We wouldn’t be English if we didn’t rabbit on about the weather for at least a sentence or two in every festival write-up, and on the final day of Bloodstock 2025 we were revelling at the “just right” weather we had been blessed with all weekend. Even if the sun did scorch a bit hotter on Sunday and treated us to some entertaining Metalhead sunburns to admire, such as the white hand of Saruman plastered across two very red shoulders.
The consensus running across the arena that this was the best Bloodstock ever was pretty much unanimous. And that was before Gojira had delivered the most upending display of Metal mastery in their Sunday headline set, launching us off this planet in their Progressive Death rocket that we were senselessly clinging onto for dear life.
There was also great Sunday entertainment from Dogma, the Metal nuns in fetishistic habits, Feuerschwanz, the German Medieval Metal comedians who left Bloodstock drunk on how absurdly fun they were, The Five Hundred, whose viscous new-age Metal was barely contained by the intimate EMP Stage, and Obituary, whose oppressive onslaught of riotous noise offered one final opportunity to expel whatever reserves of festival energy we had left.
Bloodstock Open Air Festival
Catton Park, Derbyshire – Sunday 10 August 2025
Jump to: Ghosts Of Atlantis – August Burns Red – Dogma – Feuerschwanz – The Black Dahlia Murder – Lowen – Lord Of The Lost – Mastodon – The Five Hundred – Gojira – Obituary
Ghosts Of Atlantis
Dripping in mythological trepidation, the symphonic darkness of Ghosts Of Atlantis cast a welcome shadow over the final morning of Bloodstock 2025. The five-piece may be from the beautiful countryside-rich Suffolk, but there is nothing earthly about them.
Colin Parks, previously of Dani Filth’s Devilment, broke the morning’s silence with a crescendoing ghostly whisper into Sacramental. Rob Garner’s bulleting drums and Al Todd’s thudding bass underscore this track as it blasts through with deathly pacing, driven by the guttural growls of Phil Primmer and the clean cries of Parks. 
Ghosts Of Atlantis’ latest single, Melkin’s Tale, hears Dez Jezierski and Parks’ guitars riff across higher notes, soaring upwards out of the sea of darkness that swallowed them whole.
Splatterings of blue across each band member’s skin and grungey garments alluded to their prison in the ocean, which they welcome the crowd to join by encouraging everyone to raise their three-fingered tridents in the air.
From their gothic rags to their grimacing personas, Ghosts Of Atlantis screamed and shredded behind a veil of undead intrigue, summoning visions of Atlanteans crawling out of the depths of Atlantis’ ruins to seek vengeance and unleash their dark musical symphony on the world.
August Burns Red
“Want to put security to the test?” asked frontman Jake Luhrs, as August Burns Red hit the stage and instantly went into obliteration mode, challenging the crowd’s aggression and security’s patience.
The crowd roared as the band tore into a savage cover of Chop Suey, sending shockwaves through the field. Heat radiated from every direction as the guitars whined like sirens in a war zone and encouraged pits of pure chaos, with limbs flying and bodies colliding.
Then came Composure. “Get your hands up in the air!” screamed Luhrs, and the crowd obeyed like a single organism, raising their fists high.
In one surreal moment, a purple dinosaur was summoned to lead the biggest circle pit of the day thus far. “Let’s go!” commanded Luhrs, and the crowd swirled like a crashing maelstrom around a tiny island of remaining defiant souls.
To test the limits of just how heavy they could get, August Burns Red launched into White Washed. The wall of death formed like the parting of the Red Sea as Bloodstockers crashed towards each other with ungodly force; it was a battlefield of sound, drenched in chaos and soaked in sweat.
Dogma
Dogma are on a mission to fight against the repression of self, including sexuality. Nobody can control them. They seduce, they entertain, and they impress with their provocative musical display, powered by heavenly vocals, hellish imagery, and hard rock riffage.
Videos depicting the disasters of religion slathered the back screen of the Sophie Lancaster Stage, hidden behind two banners of naked women in sadistic, brutal scenarios involving the Grim Reaper and men. Next to clowns and young girls, nuns are one of the most terrifying horror film character tropes – but the only thing terrifying about Dogma is how catchy their hooks are. 
Dogma may have only released one album, but songs like Forbidden Zone, My First Peak, and Father I Have Sinned make for a packed setlist that spans operatic grandeur and slaying by riffs.
Dogma’s commitment to their on-stage physicality adds a charismatic dimension to their already rockstardom performance. Vocalist Lilith is seduction incarnate, guitarist Lamia teases with knowing cheek, while Rusalka on rhythm guitar is stone-hot evil. Bassist Nixe is a demoness, and Abrahel on the drums is simply badass, never once letting her stool at the back of the stage limit her.
You have been warned. These Metal nuns dressed in fetishistic habits singing a cover of Madonna’s Like A Prayer will be setting fire to the main stage in no time.
Feuerschwanz
German Medieval Metal comedians Feuerschwanz may just have been one of the most entertaining sets at Bloodstock 2025. Which shouldn’t come as a surprise, considering their band name is a literal dick joke (meaning fire cock).
Feuerschwanz turned the slightly hot, slightly dusty crowd, who just wanted a bit of light-hearted Power Metal on a Sunday afternoon, into a howling-with-laughter, competitive, hungry-for-more Feuerschwanz army.
The Tolkien-esque dragon looming down at us from the main stage backdrop should have hinted at the outrageous Metal magnitude Feuerschwanz are capable of, but they still managed to rip the ground out from beneath Bloodstock’s feet in their UK debut. 
The progression through their setlist was like riding up the ramp before a beyond-vertical rollercoaster drop, excitement brewing with every second. In typical German Viking Metal fashion, Feuerschwanz were all adorned in battle gear, apart from guitarist Hans Platz, who looked like he had escaped from a Steampunk convention.
“Loki, he made many children without marrying. That’s what we call a bastard,” explained vocalist and multiple instrument player Ben Metzner, as he checked that we wouldn’t be offended when they sang, “du bist ein bastard” in Bastard Von Asgard – an anthem full of dominating riffs, howling cleans and grizzly growls that crush Feuerschwanz’s usual dominance of playfulness. 
Feuerschwanz saw their 45-minute set and went: challenge accepted. They turned Bloodstock into a party in a Knightclub, getting everyone down low before leaping into a Viking rave, and commanded the crowd in a verbal battle of “hu” vs “ha” in Ultima Nocte. There were about 500 instrument changes, including a violin, the bagpipes, and various whistles.
As outrageous as they were, the finer details didn’t go unnoticed – like shieldmaid Yennefer’s silver disco armour change for Knightclub. TikTok Jesus went flying, and a brief finale of Gangnam style left the crowd in delirium, drunk on how absurdly fun and Metal Feuerschwanz are.
The Black Dahlia Murder
Melodic Death Metal veterans The Black Dahlia Murder tore through their set with blistering precision and intense emotion. Frontman Brian Eschbach, stepping into the vocal spotlight following the heartbreaking loss of Trevor Strnad in 2022, delivered a performance that was both reverent and raucous, honouring the past while charging boldly into the future.
Eschbach’s vocals brought a different texture to the band’s sound, less manic than Strnad’s signature shriek, but no less intense. His presence was commanding, and his banter with the crowd struck a perfect balance between heartfelt and humorous.
“Who’s seen us before?” asked Eschbach, scanning the crowd. When hands shot up, and fans yelled, he grinned, “It’s been 13 years since last playing Bloodstock – you old shits!”
The Black Dahlia Murder lurched into a new track, Cursed Creator, followed by King’s Of The Nightworld, another punishing anthem. Then came a moment of nostalgia, “We’re gonna play an old fucker from 20 years ago…” announced Eschbach, unleashing a classic from their early catalog, Statutory Ape, that sent longtime fans into a frenzy.
Between the sonic brutality, the band slipped in two brief, whimsical medleys – lighthearted musical detours that lasted only seconds but added a playful contrast to the otherwise relentless set. Before introducing another new song, Mammoth’s Hand, Eschbach took a moment of sincerity and said to the crowd, “Thanks for being here.”
Lowen
Videos flickered across the Lowen backdrop like ancient visions, setting the tone for a show that went beyond mere performance and into a realm of mystic. Nina Saeidi presented a sacrificial knife on stage, not as a gimmick, but as a symbol of the raw, ritualistic energy that pulsed through every note of Lowen’s set.
The tent was packed with fans who knew that they were witnessing something special. Cheers and chants echoed before the first chord even struck – a testament to the band’s growing reputation.
Nina stood in the centre like a high priestess of sound. Her vocals soared with power, yet often drifted into a meditative trance, pulling the crowd into a shared state of reverence. It was hypnotic, spiritual, and altogether commanding. With his guitar in hand, Shem Lucas carved out sonic landscapes with precision and fire. His playing was fierce and fluid, anchoring the band’s sound while pushing it into new territory.
Lowen have been on the rise since 2017, and this stellar performance made it clear that their ascent is far from over.
Lord Of The Lost
There was a hesitant anticipation in front of the main stage for German dark rock, genre-fluid Lord Of The Lost. But as more and more Metalheads crawled over, the six-piece ushered in the darkness with an unexpectedly heavy set, showcasing the exciting range of Germany’s 2023 Eurovision entry.
Lord Of The Lost launched straight into celebrating their latest album, OPVS NOIR Vol.1, released just two days prior. Awash with haunting melodies and some of Chris Harms’ most scorching screams to date, Bazaar Bizarre, Moonstruck, and I Will Die In It unnerved some fans but exhilarated even more. 
“The dark place” that Lord Of The Lost have returned to in their latest release is manifest not only musically, but aesthetically. The different seasons that Lord Of The Lost traverse through make them an exceptionally exciting and unpredictable group; where one year you might watch them in rainbows and glitter, the next they are a wholly black troupe of gothic royalty.
From dark priest to goblin king, Chris’ black fishnet-clad leg wasn’t shy and frequently popped out from beneath his black robes to rest on guitarist Pi’s leg. That is, when Pi wasn’t busy wrapped around Benji as they played their guitars in a tandem twist.
Lord Of The Lost involved the crowd in their physical experimentations as they announced they had invented something very important for Heavy Metal, something you can even do alone in your bathroom: the one-person circle pit.
“Are you guys ready for some Heavy Metal?” asked Chris, a curious question considering where we were. But then Were All Created Evil charged off the stage in a guttural chugging of deep bass lines, unholy riffs, and vicious back and forth screams to growls, and the doubts were slammed down by Lord Of The Lost’s undeniable prowess.
Mastodon
As one of Metal’s most revered live acts, Mastodon returned to the stage that they had previously headlined with the force of a sonic hurricane and took the Bloodstock crowd on a relentless ride.
They gave a heartfelt thanks to the crowd, declaring that the UK does festivals better than anyone else. It was a nod to the deep bond between the band and their British fanbase, forged over decades of touring and festival appearances.
With Brent Hinds no longer in the lineup, Mastodon’s current incarnation felt leaner, but no less powerful. Their performance of More Than I Could Chew showcased their signature blend of Sludge and Prog, with razor-sharp technique and emotional weight.
The riffs chugged, the guitars screamed, and the bass crushed everything in its path. It was Mastodon distilled: refined and still roaring. Troy Sanders took a moment to connect with the crowd. “I couldn’t love you any more,” he said, visibly moved. He then dropped a bombshell: the band is heading back to the studio to record a new album, with plans to return to the UK in 2026 for a full tour.
Before wrapping up with their version of Black Sabbath’s Supernaut, Sanders introduced the classic Blood And Thunder – the 20-year-old track that helped define Mastodon’s early sound.
The Five Hundred
The appropriately named Nottinghamshire quintet, The Five Hundred, must have rammed at least 500 fans into the intimate and quirky EMP Stage tent, and they didn’t sound like chancers.
The Five Hundred are rolling with a rich current of momentum, having released their album earlier this year. The crowd that gathered for this late festival set was clearly familiar with their work, passionately joining in with their powerful new-age Metal sound.
The audience wasn’t the only presence that felt like a small army: the five-piece offer a sound that feels so dense and rich that it seems impossible so few could have produced it. Their music coated the tent like syrup, so viscous it could have easily enveloped a far greater venue.
Though The Five Hundred have been around since early 2010, it seems this new record could be the start of something special, and we may well see them rise through the ranks of the Bloodstock stages in the years to come.
Gojira
Part of the build-up to Gojira’s explosive Sunday headline set was an Ozzy Osbourne slideshow, and the Prince of Darkness lit up the big screens for one last time at this year’s Bloodstock. Gojira also paid their respects to the Heavy Metal icon with a cover of Black Sabbath’s Under The Sun, and it hit with explosive traction.
Being in the crowd for Gojira was like being inside a Metal washing machine on the highest spin setting with earthen dust for detergent, but in a world where this is exactly how washing machines are meant to work.
Killer whales and Marie Antoinette went flying, Mario Duplantier’s double kicks pounded you until you didn’t know which way was up, and Joe Duplantier’s humble approach to being one of the most revered frontmen in Metal right now grounded the band’s otherwise completely upending show of Metal mastery.
Even if there were such a thing as too many crowdsurfers, Metalheads would send more forth towards the barrier separating them from Gojira. It’s the way of the riff. Or, in Gojira’s case, the way of the double kick.
Gojira’s highly anticipated production, which was exclusive to their Bloodstock show, was aggressively hypnotic and otherworldly. The fire towers and relentless light attacks slaughtered the stage in a visual performance so visceral it felt personal.
It is painful to try to pick out highlights from a setlist that choked Bloodstock with such metallic wonder. From The Axe, to Stranded, to L’enfant Sauvage; time means nothing when Gojira are launching you off this planet in their Progressive Death rocket that you are senselessly clinging onto for dear life. 
Before we were all forced to disperse, guitarist Christian Andreu took to the mic to say just how much he loves the UK, tying up the best set of Bloodstock 2025 with the humility that seeps through everything these French gods of Metal venture close to.
Obituary
If Gojira were the perfect way to close out the main stage antics at the 2025 edition of Bloodstock, Obituary were the ideal way to expel whatever reserves of festival energy we had left. The relentless chugging machine commanded wave after wave of crowdsurfers as the cloying growls of frontman John Tardy demanded more from the final night of the festival.
It was difficult, as a first timer on the Obituary roller coaster, to quite discern where one song ended and another started. The oppressive onslaught of riotous noise felt fitting for the spirit that this timeless band brought to the festival. They were insistent on going out with a bang, even if they didn’t have the sizable pyrotechnics budget of the main stage headliners.
After a hypnotic hour of unrelenting aggression, the stage fell silent. The final crowdsurfers cascaded over the barriers and all dispersed into the night as the beast fell into its slumber for another year.
Bloodstock 2025 was held over the long weekend of 7-10 August 2025. MetalTalk’s Lucy Dunnet, Adrian Stonley, Matt Pratt and Rhys Tagg reported from Catton Park.
Take Part: Were you at Bloodstock this year? Who did you enjoy seeing the most? Email MetalTalk Editor Steve Ritchie to share your experience at Bloodstock@MetalTalk.net
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