It was a night long in the making, filled with nostalgia and the promise of new discoveries as a packed SWG3 prepared for Finnish rock royalty, The Rasmus. With a lineup boasting strong support acts, the atmosphere was charged from the moment the doors opened.
First up were Block of Flats. I was particularly keen to see this band after discovering them via another Finnish favourite, Blind Channel, who had shared a track they co-wrote on Instagram. Their sound did not disappoint, evoking elements of early Linkin Park and Green Day. With high-pitched vocal tones reminiscent of classic 2000s alternative rock, they delivered an exciting and memorable performance.
Stand-out moments included “I Stand Below It All”, the track co-written by Niko and Aleksi of Blind Channel. The song explores the mature theme of accepting responsibility for past mistakes and learning to live with the consequences, a sentiment that resonated strongly with the room. “Lake of Fears” was particularly haunting, acting as a metaphor for feeling overwhelmed by life’s challenges. It evoked the sensation of drowning beneath the weight of unresolved problems, where fear becomes like water—heavy, limiting movement, and stifling breath. To survive, one must swim against the tide, and the band portrayed how music often provides the strength to do so.
“Darkest Days” continued this emotional momentum, delivering a message of perseverance. It reminded me of the Nordic concept of “Hygge”—seeking warmth, light, and companionship during the long, dark nights of winter. Much like Hygge brings people together to lighten the load, this song gently reminded listeners of the importance of supporting one another and never letting friends navigate their darkest moments alone.
Next up, The Funeral Portrait burst onto the stage with an entrance that was equal parts impressive, hilarious, and bewildering. The lead singer killed it with ghoulish stares, while the bassist strolled on stage, completely dead-panning the audience with the sort of intimidation usually reserved for ghost tour guides. They had the entire audience laughing nervously, unsure of what they were about to witness.
The reward was a set filled with richly blended guitar riffs, dynamic vocals, and drumming that shifted effortlessly from solid rhythm to impressive soloing. The lead singer raised the energy with a performance style that felt like a unique blend of Monty Python and the zombies from the Thriller video, flinging limbs and letting inspiration flow. Their look—a unique combination of black cowboy shirts with red fringe and ghostly makeup—begs the question: Is cowboy metal a thing? If not, The Funeral Portrait has just invented it.
“Voodoo Doll” stood out, a track addressing the pain of losing someone to addiction delivered with raw honesty. Before performing it, frontman Lee Jennings asked the crowd, “Who here has experienced heartbreak?” only to answer a split second later: “That should be all you muthaf******”. A truer word was never spoken. “A Hearse for Two” was another highlight, a sweet tribute to Jennings’ late grandmother told from the perspective of his grandfather. The lyrics dealing with the hope of being reunited in the next life were genuinely moving.
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Finally, the long-anticipated headliners arrived. I remember when The Rasmus first exploded in the UK while I was at university. “In the Shadows” was a bonding track for friends with vastly different musical tastes, but back then, gig-going was a luxury I couldn’t often afford. seeing them now felt like closing a circle.
Lauri Ylönen took to the stage, and while I was a little disappointed he wasn’t sporting the trademark raven feathers in his hair, the visual production more than made up for it. The stage lighting and backdrops of auroras, starry skies, and abstract raven imagery perfectly evoked a Nordic winter night. It was an immersive experience that complemented the band’s signature dark-pop sound; you could almost feel the snow crunching underfoot.
“Rest in Pieces” was a standout, tackling the heartache of betrayal and the grieving process that follows when trust is broken. This was followed by “Guilty,” a song dripping with the anguish of emotional numbness. The ambiguity of the lyrics added complexity to the narrative of toxic, mismatched relationships, while the band’s energetic choreography—including perfectly timed jumps—elevated the live experience.
“Break These Chains” followed poetically, offering life-saving advice on recognising toxic dynamics and regaining the strength to break free. It served as a reminder that fear of the unknown can hold you back, but facing those fears is the path to liberation. Later, “Banksy” brought a smile to my face. Lauri, who has a background in graffiti art, channels his admiration for the street artist’s opportunistic style and political commentary into this track, throwing support behind shared themes of social misfits and environmental issues.
A massive highlight was “Weirdo”, featuring Lee Jennings from The Funeral Portrait. This is an anthem for the outsiders—those picked last and who feel they don’t belong. It flips the narrative from insult to badge of honour. As someone who struggled to fit in at school, trying desperately to blend in with the right clothes only to have confidence shattered by a single comment, this song hit home. It took years to realise that trying to blend in only stops you from being yourself. Once you find the courage to wear the velvet, the ruffles, and the lace, things change. “Weirdo” celebrates that transformation.
Across all three acts, the evening delivered exceptional performances marked by emotional depth, striking visuals, and powerful thematic storytelling. It was a night that showcased not only musical talent but also the transformative power of authenticity, community, and the courage to embrace one’s own identity.
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Photos by Gareth Nicol
