Rock festivals are rarely neat or clean, and Inkcarceration 2025 was no exception. Over the course of three intense days, fans were dragged through mud, soaked by rain, scorched by pyro, and emotionally wrung out by some of heavy music’s most powerful performers. What started as a logistical nightmare turned into one of the rawest, most unforgettable weekends of the year.

Friday

Friday’s opening was a storm in every sense of the word. The morning rain drenched the grounds, turning it into a mud pit just in time for tens of thousands of fans to fight their way in—if they could. Traffic backups and shuttle failures kept many outside the gates well past the early performances. But once inside, the new venue layout showed its worth. More space, better visibility, and a noticeably more comfortable viewing experience made it clear the festival organizers had listened—at least when it came to design.

The emotional weight of the day kicked in as I Prevail took the stage, as part of the  Summer of Loud Tour. This was their first time performing since officially parting ways with vocalist Brian Burkheiser. The absence was felt but not dwelled upon. The band turned their set into a tribute—specifically honoring longtime agent Dave Shapiro, who recently passed away in a tragic accident. The pyro was relentless, but so was the emotion. Vocalist Eric Vanlerberghe choked up mid-set, eyes gleaming as flames lit up the stage behind him.

Parkway Drive followed, and if there was any question about their headlining potential, it was answered with fire. Literal fire. Pyro shot from every direction, the band tore through their set with nuclear intensity, capped off by their iconic rotating drum kit engulfed in flames. They may not have closed the night, but they stole it. Beartooth, hailing from Columbus just down the interstate, felt like kings on home turf. Frontman Caleb Shomo—who was seen earlier side-stage supporting The Devil Wears Prada—ripped through a career-spanning set heavy on energy, pyro, and grit. It was pure catharsis.

Friday also gave fans a rare reunion moment with Michigan’s Chiodos, who hadn’t played in nearly a decade but hit the stage like they’d never left. Their set was tight, intense, and a reminder of just how much the scene had missed them. On the heavier side, Knocked Loose pushed the crowd to its absolute physical limits, igniting a wall of death that devoured the pit.

But the spectacle didn’t stop there. Falling in Reverse made their entrance to AC/DC’s “Highway to Hell,” walking on camera from the backstage artist area as the crowd roared. Frontman Ronnie Radke owned the moment with signature arrogance and charisma, launching into a set filled with massive visuals—music videos flashing behind the band, flames shooting from the floor, sides, and ceiling. The biggest moment came when Alex Terrible from Slaughter to Prevail joined the band onstage for “Ronald,” turning the energy nuclear.

Despite the incredible performances, the night ended with fans once again held hostage by broken transportation logistics. Hours passed before some even reached the exit.

Saturday

Saturday arrived deceptively clear, the sky offering a false sense of calm before the next downpour. August Burns Red wasted no time, kicking off the day with a surprise cover of “Chop Suey” by System of a Down. It worked—pure adrenaline. Next up, Kublai Khan TX whipped the crowd into chaos with mosh-heavy anthems like “Darwinism” and “Theory of Mind,” while Dayseeker, delivered an amazing set, that sounded as though you were listening to their album. It was on point, clean, and was paired perfectly with enough pyro to not make it overbearing.

The heavens opened again just in time for Slaughter to Prevail, who didn’t just play through the storm—they harnessed it. Their set was one of the most brutal of the weekend. The wall of death they triggered might be their biggest yet on U.S. soil. Even SiriusXM’s Jose Mangin, deep in the pit, had to crowd surf to escape the chaos. After the set, frontman Alex Terrible greeted fans for an impromptu meet-and-greet near a life-sized grizzly bear display. It was absurd—and amazing.

Then came the return of Marilyn Manson, whose 12-song set felt like a rebirth of sorts. He sounded sharp, his band tight. “Sweet Dreams” and “The Beautiful People” closed the set with the same unsettling power they’ve carried for decades.

Slipknot brought Saturday to a storm-drenched end. The rain didn’t just fall—it hammered the crowd during a set that leaned heavily into early material, including “Wait and Bleed,” “Spit It Out,” and “(sic),” while also mixing in newer tracks like “Unsainted” and “Nero Forte.” The show wasn’t quite the “throwback set” some were hoping for, but it didn’t matter. What mattered was the spectacle: Corey Taylor howling through the rain, lights cutting through the storm, and fans refusing to leave—until they had to face a parking lot turned swamp. Getting out took hours. Again.

Photos by DWP Photographer: whoiscoop

Provided by DWP Photographer: whoiscoop

Photos by DWP Photographer: Steve Thrasher

Photo Provided by DWP photographer Steve Thrasher

Sunday

Sunday brought redemption. Festival staff had worked overnight to rebuild a disaster zone, and though gates opened late, fans were eager and ready. Kittie brought consistency and confidence, followed by a high-energy set from We Came As Romans, who stuck to their dark aesthetic—black-on-black visuals and a relentless onstage presence. “Cold War” and “Black Hole” were among the standouts, fueling another wave of pit action.

The day’s most unexpected success came from Bilmuri, whose ska-inspired, saxophone-filled performance won over a skeptical crowd. Always tossing a random act in, DWP chooses wisely, as Bilmuri won the crowd with reminiscence of olden Warped Tour Days. Nothing More proved once again that they’re one of modern rock’s most inventive live acts. Johnny Hawkins walked through the crowd, handed off a floor tom to a fan, and finished the set alongside his band from the barricade. “Jenny,” “Freefall,” and “House on Sand” rang out with raw, communal energy.

Architects delivered a clean, searing set on the main stage, incorporating new singles like “Braindead” and “Everything Ends.” They dedicated “Doomsday” to Chester Bennington and Chris Cornell on the anniversary of their deaths—a gut-punch that resonated deeply with the crowd, and brought us al closer together. In This Moment followed with their typical theatrical set, packed with dancers and costume changes. This time, the transitions felt smoother and quicker, the pacing more natural. “Whore” closed the performance as expected, still commanding the crowd with chants and chaos.

Lamb of God brought a full-force assault of pyro, rage, and precision. Led by veteran frontman Randy Blythe, they tore through material from five albums and even threw in a crushing cover of Black Sabbath’s “Children of the Grave,” previously performed at their recent “Back to the Beginning” show.

Three Days Grace nearly tore the place down. The crowd was relentless—crowd surfers everywhere, fans screaming back every word. The return of Adam Gontier to the stage alongside Matt Walst created an unshakable vocal dynamic. “I Hate Everything About You” was dedicated to Chester Bennington in a moment that felt genuine and heavy. The set closed with classics like “Riot” and “The Good Life”, which took the energy to another stratosphere.

Finally, Five Finger Death Punch closed the weekend with a high-stakes, high-production set. Ivan Moody was in full showman mode, throwing gear into the crowd, interacting with fans, and stopping the set to bring a lost child on stage after she was separated from her parents. The emotional moment softened the edge of an otherwise bombastic set, which included staples like “Sham Pain,” “Jekyll and Hyde,” and “Wrong Side of Heaven.” The only notable letdown was the absence of Maria Brink for the new duet “I Refuse,” especially given her earlier appearance with In This Moment.

Despite its flaws—primarily in transportation and weather preparedness—Inkcarceration delivered one of the rawest, most passionate weekends heavy music fans could ask for. It was punishing. It was personal. It was unforgettable. See you next year… just have your boots on and your poncho ready.

Marie-Christine Quirion

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