Live Review: Bangalore Open Air - Bengaluru 2026

BITS Club Grounds, Hennur, Bengaluru, India
10th October 2026
Bangalore Open Air 14th Edition with Midhaven, The Down Troddence, The Ocean, Nervosa, 1349, Thy Art Is Murder, Paradise Lost, Dismember

There are festivals you attend for the line-up, festivals you attend for the atmosphere, and festivals that somehow manage to become an important part of a music scene’s identity. Bangalore Open Air undoubtedly belongs to the latter category.

Since its beginnings in 2012, India’s dedicated open-air Metal festival has developed into an important meeting point for musicians, international artists and Metalheads from across the country and beyond. Founded by Salman U. Syed, the festival was inspired by the legendary Wacken Open Air in Germany, with the ambition of bringing a comparable spirit of community and international musical exchange to India.

What makes this story particularly remarkable is that Salman has since moved to the village of Wacken itself and become part of the festival’s international team. As an International Brand Representative for Wacken Open Air and a driving force behind Wacken Metal Battle India, he continues to build bridges between Indian musicians and the international Metal community.



Having known Salman for several years, I have always admired the persistence and passion behind this endeavour. Bringing internationally established Metal bands to India is hardly a simple undertaking, and keeping a festival alive through changing circumstances, financial challenges and a pandemic requires considerable determination. Bangalore Open Air has become a constant in India’s Metal landscape, and that is an achievement worth recognising.

Unfortunately, I had to miss the 2025 edition. Having only recently relocated to India, there was simply too much going on, despite a rather tempting line-up. This year, however, I was determined to return. And what better occasion than the festival’s 14th edition? The organisers had assembled eight bands representing an impressive range of Metal subgenres, from Progressive and Folk Metal to Thrash, Black Metal, Deathcore, Gothic Doom and old-school Swedish Death Metal. For the first time, two adjacent stages, named in honour of OZZY OSBOURNE and RONNIE JAMES DIO, allowed performances to follow one another with considerably less downtime.



The festival grounds also offered improved infrastructure, additional facilities and a welcoming atmosphere that made the entire event feel like a proper gathering of the Metal family. And speaking of family, it was wonderful to see familiar faces again, catch up with people I had not met in quite some time and reconnect with the organisers behind the event. That is just as important as the music itself.


Midhaven

Mumbai-based MIDHAVEN have established themselves as an intriguing force within India’s Progressive Metal scene. Combining Sludge influences, atmospheric arrangements and elements inspired by Indian classical music, the band create a sound that is both heavy and remarkably layered. Having won the Indian Wacken Metal Battle and represented the country internationally, MIDHAVEN arrived at BOA with considerable momentum.



Music & Performance
Opening a festival of this scale is never the easiest task, but MIDHAVEN approached it with confidence and musical precision. Their performance combined intricate guitar passages, powerful riffs and atmospheric transitions, demonstrating how naturally progressive complexity and raw heaviness can coexist. Songs such as ‘The Veiler’, inspired by the Indian classical Raag Todi, illustrated the band’s willingness to explore beyond conventional Metal structures.



Their collaboration with Bengaluru musician Gaurav Basu, also known as Acid Toad, added another welcome connection to the local scene. What I particularly appreciate about bands like MIDHAVEN is their ability to develop an individual musical identity rather than simply reproducing established international influences. And seeing Indian musicians earn their place on international stages is always something worth celebrating.

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The Down Troddence

Originally formed in Kannur, Kerala, THE DOWN TRODDENCE combine extreme Metal with traditional musical influences and a strong commitment to social commentary. Their music incorporates elements of Kerala’s cultural heritage while addressing subjects such as caste discrimination, inequality, identity and social injustice. With their recent album ‘As You All Know, This Is How It Is’, the band continue to explore these themes through an uncompromising musical approach. Returning to BANGALORE OPEN AIR after more than a decade, they brought considerably more than heavy riffs to the stage.



Music & Performance
THE DOWN TRODDENCE delivered a powerful performance rooted in both musical aggression and cultural identity. Their combination of traditional influences, driving rhythms and heavy instrumentation created an atmosphere that felt unmistakably their own. But what made their appearance particularly memorable was a moment when the music briefly gave way to something equally important.



Before performing ‘Hell Within Hell’, vocalist Munz took a folded piece of paper from his pocket and addressed the audience about the demonstrations taking place in New Delhi that very day. While thousands of people were attempting to make their voices heard, the band used its own platform to express solidarity with those defending their right to question authority and protest. The message was simple, yet profoundly important: fundamental rights must remain fundamental rights.



I found that moment particularly moving. Metal has always been capable of expressing anger, frustration and resistance, but its significance extends far beyond sheer aggression. It can challenge injustice, give a voice to those who feel unheard and remind people that freedom of expression is not something to be taken for granted. And THE DOWN TRODDENCE demonstrated precisely that.



Their performance of ‘Ejjathi’, a Malayalam-language song confronting caste, colourism and patriarchy, further reinforced the connection between their music and the society from which it emerges. There is something immensely powerful about musicians who understand that a stage can be more than a place for entertainment. Sometimes it can also be a place to stand up for something.

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The Ocean

German Progressive and Post-Metal collective THE OCEAN have long been known for their ambitious compositions, atmospheric depth and ability to combine crushing heaviness with intricate musical structures. Their conceptual approach frequently explores geological history, natural sciences and humanity’s relationship with the world around us. Albums such as ‘Pelagial’ and ‘Phanerozoic’ have demonstrated the band’s extraordinary ability to transform complex ideas into emotionally compelling music.



Unlike several other international acts on the bill, THE OCEAN were no strangers to India, having performed in the country in 2014 and returned for a multi-city tour in 2019. Their appearance at BOA introduced a newer chapter in the band’s development, featuring vocalists Enrico Tiberi and Lane Shi and material from ‘Solaris’.



Music & Performance
Unfortunately, THE OCEAN were among the bands most severely affected by the technical difficulties that repeatedly interrupted the festival. Their set suffered more than one disruption, including problems with overheating equipment and a subsequent failure of the sound system. For music that relies so heavily on atmosphere, gradual development and emotional momentum, such interruptions are particularly unfortunate. And yet, what could easily have become a frustrating experience developed into one of the most memorable performances of the day.



Rather than surrendering to the circumstances, the musicians responded with extraordinary energy. Enrico Tiberi climbed onto the barricade and launched himself into the audience, while Lane Shi moved among the fans, headbanging and delivering her vocals at remarkably close range. Suddenly, the distance between stage and audience practically disappeared.



There is something wonderfully liberating about moments like these. The carefully constructed boundaries of a live performance dissolve, and what remains is the shared enthusiasm of musicians and fans refusing to let a technical failure ruin their experience. The audience responded accordingly. Despite the interruptions, THE OCEAN managed to create an intensely personal connection with the crowd, turning an unfortunate situation into something genuinely special. Sometimes the most unforgettable moments are precisely those nobody could have planned.

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Nervosa

Formed in São Paulo, Brazil, NERVOSA have become one of the internationally recognised names in contemporary Thrash Metal. Led by guitarist and vocalist Prika Amaral, the all-female band combine the speed and aggression of classic Thrash with the uncompromising intensity of more extreme Metal. Their appearance at BANGALORE OPEN AIR marked their long-awaited first performance in India.



Music & Performance
NERVOSA certainly wasted no time demonstrating what they had come to deliver. Fast, aggressive and wonderfully energetic, their performance brought a fierce combination of razor-sharp guitar riffs, relentless drumming and powerful vocals to the festival. Songs such as ‘Impending Doom’ and ‘Slave Machine’ provided an excellent demonstration of their uncompromising musical approach.



Unfortunately, the Brazilians were not entirely spared the technical problems affecting the event. Nevertheless, they maintained their intensity and kept the audience moving. Prika Amaral also addressed political frustrations, reflecting the socially conscious attitude that has long been part of the band’s identity. There is something deeply satisfying about musicians who deliver their music with such conviction. And for a band finally making its India debut, the enthusiasm from the crowd must surely have made the experience particularly rewarding.

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1349

Formed in Oslo in 1997, Norwegian Black Metal band 1349 take their name from the year the Black Death reached Norway. Their music represents the uncompromising traditions of Norwegian Black Metal, combining ferocious blast beats, relentless guitar work and an atmosphere of darkness and aggression. Featuring renowned drummer Frost, also known for his work with SATYRICON, the band have established themselves as a formidable presence within the international extreme Metal scene. BANGALORE OPEN AIR 2026 marked their first performance in India.



Music & Performance
And then things became considerably darker. 1349 opened their performance with an impressive display of fire-breathing, immediately transforming the stage into something resembling a Black Metal ritual. Now, as someone who has always had a particular affection for darker musical aesthetics, I was naturally delighted. And having the opportunity to capture those flames through my camera made the experience even better!



The combination of fire, dramatic stage presence and uncompromising music created a visually striking spectacle. There is something almost ceremonial about Black Metal when its visual and musical elements come together so effectively. The band delivered a relentless assault of blast beats, aggressive guitars and raw intensity, creating an atmosphere that felt appropriately dark and imposing. Unfortunately, even 1349 were affected by technical difficulties, with the sound system briefly failing during their performance. Such interruptions are especially unfortunate when a band is building an atmosphere that depends on intensity and continuity.



Nevertheless, the Norwegians returned with undiminished aggression, continuing their set with material including ‘Ash of Ages’, ‘I Am Abomination’ and ‘Blood Is the Mortar’. Their India debut was certainly not without obstacles, but it remained one of the most visually memorable performances of the festival. And from a photographic perspective, those opening flames were an absolute gift.

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Thy Art Is Murder

Australian Deathcore heavyweights THY ART IS MURDER have become one of the most prominent names in modern extreme Metal. Formed in Sydney in 2006, the band combine Death Metal influences, crushing breakdowns and Hardcore aggression into an intensely physical musical experience. Their 2023 album ‘Godlike’ continued to establish their reputation for uncompromising heaviness, while the arrival of vocalist Jerry Grimefeld in 2026 marked another chapter in the band’s development. Their performance at BANGALORE OPEN AIR was also their first in India.



Music & Performance
Now, I have to admit something. I have always had a particular soft spot for bands that combine crushing heaviness with the irresistible energy of Metalcore and Deathcore. A DAY TO REMEMBER have long appealed to that side of my musical taste, and THY ART IS MURDER take the aggression to an entirely different level. And goodness, did they deliver!



The Australians entered to the rather unexpected sounds of the VENGABOYS’ ‘We Like to Party!’, providing a wonderfully absurd contrast to the musical brutality that was about to follow. Once the band launched into their performance, however, there was absolutely no mistaking their intentions. Crushing breakdowns, relentless drums, ferocious vocals and an audience that needed very little encouragement transformed the festival grounds into a wonderfully chaotic celebration of extreme Metal.



Jerry Grimefeld proved to be an exceptionally engaging frontman, constantly communicating with the crowd and encouraging increasingly enthusiastic participation. Circle pits erupted, heads were banging everywhere, and at one point the audience even transformed into a rowing pit, creating one of those delightfully ridiculous sights that somehow make perfect sense at a Metal festival. I absolutely loved it. There was something wonderfully infectious about the energy, the humour and the sheer enthusiasm on both sides of the stage.



And then came one of my favourite little moments of the day. Jerry proudly displayed an Indian cricket jersey bearing the words ‘Who the fuck is Jerry Grimefeld’ on the back. His delight was impossible to miss, and the accompanying jokes about cricket and his newfound connection to India brought a genuinely heartwarming touch to an otherwise gloriously brutal performance. I love moments like these.



Behind the crushing music, the spectacular stage presence and the aggressive imagery are musicians experiencing new places, discovering different cultures and connecting with people through something they all love. For THY ART IS MURDER, their first visit to India clearly offered plenty of opportunities for exactly that. And musically? They absolutely tore the place apart.
Without a doubt, one of my personal highlights of the entire festival.

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Paradise Lost

British Gothic and Doom Metal pioneers PARADISE LOST hardly need an introduction to anyone familiar with the darker side of heavy music. Formed in Halifax in 1988, the band played a defining role in the development of Gothic Metal, combining the crushing weight of Doom and Death Metal with melancholic melodies and atmospheric darkness. Albums such as ‘Gothic’, ‘Icon’ and ‘Draconian Times’ helped shape a musical landscape that would influence countless artists across Gothic, Doom and alternative Metal. Despite their long and influential career, BANGALORE OPEN AIR 2026 marked the band’s first performance in India.



Music & Performance
For someone whose musical roots are deeply connected to Gothic music, seeing PARADISE LOST on an Indian festival stage was particularly special. Their performance offered a fascinating contrast to the relentless aggression of the preceding bands. Heavy, melancholic and wonderfully atmospheric, their music carried a different kind of intensity, one rooted as much in emotion as in sheer musical force. Nick Holmes’ characteristic dry British humour added a delightful touch to the evening.



His playful interactions with the audience, including an amusing exchange about a fan’s sign that he could not quite read, demonstrated that even the darkest music can come with a healthy dose of humour. Unfortunately, PARADISE LOST also suffered a sound-system failure, interrupting the performance and testing everyone’s patience. But the audience remained supportive, and the band responded with humour before continuing.



Songs such as ‘Gothic’ and ‘The Last Time’ demonstrated the enduring appeal of their darker musical heritage, while their interpretation of Bronski Beat’s ‘Smalltown Boy’ provided a fascinating example of how naturally different musical worlds can intersect. Sometimes darkness does not need relentless speed or overwhelming aggression to make an impression. Sometimes a haunting melody, a beautifully heavy atmosphere and a voice carrying decades of musical history are more than enough.

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Dismember

Swedish Death Metal veterans DISMEMBER were a late addition to the festival after British legends CARCASS had to withdraw from their planned tour dates. Formed in Stockholm in 1988, DISMEMBER helped define the unmistakable sound of Swedish Death Metal, characterised by heavily distorted guitars, raw aggression and uncompromising old-school intensity. Their influence on the genre remains considerable, making them a worthy addition to an already impressive international line-up.



Music & Performance
As the final act of the evening, DISMEMBER brought the festival back to the uncompromising foundations of Death Metal. Their performance was direct, heavy and refreshingly old-school. There was no need for elaborate theatrics or unnecessary distractions. The music itself remained firmly at the centre of attention, with crushing riffs, aggressive vocals and the unmistakable guitar sound that helped establish Swedish Death Metal as a genre of its own.



Songs such as ‘On Frozen Fields’, ‘In Death’s Sleep’ and ‘Skinfather’ provided plenty of opportunities for dedicated fans to celebrate the band’s extensive musical history. Although the late cancellation of CARCASS had understandably disappointed some festivalgoers, DISMEMBER stepped in under challenging circumstances and delivered a performance that appealed particularly to lovers of traditional Death Metal. And after a long day of musical extremes, there was something rather fitting about ending the festival with a generous dose of uncompromising old-school heaviness.

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Final Thoughts

Looking back at BANGALORE OPEN AIR 2026, there is no denying that the festival experienced its share of challenges. Technical difficulties repeatedly interrupted performances, sometimes at particularly unfortunate moments. THE OCEAN were especially affected, while NERVOSA, 1349 and PARADISE LOST also had to contend with sound problems. These interruptions were frustrating, and they deserve to be acknowledged. Nevertheless, they did not define the day.



The 14th edition demonstrated how far BANGALORE OPEN AIR has come. Two stages, an impressive international line-up, improved infrastructure and a welcoming atmosphere all contributed to a festival that continues to grow in ambition and significance. But beyond the production, the bands and the inevitable organisational challenges, what stayed with me most was the sense of community. The familiar faces, the conversations, the shared enthusiasm and the opportunity to reconnect with people who have dedicated so much time and energy to keeping India’s Metal scene alive.



It was particularly lovely to catch up with Salman and see the result of years of determination and hard work. His connection to WACKEN OPEN AIR makes the relationship between the two festivals especially meaningful. What began as inspiration from a legendary German Metal festival has developed into something with its own identity, its own community and an increasingly important place within India’s musical landscape. And after the final performance had ended, Salman shared a moment that gave this particular edition an even deeper meaning.



Taking the opportunity to thank everyone who had contributed to the festival, he also spoke about a very personal loss. His father had passed away shortly before the event, and Salman dedicated this year’s BANGALORE OPEN AIR to his memory. After a day filled with thunderous music, roaring crowds and relentless energy, those words carried a different kind of weight. Behind the enormous effort of organising a festival, behind the professional responsibilities and the determination to keep moving forward, there is also a human being with his own personal joys and sorrows.



Knowing Salman personally, I found this gesture particularly moving. It was a reminder that even the loudest celebrations can carry moments of tenderness, remembrance and love. And perhaps that is another reason why BANGALORE OPEN AIR has become so much more than just a festival. It is something built not only through dedication and perseverance, but also through deeply personal connections.



A little piece of Wacken in Bengaluru, perhaps. A Mini-Wacken with a distinctly Indian heart. And that is something worth celebrating. Personally, I had an absolutely wonderful time. From THE DOWN TRODDENCE’s powerful reminder that music can carry an important social message to THE OCEAN’s spontaneous connection with the audience, from the spectacular fire of 1349 to the wonderfully chaotic energy of THY ART IS MURDER, the day offered countless memorable moments. And seeing PARADISE LOST finally perform in India was another particularly lovely addition to an already remarkable line-up.



After missing the previous edition, returning to this gathering of Metalheads felt especially rewarding. Eight bands. Two stages. Countless familiar faces. One shared passion. Not everything went according to plan, but perhaps that is part of the reality of live music. What matters is how people respond, how communities come together and how the music continues despite the obstacles. BANGALORE OPEN AIR remains an important constant within India’s Metal scene, and I sincerely hope it continues to grow, evolve and bring extraordinary artists to the country for many years to come.



As for me? I am already looking forward to the next edition. In Metal We Trust!


All Pictures by Dagmar Urlbauer