Friday 10.04.26
Lee: Going into a power metal festival with about a 1% awareness of the bands on the bill is always going to be a risk but as soon as Angus McSix (10) hit the stage and I saw a prince, an Ork, a Dwarf, an Archdemon, I knew I was going to be just fine.
Starting out with the entry track of 2023's Angus McSix And The Sword Of Power; Master Of The Universe, the sudden urge to cosplay as He-Man was apparent. Everything about this was fantastic, from the performance itself through to the production/sound crew. Angus McSix looked and sounded phenomenal and at that point I was only 1 song in.
Sam Nyman (Prince Adam McSix) showed just how much of a talented vocalist he is as they began The Fire Of Yore. The band play so extremely well together and seem to just radiate genuine chemistry with each other, they were a joy to watch. So, given that their set time was 3pm, I wondered how much energy the crowd would give during the set and both the crowd and the band gave each other exactly what they needed.
Sam Nyman (Prince Adam McSix) showed just how much of a talented vocalist he is as they began The Fire Of Yore. The band play so extremely well together and seem to just radiate genuine chemistry with each other, they were a joy to watch. So, given that their set time was 3pm, I wondered how much energy the crowd would give during the set and both the crowd and the band gave each other exactly what they needed.
Everyone seemed to bounce off each other and it felt so wholesome that I was just happy to be there. We continued to be treated with songs from March's Angus McSix And The All-Seeing Astral Eye with the super catchy 6666, Dig Down featuring super-cool shovel dancing, Ork Zero and the power metal party anthem Techno Men.
The setlist was a lovely balance of both albums as Angus McSix continued with Starlord Of The Sixtus Stellar System and Eternal Warrior from Angus McSix And The Sword Of Power. With Rhapsody Of Fire playing later that day, we were still treated with Giacomo Voli joining the band for I Am Adam McSix which was absolutely superb. Two fantastic vocalists backed by a very tight band, this set was flawless.
The set was finished off with Lazer-Shooting Dinosaur and Ride To Hell. A phenomenal hour to kick off the festival, a sublime performance and a new fan was born.
Nick: Opening the Gimle stage on Friday morning was Denmark’s own Ipomonia (7). A band I had only encountered in passing over the past few years, I was keen to give them some of my time. Blending progressive metal with near-death metal riffing, Ipomonia’s greatest strength undoubtedly lies in their musicianship. Their instrumental passages and tracks move effortlessly from crushing breakdowns into intricate, technical riffs that feel both ominous and immersive, close your eyes and it’s hard not to smile.
The one oddity comes in the form of Maja’s vocals. High-pitched and distinctly nasal, they differ quite noticeably from the smoother, lighter vocals showcased on the band’s EP. Initially these proved slightly jarring, but the emotion of the songs still translated well. I found myself disappointed when the band vacated the stage after just 30 minutes, which, is usually a good sign. Ipomonia are definitely a band worth watching.
Stief: While Nick went on his epic (5 minute) journey to Gimle, me and Lee made the slightly less epic shuffle to Kings Roar Hall to catch Dragony (8) with the rest of their fans, or Dragoons as they're fondly known.
Nick: Opening the Gimle stage on Friday morning was Denmark’s own Ipomonia (7). A band I had only encountered in passing over the past few years, I was keen to give them some of my time. Blending progressive metal with near-death metal riffing, Ipomonia’s greatest strength undoubtedly lies in their musicianship. Their instrumental passages and tracks move effortlessly from crushing breakdowns into intricate, technical riffs that feel both ominous and immersive, close your eyes and it’s hard not to smile.
The one oddity comes in the form of Maja’s vocals. High-pitched and distinctly nasal, they differ quite noticeably from the smoother, lighter vocals showcased on the band’s EP. Initially these proved slightly jarring, but the emotion of the songs still translated well. I found myself disappointed when the band vacated the stage after just 30 minutes, which, is usually a good sign. Ipomonia are definitely a band worth watching.
Stief: While Nick went on his epic (5 minute) journey to Gimle, me and Lee made the slightly less epic shuffle to Kings Roar Hall to catch Dragony (8) with the rest of their fans, or Dragoons as they're fondly known.
Opening with Twilight Of The Gods, the band's synth-laden tune gave a good idea of what was to come. With most of their set coming from 2024's Hic Svnt Dracones, it was nice to also hear hits from across their catalogue; Gods Of War (2021), Lords Of The Hunt (2017) and even Wolves Of the North from 2015's Shadowplay.
Siegfried Samer's (The Dragonslayer to you) vocals work perfectly with the band's symphonic style, supported by Manuel Hartleb's keyboards and Chris Auckenthaler's machine-gun drumming. Matt Plekhanov and Simon Saito's guitars weave in and out of each other wonderfully. Maria Nesh's vocals, both clean and vicious, show she has settled into her role as a full time member of the band following her guest stints in songs such as The Dead Queen's Race. A brilliant start to a great weekend.
Nick: Norwegian gothic metal royalty Sirenia (9) were one of the main draws of Epic Fest for me. Having never had the opportunity to see them live, my expectations were high; and they were certainly met. Some bands demonstrate that they are a step up live, and Sirenia did exactly that. Initially concealed behind imposing silhouettes created by clever lighting, opening tracks Meridian and Sister Nightfall served as a thunderous introduction.
Both songs sounded darker, more menacing, and significantly heavier compared to the studio offerings. Combined with the harsh vocals and growls from founder Morten Veland and guitarist Nils Courbaron, the openers leaned less toward power metal and more into death metal territory, a shift that was warmly received by the audience.
One of Sirenia’s enduring strengths is their ability to remain relevant. Each album introduces subtle changes and occasional experimentation, yet never strays too far from the sound that defines them. Central to this balance is the powerhouse that is vocalist Emmanuelle Zoltan. Effortlessly delivering operatic highs, smooth, honeyed cleans, and even visceral growls, Zoltan is a commanding presence. Backed by crunching guitars, pounding drums, and the abrasive vocal interplay of Veland and Courbaron, Sirenia delivered an eclectic set drawing from across their back catalogue, alongside several newer tracks.
Their movement on stage was confident and fluid without feeling overly choreographed, reinforcing the sense that Sirenia are seasoned professionals. Unfortunately, they did not receive the level of respect they deserved, with many in the crowd inexplicably drifting away mid-set, leaving the room half empty, their loss. What remained was an hour of metal presented exactly as it should be: powerful, dark, professional, and impressive.
Lee: Having been advised that I'd be a fan of melo-death legends Mercenary (10), I was very much looking forward to checking them out. Celebrating 20 years of The Hours That Remain, the setlist comprised mainly of that album with 2 from the 2023 Soundtrack For The End Times. Another surprising performance for a number of reasons.
Nick: Norwegian gothic metal royalty Sirenia (9) were one of the main draws of Epic Fest for me. Having never had the opportunity to see them live, my expectations were high; and they were certainly met. Some bands demonstrate that they are a step up live, and Sirenia did exactly that. Initially concealed behind imposing silhouettes created by clever lighting, opening tracks Meridian and Sister Nightfall served as a thunderous introduction.
Both songs sounded darker, more menacing, and significantly heavier compared to the studio offerings. Combined with the harsh vocals and growls from founder Morten Veland and guitarist Nils Courbaron, the openers leaned less toward power metal and more into death metal territory, a shift that was warmly received by the audience.
One of Sirenia’s enduring strengths is their ability to remain relevant. Each album introduces subtle changes and occasional experimentation, yet never strays too far from the sound that defines them. Central to this balance is the powerhouse that is vocalist Emmanuelle Zoltan. Effortlessly delivering operatic highs, smooth, honeyed cleans, and even visceral growls, Zoltan is a commanding presence. Backed by crunching guitars, pounding drums, and the abrasive vocal interplay of Veland and Courbaron, Sirenia delivered an eclectic set drawing from across their back catalogue, alongside several newer tracks.
Their movement on stage was confident and fluid without feeling overly choreographed, reinforcing the sense that Sirenia are seasoned professionals. Unfortunately, they did not receive the level of respect they deserved, with many in the crowd inexplicably drifting away mid-set, leaving the room half empty, their loss. What remained was an hour of metal presented exactly as it should be: powerful, dark, professional, and impressive.
Lee: Having been advised that I'd be a fan of melo-death legends Mercenary (10), I was very much looking forward to checking them out. Celebrating 20 years of The Hours That Remain, the setlist comprised mainly of that album with 2 from the 2023 Soundtrack For The End Times. Another surprising performance for a number of reasons.
The first being that despite being on the second stage, they still sounded phenomenal. I can't give the sound technicians enough credit, they did a superb job so far. The second was the amount of pyro they had. On a noticeably smaller stage, I was surprised with just how much fire they used throughout their set and the third, just how flawless The Hours That Remain is. Even though they were only able to play 8 out 10 songs from that album (with This Eternal Instant and Obscure Indiscretion not making the cut), each song was an absolute banger. I'd suggest that if you check them out (which I strongly advise you do), start with The Hours That Remain and you'll be absolutely sucked in.
For a band that has had many variations since their Inception in 1991, the current line up are a force to be reckoned with, the technical prowess combined with brutal riffs. I was in awe throughout that entire hour set. I suppose it would be a difficult decision to try and pick another two songs from a huge backlog of albums and EPs but they picked two fantastic choices from the Soundtrack For The End Times album in Where Darkened Souls Belong and Beyond The Waves before they finished off with the title track of the album.
Definitely a band of the weekend contender and considering how relatively early they were on, they still got a full show and it's been another band that delivered on performance and put on a show.
Nick: True titans of symphonic power metal, Rhapsody Of Fire's (7) legacy alone commands attention, and the crowd in attendance made it clear just how respected they remain. Led by founding member Alex Staropoli on keyboards and fronted by Giacomo Voli, joined by guitarist Roby De Micheli anchoring the lineup, Rhapsody performed with confidence.
Technically, there is little to fault. The performance was exceptionally tight and professional, with Voli, in particular on form; his lead vocals were excellent, powerful and controlled, effortlessly soaring over Staropoli’s usual almost bombastic musical backing. Voli had the crowd completely under his thumb, directing chants and participation with ease as the audience duly obeyed his every command.
Nonetheless the presentation felt noticeably static. Stage movement was minimal, and the set itself leaned heavily into a familiar seemingly t rigid formula. Songs merged into one another, resulting in a performance that, while impressive, lacked dynamic variety, it felt formulaic.
The formulaic nature is not necessarily a flaw; Rhapsody are one of the sounds that helped shape the genre. But very little has changed since the last time I saw Rhapsody of Fire nearly ten years ago. The same dramatic builds, the same symphonic crescendos, the same heroic structures were all present and correct, but I was left feeling underwhelmed; particularly in contrast to bands such as Sirenia.
While Rhapsody Of Fire understandably received rapturous applause and love from the crown, they felt stuck where I left them ten years ago. Bands like Sirenia, for me, represent a band evolving with the times while maintaining their identity. How Rhapsody command substantially more love and attention despite changing very little over such a long time makes me question how much weight legacy should carry versus artistic progression.
Ultimately, you'll never be let down by Rhapsody Of Fire, it is always going to be a great night out.
Saturday 11.04.26
Stief: Another trip to Gimle, but a worthy one to catch the brilliant Fury (9). Though, by their own admission, the band aren't strictly a power metal band, they weren't going to let that stop them putting on a brilliant show. Going full pelt with opener Interceptor, Nyah Ifil's vocals are more than enough to blow the cobwebs off us. I mean, sure it was 3pm but there were still cobwebs. Julian Jenkins' voice is a perfect match for Nyah's, both of them managing a soulful touch with that extra kick of heavy metal grit that gives Fury their signature sound.
Saturday 11.04.26
Stief: Another trip to Gimle, but a worthy one to catch the brilliant Fury (9). Though, by their own admission, the band aren't strictly a power metal band, they weren't going to let that stop them putting on a brilliant show. Going full pelt with opener Interceptor, Nyah Ifil's vocals are more than enough to blow the cobwebs off us. I mean, sure it was 3pm but there were still cobwebs. Julian Jenkins' voice is a perfect match for Nyah's, both of them managing a soulful touch with that extra kick of heavy metal grit that gives Fury their signature sound.
Following on with Prince Of Darkness, the band then satiate the power metal crowd with the apt Dragon's Song from 2016's Lost In Space. Becky Baldwin's basswork shows why she's in such high demand from bands such as Mercyful Fate, Tom Fenn's drums blast everyone away and Matt Fletcher's guitarwork is brilliant, backed up by Julian's own fretwork. Valhalla halfway through gives the crowd a moment to catch their breath before the band speed right back into it with Star Trippin'.
By the end of Road Warrior, it's clear from the crowd's reaction that Fury definitely belong here. Here's hoping to seeing them again soon.
Back up to the Roskilde Kongrescenter to catch Twilight Force (8) who are the living embodiment of what makes epic metal so good; the cheese. Twilight Force know exactly what they are, and from the outset, they transform the stage into an epic landscape both with their outfits and with Twilight Force.
Back up to the Roskilde Kongrescenter to catch Twilight Force (8) who are the living embodiment of what makes epic metal so good; the cheese. Twilight Force know exactly what they are, and from the outset, they transform the stage into an epic landscape both with their outfits and with Twilight Force.
Alessandro 'Allyon' Conti's vocals ring through the music, and although it takes a few songs for him to get into it, by Valley Of The Vale, he's got the crowd dancing and prancing. Throughout their set, keyboardist, backing singer and co-founder Daniel 'Blackwald' Beckman uses his wise words (sounding like a 'friendly voldemort' according to Nick) as well as his keys to tell the story he's crafted over the years.
The band play crowd favourites such as Flight Of The Sapphire Dragon, Gates Of Glory, and The Power Of The Ancient Force. Backed up by singer Kristin Starkey and guitarists Galen Stapley and Bradley Hall, Twilight Force weave a wonderful story, like watching a live D&D game unravel. Isak Olsson's blast beats work perfectly with Alex 'Xandor' Miles' bass. One highlight of their set is the live debut of Magic Of A New Dawn, which is exactly what the festival feels like. Magic.
Nick: Moonlight Haze's (8) reputation in symphonic metal is quickly on the rise, and it's understandable to see why. Interestingly their live performance proved to be considerably heavier than their albums would have you think. Led by the always impressive Chiara Tricarico on vocals and supported by songwriter and guitarist Federico Mondelli, the band delivered a set that was tighter and more forceful than expected, adding real edge to their atmospheric sound.
Vocally, Tricarico is always a joy and and the highlight. Her operatic passages and soaring high notes were brilliant throughout, sewn perfectly through the heavier tracks. Her ability at the higher register was commanding and confident, highlighting why she is held in such high regard. The occasional deeper vocal sections were less convincing early on, drifting off‑pitch at times, but noticeably improved as the set progressed.
Instrumentally, Moonlight Haze are solid and work well together, it's easy to see they love what they do, with smiles notable across the stage. This was reflected in their obvious cohesion, with Mondelli’s guitar work adding both melody and crunch, while the rhythm kept everything grounded and driven. Collectively, the performance was impressively tight, which explains why they are rising through the ranks of the genre with pace.
That said, a big frustration throughout the set was the constant encouragement for crowd participation. Whilst I welcome participation, in this case the demand for it felt excessive, particularly as the crowd was clearly already on side. The persistence broke the immersion of what was otherwise a dark and atmospheric show, at times pulling focus away from what Moonlight Haze do best... the music itself. A prime example of this being during To The Moon And Back, where the inclusion of a light‑hearted bunny‑hop dance, though funny, took the edge off the dark mood Moonlight Haze were working to establish.
Overall, Moonlight Haze delivered a strong and professional performance that showcased heavier instincts than their albums might suggest. Lifted by excellent lead vocals and tight musicianship. With slightly less dependence on crowd prompts and a firmer commitment to their atmospheric identity, they could grow a very good live set into a truly immersive one.
Stief: Though many of the bands over the weekend were great, unfortunately Sonata Arctica (5) didn't stand among them in my personal view. Having seen the band before, I was disappointed to hear Tony Kakko's vocals not hitting anywhere near the quality I had seen. Whether or not it was fatigue, an illness or something else, the normally vibrant band as a whole seemed very static. It took us until halfway through Paid In Full to realise that was the song being sung. By Closer To An Animal, the fourth song of their set, we had seen enough. A minor disappointment in an otherwise great weekend.
Nick: Some gigs are more important than others, and InnerWish (10) was always going to be that gig for me. I’ve followed InnerWish since around 2008, lived with their albums for nearly two decades, and slowly made peace with the idea that actually seeing them live might never happen, simply because InnerWish so rarely perform outside Greece. So ,standing in Roskilde on Saturday night, watching them walk onstage at Gimle late in the evening, genuinely felt a little surreal.
From the opening moments, InnerWish played with confidence and intent, a band fully aware of their catalogue and their strengths. It felt as though this was something special, both for them and for a lot of people in the room who’d waited years for this opportunity.
The setlist stretched back throughout the back catalogue satisfying any fan. Tracks like The Enemy Inside, Inner Strength, Modern Babylon, Silent Faces and Sea Of Lies translated effortlessly to the stage. Big anthemic choruses, strong hooks, and enough weight behind them to hit hard without hiding the melody and the foundations that make power metal what it is. These are songs that invite fists in the air, and that they did.
InnerWish take classic power metal foundations and add depth through well-placed breakdowns, tempo shifts, and technically astute passages that feel smooth like honey. The guitar work from Thimios Krikos and Manolis Tsigkos was especially impressive, melodic when it needed to be, intricate when the songs required it, with solos that slid easily into the anthemic choruses or heavy breakdowns.
Vocally, the performance was impressive. George Eikosipentakis delivered a powerful and controlled set, effortlessly handling the soaring highs while giving the lower, more dramatic passages depth. Even during the quicker transitions where and tempo changes George didn't notably slip.
What stood out overall was how natural the whole set felt. This was technical, polished power metal, but never stiff, again the band looked as though they were having fun, which after being around for so long is a testament to their passion. The fact that so many people made the trip down the road so close to the much-anticipated return of Roy Khan is an equal testament to the fanbase they have built.
On a personal level, this set meant a lot. Finally seeing a band I’ve followed since 2008, a band I genuinely thought I might only ever experience through albums. InnerWish didn’t play like outsiders; they played like a band that deserved their place. I hope that other festivals and promoters take note and entice them into Europe and beyond in the future, please don't let it be another 18 years! An unsurprising, if not slightly biased, but well deserved full marks.
Roy Khan’s (10) return to a European stage at Epic Fest 2026 felt like one of those moments that could become part of metal folklore. More than 20 years after last standing regularly on European stages with Kamelot, seeing him walk out in Roskilde as a solo artist was emotional before he even sang a note. This didn't feel like a comeback grab for nostalgia points, it felt personal and necessary.
From the opening moments of When The Lights Are Down, it was obvious that that voice the famously warm, dark, smooth “chocolate” like voice had barely changed, if at all. Songs like Moonlight, Center Of The Universe, The Haunting, and Soul Society landed with the same power they always had, but now carried an extra emotional edge. Memento Mori, Rule The World, Karma, and Forever were all selected from the Kamelot archives as offerings.
The most touching aspect of the night was how openly emotional Khan seemed about being there. He took time between songs, visibly moved by the crowd response, letting the moments breathe rather than rushing on. The love from the audience was loud, cheers that took a while to settle, applause that took time to end. Khan has spoke about how fans and his family encouraged him back onto the stage, and standing there watching him soak it in, that connection clearly meant a lot to him.
It was really pleasing to see how physical Khan's performance still is. He almost slithers and stalks around the stage, moving with an unmistakable presence he’s always had. He crouched low during the darker passages, straightened up as the drama built, and uses his trademark facial expressions to completely sell the emotion of each song. Every raised eyebrow, clenched jaw, and distant stare took me back to the days of watching Khan with Kamelot.
Khan wasn't alone on stage, the band consisting of members of Seven Spires, were expectedly tight and respectful of the material while adding a heavier edge to them, possibly moving them a little away from the power genre. Adding another layer was the Roskilde Cathedral Girls’ Choir, whose presence lifted key moments particularly the opening and closing sections into something a little magical. Their harmonies added scale without overpowering Khan's voice, turning already epic songs into something edging cinema.
A massive highlight of the set was the series of duets with Adrienne Cowan. Their shared moments during songs like The Haunting were beautiful emotionally charged and dynamic. The chemistry between them felt natural, and the quality of those duets wasn’t far off the legendary performances Khan once shared with Simone Simons. One gripe would be that both the choir and Cowan could have been elevated a little more in the mix.
Soon came the encore. When Roy returned wearing his old Kamelot floor-length coat, the crowd exploded, is this a hint? I doubt it, but you never know. Closing with Ghost Opera and March Of Mephisto felt like the perfect full-circle ending: dramatic, theatrical, and stereotypically Roy Khan.
This felt like more than a standard return. Roy Khan didn’t come back to prove he could still do it. He came back because people wanted him, supported him, and believed in him, and I think the packed arena of Epic Fest was the proverbial proof. Welcome back Roy Khan, we’ve missed you.
Stief: Sadly, it was time for the final band of the night and the weekend itself, Hagane (7). Though it was the band's first international show outside of Japan, you wouldn't think it at all, considering the rapturous applause they receive as they take to the stage.
Nick: Moonlight Haze's (8) reputation in symphonic metal is quickly on the rise, and it's understandable to see why. Interestingly their live performance proved to be considerably heavier than their albums would have you think. Led by the always impressive Chiara Tricarico on vocals and supported by songwriter and guitarist Federico Mondelli, the band delivered a set that was tighter and more forceful than expected, adding real edge to their atmospheric sound.
Vocally, Tricarico is always a joy and and the highlight. Her operatic passages and soaring high notes were brilliant throughout, sewn perfectly through the heavier tracks. Her ability at the higher register was commanding and confident, highlighting why she is held in such high regard. The occasional deeper vocal sections were less convincing early on, drifting off‑pitch at times, but noticeably improved as the set progressed.
Instrumentally, Moonlight Haze are solid and work well together, it's easy to see they love what they do, with smiles notable across the stage. This was reflected in their obvious cohesion, with Mondelli’s guitar work adding both melody and crunch, while the rhythm kept everything grounded and driven. Collectively, the performance was impressively tight, which explains why they are rising through the ranks of the genre with pace.
That said, a big frustration throughout the set was the constant encouragement for crowd participation. Whilst I welcome participation, in this case the demand for it felt excessive, particularly as the crowd was clearly already on side. The persistence broke the immersion of what was otherwise a dark and atmospheric show, at times pulling focus away from what Moonlight Haze do best... the music itself. A prime example of this being during To The Moon And Back, where the inclusion of a light‑hearted bunny‑hop dance, though funny, took the edge off the dark mood Moonlight Haze were working to establish.
Overall, Moonlight Haze delivered a strong and professional performance that showcased heavier instincts than their albums might suggest. Lifted by excellent lead vocals and tight musicianship. With slightly less dependence on crowd prompts and a firmer commitment to their atmospheric identity, they could grow a very good live set into a truly immersive one.
Stief: Though many of the bands over the weekend were great, unfortunately Sonata Arctica (5) didn't stand among them in my personal view. Having seen the band before, I was disappointed to hear Tony Kakko's vocals not hitting anywhere near the quality I had seen. Whether or not it was fatigue, an illness or something else, the normally vibrant band as a whole seemed very static. It took us until halfway through Paid In Full to realise that was the song being sung. By Closer To An Animal, the fourth song of their set, we had seen enough. A minor disappointment in an otherwise great weekend.
Nick: Some gigs are more important than others, and InnerWish (10) was always going to be that gig for me. I’ve followed InnerWish since around 2008, lived with their albums for nearly two decades, and slowly made peace with the idea that actually seeing them live might never happen, simply because InnerWish so rarely perform outside Greece. So ,standing in Roskilde on Saturday night, watching them walk onstage at Gimle late in the evening, genuinely felt a little surreal.
From the opening moments, InnerWish played with confidence and intent, a band fully aware of their catalogue and their strengths. It felt as though this was something special, both for them and for a lot of people in the room who’d waited years for this opportunity.
The setlist stretched back throughout the back catalogue satisfying any fan. Tracks like The Enemy Inside, Inner Strength, Modern Babylon, Silent Faces and Sea Of Lies translated effortlessly to the stage. Big anthemic choruses, strong hooks, and enough weight behind them to hit hard without hiding the melody and the foundations that make power metal what it is. These are songs that invite fists in the air, and that they did.
InnerWish take classic power metal foundations and add depth through well-placed breakdowns, tempo shifts, and technically astute passages that feel smooth like honey. The guitar work from Thimios Krikos and Manolis Tsigkos was especially impressive, melodic when it needed to be, intricate when the songs required it, with solos that slid easily into the anthemic choruses or heavy breakdowns.
Vocally, the performance was impressive. George Eikosipentakis delivered a powerful and controlled set, effortlessly handling the soaring highs while giving the lower, more dramatic passages depth. Even during the quicker transitions where and tempo changes George didn't notably slip.
What stood out overall was how natural the whole set felt. This was technical, polished power metal, but never stiff, again the band looked as though they were having fun, which after being around for so long is a testament to their passion. The fact that so many people made the trip down the road so close to the much-anticipated return of Roy Khan is an equal testament to the fanbase they have built.
On a personal level, this set meant a lot. Finally seeing a band I’ve followed since 2008, a band I genuinely thought I might only ever experience through albums. InnerWish didn’t play like outsiders; they played like a band that deserved their place. I hope that other festivals and promoters take note and entice them into Europe and beyond in the future, please don't let it be another 18 years! An unsurprising, if not slightly biased, but well deserved full marks.
Roy Khan’s (10) return to a European stage at Epic Fest 2026 felt like one of those moments that could become part of metal folklore. More than 20 years after last standing regularly on European stages with Kamelot, seeing him walk out in Roskilde as a solo artist was emotional before he even sang a note. This didn't feel like a comeback grab for nostalgia points, it felt personal and necessary.
From the opening moments of When The Lights Are Down, it was obvious that that voice the famously warm, dark, smooth “chocolate” like voice had barely changed, if at all. Songs like Moonlight, Center Of The Universe, The Haunting, and Soul Society landed with the same power they always had, but now carried an extra emotional edge. Memento Mori, Rule The World, Karma, and Forever were all selected from the Kamelot archives as offerings.
The most touching aspect of the night was how openly emotional Khan seemed about being there. He took time between songs, visibly moved by the crowd response, letting the moments breathe rather than rushing on. The love from the audience was loud, cheers that took a while to settle, applause that took time to end. Khan has spoke about how fans and his family encouraged him back onto the stage, and standing there watching him soak it in, that connection clearly meant a lot to him.
It was really pleasing to see how physical Khan's performance still is. He almost slithers and stalks around the stage, moving with an unmistakable presence he’s always had. He crouched low during the darker passages, straightened up as the drama built, and uses his trademark facial expressions to completely sell the emotion of each song. Every raised eyebrow, clenched jaw, and distant stare took me back to the days of watching Khan with Kamelot.
Khan wasn't alone on stage, the band consisting of members of Seven Spires, were expectedly tight and respectful of the material while adding a heavier edge to them, possibly moving them a little away from the power genre. Adding another layer was the Roskilde Cathedral Girls’ Choir, whose presence lifted key moments particularly the opening and closing sections into something a little magical. Their harmonies added scale without overpowering Khan's voice, turning already epic songs into something edging cinema.
A massive highlight of the set was the series of duets with Adrienne Cowan. Their shared moments during songs like The Haunting were beautiful emotionally charged and dynamic. The chemistry between them felt natural, and the quality of those duets wasn’t far off the legendary performances Khan once shared with Simone Simons. One gripe would be that both the choir and Cowan could have been elevated a little more in the mix.
Soon came the encore. When Roy returned wearing his old Kamelot floor-length coat, the crowd exploded, is this a hint? I doubt it, but you never know. Closing with Ghost Opera and March Of Mephisto felt like the perfect full-circle ending: dramatic, theatrical, and stereotypically Roy Khan.
This felt like more than a standard return. Roy Khan didn’t come back to prove he could still do it. He came back because people wanted him, supported him, and believed in him, and I think the packed arena of Epic Fest was the proverbial proof. Welcome back Roy Khan, we’ve missed you.
Stief: Sadly, it was time for the final band of the night and the weekend itself, Hagane (7). Though it was the band's first international show outside of Japan, you wouldn't think it at all, considering the rapturous applause they receive as they take to the stage.
Immediately breaking into the aptly named Start Our Journey, it's clear why the band were brought here; vocalist Nagi's voice is clear yet powerful, backed up by guitarist Sakura (who could rival plenty of the other guitarists at the festival) and bassist Sakaya, all working together like a well-oiled machine. Drummer JUNNA is a machine in herself, blasting away at the drums the entire time we watched them, despite just being able to see over them.
Though we didn't remain for the entire set, (on account of being over 30 and having the knees of an OAP), the band's frenetic sound as we left to Black Cult was a perfect cherry on top of the cake that was Epic Fest: Chapter Four. Til next year!
