Resurrection Fest 2026 – 1 to 4 July 2026 (Viveiro)

Wednesday, 1 July

The German band Annisokay were responsible for kicking off the festival. By a miracle, they explained, their luggage containing all their instruments had gone missing, so they had to travel to Portugal to retrieve it, arriving in Viveiro at the very last minute, just in time to play. They were full of energy and, to be honest, despite being the first band of the day, there were already loads of people eager to get started. It didn’t take them long to get the crowd going and they sparked the festival’s first circle pits while some people were still warming up.

They opened with “Throne of the Sunset”, “Never Enough” and “Ultraviolet”. Amidst the mosh and circle pits, they thanked the crowd for giving their all at the opening gig before finishing with “STFU (Shut The Fuck Up)”. Their melodic metalcore sounded great, setting the bar very high for the bands that followed. It was a real taster of what was to come over the next few days.

Annisokay, Resurrection Fest 2026 – Photo taken by Elena Marco for Indieofilo^©

One of the advantages of small festivals is that it only takes a few minutes to get from one stage to another, without the hassle of having to walk long distances all the time, so before we knew it we found ourselves at the Ritual Stage, where Aneuma, hailing from Asturias, had a good dose of melodic death metal lined up, which continued to draw in an ever-growing crowd, as we watched the horizon fill with people.

Aneuma, Resurrection Fest 2026 – Photo taken by Elena Marco for Indieofilo^©

The next band to perform on the Main Stage (the only stage without its own name) was Man With a Mission, whose members all wear wolf masks. We were intrigued to see them, but they didn’t want any photos or close-ups on the giant screens, so we left them to their shyness and went off to see one of the wildest acts of the festival, God Complex. The Liverpool band were out to tear the Chaos Stage apart. It didn’t take long for a thick cloud of dust to fill the tent, making it difficult to breathe without covering your face. To the beat of their brutally hard hardcore music, they gave it their all in a truly mind-blowing gig, berating the audience members who didn’t dare join the violent mosh pit.

God Complex, Resurrection Fest 2026 – Photo taken by Elena Marco for Indieofilo^©

Having already visited three of the four stages, we headed to the Desert Stage to round off the day. Incidentally, this stage had excellent sound quality throughout the festival and usually hosts more alternative bands. We went to see the brilliant gig that Madrid-based Black Maracas had in store for us. Admittedly, the atmosphere was much more relaxed, but don’t mistake that for the band being lacklustre. In fact, their atmospheric heaviness is one of their most distinctive traits.

Raw, psychedelic rock with clear stoner influences and a heavily distorted sound creates a trance-like state in which everyone dances slowly and head-bangs to the beat. Despite a technical issue with one of the pedal boards, skilfully covered up by a drum solo, we were able to enjoy this band for the first time and hope it won’t be the last.

Black Maracas, Resurrection Fest 2026 – Photo taken by Elena Marco for Indieofilo^©

Having cut ourselves off from the world at the Desert Stage, we headed back to meet our friends and watch President. Although they sounded great, it was a rather cold performance, with hardly any interaction with the audience. We even heard some people in the crowd criticising the fact that they didn’t say goodbye at the end. What was our overall impression? They’d just turned up to tick a box. This is something that takes a back seat when you’re catching up with people you haven’t seen for a long time.

Amidst the laughter, war stories and the occasional risky shot, it was the turn of the Swedish band Thrown. We don’t know why, but we’ve found that Swedish bands never disappoint when we go to their concerts, and Thrown lived up to expectations in this case. They opened with “Bloodsucker”, “Slit” and “Backfire”, and were super tight and full of energy right from the start. As expected, the eager crowd responded, and we were treated to the first major circle pits of the year – although these would later be surpassed. They sounded great, firing off one short track after another – more typical of punk bands – with each one barely exceeding two minutes. They closed with ‘Greyout‘, leaving more than a few people feeling a bit wobbly for the days ahead.

Thrown, Resurrection Fest 2026 – Photo taken by Elena Marco for Indieofilo^©

After the adrenaline rush, we took the opportunity to recharge our batteries in the food court and wander around the market. When we returned to the main stage, we found that it was already absolutely packed for the American band A Day to Remember. Not everyone likes every genre of music; in fact, some of the attendees were quite open about this. However, we must also acknowledge when we’re watching a band that delivers top-quality live performances and knows how to connect with the audience.

A Day to Remember cannot deny the influence of 1990s and early 2000s pop punk and hardcore, but they have mastered the art of blending melody and intensity to such a degree that their live performances are impossible to resist. True to their name, this would be a day to remember.

A Day to Remember, Resurrection Fest 2026 – Photo taken by Elena Marco for Indieofilo^©

The last gig we saw on the first day wasn’t too far away either. Hailing from the Basque Country, LAMPR3A are incredible on stage, and we hadn’t seen them since they supported The Omnific at the small Wurlitzer Ballroom in Madrid. This trio’s technical skill and virtuosity mean you don’t miss having a singer; they transform every note and rhythm into sensations that envelop, draw you in and invite you to close your eyes and let yourself be carried away by their music, which ranges from darker and more aggressive to more melodic and calm… where everything happens so fast that you’re simply left standing there in awe. The performance was deeply moving for both the audience and the performers; in fact, J.I. Izaguirre finished the last note in tears and moved more than one person to tears.

Thursday, 2 July

With our batteries fully charged and the sun beginning to break through the clouds, we could see from Resu that Viveiro was swarming with metalheads. There was no doubt about it — the festival had already begun and was in full swing. The journey to the venue took longer than expected, so the first band we managed to see – almost by a miracle – was the Madrid-based alternative rock band Fuet! They describe their style as “tasty hardcore”. “tasty hardcore”. We only caught the end of their set, but the atmosphere was electric, and the Chaos Stage was shrouded in a cloud of dust amid a powerful live performance and the occasional flying fuet. We were left wanting more.

Fuet!, Resurrection Fest 2026 – Photo taken by Elena Marco for Indieofilo^©

If you ever go to Resurrection Fest, you’ll find that genres such as metalcore tend to dominate and attract huge crowds of young people. However, this doesn’t mean that the festival is narrow-minded and excludes other, more traditional or alternative styles. In fact, the second day had already kicked off with FUET! – that’s exactly what happened. As we left the press area, we heard that things were getting pretty wild on the Chaos Stage once again. We went to see what was going on, but not before making a mandatory stop at the Ritual, where Burning Witches had drawn a sizeable crowd of classic heavy metal fans. If someone had told us that we were listening to an 80s band, we would have believed them. It was a lovely trip down memory lane.

Burning Witches, Resurrection Fest 2026 – Photo taken by Elena Marco for Indieofilo^©

Having left the witches behind, we headed over to the Chaos Stage where Bergen’s Blood Command were putting on a great show. They weren’t on our radar, but their style is a good mix that’s hard to categorise. You can’t deny their punk roots when it comes to their live performance, though. Their singer, Nikki Brumen, flew over the crowd while singing, and the roadies laid out and picked up cables frantically. On stage, she rolled around on the floor and jumped non-stop, giving it her all and fuelling the chaos better than anyone else at this year’s festival. One thing we’re sure of is that more than a few people got splashed by her spit. We’ll have to wear a raincoat to future gigs!

Blood Command, Resurrection Fest 2026 – Photo taken by Elena Marco for Indieofilo^©

After that rush of excitement, we hurried over to the main stage to catch one of the most popular bands in our country. Next up were Angelus Apatrida from Albacete, who are always a pleasure to see. Going to an Angelus gig is synonymous with having a brilliant time with friends, enjoying top-class thrash and all kinds of pogoing, mosh pits, circle pits and walls of death… Whatever came to mind, but on a massive scale. Given that the audience was so young on average, it was a party from start to finish.

After greeting the whole Resu crowd, they kicked off with “One of Us” and the peace lasted barely twenty tense seconds – which is how long it takes for the track to really get going. From then on, the mayhem began. It had been a long time since we’d witnessed anything on this scale; columns of dust rose into the sky, creating a spectacular sight from a distance. Without pausing for a moment, they followed up with ‘Snob‘ and then set the Resu alight once more with ‘Indoctrinate’ – a track that hits you right in the face from the outset, just in case anyone’s still asleep, and then forces you to sing along, jump into the circle pit and headbang like mad. The songs were performed one after the other, with plenty of interaction with the audience. At one point, a wall of death even broke out, stretching all the way to the sound desk! They finished the set with two incredible tracks: ‘Sharpen the Guillotine‘ and ‘You Are Next‘.

Angelus Apatrida, Resurrection Fest 2026 – Photo taken by Elena Marco for Indieofilo^©

We decided to stay at the main stage and, having slathered ourselves in sun cream, began the long wait to see the next band up close. This band hadn’t played in Viveiro for ten years, and in keeping with the more traditional style of the second day, they were set to deliver the longest set of the entire festival. They need no introduction – they’re Iron Maiden! All we can say is that the wait was well worth it: they performed an excellent set, including the classic ‘Infinite Dreams’.

The stage set, the performances, the unshakable voice and the hyperactivity of Bruce Dickinsonwho finished the concert by letting his hair down, the various giant Eddies that appear throughout, and the guitar solo duels. Steve Harris pointing at the audience and strumming his bass, Dave Murray singing as if the notes were coming straight from his mouth while playing, setting the stage on fire and adapting the multiple screens to each track – not to mention his impeccable performance – are just some of the ingredients that make this band one of the most important in the history of heavy metal. I’m sure I’m leaving out plenty. All we’re asking is to be able to enjoy them for another 51 years. That can’t be too much to ask, can it?

Of course, in Viveiro we got to hear some of their legendary hits such as ‘Killers’, ‘Phantom of the Opera’, ‘The Number of the Beast’, ‘Run to the Hills’ and ‘The Trooper’, but the real highlight was the breathtaking finale with ‘Fear of the Dark’ and ‘Wasted Years’.

In keeping with the day’s theme, Anthrax took to the stage to finish off those who were still standing. It was amusing to overhear someone in the crowd explaining to a friend how an Anthrax gig works, as it appeared to be their first time attending one. I think that’s the best possible explanation: Have you heard how intense the opening track is? It stays that way right until the end. ” They walked onto the stage with a smile that hinted at what was in store, greeted the audience and got straight down to business. They opened with a brand-new track from the 1987 album Among the Living, before moving on to “Got the Time” and “Madhouse”.

You could say it’s a real treat to be in the presence of one of the bands that pioneered the genre. In fact, the story goes that the fifth track of this concert, “Methal Thrashing Mad” from Fistful of Metal (1984), was what led to the genre being called “Thrash Metal”. They also left us with a few unforgettable moments. For example, someone decided to drive their wheelchair-accessible vehicle into the circle pit at the end of the gig, which resulted in it overturning. This became the talk of Pandemonium bar the following day..

Friday, 3 July

On the third day of the festival, the lack of sleep was starting to take its toll. However, the pleasant overcast sky offered some respite to those who had been reduced to prunes the day before. As soon as we entered the venue, we noticed something curious: for a metal festival, there were a lot of b-boys around. No wonder, really – the headliners that day were Limp Bizkit, who draw huge crowds wherever they go. But we’ll leave that story for later.

The Rasmus, Resurrection Fest 2026 – Photo taken by Elena Marco for Indieofilo^©

The Finnish band The Rasmus were the first act of the day that we got to see. They were promoting their latest album, Weirdo (2025), and played a setlist that, until halfway through the concert, alternated between their latest tracks and songs from their early days. It was a fairly light-hearted concert, and it was clear that many people were waiting for them to play ‘In the Shadows‘ at the end – which was, of course, only to be expected. That said, they also performed other popular songs from their back catalogue, such as “Guilty”, “Livin’ in a World Without You”, “First Day of My Life” and “In My Life”.

We took the opportunity to wander around the venue a little and regroup, before popping back to catch a couple of tracks by the Portuguese blackened death metal band Okkultist. They had managed to turn the small Ritual Stage into a circle pit. The crowd was warming up for what was to come. There was hardly a moment’s pause before the next gig on the main stage kicked off, headlined by the Scottish band Bleed From Within.

Okkultist, Resurrection Fest 2026 – Photo taken by Elena Marco for Indieofilo^©

What can I say about this absolutely brilliant gig? Right from the start, people were going wild, and the first massive circle pits of the day began to form. That was hardly surprising, given that the band came out firing on all cylinders, with so much energy on stage that it really set the crowd alight – they were absolutely dying to see them.. It’s clear that they’re in great form and draw huge crowds, but that’s to be expected given how powerful they sound live. They handled the setlist very well, gradually ramping up the intensity and aggression as the concert progressed.They made a very good impression, and if they continue like this, we’re sure they’ll be the talk of the town. Unfortunately, we weren’t able to get hold of the setlist, but I can confirm that they played ‘Levitate‘ with the Resu Kids on stage, as well as ‘A Hope in Hell’ and ‘God Complex‘.

Bleed From Within, Resurrection Fest 2026 – Photo taken by Elena Marco for Indieofilo^©

Although Black Metal isn’t the predominant genre here, there are a few small acts for fans of the genre. So, without going too far afield, we headed back to the Ritual to enjoy a band that we’d only just caught a glimpse of at the Inferno Metal Festival over Easter, as the venue was absolutely packed. This time, we made it — from the front row! We’re talking about the American band Hulder. Although we were left wanting more in Oslo, we more than made up for it in Viveiro. Marliese Beeuwsaert’s project delivered a superb sound and a live set steeped in ’90s black metal. They alternated between fast-paced sections and dense, atmospheric, heavy passages that were more reminiscent of death/doom. They performed several tracks from their forthcoming album Verbolgen (2026) with brutal growls and delivered a flawless live performance. Although the gig felt far too short, we were absolutely delighted by it. As with any proper black metal band, however, they didn’t even say goodbye as they left the stage.

Hulder, Resurrection Fest 2026 – Photo taken by Elena Marco for Indieofilo^©

We weren’t going to walk far between stages that day. The running order we’d planned meant we’d constantly be moving between the Main Stage and the Ritual Stage. After Hulder, it was time to head back to the Main Stage. The main stage at Resurrection Fest was already packed with people, and you could really feel the anticipation building for Limp Bizkit’s performance. With such a huge crowd in attendance, Trivium took to the stage and got straight down to business, kicking off with a bang with “Pull Harder on the Strings of Your Martyr”. The band showcased their impeccable technical skill and sound, demonstrating why they are so popular at major festivals.

The visual spectacle was equally impressive, with a constant barrage of fireballs accompanying the heavier sections of tracks such as ‘Down from the Sky‘ and ‘Throes of Perdition‘, whipping the crowd into a frenzy and prompting non-stop mosh pits. The Florida band rounded off their set with the classic ‘In Waves‘, bringing the atmosphere to fever pitch.

Trivium, Resurrection Fest 2026 – Photo taken by Elena Marco for Indieofilo^©

After Trivium’s live set at the Ritual Stage, the atmosphere changed completely with the arrival of Portuguese band Gaerea. Having been a fan of the band since their early days, I was eager to see if they would just go through the motions or surprise us. They did not disappoint. Wearing their signature black hoods, they delivered a flawless performance from start to finish. We quickly realised that the set list was perfectly suited to the spirit of this year’s Resurrection Fest. Unlike at the 2025 Inferno Metal Festival in Norway, where the purest form of black metal predominates and where they played heavier tracks such as ‘Salve‘ and ‘Laude‘, at Resurrection Fest they decided to leave those songs out.

Gaerea, Resurrection Fest 2026 – Photo taken by Elena Marco for Indieofilo^©

They focused almost exclusively on their two most recent albums, Loss (2024) and Coma (2026), performing more rhythmic and direct tracks such as ‘World Ablaze’, ‘Submerged’ and ‘Hellbound’. This demonstrated their ability to adapt their energy in order to connect with the festival audience, who are more accustomed to high-energy genres such as metalcore.. De esta forma los portugueses dejaron claro que el black metal moderno también tiene fuerza de sobra para meterse a todo el mundo en el bolsillo.

Next up was one of the most eagerly awaited acts of this year’s festival: Limp Bizkit. Musically speaking, the concert had a very uneven pace, with long pauses between songs that disrupted the flow of the performance. However, this seemed to matter not at all to the sea of fans who packed into the absolutely heaving venue. Whenever the band played their classic hits, such as ‘My Generation’, ‘My Way’, ‘Rollin’ (Air Raid Vehicle), ‘Nookie’, ‘Boiler’, ‘Take a Look Around’ and ‘Break Stuff’ – the latter of which they played twice – the crowd went wild. I’d never seen so many people jumping around at the same time. Five or six massive circle pits even formed in the middle of the crowd!.

The chaos of the night even provided one of the most surreal moments of the festival, when Fred Durst invited a girl on stage. Overcome by nerves, she ended up vomiting in front of the entire band and audience, which was by no means small.

After the chaos of Limp Bizkit, we took the opportunity to find our friends and have a few last beers to finish off this gruelling day. Shuffling along like the walking dead, we began our retreat. But then we stopped – Cavalera Conspiracy were set to bring the day to a close. From the very first second, the band had us completely hooked, with a corpse hanging upside down on stage – a nod to the cover of Sepultura’s Chaos A.D. (1993) – and kicking off with ‘Refuse/Resist‘, a true statement of intent from brothers Max and Iggor. They played the album in whatever order they fancied.. Max, whose microphone was covered by an unmistakable bullet belt, was constantly cheering on the last survivors of the night, of which there were many.

Cavalera Conspiracy, Resurrection Fest 2026 – Photo taken by Elena Marco for Indieofilo^©

Max, with his microphone covered by an unmistakable bullet belt, was constantly cheering on the last survivors of the night, whose incredibly heavy sound gave us the final burst of energy we needed to get through – and enjoy – a mind-blowing live set. We went to bed completely exhausted. What a blast!

Saturday, 4 July

As a festival draws to a close, a bittersweet feeling always lingers. On the one hand, there’s the sadness of knowing that the good times are coming to an end, but on the other, there’s the realisation that there’s still one more day to enjoy. Conversations try to unravel the mystery of what the coming year has in store. You hear questions about which headliners people would be excited to see and about one very important detail that Resu hasn’t revealed yet: will the dates clash with Rock Fest and Rock Imperium again?

On this final day, we arrived at the venue later than usual as we had to prepare the daily selection of photos and notes for this review, as well as packing our bags for the early morning journey home the following day. Unfortunately, we missed Donut’s Hole, Hamlet and Todo Mal, and the first of the festival’s final acts was the Swedish band Imminence.

Imminence, Resurrection Fest 2026 – Photo taken by Elena Marco for Indieofilo^©

One of the defining features of this melodic metalcore band is that their lead singer, Eddie Berg, plays the violin, setting them apart from other bands in the genre. The bassist also plays the violin with a bow.. They put a lot of care into their stage show. It wasn’t unusual to see people completely spellbound and enjoying the concert while performers flew through the air. It’s no wonder they’re one of the most prominent bands at European festivals right now. With a setlist mainly focused on their latest album, The Black (2024), we were treated to a powerful finale featuring tracks such as ‘L’appel du Vide’, ‘God Fearing Man’ and ‘The Black‘.

As the years go by, there’s always a soundtrack to accompany us through life. It’s a journey that we all travel in our own way. Some lose their way, some get stuck and some simply change course, filling their rucksacks with memories of each stage so they can revisit them from time to time. In this case, it was American band POD who brought back memories of skateboarding and playing the legendary Tony Hawk for more than a few people during their teenage years. Unfortunately, they got off to a bad start when the sound cut out during the first track, ‘Boom‘, though the sound engineers quickly resolved the issue. The rest of the concert wasn’t particularly notable for its sound quality, but almost all of us sang along to ‘Youth of the Nation’ and ‘Alive’, which left us feeling good at the end.

POD, Resurrection Fest 2026 – Photo taken by Elena Marco for Indieofilo^©

Atlanta’s Mastodon were the last band we saw at this year’s festival. They gave a flawless, powerful performance. Although it was our first time seeing them live without Brent, it was clear why they remain a leading light in today’s progressive metal scene. They performed songs spanning their entire discography, bringing the show to a spectacular close with “Mother Puncher”, “Steambreather” and “Blood and Thunder”.

Although they weren’t the closing act, we wouldn’t be seeing any more bands that day. Despite our best efforts, it was impossible to get close enough to Dogma to take any good photos because of the crowds waiting for this year’s final headliner: Marilyn Manson. We do not wish to give him any visibility due to the numerous allegations of sexual, physical and psychological abuse he has faced from several women. The band we were really gutted not to have seen was Denver’s Blood Incantation. We were left with a bit of a sour taste in Oslo due to some unfortunate sound issues, and back home there was only one gig in Madrid, which we couldn’t make it to. We’ll just have to keep an eye out until we manage to

Mastodon, Resurrection Fest 2026 – Photo taken by Elena Marco for Indieofilo^©

It was time to pack up and say endless goodbyes, not to mention the inevitable “see you next year”s. El Resu is a welcoming festival – small enough to avoid wearing you out with endless walking, yet big enough to see some top-class bands. The atmosphere is great, and you won’t get roasted alive like you would at other European festivals. It would just be nice to have a couple of drinking fountains to quench your thirst, cool off, or wash away all the dust you swallow while moshing.. Other small touches that are common at other festivals, such as free earplugs at some bars, additional seating and an area sheltered from the sun or weather, would certainly be a welcome addition to Resurrection Fest. Thank you very much, Resu! See you next year!