That’s how it was at ROCK AM RING 2026 with BAD OMENS, VOLBEAT, ELECTRIC CALLBOY, ICE NINE KILLS, and many more (Part 2 of 3)

Automatic translation. Improvements are constantly being worked on.

Rock am Ring

June 5–7, 2026, Nürburgring

Saturday: A Feeling That Brings Us Together – The Magic of Community

After a short night, people’s eyes turned to the sky again on Saturday. It was probably a good idea to keep rain gear close at hand—but in the end, the weather played only a minor role that day. Once again, the sense of community was what really stood out. Right in front of a stage, a visitor returned with drinks and, without realizing it, stood in front of a woman who was significantly shorter than him. Another festivalgoer gave him a friendly tap on the shoulder to point it out. The man apologized immediately, let her right up to the front, and, laughing, they all exchanged a few friendly words before continuing to party together. An unassuming scene that many probably wouldn’t have even noticed—and yet one that says so much about Rock am Ring. The American post-hardcore veterans LetLive kicked things off on the Orbit Stage. Frontman Jason Aalon Butler, known to many as the singer of Fever 333, could barely stay on stage. With wide leaps and a dash into the middle of the pit, he made the audience part of the show from the very first moment.

Rock ‘n’ Roll Within Reach

With The Pretty Reckless, New York rock ’n’ roll took the main stage. Frontwoman Taylor Momsen appeared in heavy boots, a leather jacket, fishnet stockings, and a black negligee. Smokey eyes, countless necklaces, and her untamed rock ’n’ roll attitude made it clear who was in charge here. With her distinctive, smoky voice, she gave “Death By Rock and Roll” and “Follow Me Down” the necessary punch, all while shaking her hair wildly, turning toward the crowd with flirtatious glances, and repeatedly making deliberately sensual gestures without ever losing her rock-and-roll charisma. “Rock am Ring, how are you guys doing? We have a new album coming out. It’s called ‘Dear God.’ It’ll be available on June 26th,” Momsen announced the upcoming album before the new songs “For I Am Death” and “When I Wake Up” went over surprisingly well with the audience. She dedicated “Witches Burn” to “all of the women” before heading down to the barrier for “Going to Hell” and getting up close to the fans there for a moment.

What Really Matters

A few raindrops briefly prompted people to put on ponchos, but they disappeared just as quickly. Instead, Bury Tomorrow took the Mandora Stage. Already during the track “Boltcutter,” which Dani Winter-Bates performed while kneeling and with complete devotion, it became clear just how intensely the frontman lived every line. Things became particularly poignant between songs. The Englishman reminded the crowd that metal and hardcore should be a safe space for everyone—regardless of background, gender, sexual orientation, or identity. Instead of letting ourselves be divided, he said, we should celebrate what brings people together. Words that could hardly have been more apt this weekend. With “Yokai,” the infield then transformed into a sea of jumping people and fountains of fire. During “Black Flame,” the singer called out to countless crowd surfers and greeted them at the photo pit with high-fives. His gaze finally fell on a young girl on the shoulders of an adult. “How old are you?” he asked. “Eight.” – “You’re amazing. You’re the next generation,” he replied with a smile, before Bury Tomorrow brought the show to a fitting close with “Death (Even Colder).”

In the Fast Lane

Landmvrks are among the bands that have taken a huge step forward over the past two years. Following their Ring debut on the third stage in 2024, the French band now took the Mandora Stage—and seemed completely at home there. Their latest album, “The Darkest Place I’ve Ever Been,” adds even more atmosphere, dynamism, and great melodies to their already brutal metalcore, without sacrificing any of its intensity. Flanked by two massive Roman figures—inspired by the album cover— Landmvrks kicked off their set uncompromisingly with “Creature.” Frontman Florent Salfati made use of every corner of the stage, while crowd surfers, circle pits, and the first mosh pits weren’t long in coming. “We are so happy to be back here,” the singer exclaimed, before songs like “Blistering,” “A Line in the Dust,” and “Sulfur”—especially the new material—impressively demonstrated why there’s currently almost no way to ignore these French musicians. In keeping with the band’s urban vibe, Florent grabbed a spray can before “Sombre 16” and immortalized the striking “V” from their latest album as graffiti on a black canvas. It was a simple yet effective gesture that perfectly underscored the French band’s street style. A little later, Marc Zelli from Paleface Swiss injected some extra energy during “Say No Word.” As rain and sunshine fell simultaneously, a full rainbow arched over the audience. When crowd surfers were still being carried over the crowd after the previous song, the frontman couldn’t help but laugh: “Everyone’s okay? I see some crowd surfers. The song is over!” He then deliberately signaled a calmer moment with “Suffocate.” Initially accompanied only by an acoustic guitar, the song invited the Ringrockers to sing along, before the band gradually joined in again and brought the performance to a powerful close.

Nothing is predictable

Seeing Ice Nine Kills is far more than just attending a concert. The American band transformed the Mandora into a bloody chamber of horrors, where nearly every song became a scene from a movie. No sooner had Hannibal Lecter appeared and attacked a police officer than, during “Meat & Greet,” a butcher with a goat’s head and a chainsaw made his entrance. Sparks flew, fake blood flowed, and frontman Spencer Charnas slipped seemingly effortlessly from one role to the next. Even after that, the macabre spectacle showed no signs of ending. While bills flew through the air during “The Laugh Track,” “The Shower Scene” reenacted the famous shower scene from Alfred Hitchcock’s “Psycho.” And Ice Nine Kills surprised the crowd with an unexpected guest: Alissa White-Gluz took the stage for “Twisting the Knife,” even though she wasn’t part of the festival lineup that weekend. Together with Art the Clown, the band continued its macabre horror performance, which culminated in a scene as bloody as it was impressive when the horror clown ripped his victim’s still-beating heart from his chest.

There are no rules at this party

Hardly any other band embodies the evolution of Rock am Ring as much as Electric Callboy. Just three years after they formed, the band from Castrop-Rauxel—still performing under their old name at the time—took the Ring stage for the first time. Now they looked out at an infield that, right from the start of their set, had swelled to the size of a headliner’s crowd. Their introduction was understandably emotional: even as little boys, they had dreamed of standing right here on the big stage one day. After a loud bang, the band stormed onto the stage in metallic-blue quilted vests with a space-age look, which they promptly ripped off shortly thereafter. With “Tanzneid,” Electric Callboy also gave the crowd a first taste of their album, set for release in August. Metalcore met ’90s Eurodance, brutal breakdowns met danceable disco beats. “You guys look like you need a killer workout,” the band laughed, before the entire infield transformed into a massive fitness and dance floor. “Grab a partner—we’re dancing the disco fox now,” the band announced during “Hurrikan,” before the entire infield merged into one massive party amid disco fox moves, rowing motions, wild jumping, and exuberant chaos. Each pit seemed to have its own vibe—and yet everyone was having fun together. “Hypa Hypa,” “Pump It,” and “MC Thunder” kicked things up a notch. “Revery” brought a moment of calm. Blue flames, piano, acoustic guitar, and thousands of cell phone lights gave “Everytime We Touch” an almost magical atmosphere. Fans embraced each other, while others did push-ups in the pit. The contemplative mood didn’t last long, though. With “Let the Good Times Roll”—a collaboration with The Offspring released just the day before—the party immediately picked up steam again, before Electric Callboy sent the Nürburgring into a frenzy with “RATATATA,” “Spaceman,” and “We Got the Moves,” sent the Nürburgring into a massive frenzy.

Against the current

After the collective frenzy at Electric Callboy’s set, Volbeat faced no easy task. The Danes, however, rose to the challenge in their own way. Instead of an elaborate production, the band opted for a no-frills rock show. Apart from the band’s logo on the screens, the stage design was deliberately minimalist, while frontman Michael Poulsen took the stage at the Utopia Stage wearing a blue racing jersey. “The Mirror and the Ripper” kicked off the set with the words: “Rock am Ring, you bring the fucking noise.” With “Demonic Depression,” “By a Monster’s Hand,” and the unwieldily titled “In the Barn of the Goat Giving Birth to Satan’s Spawn in a Dying World of Doom,” Volbeat performed three tracks from their latest album, “God of Angels Trust.” The new material takes on a noticeably harder tone and deals with inner struggles, redemption, and hope. Nevertheless, the songs fit seamlessly among the numerous classics. This has always been one of Volbeat’s greatest strengths: Michael Poulsen blends metal, rock ’n’ roll, country, and blues into catchy anthems that the audience sings along to just as naturally as the band’s biggest crowd favorites. With a mischievous grin, he even had the crowd practice the full title of “In the Barn of the Goat Giving Birth to Satan’s Spawn in a Dying World of Doom.” “Serious stuff,” he commented dryly, before the banger descended upon the Nürburgring with massive riffs and a pounding groove. Things got amusing when the frontman stepped onto the catwalk with an acoustic guitar and explained with a wink, they were now traveling back to a time without social media—“no TikToks, or Facebook, or Instagram, Ding Dong, or Flip Flop—just good rocking chairs and vinyls with Johnny Cash.” Together, the Ringrockers sang along to the brief detour into “Ring of Fire,” before the frontman laughingly admitted during “Sad Man’s Tongue” that he’d “stolen” the song from Johnny Cash on the spot.

A Heart in the Right Place

Michael warmly thanked the German fans for their decades of support and reminded them that Germany had been with Volbeat since their very first demos. Things got emotional with “Fallen,” the song the singer dedicated to his late father, as well as to everyone who has lost a loved one. He dedicated “For Evigt” to his wife and children—who were presumably sleeping in the tour bus backstage at that very moment—and to the audience. “Alright, let’s wake my kids up,” he joked, as cell phone lights illuminated the infield. The song—about memory, transience, and the hope that love and connection can outlast death—turned into one of the most beautiful sing-along moments of the set. The performance didn’t go entirely smoothly, however. Minor sound issues and a performance that at times seemed a bit routine meant the spark didn’t quite catch on with everyone. But when tens of thousands sing along even to the Danish lyrics of “For Evigt,” it becomes clear why Volbeat has held a permanent spot on Europe’s biggest festival stages for years.

Calm in the Storm

A steady drizzle fell during the more than one-hour set change in front of the Mandora Stage. Meanwhile, the Ringrockers affectionately helped each other put on their ponchos. Hardly any band was more eagerly anticipated that Saturday than Bad Omens. After the cancellation of their spring tour and their performance at Rock am Ring in 2024, their big moment at the Nürburgring had finally arrived. At 12:30 a.m., complete silence reigned. To the melancholic piano strains of “Specter,” Noah Sebastian stood alone in the spotlight. Fog enveloped his legs, and his voice floated crystal-clear across the infield. As he sang the lines “Because I’ve kept my distance, it just made it worse,” he slowly sank to his knees. Accompanied by a blood-curdling scream, the entire stage set was revealed. Above him, a monumental structure of floating LED triangles came to life. Dynamic visuals, columns of fog, lighting, and a spectacular laser show—which was used repeatedly as the performance progressed—merged into one of the most impressive productions of the entire weekend. And yet, all of that almost faded into the background. All eyes were on Noah Sebastian. Rarely has a frontman seemed so present and yet so introspective at the same time. He didn’t need grand gestures. Every small movement seemed to carry meaning. When he spread his arms wide and sang in a calm voice, “Do you feel love?”—only to answer himself with “I know, I don’t”—time seemed to stand still for a moment. Bad Omens thrive on contrasts. Almost weightless melodies were followed by breakdowns as heavy as a ton, and vulnerable moments gave way to brutal outbursts. Noah’s voice moved effortlessly between fragile vulnerability and tremendous intensity. The fans sang along line by line, while longing, pain, and hope washed over the infield like a shared heartbeat. During “Concrete Jungle,” all the pent-up energy erupted. Thunderstorm-like visuals swept across the LED screens, flames shot up and even soared above the stage, and with a piercing primal scream, Noah shattered the silence that had built up. The crowd went wild, and he shouted at the top of his lungs: “I’m the fucking king.”

Between the worlds

From that moment on, there was no stopping them. “Circle, circle, circle. Move your ass!” Noah shouted before “Nowhere to Go,” then, a little later, announced a massive wall of death and added with a grin, “It’s time for metalcore after midnight.” During “Artificial Suicide,” the intensity reached a new level. Blinding white light, massive columns of fog, and the song’s uncompromising heaviness made the Ring tremble. Afterward, Bad Omens deliberately slowed the tempo. “What It Cost” felt like a deep breath before the emotional climax of the evening. With calm gestures, Noah moved around the microphone stand while strings enveloped the moment in a warm, almost protective veil. But the calm was deceptive… With a resolute “Bang your fucking heads!” he swept the audience along with him once more. “Like a Villain” erupted against a blazing backdrop of red-orange light, lava-like visuals, fierce bursts of fire, and swirling mosh pits. The energy only grew more intense from there. Noah grinned as he explained that he’d tried to learn German using a language app on the way there. “But it didn’t work. Fucking hard language. Very cool, but hard. I just wanted you guys to know that I did try. I’ve got nothing to say in German. Couldn’t do it. You win,” he admitted with a smile. He then announced “Just Pretend” and asked the crowd to turn on their cell phone flashlights. Within seconds, a never-ending starry sky of thousands of lights shone over the infield, and the massive chorus carried every single line through the night. Noah stood calmly at the center of that moment, letting the crowd take center stage. With a tenderness and devotion that got under your skin, he seemed to truly feel his lyrics. During “Impose,” the mood turned introspective. Dark blue light plunged the singer almost completely into shadow before electronic sounds abruptly gave way to raw screams, and a shower of black-and-white confetti rained down over the crowd. Countless hands reached for the falling confetti strips to preserve a small piece of this special moment. But Bad Omens weren’t done yet. “I wanna see some diabolical fucking shit!” During their encore, the band and the audience pushed each other to ever-higher volumes as they alternated between “Concrete!” and “Jungle!”, before “Dethrone” ushered in the final outburst. Bursts of fire shot up not only from the stage but also from the massive video cubes above the infield, making the heat palpable deep into the crowd. Amid columns of fog and guitar riffs as heavy as tons, Noah Sebastian brought the Nürburgring to its knees with a force you could literally feel in your body.

And yet, in the end, something entirely different stuck in the memory: a frontman who captivated not with exaggerated gestures, but with an almost palpable calm. Perhaps that was precisely the greatest strength of this performance. While a monumental spectacle raged all around him, a single glance, a gesture, or a moment of quiet vulnerability was all it took for Noah Sebastian to completely captivate tens of thousands of people. Overwhelmed by all these impressions, the second day at the Ring came to an end. First, we had to process all these experiences.

Due to photography restrictions, we were unfortunately unable to take any pictures of Bad Omens for you.

Text: Nadine Kloppert
Photos: Michael Gamon