Ekebergsletta, Oslo
25–28 June 2025
It’s nothing new that Tons of Rock gets its fair share of complaints in the run-up—far from it. It’s hardly surprising either, when it’s impossible to please an entire crowd. But this year the grumbling has been off the charts, as Tons seemed to alienate its core audience early by announcing bands a bit outside the festival’s main profile. With headliners like Kaizers Orchestra, Green Day and Muse, Tons of Rock looked more like Pinkpop than Wacken Open Air. I also notice many people are missing the point of the criticism: the issue isn’t that Tons won’t sell tickets—of course Green Day and Muse sell tickets—but that the festival gets diluted with pop music. Thankfully, more and more metal arrived on the poster as the festival drew closer, which also put the core crowd in a better mood. For even that the headliners are not the coolest–there are som decent and excellent bands down on the poster.
The actual organisation of the festival seems to improve year on year. There was a bit of toilet chaos the first couple of days, which was mostly blown out of proportion, as it really only kicked off right before and after the big bands on the main stage. This improved once the festival added more loos and opened up the area. Credit to Tons for fixing things when they see room for improvement. They also deserve praise for adding a smaller stage this year, The Storm, used for smaller bands and side events. Very positive—and there’s big potential here going forward.
WEDNESDAY
Black Debbath have made a habit of opening Tons of Rock for several years now. A great start, most would say—including me—because Black Debbath are a Norwegian national treasure. One of the few bands in the world who actually manage to blend humour and metal perfectly. This year they added a twist by inviting the St. Hallvard lads’ choir on stage. The choir didn’t exactly elevate the experience for me, but it was still fun to see the kids enjoying themselves up there. “Nei til runkesti på Ekeberg” is a solid way to kick off a gig, seeing as we’re on Ekeberg after all. As usual there’s plenty of banter between songs; the only downside is that some of the jokes are starting to repeat a bit, even if there’s a smidge of new material here and there. Either way, when the official festival song closed the set, the entire field joined in on “Tons of Rock”. Fair to declare that once Bøler’s finest have lifted the mood, it finally feels like the festival is properly underway again.
The French metalcore outfit LANDMVRKS open with rap in their mother tongue on “Creature” from the latest album. From that moment I know it’s going to be a long show for me. That said, the band—who fold a lot of nu metal into their songs—pull a big crowd and the tent fills up nicely. They come across as tight and capable musicians, and vocalist Florent Salfati does a good job out front. He gets the audience going and they seem to love it. So it’s easy to understand why they’ve become popular. But I quickly catch myself getting bored. It’s a bit like watching Eurovision: people cheering and singing along while I stand there thinking my own thoughts.
Nidhög are a young death metal band from Ålesund who started in 2020. The members are 19–20 years old, so there’s not a huge amount of experience yet. All the cooler, then, to be the very first band on Tons of Rock’s brand-new stage, The Storm. But opening the ball is no easy job, and they’re definitely unlucky with the sound—hardly their fault. It does improve as the set goes on. Everyone except the vocalist wears gas masks, which understandably get ditched as the heat builds on this Wednesday. There’s something fun about seeing lads this young play old-school death metal of the late-80s/early-90s variety—the way we did thirty years ago. Fascinating that the style still feels vital. Nidhög play well and have some tasty riffs up their sleeves. I’m optimistic about this lot. Unfortunately they’re not fully drilled, and one song has to be stopped mid-way. The last song goes completely off the rails and grinds to a halt before they manage to continue. They clearly haven’t learned the “fake it if you can’t make it” rule—just keep playing even if you don’t remember the part, rather than looking confused at each other. The crowd doesn’t know the songs yet for such a new band, so nobody would have noticed. Something to learn there for Nidhög.
Candlemass hit the stage and make it clear Norway is their second home—not shocking given how often they’ve played here in recent years. They also state this show will mostly be the classics, because this is going to be a doom party. And that it is: “Bewitched”, “Mirror Mirror”, “Crystal Ball” and “Solitude” are just some of the highlights. Strictly speaking the whole set is one long highlight. The band are celebrating forty years, so a proper celebration is in order. They look like they’re enjoying themselves despite the heat, which has Johan Längquist ditching the leather jacket early. Even so, while it’s a rock-solid show made up of their best material, there are no surprises up their sleeves. You get what you expect: a strong set.
It feels very good to have Old Man’s Child back. So at least one good thing came from Galder leaving Dimmu Borgir last year. Old Man’s Child were one of the truly great bands from the mid-90s up until Galder joined Dimmu. The debut “Born of the Flickering”, the follow-up “The Pagan Prosperity” and third album “Ill-Natured Spiritual Invasion” are all top shelf. When Galder joined Dimmu in 2000, OMC stopped playing live and became a studio project until 2009. Now they’re back, and Tons of Rock is their second show after Sweden Rock Festival. I had expected Galder to handle vocals, but it’s understandable that he chose someone else given he hasn’t sung live in ages. Better to pick the experienced Hoest, best known from Taake. Dressed head-to-toe in white, he does a superb job both vocally and on stage. On drums we have Tjodalv, who was in OMC in the 90s and played on a couple of albums, while bass and guitar are handled by Cyrus and Elvorn, both best known from Susperia. The show starts brilliantly with “Towards Eternity”. We’re treated to old gold like “Born of the Flickering”, “Demons of the Thorncastle” and “The Millenium King”. The only track I miss is “Doommaker”, so here’s hoping that turns up next time OMC play. Because this left me wanting more. My only gripe is that the synth is on tape. It’s simply better—and cooler—when as much as possible is live.
Muse headline the first night, which raised a few eyebrows. Muse are slightly outside the Tons profile, even if they can be called rock. So in a way they fit. They seem very popular, and Ekebergsletta fills up nicely when they go on. They open with “Unravelling”, released just five days before Tons. The band have great sound, a big production, and they play well. It’s also much heavier live than on record, which is very positive. But I have to say this is quite far from my taste, so I take a long break to check out Anders Odden’s Karaoke From Hell on the smallest stage, running at the same time. I do head back to catch Muse’s ending, and they bring the show home competently.
THURSDAY
It’s one in the afternoon—far too early for Carcass. The turnout at the start is thin (no shock, given the hour) but it fills up nicely as the set progresses. It’s hard not to like Jeff Walker’s whole thing. He looks like the straightest bloke at the festival despite playing in one of this year’s most brutal bands. Classics like “Corporal Jigsore Quandary”, “Keep On Rotting in the Free World” and, of course, “Heartwork” make for a strong start to the day. I love Jeff’s style of just strolling out after the gig, having a chat, then wandering off to watch The Good The Bad & The Zugly on the main stage.
The Good The Bad & The Zugly open the main stage and out comes Ivar Nikolaisen in a leopard coat that would probably look better on Lady Gaga. He says a lot of odd things between songs; I catch him introducing “The Original Incel” while mumbling something. His long monologues slow the show down a bit and I tire of it. When they play, though, it sounds pretty good and oozes energy. Even so, I lose interest quickly—and the blazing sun in my face doesn’t help—so I do the sensible thing and move on before the end, watching the rest from a comfortable distance.
Young Swedes Eternal Evil take on the small Storm tent, ready to unleash youthful, energetic blackened thrash that outstrips many more established bands. The tent is far from packed, which is a shame for those missing out. This is a band that could go far. They’ve released only two albums so far, both recommended. They prove their point this morning, giving the neck muscles of the faithful a proper workout.
Turbonegro know how to create a party. We get that when they fire up “Rock n Roll Machine”. Songs like “City of Satan”, “Are You Ready (For Some Darkness)” and “All My Friends Are Dead” always spark sing-alongs. That said, I’ve seen them much better. Tony Sylvester seems a bit sluggish, shuffling down the catwalk on the main stage—maybe the sun has sapped his energy. Near the end a special guest is announced, and I’ll admit I expected someone more famous than Benjamin Berdous from Slomosa. Fame aside, he also seems a bit low-energy as he does his best with “Imorgen skal eg daue”. I have to be honest: it didn’t sound great. A better-known guest does show up for the closer “I Got Erection”: Party Boy from Jackass—Chris Pontius, if you prefer. Also a let-down. He just stands there in his tanga wiggling his bum. Odd to say, but he actually seems shy. Or at least very uncomfortable. Understandable, since he’s not singing—just standing there in tiny underwear smiling. A decent enough Turbonegro show, though far from their best.
Sex Pistols with Frank Carter open with “Holidays in the Sun”, setting up a fierce hour with the most famous and myth-laden punk band in history—albeit without Johnny Rotten. Probably for the best; he mostly whinges these days. Last time I saw Sex Pistols with Rotten in 1996, bottles flew and he walked off after four songs. Is 41-year-old Frank Carter a worthy heir? Up to the third song he comes across like any competent stand-in. Then he climbs into the crowd and delivers a long speech about how this show is going to unfold, about Norway, and about how massive this mosh pit will be—with him standing in the middle of it. From that moment the gig takes off, and from that moment it really becomes good. In the centre of a huge circle pit, Carter belts out “Pretty Vacant”. You can see Steve Jones and Glen Matlock grinning on stage. Now we’re really on. That doesn’t mean the rest is flawless. The Pistols didn’t release much, so there are some odd choices—The Stooges cover and “My Way”, for instance. The true highlight comes at the end with “Anarchy in the U.K.” when Billie Joe Armstrong from Green Day suddenly joins. The kind of moment that spreads across major news sites worldwide within hours. Turns out it was arranged on a whim earlier in the day between the two singers. Great fun and a special treat for the fans.
I haven’t seen Green Day since 1995, so it’s actually nice to catch them again thirty years later. Whether pop-punk belongs at Tons is debatable, but given their size it’s obviously a strong booking. I’d guess they could have sold out the day on their own. The crowd is split, though: the field is now full of younger pop-punk fans rather than old farts. Quite charming, actually. Anyway. After a run of intro tunes they kick off with “American Idiot” while the big fist and grenade from the album cover inflates. The production is massive—lights, pyro, everything you expect from a headliner. What strikes me is how well Billie Joe Armstrong has held up. He looks young and vital—maybe it’s the thick mop of hair. Fun to hear him sing “I’m not a part of the MAGA agenda” to a nice little cheer. When they close with “Good Riddance (Time of Your Life)”, there are plenty of moist eyes among the faithful.
FRIDAY
Friday is a slow start for me, so I rest body and soul before venturing to the Vampire stage where Steel Panther are about to go on. It’s absolutely rammed. So rammed it’s hard to see anything. I’m not a big fan, and I’m not about to elbow my way to the front. So it’s an abridged gig for me, standing packed like sardines. I do gather the old boys have an endless arsenal of dirty jokes. The show includes strippers on a pole; during “Glory Hole” the stage fills with young women dancing and shaking. I can’t tell whether there are bare breasts—I can’t see much of anything. Eventually I’ve had enough and shuffle off from the glam-rock circus.
Dimmu Borgir have barely played live in recent years—just a handful each year. 2025 is no different, and this show is the first of only nine. A lot has still happened: they’ve been in the studio and a new release is on the horizon. Bigger news still: Galder left last year, and this is the show where they reveal Damage Karlsen as the new guitarist. A versatile player who takes the job very seriously—and nails it. The setlist is strong. Festival slots are short, so of course there are many songs you’d want that don’t make it. Personally I’d have liked “Dimmu Borgir”, which kills live. But we get classics like “Stormblåst”, “In Death’s Embrace” and “Mourning Palace”, so I won’t complain. Many were naturally disappointed that Agnete didn’t join for “Gateways”. She’d sung on the same festival just hours earlier—so a missed opportunity. Maybe there was a good reason, but as noted, many saw her absence as a let-down. Minor stuff in the grand scheme. The cosiest moment is when Shagrath mentions his son Leon is at his very first Dimmu Borgir show, to a big response from the crowd.
Exodus walk on to “We Are The Champions” by Queen. Odd choice. But Exodus lean into humour on stage. Those gags now come via Rob Dukes, back at the mic after eleven years away. Is he better than Steve “Zetro” Souza, whom he replaced? Maybe not—but he still does a very good job. The band are razor-tight, and the energy and aggression never let up. It’s one of the most intense shows of the festival. Constant crowd-surfing, mosh pit, circle pit—even a Wall of Death. Dukes declares this the best audience of the tour; cliché though it may be, I believe him this time. The Moonlight tent is absolutely on fire. A flawless setlist too: opening boldly with “Bonded by Blood” and closing with “Strike of the Beast”.
The day wraps with Kaizers Orchestra—the most misplaced headliner in Tons’ fairly long history. The field is noticeably thin when they go on. No surprise. They do have their fans, who create a great atmosphere down the front. But unlike the previous two days, all the seating and tables are now full of people who’d rather drink beer than watch Kaizers. The karaoke tent is also heaving. I’m no fan of oompah, so I move back and watch from afar. Nothing against Kaizers—they’ve worked hard and deserve their success—but having them headline made for a rather anaemic end to the day. Unless you are a huge fan of course.
SATURDAY
Backstreet Girls, as everyone knows, lost vocalist Bjørn Müller last year. Bloody tragic and a big loss for Norwegian rock. I can’t imagine Petter Baarli putting down the guitar because of it—or starting a new band. There’s something very sad about seeing Petter as the only one left from the glory days of Backstreet Girls on stage. He’s joined by bassist Gaute Vaag (since 2019) and drummer Jonas Kjærnsrød (since 2021). Thankfully both are excellent musicians and it feels like they’ve been there much longer. Today’s concert is a tribute to Bjørn Müller with several guest singers. Tarjei Foshaug from Valentourettes—Baarli’s other band—was a given in my mind. Talented fellow; I wouldn’t be shocked if he ended up as the new singer. Then comes the lesser-known Roar Leren from The Fects. Next up is Fredrik Juell, best known as the chef on the Berserk expedition and as a prepper. Frithjof Jacobsen takes over and gets more time—three songs. You know him better as Biff Malibu from Gluecifer. Then it’s back to Tarjei Foshaug to close with “Motorhellway”. The nicest guest—and most touching moment—is Bjørn Müller’s son Max joining on guitar for two songs. Still, it’s a bit surprising—and a bit disappointing—that there aren’t more, and more famous, guests for a tribute of this sort. You’d think Backstreet Girls could pick from the very top given their legend status. Guests aren’t the main thing, though; the songs are. And with “Awright, Awright, Awright”, “Rattlesnake Charlie” and “Gimme Just A Second”, I’m happy.
I’m very fond of Jerry Cantrell’s newest album “I Want Blood”. Shame his set clashes with so much else. Still, I catch a bit. Alongside strong solo material he plays plenty of Alice In Chains. It isn’t a whizz-bang show, but the band play well and it sounds good. “Man in the Box” and “Would?” go down a treat. The set ends up a bit truncated for me because so much is happening at once.
As usual the band’s manager Håkon Grav comes out to introduce Emperor. Telemark’s favourite sons are ready for the Vampire stage—in blazing sun, as Grav notes, with the hope that Emperor might make it a bit colder. It seems they weren’t quite ready after all, because when they hit the stage not all instruments are in the mix and it sounds dreadful. I’ve no idea what exactly went wrong, but things were not in order—at least not to the ear. Sound issues aside, Emperor still play very well, and their catalogue is hard to match in Norway. “Thus Spake the Nightspirit”, “I Am the Black Wizards” and “Inno a Satana” are among the finest. Truth is, every song we get is top-tier. Black metal in blazing sun with ropey sound means this is far from the best Emperor gig I’ve seen. Not by a long shot. But that isn’t on Emperor. They deliver the goods—as always.
It’s heartening to see the field packed as Megadeth take the stage. When they do their own shows in Norway, it’s the smaller Sentrum Scene—or they’re supporting someone else in Oslo Spektrum (Five Finger Death Punch, Judas Priest). Why a band as famous as Megadeth, with so many classics, don’t draw more on their own in Norway is odd. But at Tons the tide has turned. The field is full, the vibe is great, and even the younger crowd seem to sing along to Dave Mustaine’s tunes. One of Megadeth’s problems is the unstable line-up. Today, of what I consider the golden era, only Mustaine remains—Friedman, Menza and Ellefson are long gone. Mustaine has hardly been the easiest boss. Drummer Dirk Verbeuren has been in since 2016, but I actually have to look up the other two to remember who they are—that says a lot about the churn. Guitar: Teemu Mäntysaari (since 2023). Bass: James LoMenzo (returned in 2022). Megadeth have 25 former members, which is an achievement in itself. What they deliver at Tons is also impressive. They tear into “Hangar 18” to open—no intro video, no fuss, just straight on and full throttle. Mustaine seems in reasonably good spirits and his voice is on the positive side. Time hasn’t exactly been kind to him—not shocking after years of heroin abuse—which also likely contributes to the occasional odd remark. But Megadeth simply sound good at Tons. With sixteen albums, plenty of great songs have to be left out. I probably miss “In My Darkest Hour” the most. Still, it’s a rock-solid setlist. “Angry Again” from Last Action Hero, the fantastic “Sweating Bullets” and the veteran “Peace Sells” are highlights. The song that truly ignites the field is “Symphony of Destruction”, which kicks off a mass sing-along across Ekeberg. And they’re not done: they come back for one last tune. Mustaine introduces it by saying he’s been asked if the lyrics are still relevant today. He lists the wars currently raging. “The world is on fire. But luckily music can bring us together,” he says before closing with “Holy Wars… The Punishment Due”.
Machine Head haven’t visited Norway much in recent years—just once in the last decade. Long overdue, then. Plenty seem to have missed them; the Vampire stage is well packed. I’m surprised by how good Robb Flynn is as a frontman—he’s constantly whipping up the crowd. No one gets to rest: he wants movement the whole time. Shouting, clapping, moshing, surfing, wall of death—he gets it all. The stage production impresses too: elaborate video backdrops, loads of pyro, confetti, and during “Ten Ton Hammer” a flurry of inflatable hammers floating over the crowd. Later, giant inflatable Machine Head dice bounce around. A few end up in the urinal area; I can just picture people trying to pee while batting away huge balloon dice to get the job done. The set is strong, with only the new album “Unatøned” getting two songs; otherwise it’s one track from each previous record, except “The Blackening” and “Catharsis”, which are skipped. We also get “Is There Anybody Out There?”, released only as a single. Slightly disappointing that there aren’t more from the debut “Burn My Eyes”, because the closer “Davidian” is definitely the gig’s peak. “Old” and “A Thousand Lies” would have been sweet. Understandable, though, that they spread it across the catalogue. All in all, a surprisingly great show from Machine Head. I expected good; I got more than I dared hope for.
The final headliner of the year is Avenged Sevenfold. They lose me on the very first song, with an annoying opener featuring an AI-generated Barbie and Disney-themed video of the band and crowd—more distracting than clever. It does improve later, but for a good stretch it stays quirky and odd in a way I don’t see the appeal of. Quite the opposite: I’m bored. By the time a song I know—“Hail to the King”, fourth in—rolls around, they’ve completely lost me. To be fair, the show has picked up a lot by then, but not enough to claw back the limp start. The rest is still fairly dull, and I retreat as far back as possible just to avoid those irritating AI screens. I’d expected much more from a band this big. Last time they played Oslo in 2017 it was at the massive Fornebu Arena, so it’s almost surprising they deliver such a flat performance. Maybe they rallied at the end, but by then my boredom had taken over and I was long gone from the stage.
TOP 5 GIGS
1. Exodus
2. Old Man’s Child
3. Megadeth
4. Dimmu Borgir
5. Carcass
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