When a completely new festival appears on the calendar, there is always a question hanging in the air: will people show up?

As we drove the two hours from Helsinki to Tampere for the very first edition of ANKEA Festival, held on June 5–6, we were about to find out.

The answer became clear almost immediately.

Despite being a first-year event, ANKEA never felt like one.

Set within the industrial surroundings of Tampere’s factory district, the festival instantly stood apart from many modern events. The venue itself became part of the experience, creating an atmosphere that felt both intimate and unique. There was a warmth to the gathering that is difficult to describe: almost family-like, yet large enough to feel like a proper festival.

Friday: Progressive Journeys and Gothic Nostalgia

Arriving later on Friday meant missing part of the day’s program, but two performances left a particularly strong impression.

The first was Norwegian visionary Ihsahn, best known as the frontman of the legendary black metal pioneers Emperor. His performance was less about pure aggression and more about immersion. The progressive nature of the music invited the audience to simply stand still and let their thoughts drift wherever the songs wanted to take them.

One of the evening’s highlights came when Leprous vocalist Einar Solberg joined Ihsahn on stage for a breathtaking rendition of “Manhattan Skyline”. It was one of those festival moments that feels special the second it happens.

Equally memorable was Icelandic darkwave trio Kælan Mikla. Their performance transported me back to a very specific era and place: Budapest’s legendary Dürer Kert.

For many alternative music fans, Dürer Kert was more than a venue. Housed in a former school building with decades of history behind its walls, it became a cultural hub for underground music before eventually being demolished to make way for modern developments. The venue represented a unique chapter in Central European alternative culture that can never truly be recreated.

Yet somehow, standing in front of Kælan Mikla’s stage at ANKEA, a small piece of that feeling returned.

The band’s haunting atmosphere, post-punk influences and dark elegance created a sense of nostalgia that was both beautiful and bittersweet.

Saturday: Rain, Wind and Determination

Saturday began with relentless rain.

The drive from Helsinki felt considerably more challenging than the day before, but turning around never crossed our minds. Festivals often demand a little sacrifice, and ANKEA quickly proved worth the effort.

The weather, however, had other plans.

Rain and wind combined throughout much of the day in what felt like a symphonic collaboration of their own. By mid-afternoon, my sweater had surrendered completely to the elements, leaving me thoroughly soaked and eventually slightly ill. Still, the music made it worthwhile.

The day began with Royal Sorrow, one of Finland’s most exciting modern metal acts. Having previously seen them at Tuska and interviewed them ourselves, it was fantastic to witness their continued growth. Their ability to blend contemporary influences with traditional metal elements remains impressive, and vocalist Markus Hentunen continues to prove himself as one of the country’s most charismatic frontmen.

Next came Rioghan, another band we have followed closely over the years.

Watching their development has been remarkable, and ANKEA marked another important step forward. The band’s latest addition, dancer Hannah, made her debut performance with the group. Although it was her first show alongside the band, the chemistry between her and vocalist Rioghan Darcy felt completely natural. Her presence added a new visual dimension to the performance and complemented the band’s theatrical atmosphere beautifully.

As the weather continued to deteriorate, two performances stood out above the rest: Vermilia and Sylvaine.

Both artists delivered captivating sets perfectly suited to the gloomy conditions. The rain almost became part of the performance, enhancing the melancholic beauty of their music.

We also managed to catch the opening songs of Swedish legends Katatonia. Unfortunately, by that point the cold had won. After four songs, we reluctantly decided it was wiser to leave than risk a more serious illness.

A Strong Beginning

What impressed us most about ANKEA was how complete everything already felt.

For a first-year festival, attendance was surprisingly strong. Throughout the weekend, it was easy to forget that this was actually the inaugural edition. The audience embraced the event wholeheartedly, creating an atmosphere that many established festivals would envy.

Food services were efficient, reasonably priced, and offered plenty of variety, including vegetarian and vegan options. Queues remained manageable, and the overall organisation felt remarkably smooth.

Perhaps the clearest sign of success arrived before the festival had even ended.

On Saturday, organisers announced that ANKEA Festival will return in 2027, between June 18–19. The first artists have already been confirmed, including the ever-unpredictable Igorrr.

If the first edition is anything to judge by, ANKEA has every chance of becoming one of Finland’s most exciting boutique metal festivals.

And judging by the enthusiasm of both artists and fans, many people are already counting down the days until next summer.

Written by Ditty, photos: Péter Tepliczky / Pekkagraphy