Midgard Viking Center, Borre
August 14 – 17, 2024
Midgardsblot has become an annual event that stands out from all other Norwegian festivals. Here, you get a mix of everything from calm folk tunes to death metal. But the focus is almost as much on Viking life as on the music, which means that many people attend specifically for the Viking aspect of the festival. As a result, there are an unusually high number of international visitors, while many familiar faces from Norway’s metal scene drop by for a day or two to catch the metal bands that interest them.
Midgardsblot usually books at least a couple of solid metal bands each day, making it worth attending daily, even for those of us who aren’t into folk music or dressing up in various costumes.
The festival site is modified each year, and this time, the main stage has been moved to the area where Stage 2 was in 2022. This works well, as the space here is more than sufficient. The previous main stage area now houses a smaller stage, but it is only in use on Friday and Saturday. This seems a bit odd, considering there are fewer artists on Wednesday and Thursday than on the weekend, giving the impression of two reduced days.
Personally, this doesn’t matter much, as that stage mainly features folk music. But since there are only two stages on the first two days, the smaller indoor stage in Gildehallen remains consistently packed. Because of this, I end up giving up on seeing all the bands I wanted to watch in Gildehallen, as the long queues outside make it impossible.
All in all, Midgardsblot offers four days of great atmosphere, combining history and metal concerts. The schedule runs smoothly, and all concerts start on time. The only downside this year was the cancellation of Gåte on the same day of their performance, but that was beyond the festival’s control.
WEDNESDAY
Grand Magus, the Swedish heavy rock/doom band, has been around since 1996, originally under the name Smack. Over the years, they have released nine albums, and a tenth is on the way. They have already released the single “Skybound”, which is the only new song we get to hear at Midgardsblot. The rest of the set consists of older material, and everything sounds just as it should.
Vocalist JB Christoffersson is engaging and confident, both between and during the songs, successfully getting the crowd involved. During “Hammer of the North”, the singalong section kicks in, and suddenly, Johan Hegg from Amon Amarth runs onto the stage to join in. JB looks a bit surprised, so I wonder if this was a spontaneous move by Hegg. Either way, it makes for a fun moment that adds an extra spark to the concert.
It was about time that Amon Amarth played at Midgardsblot. After all, they are the biggest Viking metal band at the moment. Although Amon Amarth technically plays melodic death metal, their Viking lyrics and imagery have made it common to categorize them under Viking metal. Musically, their sound is closer to Gothenburg-style death metal, but since they hail from Stockholm, the Viking image fits well. The band takes their Viking concept to the max. A giant inflatable Viking ship dominates the stage, its dragon head glowing red, while flames shoot across the stage. Amon Amarth uses more pyro effects than all the other bands at Midgardsblot combined this year.
And, of course, there’s the rowing pit. There is no better sign that metal will continue to be the coolest genre for generations to come than seeing fans proudly wearing their battle jackets while rowing in the pit. Johan Hegg encourages the crowd to sit down and row during “Put Your Back Into the Oar”, and they enthusiastically follow along. Say what you will about the awkwardness of it, but Amon Amarth delivers a powerful show, and the fans love every second.
THURSDAY
Vader is one of Poland’s biggest metal bands, though slightly overshadowed by Behemoth. The band was formed in 1983 and is still going strong. However, the only remaining original member is guitarist and vocalist Peter, while the rest of the lineup has joined in 2010 or later. Despite their reputation, Vader plays to a surprisingly small crowd. The festival grounds feel less packed than the day before, possibly due to unstable weather or a less appealing lineup. However, the band doesn’t let that affect them and delivers an intense set.
A small mosh pit forms as the show progresses, consisting of only 10-15 people at most. Given the ample space, this pit has plenty of room to move, making it an entertaining spectacle for those watching. The diverse mix of characters in the pit includes a hippie with diving goggles and a hula hoop, a stocky guy in a Burzum shirt with nothing but a ponytail, a tiny mosher girl in an oversized battle vest running around making faces, and a middle-aged woman with bangs who seems mostly scared but still targets smaller people to moshe against.
At one point, the pit attempts a Wall of Death, but since most of them don’t seem to know the song, they stand awkwardly waiting for the cue—until one impatient fan charges forward alone, prompting the rest to scramble after him in confusion. Meanwhile, Vader continues playing as if nothing unusual is happening, delivering a tight and relentless set.
Later, Testament takes the stage after an intense downpour, which has now eased into a light drizzle. The legendary Bay Area thrashers have announced that they will only play songs from their first two albums. This makes me wonder why their set is only an hour long, as headliners at Midgardsblot usually get 90 minutes. However, checking recent setlists, it seems they have played longer shows elsewhere, so this may be a Midgardsblot-exclusive arrangement.
Regardless, the shorter set works well, as Testament delivers a packed performance full of classics. Songs from “The Legacy” and “The New Order” hold up exceptionally well, and had these albums been released a few years earlier, Testament would likely be considered part of the “Big Four” of thrash metal.
The concert reaches its peak when “Disciples of the Watch,” “Over the Wall,” and “Into the Pit” are played in rapid succession. The only disappointment is the absence of “Alone in the Dark”, but aside from that, Testament delivers a nearly flawless show. Considering that Testament features some of the best musicians from the Bay Area thrash scene, it’s no surprise that they are one of the strongest classic thrash bands today—and this performance proves it.
FRIDAY
Vulture Industries starts early today, but given how skilled they are as performers, they are still well worth catching. Much of this is thanks to vocalist Bjørnar Nilsen, who performs like a wild man. At one point, he jumps into the audience and starts a massive conga line, leading people in a chaotic run through the festival grounds. Another highlight is when he climbs into the crowd and starts playing a hat-swapping game, resulting in many festivalgoers ending up with completely different hats than they arrived with.
The rest of the band is more reserved compared to Bjørnar, and they actually look more like hippies, especially since they perform barefoot. It’s oddly distracting. Surely, they could afford a pair of shoes before going on stage? Musically, “Deeper” from their new album stands out the most, but the entire concert is solid.
Ereb Altor played at Midgardsblot in 2019 as well, but this time, they have prepared a unique set for the festival. They start with their own songs, primarily from their two latest albums, Vargtimman and Järtecken. Everything sounds great, but the real surprise comes halfway through the set.
A very familiar intro suddenly plays from the speakers—the unmistakable galloping horses from Bathory’s Blood Fire Death. That’s right: Ereb Altor is paying tribute to Bathory, dedicating the entire second half of their set to Quorthon’s legendary Viking metal era, marking 20 years since his passing.
It’s a fantastic surprise, and the crowd goes wild as they launch into “A Fine Day to Die.” Ereb Altor already has a musical style heavily influenced by Bathory, so these songs sound incredibly natural in their hands. They close with the epic title track “Blood Fire Death,” delivering an intense and emotional ten-minute finale that sends chills down the spine. The only thing that could have made it better? A darker atmosphere, rather than blazing sunlight.
Seigmen is more or less playing on home turf, with Tønsberg just a short drive away. However, their bad luck streak continues, as vocalist Alex Møklebust is hobbling around with a cast on his leg. Whatever happened remains unknown, but he should really be more careful, especially before big festival performances.
Despite this, Seigmen delivers an excellent concert. Many of us recently saw them at Tons of Rock, but having a full set at night makes for a special experience at Midgardsblot. They open with “Fra X til døden” from their debut EP Pluto, immediately setting the perfect mood. It’s a personal favorite, as Seigmen had a heavier sound in their early years.
Their latest album, Resonans, is possibly one of their strongest overall. Unlike their Tons of Rock performance, they include more songs from the new album, playing “Berlin,” “Elskhat,” and “Kollaps.” They also perform their brand-new track “(Dyret) 23 bud” for the first time live.
Marius Roth takes the spotlight with the hymn “Agnus Dei,” demonstrating his tenor vocal range. Having previously worked with Den Norske Opera, he showcases his impressive vocal ability. However, the energy peaks when Seigmen ends the show with their legendary deLillos cover, “Hjernen er alene.” A perfect ending to a fantastic performance.
SATURDAY
Unleashed has been around since 1989, and they still have the exact same lineup they had in 1995. That’s rare in metal. Their concert reminds me somewhat of Vader’s performance two days earlier. While Unleashed plays a tight set, the audience turnout is surprisingly low, with a small but dedicated group of moshers taking up most of the space in front of the stage.
It’s clear that death metal is a bit too extreme for the general Midgardsblot crowd, but that doesn’t stop Unleashed from delivering a strong performance. That said, today’s mosh pit is far less entertaining than Vader’s, likely because it’s the final day and people are simply too exhausted. The exception is the hippie with diving goggles and a hula hoop, who is now dancing so wildly that at one point her top falls down, so one of her boobs are peeking out. I’m not making this up.
Johnny Hedlund, the band’s frontman, proves to be surprisingly funny between songs. However, when the power cuts out on the guitar amp, he runs out of jokes fast. After a couple of awkward Beatles references, it’s clear he doesn’t have much left in his comedy arsenal. Thankfully, the issue is quickly resolved, and Unleashed finishes their set strong.
Emperor officially ended with their fourth album, Prometheus – The Discipline of Fire & Demise, in 2001, but since then, they have frequently reunited to perform at select festivals worldwide. Before the show, their manager Håkon Grav steps onto the stage:
“Are you ready to go back to the nightside? From Telemark, Norway: EMPEROR!”
And just like that, the atmosphere is set.
The setlist features songs from all four albums, but with a heavy focus on “Anthems to the Welkin at Dusk” and “In the Nightside Eclipse.” As darkness falls over Midgardsblot, the scene is perfectly set for a haunting black metal performance.
Unfortunately, technical issues strike again—just like Unleashed earlier in the day, Samoth’s amplifier dies mid-show. Ihsahn is one of black metal’s best vocalists, but he’s not a comedian, and it quickly becomes awkwardly quiet on stage. Instead of keeping the crowd engaged, he starts talking about how much he enjoyed Bel Canto’s performance earlier, which feels entirely out of place at the moment.
Vocalists should always have some filler material prepared for situations like this, but instead, we’re left hoping the tech crew fixes the issue quickly. Luckily, the amp is restored before long, and Emperor gets back on track.
At this point, we all know what to expect from an Emperor show, and they never disappoint. This was yet another top-tier performance, reaffirming why they remain one of black metal’s most respected live acts.
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