Metal, Hardcore, Indie, Rock
September has passed, bringing one of Mexico’s most significant heavy metal events: the Candelabrum Metal Festival weekend. Held in León, Guanajuato on September 12th and 13th, 2026, at the city’s Velaria esplanade, the festival featured a mix of renowned and rare acts, including local bands like Necronos, Vinnum Sabbathi, and Voltax alongside international acts such as Destruction, The Haunted, …and Oceans, Loudness, and Bloodbath. Special surprises included the unusual live appearances of Lifelover, Ved Buens Ende…, and the first-ever presentations in Mexico of Misþyrming, Spiritus Mortis, Old’ Man’s Child, among other significant appearances. There are several reasons why we think you must experience this young yet almighty event, but we have already talked about that previously; for now, we can only say that the hype is real, this festival should be on your radar!
After the previous night of heavy rain and even heavier bands, it was time for the festival’s second day. We made our way to the venue at noon and, while sorting out our second-day accreditation, missed the program’s first band, Silent Tombs. This Mexican band boast a fine, coded doom-metal rhythm, with slow tempos and aggressive growls. Even from afar, we could see their talent on display as the festival’s first attendees entered the Velaria esplanade.
As soon as Silent Tombs finished, Voltax—the second band on the bill—took the stage. By then we were inside the venue, and what a welcome they gave us: heavy metal at its best. One of Mexico’s leading heavy metal acts, Voltax has toured several times internationally, including an appearance at Wacken Open Air. Their Candelabrum set showed exactly why they have earned that reputation. They sound rooted in 1980s heavy metal yet bring an energy that feels entirely current, moving between Spanish and English and blending nostalgic influences with modern rhythms. Voltax delivered exactly the “get-up-and-go” call everyone needed after the previous day’s intensity. Next came Under Moonlight Sadness. We knew little about the band beforehand: veterans of Mexico’s 1990s heavy metal scene, they split in the early 2000s and reunited for an exclusive performance at this year’s Candelabrum. A few songs into the set, their inclusion made perfect sense. Their progressive death metal incorporates subtle touches of slow doom, and the band is credited with helping shape Mexico’s extreme-metal subgenres. For the early arrivals, it was a compelling lesson in heavy metal history.
Voltax
The international acts began with Dutch band Phlebotomized, whose elegant yet fierce death metal blended brutal riffs with fluid progressive touches. As with the previous band, we knew little about them beforehand, but they quickly proved to be a welcome surprise. Voltax had delivered the day’s first burst of energy; Phlebotomized carried that momentum forward with an international edge, inspiring headbanging across the crowd and the festival’s first mosh pit.
Their set also seemed to summon the god of thunder: another downpour struck the festival while they played. Although less dangerous than the previous day’s storm, it brought stronger winds and a remarkable amount of rain within minutes. The sudden change was especially surprising because, only hours earlier, the sun had been blazing in temperatures close to 30°C—an example of the unpredictable summer weather that comes with an open-air event in Mexico. Still, the show went on.
Phlebotomized
By the time Phlebotomized finished, the rain had stopped and left behind cooler air—the perfect setting for the next act, Mournful Congregation. The Australian band served as a bridge between the day’s raging storm and radiating heat, providing a striking contrast with their mellow yet crushing sound. Their funeral-doom set unfolded like an extended dark lullaby, pairing deafening growls with delicate riffs and drawing the mind into a nightmare. The performance embodied the spirit of doom while offering a calm, atmospheric pause before the following bands unleashed their more savage energy.
Next up was one of the most eagerly awaited bands on day two: Misþyrming. Chaoszine has built, without planning, a good relationship with the band, having interviewed them this year and noting their presence at many festivals our team covered last summer. Hence, our expectations were very high. As they began playing, we knew it would be a memorable moment—simply put, WOW. The hype is real with this band; their stage stamina is impressive. Just moments after their intro, “Hælið,” they launched into heavy riffs and beastly growls that enveloped the audience in their dark aura. Next was “Ég byggði dyr í eyðimörkinni,” which showcased the atmospheric quality typical of Misþyrming’s music—blending devilish sounds with smooth passages that evoke the duality of Iceland, the land of fire and ice, their homeland, and mirroring this weekend’s weather.
Misþyrming
The band played with brief pauses between songs, engaging with the crowd and drawing a large turnout despite an early set, filling the esplanade with fans eager to witness their first performance in Mexico. When they declared, “Sin Piedad, Mexico,” it perfectly captured Misþyrming’s essence—a merciless soundscape of fury and serenity. Such speech suits the meaning behind the word ” Misþyrming “: abuse. Their set included tracks like “Ísland, steingelda krummaskuð,” “Söngur Heiftar,” and ending with the atmospheric piece “Algleymi.” Though their discography is entirely in Icelandic, these passages powerfully conveyed the band’s somber artistry and created a fierce bond with the audience despite the language barrier. After 45 minutes, it was clear why they have gained notable recognition in the metal scene at an early stage in their career (they have only three studio albums to this day).
Misþyrming
Let’s not beat around the bush: they were the best band of the second day (sorry, headliners). Considering their background—including special sets at other festivals and being Roadburn Festival’s artist in residence in 2016—they deserved a better slot in Candelabrum’s schedule to showcase their grand soundscapes in full. We look forward to seeing them again in Mexico, preferably with a solo concert, because they left us utterly mesmerized!
Misþyrming
Following Misþyrming’s impressive set was no easy task, but Swedish death metal band Lik kept the momentum alive. Their intense, aggressive set was perfect for the mosh pit as the crowd soaked up the day’s last rays of light. The band also brought plenty of charisma, engaging fans with a warm, down-to-earth stage presence. Warning then shifted the mood with a striking contrast: dark, slow, and subdued, their set gave concertgoers a welcome respite from the earlier aggression while delivering doom metal at its finest.
Lik
In Candelabrum Festival’s best fashion, the remaining bands were as heavy as possible; just in case you were not sore enough at this point. The Finnish …And Oceans opened the night with their industrial black metal. Unfortunately, the band couldn’t show up with the well-known vocalist Mathias “Vreth” Lillmåns (Finntroll) or their bassist, Pyry Hanski. Still, they smashed the stage and fulfilled an incredible gig handled by the guest vocals by Aleksi “Damriel” Koslonen (Serpenthia), who is a singer in various Finnish bands, so naturally he was quite qualified for this challenge. …And Oceans became known as a death metal band in the Finnish scene in the early 90s, pivoting into industrial black metal with bits of symphonic music later in the 2000s. Quite the change, isn’t it? We enjoyed their performance despite the circumstances, and they indeed transmitted the elegance in their music, matching their aura with the early night.
Next came Norway’s Aura Noir, renowned for blending black and thrash metal. We could not watch their entire set because we needed to conserve energy for the headliners, but even from afar, their fierce performance earned a 10 out of 10. Sweden’s The Haunted, one of our most anticipated acts, followed with a crushing groove-metal set. We experienced the band from both the photo pit just a few meters from the stage and from the festival’s terrace away in the distance. From both locations, we saw the explosive energy they radiate to their fans, waking everyone up and pushing the energy to the highest level. The Haunted revived us, easing our fatigue and preparing us for the final two acts.
The Haunted
Japanese heavy metal veterans Loudness followed as one of the last bands, who delivered the day’s biggest surprise. Although much of the festival crowd leaned toward extreme metal, their set turned everyone into classic heavy metal fans. Celebrating their 45th anniversary, the band took the stage in elegant attire that complemented the venue’s red and yellow lighting. Their setlist spanned their extensive career, from early material such as “Crazy Nights” (1984) to more recent tracks including “Hit the Rails” (2009), “The Power of Truth” (2011), and “Soul on Fire” (2017). With style and confidence, Loudness proved that heavy metal flair travels well—and that sometimes the Japanese do it better.
Loudness
The final act of the day was the legendary Old Man’s Child—powerful, majestic, ethereal, and you can add any descriptor you like! They performed in Mexico for the first time. We had been eagerly awaiting this moment, and it’s clear everyone there felt the same, as such a band isn’t seen every day. Under blue lights, darkness, and a sea of cellphone flashes, Old Man’s Child took the stage with unmatched charisma, smiling at fans and urging for more noise as their symphonic melodies began. Their performance was electric from the start, with Galder, the band’s founder and vocalist, delivering deep growls, gesturing horns to the crowd, and showcasing guitar prowess. The magic truly kicked in with “Towards Eternity,” when Galder shouted, “Thank you Mexico,” sending the audience into a frenzy.
Old Man’s Child
The band played cleverly with lighting, blending with the blue background and shifting across the stage, adding a mystical touch under the starry night. Their music gracefully embodied theatricality, traversing their black metal legacy—from raw early recordings like “Doommaker,” “Born of the Flickering,” “Soul Possessed,” and “Unholy Vivid Innocence” to modern symphonic elements that feel essential rather than eccentric, deepening the atmospheric depth of the genre. As they neared the end with “The Millennium King,” a light rain sprinkled the festival, despite the covered stage, with some drops reaching the audience. Whether it was magic close to midnight, the closing of Old Man’s Child’s set was just as mystical. A perfect, enchanting close to this festival’s memorable edition. The flame of Candelabrum shall live!
Old Man’s Child
All photos by Hector Sanchez
