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I. Deň prvý - Vespa Crabro
Desertfest 2026 v Liége je mojou prvou návštevou Liége a zároveň mojim druhým Desertfestom v živote. Krst ohňom nastal v máji 2025 v Berlíne a očakával som podobné dojmy. Musím však povedať, že ako z hľadiska dramaturgie, tak z reakcii domáceho publika ide o veľmi odlišné festivaly.
Akcia sa odohráva v aréne OM, na brehu rieky Meuse. Liége je stare banské mesto, a táto priemyselná minulosť je v architektúre zjavná. OM sa navyše nachádza priamo v tieni majestátnej hrdzavejúcej konštrukcie šachtového výťahu a neďaleko vysokej pece. Všetko dávno opustené a konštrukcie pripomínajú Drakulov strašidelný hrad priamo and mestom. Takže atmosféra v októbrovom daždi a hmle za 10/10!
A teraz už k jednotlivým kapelám – piatok bol poznamenaný zmenami v programe, keď organizátori vypustili PIGSx7 a zaradili Krallice, ktorí mali hrať v nedeľu. Tých zmien tam vo všeobecnosti bolo viac. Pigs ma mrzia, ale akcia napriek tomu prebiehala hladko.
Sólstafir som videl prvý raz. Je celkom možné, že aj posledný. Kapela hrala mdlo, akosi bez života v najobjemnejšej sale OMu. Spevák, štylizujúci sa do pozície citlivého vikinga nás akosi nevzal za srdce. Z hrdla mu obyčajne vychádzalo repetetívne žalostné kvílenie. Občasná prehnaná emocionálna gestikulácia kapely tomu nepomáhala. Hrali presne a profesionálne, ale za mňa to bolo utrpenie.
Krallice mám relatívne napočúvaných a bol som veľmi zvedavý na ich prejav. Nutné dodať, že žánrovo sú už podstate Desertfestu trochu vzdialený. Znovu veľké pódium, tentokrát ešte slabší zvuk a prakticky neexistujúca svetelná šou. Atmosféra ako v materskej škole na besiedke. Hudobne to pre zlý zvuk (nevytiahnutý kopák, či neexistencia jednej z gitár) nemá zmysel hodnotiť.
Naopak, Kapela Wolvennest ma ihneď zaujala svojim vizuálnym prejavom a rituálnou štylistikou. Tentokrát bol zvuk, aj svetlá v poriadku a publikum dostalo presne to, čo potrebovalo. Mojou srdcovkou sa nestali, ale ich okultný rock so ženským vokálom patril k tomu lepšiemu z piatkového programu.
Najlepšie tri vystúpenia večera potvrdili, že v jednoduchosti je krása. Wyatt E. predviedli hypnotizujúce psychedelické vystúpenie, podfarbené skvelou perkusívnou prácou ich bubenníka dronovým prejavom gitár. Kapela vystupuje v asýrsky, či babylonsky pôsobiacich habitoch, s bradami z krepového papiera. Osobne si myslím, že to vystúpeniu nič nepridáva a posobí skôr komicky. Hudobne však nemám námietok.
Earth Tongue je novozélandské duo, pozostávajúce z bubeníka a sympatickej gitaristky. Musím sa priznať, že podľa povrchného počúvania pred festivalom som ich zaradil do škatuľky “preskočiť”. Bola by to však chyba, Earth Tongue hrajú priamočiaru zmes stoner rocku a doomu, s charizmatickým vokálom a publikum ich ocenilo. Prvý krát som si uvedomil, že malý stage v prízemí klubu OM je unikátne miesto. Pódium pripomína arénu, takže je možné sledovať kapelu zo všetkých strán. Moje obľúbené miesto bolo za kapelou, takže sa dalo vidieť energiu na pódiu, ako aj reakcie publika. Skvelý zvuk a atmosféra. Ako sa ukázalo, stane sa tak viackrát.
Meatdripper ma naživo potešili snáď najviac. Kvarteto mladých žien, hrajúcich niečo ako okultný stoner (to kvoli zefektovanému psychedelickému vokálu) a zároveň trochu pripomínajúce to najlepšie z garážovej scény (to vďaka energetickému rytmičáku ich bubeníčky) rozdávalo energiu na počkanie. Sledoval som to zozadu a videl nadšené reakcie publika. Veľmi príjemná záležitosť, ktorá, musím podotknúť – vám naživo dá viac, než z nahrávky. Slečny do toho šli naplno a bolo cítiť, ako veľmi si to užili.
II. Zápisky z Maastrichtskej hmly - Tom/EZR
Nová destinácia, nové dojmy. Belgický Desertfest zmenil po rokoch lokalitu - z diamantového flámskeho mesta Antverpy sa tento ročník presunul na východ krajiny - do post-industriálneho valónskeho mesta plného opustených budov a baní - Liège.
Cesta prebehla hladko, let z Bratislavy sme absolvovali posilnení o nového člena Desertfest posádky Vespa Crabro, s ktorým zdieľame spoločnú minulosť. V Charleroi nás tradične naberá vysunutý atašé Jacob Izák Goldstein a spolu so štvrtým členom posádky Tah-ša-tungom absolvujeme cestu na východ Belgickej krajiny.
Zastávka na obed v bohom opustenej krčme, ktorú Jacob Izák Goldstein našiel na miestnej zľavovej stránke, kde ponúkala zľavu za menu 50%. Tú však španielsky hovoriaci barman zazdil hneď z príchodu, ale keďže sme hladní, ostávame a objednávame si španielské špeciality, ktoré chutia fajn, ale po neskoršej návšteve miestneho supermarketu ich všetky identifikujeme ako nie až tak drahý obsah plastových nádobiek na chladiacich pultoch.
Postarší po francúzsky hovoriaci a na obed víno popíjajúci gentleman sa prihovára jednému z nás, s tým že ho pozná z filmu pre dospelých a počas celého obeda s nami nonšalantne koketuje od baru.
Po obede odchádzame smerom do Maastrichtu, ktorý je okrem kritérií pre vstup do EÚ známy aj tým, že návštevu coffee-shopov umožňuje len domácim, ktorí navyše musia byť aj registrovaní. Neexistujú však prekážky, ktoré by sa nedali zdolať keď sa človek vyberie na trojdňový stoner festival - návod neposkytnem pretože ako sa vraví, čo sa stalo v Maastrichte ostane v Maastrichte (prípadne aj v Liège).
Onedlho na to sa už v Liège po návšteve supermarketu ubytujeme v byte, ktorý Jacob Izák Goldstein bookol cez Airbnb. Veľký priestranný byt je studený ako opustené iglú, ale ináč úplne dokonalý. Na koncert sa prepravujeme taxíkom. Z neho sledujeme temné mesto Liège, z ktorého mám pocit akoby niekto skombinoval Podbrezovú s Vyhňami a celé to zväčšil zhruba o 300x. Siluety opustených monštróznych banských megastavieb popri rieke v zahmlenom šere sú doom.
Prichádzame na miesto festivalu - koncertná sála OM, pred ktorou sú tradičné stánky a priestory pre pitie piva. Kombinácia zelene a brutalistickej architektúry s všadeprítomnými stoner-doomermi je príjemná, človek sa hneď cíti ako doma.
Vzhľadom na to, že sme sa festivalom pregrciavali spolu, ale aj oddelene, navnímal som niektoré kapely z odlišných miest ako Vespa Crabro a pár postrehov tu napíšem. Ako prvých som v piatok videl belgičanov Apex Ten, ktorí to rozbalili na strednom pódiu. Trojica chlapíkov sa vyžíva v energických, repetitívnych riffoch hraných agresívnym spôsobom.
Odtiaľ smerujem na balkón hlavnej veľkej sály, kde hrá ďaľšia domáca kapela Wolvennest. Hypnotický rituál v ich podaní vyzerá aj znie dobre. Po nich opäť na stredné pódium, kde do tretice vystúpi ďaľšia domáca - tentokrát doslova - kapela Wyatt E. z Liège, ktorá vo svojom odeve Babylonských žrecov predvádza vlastnú verziu heavy-psych-drone metalu. Páčia sa mi bicie a spev alebo skôr komunikácia basáka a gitaristu, ktorí si počas koncertu dva krát vymenili nástroje. Spev a gestikulácia rukami na mňa pôsobí ako scéna z Duny, kde kňaz Sardaukarov spieva hrdelným hlasom, zatiaľ čo vojaci sú označení krvou obetovaných ľudí.
Tieto vízie sa formujú cez Maastrichtskú hmlu, vďaka ktorej sa chvíľu cítim ako keby ma niekto prepašoval na planétu Salusa Secundus. Zvyšok večera sa pohybujem v spoločnosti Vespu Crabra, Jacoba Izáka Goldsteina a Tah-ša-tunga a užívam si kapely, prostredie, veselé a farebné záblesky Maastrichtskej hmly a návštevníkov festivalu.
Piatkový deň ukončujeme zhruba o jednej po polnoci, kedy sa taxíkom presúvame do nášho chladného bytu. Keďže neviem ovládať klimatizáciu, kúrim kúpeľnovým rebríkovým radiátorom na sušenie uterákov. Na byte prebieha afterpárty, kazí sa algoritmus YouTube domáceho pána, ale keďže som unavený z púte skrz Maastrichtskú hmlu, ktorá mi navyše doškriabala hrdlo, idem si ľahnúť skôr.
I. Day One – Vespa Crabro
Desertfest 2026 in Liège marks both my first visit to the city and my second Desertfest ever. My baptism of fire took place in Berlin in May 2025, and I was expecting a similar experience. I must say, however, that in terms of both the line-up and the reactions of the local audience, these are two very different festivals.
The event takes place at the OM venue, on the banks of the River Meuse. Liège is an old mining city, and its industrial past is clearly reflected in its architecture. What's more, OM stands directly in the shadow of a majestic, rusting mine headframe, not far from an old blast furnace. Everything has long since been abandoned, and these structures resemble Dracula's haunted castle looming over the city. So, with the October rain and fog thrown into the mix, the atmosphere gets a solid 10/10!
Now, on to the bands. Friday was marked by changes to the schedule, with the organisers dropping PIGSx7 and bringing in Krallice, who had originally been scheduled for Sunday. There were quite a few changes to the programme in general. I'm sorry we missed Pigs, but despite all that, the festival ran smoothly.
I saw Sólstafir for the first time. Quite possibly the last, too. The band delivered a dull, rather lifeless performance in OM's largest hall. The singer, presenting himself as some kind of sensitive Viking, somehow failed to tug at our heartstrings. What usually came out of his throat was repetitive, mournful wailing. The band's occasional bouts of exaggerated emotional gesticulation didn't help matters either. They played accurately and professionally, but for me, it was sheer suffering.
I'm reasonably familiar with Krallice and was very curious to see how they would come across live. It should be noted that, genre-wise, they're already somewhat removed from the very essence of Desertfest. Once again, the main stage, this time with even worse sound and practically no light show whatsoever. The atmosphere was reminiscent of a kindergarten performance for the parents. Given the poor sound – an inaudible kick drum and one of the guitars practically missing from the mix – there's little point in judging the music itself.
Wolvennest, on the other hand, immediately caught my attention with their visual presentation and ritualistic aesthetic. This time, both the sound and lighting were spot on, and the audience got exactly what it needed. They didn't exactly become my new favourite band, but their occult rock with female vocals was definitely among the better performances on Friday's bill.
The three best performances of the evening confirmed that there's beauty in simplicity. Wyatt E. delivered a hypnotic psychedelic set, driven by their drummer's excellent percussion work and the droning guitars. The band perform in robes reminiscent of ancient Assyrian or Babylonian attire, complete with beards made of crepe paper. Personally, I don't think this adds anything to the performance and actually looks rather comical. Musically, however, I have no complaints.
Earth Tongue are a New Zealand duo consisting of a drummer and a charming female guitarist. I have to admit that, based on a rather superficial listen before the festival, I'd filed them under "skip". That would have been a mistake. Earth Tongue play a straightforward mixture of stoner rock and doom, complete with charismatic vocals, and the audience certainly appreciated them.
It was here that I first realised just how unique the small stage on the ground floor of OM really is. The stage resembles an arena, allowing you to watch the band from every angle. My favourite spot was behind the musicians, where I could take in both the energy on stage and the audience's reactions. Excellent sound and atmosphere. As it turned out, this wouldn't be the last time.
Meatdripper were probably the band I enjoyed most live. A quartet of young women playing something resembling occult stoner rock (thanks to the effects-laden psychedelic vocals), while also evoking the very best of the garage rock scene (courtesy of their drummer's energetic snare work), they delivered an instant shot of energy.
I watched the performance from behind the band and could see the audience's enthusiastic reactions. A thoroughly enjoyable experience that, I must point out, delivers far more live than it does on record. The ladies gave it everything they had, and you could really feel just how much they were enjoying themselves.
II. Notes from the Maastricht Fog – Tom/EZR
New destination, new impressions. After years in the same location, the Belgian Desertfest has moved from Antwerp, the diamond city of Flanders, to the east of the country – to Liège, a post-industrial Walloon city full of abandoned buildings and mines.
The journey goes smoothly. We fly out of Bratislava with a new addition to our Desertfest crew, Vespa Crabro, with whom we share a common past. In Charleroi, we're picked up, as usual, by our forward-deployed attaché, Jacob Izák Goldstein, and together with the fourth member of our crew, Tah-ša-tung, we set off towards eastern Belgium.
We stop for lunch at a godforsaken pub Jacob Izák Goldstein has found on a local discount website, advertising a 50% discount on the menu – an offer promptly shot down by the Spanish-speaking bartender the moment we arrive. Since we're hungry, we stay and order some Spanish specialities. They taste perfectly fine, although a later visit to a local supermarket reveals that we've essentially been eating the not-so-expensive contents of plastic containers from the refrigerated shelves.
An elderly French-speaking gentleman, sipping wine with his lunch, strikes up a conversation with one of us, claiming to recognise him from an adult film. He then spends the entire lunch casually flirting with us from his seat at the bar.
After lunch, we head towards Maastricht, a city known not only for the criteria governing entry into the European Union, but also for allowing only local residents – who must also be registered – to visit its coffeeshops. However, there are no obstacles that cannot be overcome when you're heading to a three-day stoner festival. I won't provide instructions, because, as the saying goes, what happens in Maastricht stays in Maastricht (or possibly in Liège).
Not long afterwards, following a supermarket visit, we settle into an apartment Jacob Izák Goldstein has booked in Liège through Airbnb. The place is large and spacious, cold as an deserted igloo, but otherwise absolutely perfect.
We take a taxi to the concert venue. Through the windows, we watch the dark city of Liège, which gives me the impression that someone has combined Podbrezová and Vyhne and then enlarged the whole thing roughly 300 times. The silhouettes of monstrous, abandoned mining megastructures along the river, looming through the misty twilight, are pure doom.
We arrive at the festival venue, the OM concert hall, with the usual stalls and designated beer-drinking areas outside. The combination of greenery, brutalist architecture and stoner-doomers everywhere is rather pleasant. You immediately feel at home.
Since we've been stumbling our way through the festival both together and separately, I've experienced some of the bands from different vantage points than Vespa Crabro, so I'll add a few observations of my own.
The first band I catch on Friday is the Belgian trio Apex Ten, who kick things off on the middle stage. These three guys revel in energetic, repetitive riffs delivered with an almost aggressive intensity.
From there, I head to the balcony of the main hall, where another local band, Wolvennest, are playing. Their hypnotic ritual both looks and sounds good.
Then it's back to the middle stage, where a third Belgian band takes the stage – this time quite literally local – Wyatt E. from Liège. Dressed like Babylonian priests, they perform their own version of heavy psych drone metal.
I particularly enjoy the drumming and singing – or rather, the communication between the bassist and guitarist, who swap instruments twice during the performance. The vocals and hand gestures remind me of a scene from Dune, where a Sardaukar priest chants in a guttural voice while the soldiers are marked with the blood of sacrificed humans.
These visions take shape through the Maastricht fog, which, for a moment, makes me feel as though someone has smuggled me onto the planet Salusa Secundus.
I spend the rest of the evening in the company of Vespa Crabro, Jacob Izák Goldstein and Tah-ša-tung, enjoying the bands, the surroundings, the cheerful, colourful flashes of the Maastricht fog, and the festival crowd.
We wrap up Friday at around one in the morning and take a taxi back to our freezing apartment. Since I can't figure out how to operate the air conditioning, I resort to heating the place with the bathroom's ladder-style towel radiator.
An afterparty is underway at the apartment, our host's YouTube algorithm is being thoroughly ruined, but since I'm exhausted from my journey through the Maastricht fog – which has also left my throat feeling thoroughly scratched up – I decide to call it a night a little earlier.
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