In 2015, we brought you coverage of the 1st edition of Portuguese Summer festival Laurus Nobilis Music Famalicão – back then, with only one day dedicated to metal (see here). It would take them two more years/editions until they went full metal and fill the bill with only the kind of bands we most like. And then in 2020 COVID happened.
Like so many other festivals and concerts in general, the festival was forced to postpone its edition, and if it had been possible to make it in 2021, the bill would have be the same. But for the same reason it wasn’t and for 2022 it suffered some major changes, like headliners As I Lay Dying not making it. On the other hand, it was the right opportunity for legendary Manowar to step in and include Portugal on their farewell tour – a country where they have a legion of fans and haven’t played in quite a while. That combined with all the other bands, our guess is that it’s going to be a blast of a return.
All detailed info can be found at https://www.laurusnobilis.pt/, in English, French, Portuguese or Spanish.
The second day started at mid-afternoon, with Sotz’ doing the honors. Here’s a band that’s been improving their performance at every show, and consequently winning over more fans – 4:30 p.m. and a large number of people ready to shout out and mosh around their support. Without any kind of disrespect for previous line-ups, I believe the current one is the most efficient in living up to the aggressive impact the band yearns for their sound.
Another band that’s grown a lot since the first time I’ve seen them a couple of years ago is In Vein. Raising Legends has been doing a hell of a job managing them, getting them to play practically everywhere, to the point where I confess I rolled my eyes when seeing their name on this bill. My sincere apologies – it was well deserved. Songs such as “S.A.T.A.N.”, “Paranoia” or “Infinite Night” fueled the headbanging and the horns in the air – singer António Rocha tried to convince the firemen to join the latter at some point, but they just smiled.
Back to its original 2-day format, I sadly could only attend the second day. From what I’ve heard, Dark Oath did pretty well as the opening act. Not in front of the biggest crowd, but everybody knows how unfair playing first can be; still, it seems that a fair share of people enjoyed the symphonic/melodic death metal the national band had to offer, introducing the debut full-length “When Fire Engulfs The Earth”.
Now the second day, that I actually witnessed. I arrived around 15:20, the “Blackhearts” documentary was still playing on the video walls. There were a few people watching it but not many – I’ve mentioned the heat already, haven’t I?
Equaleft was up next and the national underground could hardly be better represented. I can’t find the right words to express how proud I am for them and their achievements in these past years. After opening for Gojira last month (see 
The promo pic of Schammasch on the festival page shows us four guys in bare upper-bodies. I bet they regretted deeply not going on stage like that – 34ᵒC is “a bit” too much to wear long robes. Singer/guitarist C.S.R., with black paint on his face and hands and whose robe included a hood, was probably who suffered the most, even if he barely moved throughout the whole gig. He even admitted at some point that it was “boiling” up there. So kudos for their resistance.
It’s always hard to distinguish a solo artist from a band when the latter is named after said artist – and even so when most of the setlist is comprised of songs the artist played with previous projects. That’s what happened with Abbath. With a 75-minute slot, I understand that even if he/they had played the only released album in full, there would still be plenty of time to kill. But playing four Abbath songs among one of I and six of Immortal… I know they’re not seen exactly as covers by the fans, especially when they were thrilled to listen to “Nebular Ravens Winter” (this one’s even recorded in “Abbath”, the album) and “Tyrants” and “All Shall Fall”, but it still felt weird. Apart from the weirdness, it was super. Black metal lovers were offered a great show of the genre – even if the sun was still high up – and those who didn’t like it particularly could always enjoy Abbath and bassist King’s “evil” faces.
As aforementioned, Paradise Lost made my day. Nick Holmes acknowledged the “beautiful new venue” of the fest and said how good it was to be back. And with such a rich and diverse setlist, I doubt someone didn’t feel the same way about their return. From recent songs like “No Hope In Sight” to tracks from “a time when most of you weren’t even born” like “Rapture”, we revisited some of Paradise Lost’s highlights through time.
When entering the photo-pit for Kreator we were advised to stay somewhat away from the stage during the first song – “Enemy Of God”, as it turned out – so we were hoping for some fireworks. Imagine our disappointment when it was just confetti… Oh well. On the other hand, I’m glad it wasn’t anything dangerous, as staying away meant closer to the barriers and that was nearly impossible – the mosh and crowdsurf began with practically the first riff and the security guys needed space to attend to all of them enthusiastic metalheads. Mille Petrozza did ask more than once for circles and screams “Portuguese style” but he really didn’t need to – he was already getting that from the start.
Valkyrian Music 