We start the final day early on with an incredible interview with Sammy Urwin from Employed to Serve. A truly great guy from an awesome band. There’s also a chance for us to do some uploading and admin before the bands start playing, and it’s worth noting that both 5G and 4G networks perform admirably throughout the festival, not just for the press but for all punters, ensuring seamless connectivity. Too often you go to a festival in the UK and can’t stay in touch with friends and family to meet them. Talking of our press work, the Sweden Rock Festival press staff deserve special mention for their amazing support. They were incredibly friendly and provided all of us with invaluable information and assistance, especially for the interviews. Many thanks to them!

And so, to the final day’s bands. Mammoth WVH exude vibes reminiscent of Alter Bridge and Tremonti. They boast excellent vocals (from WVH; that’s Wolfgang Van Halen, son of Eddie) and deliver catchy, bouncy songs. It's like a lighter version of Foo Fighters. In fact, they even cover ‘Hero’ with slick professionalism. It's clear that they have their own distinct sound, separate from the famous lineage, but when WVH does unleash his shredding skills it's a sight to behold.

The wind wreaks havoc on the sound during Monster Magnet's set, but their dirty psychedelic rock and roll still prevails. It's a groovy and bluesy experience, drenched in dream-like sequences amplified through an overdrive pedal. Unfortunately, the vocals are a tad too quiet, likely a casualty of the wind but the whole crowd join in for “Spece Lord Motherfucker!”

Over on the Sweden Stage, it's as if Tina Turner herself is belting out blues rock with Blues Pills on the Sweden Stage. Elin Larsson performance kicks off with a bang and maintains its energetic momentum, and the swagger gives it a touch of Clutch with the coolness of the early 70’s classics.

Next up, the Rock Stage showcases Symphony X, who channel their glam-trad-prog rock. While the vocals possess strength, there's a noticeable lack of charisma compared to many of the bands performing at the festival. The songs, regrettably, also fail to captivate with their catchiness, with the guitars more resembling a recital, and the keys lost in the mix.

There’s no hiding from Skid Row across on the Festival Stage, as they serve up a dose of their hard rock metal. This is what Motley Crue should’ve been like! It’s safe to say we see the biggest crowd of the weekend flood to see Skid Row, and they don’t disappoint. Complete with their impressive new young Swedish singer Erik Grönwall , the band rocks harder than hard. They deliver all the classics with few from their more recent release “The Gang’s All Here”, showing that old dogs can still have their day and deliver the goods. They are finally back where they deserve to be.

Meanwhile, on the Blåkläder Stage, the technical prowess on display from Employed to Serve is awe-inspiring, a testament to their honed craft. Every aspect of their performance, from their stage presence to their songs, exudes confidence and cohesiveness. The vocals from both Justine and Sammy are exceptional, offering a delightful variety. Any fans of Rolo Tomassi and Palm Reader need to check these out asap. The highlight is ‘We Don't Need You,’ complete with is fantastically catchy melody, clear audience participation and relentless beatdown. They also manage to coordinate the first wall of death I think I've witnessed all weekend, and it ignites an intense energy in the crowd. 

This is my first chance to see Spiritbox live, and they don’t disappoint. They present a heavier live offering compared to their recorded material, especially instrumentally, and it only serves to give a different, but equally fantastic, spin on their material. Courtney LaPlante's vocals are note-perfect, and she moves with grace and fully immerses herself in the songs. Her vocal switches from guttural to angelic cleans are seamless, displaying her genuine versatility. The rest of the band deliver a dynamic and slick performance, and Michael Stringer’s technical guitar prowess is undeniable. They appear genuinely surprised by the great turnout of fans, and Courtney seems to warm to the crowd, if not the weather, with a dedication to the churro and donut people, demonstrating her dry sense of humour. ‘Rotoscope’ is an immense performance, with Courtney dancing and embodying the lyrics, as is ‘Secret Garden’ in which she sings to her husband (Stringer on guitar) in a lovely segment. ‘Holy Roller’ is another highlight, hitting brutally, and they conclude with the captivating ‘Eternal Blue.’

On the Pistonhead Stage, Australians SKYND deliver another striking performance, with their blend of horrorcore and true crime with a touch of vaudeville. It’s a blend of avant-garde industrial that really is something to behold. A deliciously demented sideshow, with a jagged blend of nightmares. Vocalist SKYND's ability to switch styles at the drop of a hat, even within a single line, is mind-blowing.

As a complete changeup we then go to see Alter Bridge embrace their classic sound. Myles' voice doesn't come across as squeaky as I remember, rather it resonates with power, and his charisma shines through captivating the audience. The riffs carry weight and depth, enhanced by a stellar sound production. They deliver an exceptional performance, polished and cohesive.

We decide to pass on Pantera and opt for beers and pizza instead. Talking of food, there are loads of stalls selling lángos (Hungarian deep-fried flatbread, with cream and toppings) which is simply fantastic - I urge you to indulge in some if you ever get the chance! Having said that, the food is a bit disappointing compared to the rest of the festival, with what seems corners cut and overpriced offerings from most vendors. Sadly, this seems to be a common occurrence at many festivals these days though.

And so, to our final act of the festival – Ghost. Now I’ve never really understood the fascination with the Swedish phenomenon, but after this set I’m a convert! They burst onto the stage, starting with a bang... literally. Their 80’s pop-rock-metal is infused with layered vocals and a captivating presence. The Nameless Ghouls accompany their enigmatic father figure (Tobias Forge) adorned in his outfits and makeup as various versions of Papa Emeritus. It's a comprehensive theatrical performance, reminiscent of a metal Abba, or a camp Def Leppard with a hint of Queensryche. Steampunk aesthetics of the Nameless Ghouls add to the allure, and standouts tonight are the tracks ‘Lucifer’ and ‘Beelzebub.’ As they finish their set, we see plenty of people stumbling about, and some even unable to walk or stand, but it’s all in good spirit with everyone looking out for each other and enjoying the experience. As the festival comes to a close the night sky is illuminated by grand fireworks and we dream of returning here in the future to what is now one of my favourite festivals.

Check the “In The Flesh” page for more photos!
Ghost, Alter Bridge, SKYND, Spiritbox, Employed To Serve, Skid Row, Blues Pills, Monster Magnet, Mammoth WVH