A powerful, beautifully executed night of melancholy metaL

⭐⭐⭐⭐⭐(5/5)

KATATONIA AT ELECTRIC BRISTOL, BRISTOL
PHOTOCREDIT: **DEEPAK RAMADASAN**

Ask someone to name a few famous Swedish brands and some of the responses would include names like IKEA, H&M and Saab. Now ask a metalhead to name a few famous Swedish bands and Katatonia would definitely be in that list; and their performance at Electric in Bristol on 8th December 2025 as part of their “Waking State of Europe 2025” tour shows how and why they command such respect in the wider metal community.

Katatonia stands as one of the most consistently evolving and emotionally resonant bands in modern metal. Emerging from Sweden’s early-1990s doom/death scene, they quickly shed genre constraints and developed a signature sound built on atmosphere, introspection, and melodic melancholy. What sets Katatonia apart is their ability to reinvent themselves without abandoning the emotional core that defines their music.

The time is 9.35pm and the house lights dim. An eerie red wash creeps across the stage and the crowd comes to life as faint silhouettes begin to emerge onto the stage. Daniel Moilanen is the first to appear out of the red haze, taking his place on the elevated drum platform, his form now fully illuminated by the four massive video screens. Sebastian Svalland, Nico Elgstrand and Niklas Sandin follow soon after and then, as Jonas Renske steps into the light, the room erupts.

The band opens with ‘Thrice’, the first track on their latest album, ‘Nightmares as Extensions of the Waking State’ and the crowd respond with raised fists at the quintessential Katatonia piece – sombre, melodic and introspective, with just enough heaviness simmering below the surface. Other tracks played from the new album on the night included ‘The Liquid Eye’, ‘Wind of No Change’ and ‘In the Event Of’ – all driving home the same point, that what truly elevates Katatonia is their consistency. Few bands with a thirty-year career manage to maintain such quality while continuing to push themselves artistically. Their music speaks to listeners who appreciate nuance: sadness delivered not with theatrics but with quiet clarity. Favourites like ‘Soil’s Song’, ‘Austerity’, ‘Leaders’ and ‘July’ from the 2006 album ‘The Great Cold Distance’ drew rapturous sing-alongs, sending the crowd into a collective sway; it was a total fan service to an album that is nearly two decades old.

The production was remarkably atmospheric. A rotating palette of deep reds, smoky purples, wintery blues, and stark whites gave each song a distinct visual identity. The lighting often snapped to black between tracks, creating a striking sense of emotional punctuation. The lighting made it feel like we were inside a dream you wouldn’t dare disturb. For the encore, the band chose ‘Forsaker’ – it was a perfect combination of heaviness and heartbreak. The crowd sang along to “The dark will rise, abandon your freedom, give up the right to find the true self, forsake your own reasons” – the final notes hung in the air before dissolving into a tidal wave of applause that lasted long after the band exited the stage.

This was one of those Katatonia gigs that reminds you why the band has such a loyal, almost protective fanbase. They don’t rely on theatrics. They don’t need ego or spectacle. They create a world, let you step into it and then guide you out gently but forever changed.