Live Review : Blackbraid + Winterfylleth + Noctem @ Rebellion, Manchester on April 10th 2026

One of the wondrous things about this music, is that it keeps confounding expectations. It is easy to assume that a particular genre has run its course or has no further byways on which to travel. And then a new act will appear from nowhere and push the envelope in unimagined and unforeseen directions. This is the case of Blackbraid. At a juncture where many of us believed black metal had no further innovations left within it, they arrived and completely reappropriated the medium. They took an art form that was about indignant righteous anger and channelled it away from a hatred of Dravidian religion and towards the plight of the North American indigenous people. There is a palpable feeling of expectation within Rebellion. Blackbraid have played well-received slots at Fortress and Incineration festivals over the preceding couple of years, but this is the first time they have stretched out in a full tour. Therefore, for many of us, it is our first opportunity to witness with our own eyes this force of nature reinventing black metal.

Whilst the hyperbole sweeping around them would on its own guarantee the myriad of sold-out signs to be found on the short tour, they have cemented the deal by bringing along a rather fine undercard of black metal luminaries. Noctem hail from Spain and initially fall foul of an almost inaudible sound system. During the first two tracks, the guitars are completely missing in action and the drums dominate the sludge of sound that dribbles out of the speakers. It is painful to watch an obviously talented and energetic outfit prostrate themselves on stage, only for us audibly to have very little to work with. The team at Rebellion are consummate professionals and the heightened action behind the mixing desk is obvious as they fight to righten the sound. About three or four tracks in, it all begins to gel together, and we are left to marvel at the vocal dexterity and creeping charisma of Beleth in the manner intended. What the arteriosus sound masked is a version of Black metal strewn with malignant evil and hypnotic guitar work. By the time the concluding number rolls out, it is all wonderfully malevolent and sonically opulent. A rocky start, but the pull of a powerful performance saves the day. 

There is an obvious trade-off for local heroes Winterfylleth. Rebellion is a venue that they have themselves headlined numerous times before, but they seem content to step down a peg in order to be part of probably the most anticipated black metal package that has done the rounds this year. There is plenty of their own merch to be spied across the venue and they receive a rapturous response. This is their first hometown show since longtime compatriot Nick Wallwork stepped down to be replaced by fellow Arð member Mark Doyle (basically, British Black metal is one big love in where everyone has been in a band with everyone else). However Nick is not completely absent as he leaps on stage to provide vocals at the culmination of ‘To the Edge of Tyranny’. What is extraordinary about Winterfylleth is that, like a fine wine, they keep getting better. New album, “The Unyielding Season” is by far and away the most mature and rounded record they have ever produced and live they are now a formidable and sumptuously textured proposition.

A lot of what makes their current sound so exquisite is Mark Deeks keys and haunting backing vocals. In black metal, synths usually play a supporting role. Employed to sprinkle a layer of ethereal atmospherics over the whole shebang. But not here. Mark’s finger work is now an essential component of the Winterfylleth sound. It provides a guttural, earthy sound that juxtapositions well with the hurtling guitar and frantic bass. His vocal work is also unparalleled, and his deep choral tones add additional dimensions to ‘A Valley Thick with Oaks’ and closer ‘Whisper of the Elements’. Winterfylleth do Black metal on their terms. Rich, cinematic and anthemic. It is orchestrally opulent and so gargantuan in size and ambition that it makes the hairs on the back of your neck stand on end. They may well be the bridesmaid this evening, but with the performance of this scale they easily steal the hearts of many, many of those present. 

Blackbraid are essentially on paper, a one-man unit in the shame of Mexican Jon Kriegr, who purports to be descended from the Mohawk tribe. However, in order to capture in a live setting the majesty of his three peerless records (Blackbraid I,II and III) he has gathered a group of like-minded musicians to create a highly effective quintet. In fact, aside from an authentic Cheyenne used on ‘As the Creek Flows Softly By’, he leaves the instrumentation to his brethren and concentrates on his role as an imposing and beguiling frontperson. He is certainly is incredibly entrancing. Wrapped in animal bones and war paint, Jon’s get-up adds to the atmospherics of the evening. He throws himself around the stage with venomous energy, and during ‘Moss Covered Bones on the Alter of the Moon’ he flagellates himself on the floor in a fit of rampant enthusiasm. Within the performances of the songs themselves, he is an extraordinary presence, drawing all eyes towards him. Sadly he hasn’t quite worked out what he wants to do between tracks and we often meet with lengthy stoic silences as the band retune and prep for the next number.

Those uncomfortable pauses are probably the only blot in the copy book, as aside from them Blackbraid are an incredible proposition this evening. The sound has now sorted it’s life out, and they are blisteringly forceful cavalcade of insistent noise. For a band that is allegedly reshaping Black Metal, they feel tonight distinctly old skool. The music unfurls in wave after wave of harsh sonic temperament. Anthemic and up key, it simultaneously manages to be brutal and brittle. The kinetic energy that unfurls from the stage is frankly astonishing. The room becomes a cauldron of pulsating bodies as the sheer weight and intensity of the music capture the hearts of all listening. Rather than re-invent Black Metal, they are presenting a version of it done exceptionally, just within a different conceptual formation. It feels completely natural that these harsh, impenetrable tones are being used to describe the tragic demise of a once proud people, as opposed to their usual reverence of Satan.

The in-between song faffing feels less obvious the nearer we reach the end of the set. In fact, the whole pace and velocity of the show increases as we head into the final furlong. It feels frantic and fevered as the astonishing grounded organic might of ‘The Dying Breath of the Sacred Stag’ collides into almost hypnotic ‘Twilight Hymn of Ancient Blood’. There is a sense of ceremonial observance, like we have all gate-crashed a dark primaeval ritual. This is the point, this is black metal re-purposed for a greater good. Its savagery and unrepentant viciousness now serve as a higher purpose. As ‘Barefoot Ghost Dance on Blood Soaked Soil’ brings the evening to a clattering halt, there is a collective outtake of breath as we all assess what we have witnessed. It is black metal as we know, but with a sense of resolve and intent that is new. Passionate and extreme, Blackbraid bring fresh life and meaning to Black Metal, we just need to get the between-song banter right, and they will be perfect.

Check the “In The Flesh” page for more photos!
Blackbraid + Winterfylleth + Noctem