Blaze Bayley

Blaze Bayley is an English heavy metal (sometimes labeled “hard rock” at Alcatraz) singer-songwriter hailing from Birmingham, UK. Former frontman of Wolfsbane and Iron Maiden (mid‑1990s), he’s maintained a prolific solo career. His latest studio album is Circle of Stone, released in 2024.

Despite the early time slot, Blaze’s commanding presence cut through the morning chill. Fans responded enthusiastically, especially when the Maiden classics hit—“Man on the Edge” and “Futureal” delivered nostalgic highs, and the crowd’s roar was immediate. His gritty vocals and energetic delivery meshed well with the raw festival vibe, creating a moment both intimate (for early risers) and electrifying.

Two standout tracks: “Silicon Messiah” (title track from his 2000 debut solo album, a powerful anthem of identity and defiance) and “Futureal”, a soaring Iron Maiden-era classic reinterpreted with renewed vigor on Alcatraz’s Main

Room 13

Room 13 is a band blending Belgian and American influences. Originally formed in 2010 and resurrected in 2023 by guitarist Ira Black (known for Dio Disciples, Lizzy Borden, Bulletboys) and vocalist Mario Poncin (Fat Bastard, DeadMansPoet, Bodisatva), the lineup includes bassist Gerry Verstreken, guitarist Sven Van Laere, and drummer Lonny Pasillas

The performance exuded classic heavy‑metal energy with a modern bite, drawing from NWOBHM influences like twin guitar harmonies, galloping rhythms, and powerful vocals. The musicianship was tight and dynamic, delivering fist‑pumping anthems that had fans cheering from the very first riff. The swamp‑stage setting—still fresh in the early festival day light—felt energized, raw, and communal.

3 Inches of Blood

A powerful force in the heavy metal world, 3 Inches of Blood hails from Canada. They deliver a potent mix of heavy metal, power metal, and thrash metal, deeply rooted in the New Wave of British Heavy Metal (NWOBHM) tradition.

The band’s return—after having disbanded in 2015 and reuniting in 2023—felt monumental. Their stage presence was electrifying: twin‑guitar fury, decibel‑blasting riffs, and dual vocals (clean and harsh) that ignited the crowd from the first chord.

Yhe vibe was unmistakably 3 Inches of Blood: battle‑ready, nostalgic yet freshly fierce, and a perfect midday jolt that reinforced their legendary status. Their performance didn’t just fill a time slot—it likely felt like a reclaiming of their throne.

Chemicide

Chemicide is a ferocious thrash metal band hailing from San José, Costa Rica, operating since 2008 after evolving from their earlier identity as Conqueror.

Chemicide brought a relentless, do‑or‑die thrash fury to the stage—tight, raw, and aggressive. One Pitfest-goer described their sound as “heerlijke thrash uit Costa Rica”—delicious thrash from Costa Rica—capturing the refreshing surprise they offered Friday afternoon. The live energy was underscored by their DIY roots and unwavering ethic: crafting their reputation through memorable, savage performances and earning acclaim as one of Latin America’s top thrash export—including over 12,000 records sold globally.
We have experienced a concentrated dose of thrash intensity—driving guitars, relentless tempos, and a raw sound anchored by tight musicianship. With Violence Prevails freshly released, fans were treated not only to nostalgia but also to the band’s latest savage material. Whether or not the same Pitfest tracks were played, the festival stage surely reverberated with their signature ferocity and the electric thrill of discovering—and celebrating—a Costa Rican thrash powerhouse in full force.

Heriot

Heriot is a boundary-pushing metalcore outfit from Swindon, England, formed in 2014 by guitarist Erhan Alman, bassist/vocalist Jake Packer, and drummer Julian Gage; in 2019, vocalist/guitarist Debbie Gough joined, steering their sound into darker, more experimental terrains. Described as “genre-agnostic” and “post-everything,” they weave together blackened, gothic, sludge, industrial, doom, and noise influences to craft a wall of immersive atmosphere.

Their debut studio album, Devoured by the Mouth of Hell, was released on 25 September 2024 via Century Media. The record builds upon the thematic and sonic groundwork laid by their 2022 EP Profound Morality, with production involving Josh Middleton (Sylosis) and Will Putney creating a heavy yet nuanced soundscape.
At Alcatraz, Heriot delivered a spellbinding set brimming with raw energy, contrast, and atmospheric depth. With tracks like Foul Void igniting the crowd and Opaline enveloping them in eerie intensity, the festival stage became a crucible for their genre-defying chemistry—showcasing why they’re among the most thrilling new acts in heavy music today.

Messa

Messa is an Italian doom metal band formed in Cittadella, Italy in 2014. They blend doom’s weighty atmosphere with elements of jazz, prog, Middle Eastern influences, blues, punk, black metal, and dark ambient—what they lovingly call “Scarlet Doom”—anchored by the powerful, soulful vocals of Sara Bianchin. Recently the band released an album called “The Spin”.

The Morgue stage became a sonic cathedral—where Messa’s shifting dynamics, from brooding doom to unexpected melodic passages, drew listeners into an almost trance-like reverie. The band’s lush instrumental layering, anchored by Sara’s versatile voice, would have made even an outdoor festival feel intimate and enveloping. The transition from atmospheric passages to heavier climaxes, especially during At Races and Pilgrim, probably elicited hushed awe followed by powerful crescendos. A powerful performance.

Wednesday 13

Joseph Poole—better known by his stage name, Wednesday 13—is a seminal figure in horrorpunk, emerging from the American horror-infused rock scene. He rose to fame with Frankenstein Drag Queens from Planet 13 and later fronted Murderdolls, blending shock rock, glam punk, gothic metal, and industrial aesthetics—heavily influenced by pioneers like Alice Cooper, Misfits, Rob Zombie, and Marilyn Manson. Earlier this year we spoke with the fronrman himself about their latest release “Mid Death Crisis”.
Today’s set was a full-throttle horror-rock spectacle. His theatrical flair—costume, stage antics, and macabre energy—brought the Prison Stage to vivid life. The crowd was electrified early on, rallying around the darkly catchy riffs of When the Devil Commands and erupting into joyous mayhem during the nostalgic “I Walked With a Zombie.” Moments like the gleefully blasphemous I Love to Say Fuck reinforced his reputation for dramatic, boundary-pushing showmanship.

It’s safe to say the set of Wednesday 13’s signature blend of horror, humor, and high-voltage rock—an ideal midday jolt at the festival that both honored his legacy and celebrated his newest opus.

Cabal

Cabal is a deathcore band from Copenhagen, Denmark, formed in 2015. Their sound is a brutal fusion of deathcore, blackened influences, metallic hardcore, and industrial tones—uncompromising and intense. Their fourth studio album, Everything Rots, was released in March 2025, via Nuclear Blast Records.

Cabal’s set was a ferocious celebration of sheer aggression and sonic brutality. Drawing on their reputation as one of Denmark’s fiercest live acts, they delivered a visceral, adrenaline-fueled performance that had the pit erupting. Their Helldorado stage slot—mid‑afternoon yet charged with chaotic energy—felt like an intense purging of raw emotion and sound.

Cabal unleashed a devastating set anchored by Everything Rots. With tracks like Unveiled and Everything Rots itself delivering thematic intensity and sonic punishment, their performance was both a testament to their legacy and a grim invitation into their harrowing new chapter. Perfect for fans craving raw power and cathartic fury in equal measure.

Me and That Man

Me and That Man is a dark folk/Americana project spearheaded by Polish extreme-metal frontman Adam “Nergal” Darski, known for his work with Behemoth. The project explores Americana, blues, outlaw country, and gothic folk, a striking contrast to his metal roots

Me and That Man’s reputation as a compelling live act comes through. Their blend of raw blues, outlaw folk, and darkly poetic vocals translates into immersive storytelling and intimate atmosphere—even on a festival stage. With Nergal’s voice leading the performance and guitars anchoring atmospheric tension, the Swamp Stage likely felt both haunting and warmly connective—creating a rare moment where quiet introspection met festival energy.
With tracks like “My Church Is Black” or “Burning Churches” it is clear that Nergal is not leaving his reputation behind and by playing it early in the set it really set the tone.

Dying Fetus

Formed in 1991 in the greater Upper Marlboro area of Maryland (with roots linked to Annapolis), Dying Fetus is a legendary American band whose ferocious style blends brutal death metal, technical death metal, and early grindcore. Known for harrowing blast beats, complex riffs, and guttural vocals, they’ve shifted from gore-themed lyrics to biting socio-political commentary over the years

Their performance was a controlled demolition of sound—machine-like, unrelenting, and perfectly calibrated to incite a wrathful pit. Today we witnessed a performance that was both technically flawless and viscerally charged—leaving no doubt they brought the brutal. Dying Fetus likely delivered a thunderous festival highlight—anchored by material from Make Them Beg for Death and immortal staples like Unbridled Fury and Grotesque Impalement. Their set was probably an electrifying onslaught: a testament to their enduring mastery of extreme metal.

Absu

Absu is an American black/thrash metal band from Dallas, Texas, formed in 1989. Their music blends elements of black metal, thrash metal, and early death metal, characterized by esoteric themes drawn from Celtic, Sumerian, and Mesopotamian mythology, alchemy, and occultism.

Absu’s performance at Alcatraz was a masterclass in atmospheric black/thrash metal. Their intricate compositions and esoteric themes resonated deeply with the audience, creating an immersive experience. The band’s technical prowess and stage presence captivated the crowd, making their set a highlight of the festival. Theatrical movements making the whole stronger. The fact that the band was playing in the tent definitely helped them here. A band like this has no place in the sun we would say. Thick darkness.

Crystal Lake

Crystal Lake is a high‑voltage metalcore band from Tokyo, Japan, formed in 2002. Their sound fuses elements of metalcore, progressive metal, deathcore, and nu-metal with both aggressive and melodic vocals, high-octane riffs, and electronic textures mixed in. Crystal Lake has been working on new material: they released the single “Crossing Nails” in 2025, and they’re preparing a new album slated for release in January 2026.

Picture this: an early evening set punctuated by Crystal Lake’s signature charged riffs, dynamic vocals, and genre-bending transitions—all propelled by the adrenaline rush of a festival crowd. As they ripped into “Crossing Nails,” the audience likely felt both electrified and unified. This track’s nu-metal and groove-infused dynamics—plus its powerful message—would have translated brilliantly live.

The band was on the roll, from seeing the band before this festival season and many times in the years before, this show today was amongst our favorites. Even one o fthe best shows of the day!

WASP

W.A.S.P. is an American heavy metal band formed in Los Angeles, California, in 1982. Known for their theatrical “shock rock” stage shows—with simulated torture, props, and provocative theatrics—they emerged as one of the most controversial and theatrical acts of the early ’80s metal scene.

W.A.S.P.’s set was a nostalgic assault—a perfect storm of classic metal energy, theatrical gaudiness, and fan devotion. Blackie Lawless’s showmanship remains unmatched; image, fire, and theatricality interlaced with commanding riffs and crowd‑engaging performances. Long-standing members—Mike Duda, Doug Blair, and drummer Aquiles Priester—bring veteran proficiency and blistering heaviness. he crowd roared through choruses like I Wanna Be Somebody, and the blistering delivery of Hellion and L.O.V.E. Machine sent waves of euphoria across the audience.
Have you come across the band earlier this season you may have been disappointed to hear the studied stories in between being almost wordly the same. Takes spontaneousity out of it a bit. But, that is just a minor detail, nostalgia galore!

Thy Catafalque

Thy Catafalque is a Hungarian avant-garde metal project founded by multi-instrumentalist Tamás Kátai in Makó, Hungary, beginning in 1998. Initially rooted in post-black metal, the project evolved into a genre-defying blend of experimental rock, black metal, folk, progressive, and ambient influences over the years.

Thy Catafalque delivered an enthralling, genre-bending performance steeped in cinematic atmosphere and sonic boldness. Backed by music from XII, especially tracks like Mindenevő and A gyönyörű álmok ezután jönnek, the set would have struck a balance between crushing metal intensity and melancholic beauty—leaving the Morgue Stage awash in deep enchantment. With some female vocalists joining the band makes the whole sound quite magical. Stunning performance.

Mastodon

Mastodon is a genre-defying progressive metal band from Atlanta, Georgia, formed in 2000 by Brann Dailor (drums/vocals), Troy Sanders (bass/vocals), Bill Kelliher (guitar), and Brent Hinds (guitar/vocals) . They’re known for their evolution from sludge and progressive metal roots into a sophisticated amalgam of experimental, psychedelic, and groove-driven metal.

Mastodon brought a phenomenal late-evening performance—melding progressive intricacy with feral intensity. The crowd likely surged during the epic swell of “The Motherload” and erupted into carnage at the opening riff of “Blood and Thunder”. Their sound melds technical precision with visceral power, giving fans both heady complexity and unadulterated groove.

Notably, the band is on the cusp of releasing a new concept album in 2025, inspired by supernatural horror and described by Brann Dailor as “all over the place”—with elements of punk, prog, and pure heaviness—adding an anticipatory edge to their live energy. With a dynamic blend of musical complexity and unbreakable energy, the set was both a celebration of their past and a thrilling glimpse into a bold, genre-spanning future.

Dool

Dool is a Dutch dark rock band from Rotterdam, formed in 2015. Emerging from the ashes of The Devil’s Blood and Elle Bandita, they blend doom metal, psychedelic rock, gothic and progressive elements in a hypnotic, melancholic sound. Their latest full-length release is The Shape of Fluidity, released in 2024, their fifth studio album. It explores themes of identity and self-acceptance, inspired in part by frontperson Raven van Dorst’s personal journey and their decision to reclaim their voice and space in the world. It’s their most collaborative work yet, co-written by Raven, Nick Polak, Omar Iskandr, and anchored by the newly added drummer Vincent Kreyder.

Dool delivered a powerful, atmospheric performance rooted in The Shape of Fluidity. With standout tracks like Venus in Flames and Hermagorgon, and Raven at the forefront, they blended melancholic beauty and gothic intensity—an immersive, cinematic moment that showcased their unique voice in the heavy music spectrum. The Morgue was filled to the brim for them, next time, bigger stage will be needed.

Ministry

Ministry is the pioneering force behind industrial metal, founded in Chicago, USA in the early 1980s by Al Jourgensen. Known for fusing aggressive metal riffs with mechanized electronics and hard-hitting social commentary, the band’s revolving lineup has been a revolving door of collaborators—what began as a solo project now stands as a dynamic industrial juggernaut.

Ministry’s late-night slot on the Helldorado Stage likely turned into a chaotic, electrified ritual. With stroboscopic lights and raw aggression in full swing, the band likely transformed the crowd into a pulsating mass. The mix of corrosive classics (Just One Fix, Stigmata) and newer material kept the energy relentless and timeless.

Some statements thrown in here and there to voice their political views are testament to what Ministry is for.
Ministry delivered an interesting performance—dark, incendiary, and fiercely loyal to their industrial legacy. With pulsating favorites like N.W.O. and Jesus Built My Hotrod, backed by their latest renovation of early synth pop, the set was probably a devastating synthesis of past, present, and that crushing mechanical future.

Abbath

Abbath is a solo black metal project led by Olve “Abbath Doom Occulta” Eikemo, originally from Bergen, Norway. After his departure from Immortal in 2015, he formed the band Abbath, seeking to carry forward his signature style of feral, grandiose black metal infused with thrash and hard rock influences.
At Alcatraz Festival 2025, Abbath performed a late-night set on Friday at the Swamp Stage—a special treat, as he played a full Immortal set, honoring his past legacy.
Performing Immortal’s mythic catalog, complete with icy riffs, his iconic corpse paint, and theatrical intensity, Abbath transported the Swamp Stage into a realm of Norse black metal grandeur. Anchored by Dread Reaver and empowered by Immortal’s classic furies, the set likely stood as a late-night catharsis of black metal legacy and dark spectacle. 3with which he closed the first festival day in style.