful atmosphere during Black Star Riders' performance, and we salute these gentlemen's decision to carry on Thin Lizzy's and Phil Lynott's legacy.

Performance: 8 chalices of 10
Stage sound
: 8 chalices of 10
: Cowboy Song
: A guitar solo by Damion Johnson as an encore is not that necessary.

See also: interview with Ricky Warwick the same night

All Hell Breaks Loose
Are You Ready
Bad Reputation
Hoodoo Voodoo
Kingdom Of The Lost
Hey Judas
Valley Of The Stones
Bound For Glory
Cowboy Song
The Boys Are Back In Town
Guitar solo (Damion Johnson)
Whiskey In The Jar

Band: Slayer
Green Stage 23.00 - 00.30

Last year, there were some rumours circulating that Slayer were going to perform at Getaway Rock. It didn't happen then, but this year the festival secured the services of the thrash titans, to immense delight. It all kicks off in a splendid fashion as the colossal Hell Awaits is followed by The Antichrist and Necophiliac. The rest of the set consists a long string of thrash anthems, and we also get a couple of numbers which are not always played, such as At Dawn They Sleep and Born Of Fire, which is cool as hell. Just two tracks recorded post-1990 are played, and it is simply a phenomenal setlist. That the crowd at Getaway is excited is an understatement.

Nevertheless, there are a couple of drawbacks to this performance. From the start of the show, Gary Holt's guitar is too low in the mix, evident during his rhythm playing as well as solos. It gets particularly annoying when Kerry King is soloing and the monster riffs driving the song are not as loud. It is not totally disastrous as Holt's guitar can be heard, but it is simply too low which harms the impact.

Otherwise, Holt it is once again a joy to watch, being on fire onstage which is a most valuable asset in Slayer's live show. His colleagues are not nearly as colourful, and tonight Tom Araya does a bit of a jaded impression initially. As for his singing, it is definitely not on top although it gets better towards the end. As a whole, this Slayer performance does not reach the highest level and that I have witnessed them in better form is clear. At the same time, just hearing all these thrash pearls live will always be a quality happening.

Performance: 7,5 chalices of 10
Stage sound
: 6 chalices of 10
: The outstanding setlist.
: The mix of Gary Holt's guitar.

Hell Awaits
The Antichrist
Mandatory Suicide
Hate Worldwide
War Ensemble
Captor Of Sin
Hallowed Point
At Dawn They Sleep
Die By The Sword
Spirit In Black
Seasons In The Abyss
Born Of Fire
Dead Skin Mask
Raining Blood
Black Magic
South Of Heaven
Angel Of Death

To the top

Saturday - August 09

Band: Michael Monroe
Green Stage 14.30 - 15.30

Starting the day with seeing Michael Monroe, in sunny weather as well, felt very appealing when waking up on Saturday, and it sure is. The band's blend of glam rock and punk get the crowd and spirit going from the start. Latest album Horns And Halos is represented with a good portion and with a terrific result, not least during Ballad Of Lower East Side which sees an enthusiastic response and loud singing by the crowd. The set is strong overall, also including the odd Hanoi Rocks track, of course.

Monroe's voice is in good shape, and he also proves that he can use a harmonica and saxophone well. Meanwhile, the effort he puts into his performance is as always busy and dedicated indeed. The remarkably fit and agile Finn is dancing, running around, climbing the stage and jumping down to the barrier to shake hands. The cord to his microphone gets constantly stuck in the equipment onstage, which makes one of the roadies very occupied.

With his highly engaging and entertaining showmanship, Monroe is without doubt one of the premier frontmen in the business, one which you always love watching. Monroe's band mates put in a seriously rocking effort too, and at the end of the show former guitarist Dregen makes a cool guest appearance. This show by Michael Monroe and co generates a splendid party vibe, not least during Up Around The Bend at the end, and is an excellent, ass-kicking start to the last festival day.

Performance: 8 chalices of 10
Stage sound
: 8 chalices of 10
: Michael Monroe's frontmanship.
: More Hanoi Rocks material would have been nice.

(sorry, no setlist)

Band: Skid Row
Green Stage 16.30 - 17.30

For a long time, the prospect of seeing Skid Row live has brought a feeling of indifference, which is why I haven't seen them since 2007 at Sweden Rock, and I didn't even see the whole of it then. The reason is that without the characteristic, fabulous voice of Sebastian Bach, it has not felt like this is the same Skid Row. This time though, I wanted to check them out. Without being extraordinary, this performance by Skid Row is definitely a nice surprise.

It is notable just how enthusiastic the original members - Dave 'Snake' Sabo, Rachel Bolan and Scotti Hill -are onstage. They perform with dedication and energy, with smiles on their faces, and Sabo and Bolan express their gratitude for the fans' support. The other members, singer Johnny Solinger and drummer Rob Hammersmith also have a good time. Having been in Skid Row since 1999, Solinger displays confidence onstage, connects with the crowd and has a good voice, although he cannot match his predecessor and does not try or is not able to hit the high notes.

While newer material such as Let's Go and We Are The Damned are well-received, it is of course the tunes from the first two albums that get the crowd going. This is not least obvious in the last third of the show, where there is an awesome singalong to the lovely I Remember You plus much excitement to Monkey Busniess, Slave To The Grind and the storming Youth Gone Wild. This concert confirms that the present Skid Row incarnation certainly has relevance. Then again, the return of a certain singer would be a big happening and have fans jumping for joy. Let's see if that happens eventually, but if not, seeing Skid Row live will still guarantee a good time.

Performance: 6,5 chalices of 10
Stage sound
: 7 chalices of 10
: I Remember You
: One cannot help missing the original voice in the old songs.

Blitzkrieg Bop
Let's Go
Big Guns
Piece Of Me
18 And Life
Thick Is the Skin
Kings Of Demolition
Psycho Therapy
I Remember You
Monkey Business
We Are The Damned
Slave To The Grind
Youth Gone Wild

Band: Doro
Green Stage 18.30 - 19.30

Seeing Doro at a festival, and elsewhere for that matter, is a guarantee for a pleasurable heavy metal concert. At Getaway, it kicks off with style with three Warlock classics: Earthshaker Rock, I Rule The Ruins and Burning The Witches. Fan favourites such as Raise Your Fist In The Air, the lovely Fur Immer and True As Steel follow, and that the spectators are enjoying themselves is apparent. The heavy metal is performed with power and dedication from the band who are also enjoying themselves very much.

Beaming and smiling, Doro herself has the audience in her palm, and it is always great to see this woman onstage, as her stage persona is constituted by total, unreserved passion and devotion. It is so obvious that she still loves what she does, that she loves metal, and that she loves her fans. The bond with the fans is very strong, something she also reveals a number of times onstage, expressing her genuine gratitude towards them.

The response Doro and her band get in return is tremendous, just like the atmosphere during this heavy metal feast, with euphoric singalongs during All We Are and Judas Priest cover Breaking The Law. The hour's playing time goes by fast, but it is a wonderful time that is spent seeing Doro at the Green Stage. After the music has stopped, the frontwoman makes her way down to the barrier to greet the fans. It really speaks volumes of the woman, who will certainly raise the flag for metal for as long as she is able. That she has come to be called the Metal Queen couldn't be more appropriate.

Performance: 8 chalices of 10
Stage sound
: 8 chalices of 10
: The happy atmosphere.
: One hour goes by way to quick, and with all Doro's material, the playing time should have been longer.

See also: interview with Doro Pesch the same night

(sorry, no setlist)

Band: Dimmu Borgir
Green Stage 23.15 - 00.40

Closing activities on the main stage, Dimmu Borgir take their headlining task seriously, putting on a big stage show. During the intro to opener Allegiance, the band appears onstage before huge pyro blasts go off. There are plenty of big explosions and fire at well-timed moments during the remainder of the show, to great effect, and the light show is grandiose and effective.

Second number in the set is a mighty Progenesis Of The Great Apocalypse. Just like Allegiance, this popular Dimmu Borgir track is from Death Cult Armageddon, and it is followed by no fewer than six songs from that album, which is also represented by a huge backdrop onstage. Last year was the 10th anniversary of the release and no celebration took place then, frontman Shagrath informs us. After the anniversary part, the majestic The Serpentine Offering is played mid-set, complemented by bombastic pyro.

Shagrath has great stage presence and command over the audience, while also showing humility and humour. The other two remaining full-time members, guitarists Galder and Silenoz, assist Shagrath excellently when it comes to presence onstage, as well as connecting with the audience. The remaining figures onstage, live members only, are quite laid-back but do their job well. One can tell that this is an anticipated concert, also because it's been a while since Dimmu Borgir played in Sweden.

However, although the Norwegians get a good support at Getaway, as a whole the atmosphere never lifts to extraordinary heights. The conclusion is awesome though, with a majestic Dimmu Borgir followed by the classic Mourning Palace which is greeted with much enthusiasm. All in all, this is definitely a show of a high standard befitting a headliner.

Performance: 7 chalices of 10
Stage sound
: 7 chalices of 10
: The stage show.
: Not all songs are of the same high quality.

Progenies Of The Great Apocalypse
Lepers Among Us
For The World To Dictate Our Death
Cataclysm Children
Unorthodox Manifesto
Eradication Instincts Defined
The Serpentine Offering
Kings Of The Carnival Creation
Dimmu Borgir
Mourning Palace

Band: Watain
Red Stage 00.45 - 02.00

And so there is just one more concert left of the festival: Swedish black metallers Watain.
The band marches onstage and fires are lit, creating a burning inferno. The all-round ambience is one of darkness and mysticism and it is imposing throughout the show. Although the sound suffers a bit at the start, it is a frenetic and impressive attack that is unleashed upon us, with Malfeitor as an early highlight. The five numbers from latest album The Wild Hunt make up almost half the set, and the epic title track is especially great, also providing dynamics to the set.

The Watain live line-up is a little different this time, with Degial's Hampus Eriksson standing in for Pelle Forsberg on guitar. The latter makes an appearance later on in the show, however, playing two songs. All members put in an animated performance that is marked by absolute conviction. This is, not surprisingly, most obvious with frontman Erik Danielsson. Apart from singing with passion, he is totally into the performance and his conduct onstage is almost manic. His devotion is also apparent between songs, with short ceremonials and dedicated talks. Prior to Devil's Blood, he proclaims to the crowd that "you cannot get away", and then the song kicks off with a stream of blood gushing out of a big tube at the front of the stage, covering the first rows.

This is an impressive performance by Watain and a great conclusion to this year's Getaway Rock Festival, and the support from the crowd is enthusiastic. Personally, while I do like the band, I'm not really a diehard Watain fan like those worshipping the show at the front. I also tend to find all the ritualistic features a bit tiresome in the long run. That being said, it is impossible to deny that this is one of the strongest live bands around in today's extreme metal scene. Even those unfamiliar with the music cannot possibly fail to be impressed by the ambition and genuine conviction that permeate Watain's live presentation.

Performance: 7,5 chalices of 10
Stage sound
: 7 chalices of 10
: The Wild Hunt
: The ceremonial elements between songs.

De Profundis
Black Flames March
Reaping Death
Devil's Blood
The Wild Hunt
The Return Of Darkness And Evil
Hymn To Qayin
Holocaust Dawn

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Related links: www.getawayrock.se