Day 2 – August 1st
If day one proved that Vagos Metal Fest had no intention of easing into the weekend, day two came as the first true test of endurance. With the crowd already warmed up and hungry for more, the festival grounds buzzed with anticipation, ready to match – or even surpass – the intensity of the opening night. Friday marked the moment when the party truly began, as more fans poured in, the atmosphere thickened, and the stage was set for an unrelenting continuation of the chaos.
Hailing from Spain, more precisely from Catalonia, Haunted Gods had the responsibility of opening the second day of concerts at Vagos Metal Fest. With the venue still largely empty, the band led by Txell Cabedo began with a somewhat reserved and subdued performance, though their confidence grew steadily as the set progressed. The sound was clear and well-balanced, and the group showcased five tracks from their latest full-length release of the same name. “The Ritual” opened the performance, followed by “Zirael,” the sole nod to their EP “Legends”. From then on, the entire setlist drew exclusively from “Haunted Gods”: “Threshold,” “Road Of Trials,” “Descending,” and, finally, “Revelations.”
Next came Methedras, the first Italian band of the second day. The quartet took some time to fully capture the audience’s attention, as the crowd familiarised itself with their groove-laden brand of thrash metal. The stage sound was far from ideal, which, to some extent, hampered the band’s performance. Nevertheless, they managed to win over part of the audience as they delivered tracks from their 2023 album Human Deception, including “Another Fall,” “Psychotic,” and “The Abyss.” In the end, the Italians delivered a strong and solid concert—nothing over the top, but effective.
It was time to go back to Spain, where House Of Dawn brought an unexpected yet refreshing change of pace to Vagos Metal Fest with a sound that diverged slightly from the festival’s core but carried undeniable quality. Strongly influenced by Pearl Jam, their American-grunge-inspired rock blended alternative, grunge, and touches of Southern rock, built on expressive vocals, dynamic shifts, and grooves that moved the audience from introspection to bursts of energy. Led by Jacob—already familiar to the festival through past projects and sharing most of the lineup with Vendetta FM—the band delivered a confident and engaging performance. In just 30 minutes, they managed to forge a connection with the crowd through songs like “Learn the Lesson” and “Chase Your Goals,” proving their ability to deliver a genuine rock concert with passion and authenticity.
The second Italian band to take the stage were Lunarsea, a melodic death metal quartet from Rome who combined harsh and clean vocals in a way that brought to mind acts such as Soilwork, for example, though with a more polished approach. Presenting their recently released live album recorded in Tokyo, the group delivered a set that was as intense as it was captivating, marked by technical precision, raw power, and a strong connection with the audience. Balancing moments of sheer brutality with melodic and emotional passages, Lunarsea showcased a commanding stage presence that underscored their status as a rising force in Metal. Their performance left no doubt that they can hold their own on any international stage.
Staying within the realm of death metal, the stage then welcomed Portugal’s own Karbonsoul. By the time they began, the crowd had already gathered in strong numbers, a clear sign of the band’s dedicated following. Active since 2007, Karbonsoul delivered a modern and energetic take on death metal, driven by the commanding presence of vocalist Mafalda “Muffy” Hortas. Her ability to switch seamlessly between guttural growls and clean passages added a distinctive edge to the performance, giving each track its own character and intensity. The concert was marked by dynamic contrasts—crushing heaviness interlaced with melodic and atmospheric moments—that showcased both the raw aggression of extreme metal and its darker, more introspective beauty. The audience responded with relentless energy, fueling circle pits and mosh pits throughout the set, confirming Karbonsoul as one of the standout national acts of this year’s festival.
Portuguese Hills Have Eyes delivered one of the most significant moments of this year’s festival, marking their long-awaited return to the stage after six years of absence. Formed in Setúbal in 2005, the band has established itself as a cornerstone of Portuguese metalcore, known for its fusion of punishing riffs, intense breakdowns, and soaring melodies. Their comeback performance at Vagos was charged with emotion and raw intensity, with the audience responding in kind through relentless mosh pits and powerful sing-alongs. Tracks like “Never Quit,” “Strangers,” and “Anyway, It’s Gone” stood out as highlights, uniting the crowd in a wave of nostalgia and celebration. To close the set, frontman Fábio Baptista shared exciting news: the band is preparing to release their long-awaited new album, a promise that only heightened the sense of anticipation surrounding their return.
Few Spanish bands enjoy such unwavering devotion from the Portuguese metal community as Angelus Apatrida, and their return to Vagos Metal Fest once again confirmed that bond. Since their formation in 2000, the Spanish thrashers have built a reputation for fusing the raw spirit of 1980s thrash with razor-sharp modern production and technical precision, and the festival crowd was ready to embrace every riff. The set ignited with “One of Us,” instantly unleashing circle pits and waves of headbanging, before the ferocity of “Snob” and the relentless drive of “Indoctrinate” pushed the energy to even greater heights. Midway through the performance, the band surprised the audience with a heartfelt tribute to Ozzy Osbourne, tearing through a thrash-infused version of “Paranoid.” The gesture not only honoured a legend but also fueled the crowd’s enthusiasm, creating a unifying moment of celebration before the onslaught of “Give ’Em War.” The chaos continued until the set closed with a thunderous rendition of “You Are Next,” sealing a performance that underscored why Angelus Apatrida remain one of Europe’s most formidable thrash metal forces.
Rhapsody of Fire’s appearance at Vagos Metal Fest stood as one of the festival’s defining spectacles. With Christopher Lee’s iconic narration heralding “Unholy Warcry”, the Italians set the stage ablaze with their unmistakable fusion of symphonic drama and power metal energy. The performance wove through eras of their catalogue: the fiery surge of “Rain of Fury”, the soaring optimism of “I’ll Be Your Hero”, and the more theatrical “Challenge the Wind”. A rare moment of reflection came with “The Magic of the Wizard’s Dream”, a poignant homage to Lee himself, before the crowd erupted once more into anthems like “Chains of Destiny” and “Warrior Heart”. At the heart of it all was Giacomo Voli, whose voice balanced operatic finesse with visceral force, while Alex Staropoli’s keyboards and Roberto de Micheli’s neoclassical flourishes gave the music its cinematic sweep. The finale — “Dawn of Victory” and “Emerald Sword” — turned the arena into a battlefield of raised fists, mass chants, and even a wall of death, sealing a performance that felt less like a concert than a rallying cry for epic fantasy itself.
Dying Fetus brought a seismic shift in tone to Vagos. After the symphonic theatrics of Rhapsody of Fire, the Maryland trio delivered sheer punishment, diving straight into their arsenal of brutal and technical death metal. Early technical hiccups briefly threatened the momentum, but once resolved, the band became a machine of surgical aggression. The set leaned heavily on their most uncompromising material: Subjected to a Beating and From Womb to Waste tore the air apart, while Grotesque Impalement and Beaten Into Submission hammered the crowd into a frenzy. A rare cover of Baphomet’s Streaks of Blood paid homage to underground roots, while In the Trenches and Praise the Lord (Opium of the Masses) proved the band’s catalogue remains inexhaustible in its savagery. Gallagher and Beasley’s dual gutturals shook the ground beneath the audience, as Trey Williams drove the assault with blast beats that bordered on inhuman. At one point, a moshpit was even dedicated to Ozzy Osbourne — a surreal yet oddly unifying gesture amid the chaos.
With only three members on stage, Dying Fetus managed to summon a sound so colossal it felt physically overwhelming. It was a masterclass in precision and brutality — one of the most punishing and most memorable performances of the festival.
Headlining the second day of Vagos Metal Fest, Moonspell delivered a performance that was as much a celebration of their national stature as it was a masterclass in gothic and extreme metal. From the opening sequence of In and Above Men, From Lowering Skies, and The Southern Deathstyle from The Antidote, it was immediately clear that this would not be a standard “greatest hits” set. Fernando Ribeiro emphasised the careful curation of the setlist, a deliberate gesture of respect to the audience and an attempt to navigate three decades of a rich and varied discography. Throughout the night, the band mined their catalogue for rare gems alongside essential anthems. Deep cuts such as Soulsick, Butterfly FX, Blood Tells, In Tremor Dei, and Em Nome do Medo revealed Moonspell’s willingness to reward long-time followers, while staples like Opium, Vampiria, and Alma Mater — the latter accompanied by a cascade of green and white confetti — elicited collective catharsis. The set balanced theatricality and intimacy, with pyrotechnics, surges of flame, and Ribeiro’s commanding presence emphasising both the ritualistic and communal aspects of the performance. The evening’s climax arrived with Full Moon Madness, a final howl that resonated as both farewell and affirmation of the band’s enduring power.
Yet even in a night so meticulously crafted, a notable absence remained: no material from Sin/Pecado, perhaps Moonspell’s most groundbreaking and polarising album, found its way onto the stage. Its omission is a reminder that certain chapters of the band’s history remain underrepresented live, despite the record’s influential and daring nature. Still, this did little to diminish the evening’s impact. Moonspell reaffirmed their dual legacy: as the foremost ambassadors of Portuguese metal and as a band whose artistry continues to expand the boundaries of darkness, emotion, and theatricality on the international stage.
The band also offered a glimpse into the future, announcing their forthcoming album, due 6 July 2026, ensuring that the wolves’ story continues to evolve. In Vagos, they reminded all present why, thirty years into their career, they remain not just relevant, but a source of national pride and artistic authority.
Closing the second day of Vagos Metal Fest, Warbringer delivered a relentless thrash assault that electrified the late-night crowd. Hailing from California and returning to Portugal after over a decade, the band opened with Firepower Kills, immediately igniting sustained mosh pits and a feverish response from the audience. The set balanced blistering speed and mid-tempo aggression, with highlights including Hunter-Seeker, Severed Reality, Living in a Whirlwind, and the crushing Crushed Beneath the Tracks. John Kevill’s commanding vocals and constant engagement propelled the energy, while precise riffs and guitar solos showcased the band’s technical prowess. Material from their latest album, Wrath and Ruin, including The Sword and the Cross and Neuromancer, rounded out the set, inviting headbanging and crowd participation. By the end, Warbringer had both celebrated classic thrash and reaffirmed their position as one of the genre’s most formidable modern forces.
Comments are closed.