Two Days of Grind, Death, and Chaos at RCA Club (Lisbon, Portugal).
The Xapada Fest once again proved why it is the mandatory gathering event for lovers of the most extreme sonorities in the metal range.
Grindcore, death metal, brutal death, goregrind, and everything that lives on the edge of metal sonorities invaded RCA Club transforming it into a pit of noise, sweat, and controlled violent sonoroties.
XAPADA FEST 2026 – DAY 1
The first day of Xapada Fest kicked off on January 16, 2026, fulfilling the promise to deliver unfiltered brutality.
Featuring Podre, Colpoclesis, Amputated, Besta, Embrace Your Punishment Tour, Brutal Sphincter, Unfathomable Ruination, Beheaded, Inhuman Architects, and Lethargic.
From the early hours, the RCA Club began filling up with its loyal crowd, ready for two days of grind, death, and absolute chaos.
With no room for a gradual warm-up, the festival opened with a succession of intense performances, where heavy, speed, and underground attitude set up the standards.
There was a clear immediate connection between bands and audience, with constant headbanging and intense circle pits formed from the first instant.
This day proved to be a relentless start for this festival edition, making it clear from the first chord that this year edition will not give the audience any truce.
PODRE – Grindcore Without Asking Permission
Podre, a grindcore band from Covilhã (PT), opened the festival with no introductions or small talk. From the first second, it was clear that Xapada Fest was starting with “the pedal to the metal”. With a raw, fast, and aggressive sound, the band relies on direct riffs, extreme beats, and a clear underground attitude. Although they do not yet have any recorded album or planned release date, they were confident, cohesive, and fully prepared to take on the responsibility of kicking off the festival.
The concert began with “Esquentamento”, a fitting name to open the night and, moreover, the first song ever composed by the band. The result was immediate: mosh pits forming from the first riffs and the RCA Club properly warmed up.
“Grind à Lá Carte” kept the concert frenzied pace, with the audience already fully engaged. In contrast, “Chicken Surf”, “Leite Pó Gôto”, and “Toca Essa Merda” brought out the more relaxed and chaotic side of grind, amid laughter, shoving, and complete communion between stage and audience.
By “Sumo de Sovaco”, the room was singing in unison. “Pirotecnia Anal” triggered impromptu circle pits, setting the mood for one of the set’s highlights: “Somos Todos Podres”, which functioned as a true dirty and collective anthem, with the audience igniting the band as much as the band ignited the audience.
In the final stretch, there was no rest. “Vagina Contaminada” maintained the aggression and scatological humor, and “Banana Podre” closed the concert with the RCA Club in a complete outburst of emotions.
Gonçalo “Podre”’s raw, raspy vocals alternated between aggressive screams and the typical register of the most direct grindcore, while Joel “Podre”’s drumming, based on constant blast beats and rapid changes, kept the pressure to the maximum. On guitar, António “Podre” delivered fast, dirty riffs without any flourish, acting as the main driver for the songs’ aggressiveness. On bass, Miguel “Podre” ensured a solid and abrasive rhythmic foundation, reinforcing the heaviness of the tracks and the intensity of their sound.
As opening band, Podre did not just function as a warm-up — they were a true detonator. A loud, fast, and uncompromising start that made it clear what Xapada Fest was all about: two days of “rotten” brutality without filters.
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COLPOCLEISIS – Brutal Death Without Anesthesia
Hailing from England (United Kingdom), Colpocleisis brought to Xapada Fest their vision of heavy, technical, and profoundly violent brutal death metal. From the very first seconds, it was clear that the band’s approach revolved around crushing riffs, constant tempo changes, and surgical execution, always focused on direct impact.
The concert opened with “Introcleisis”, an introduction that prepared the audience for the brutality to follow. Subsequently, the band launched into “Desolated Morality” (EP Mosaic of Morbid Manifestation), followed by “Discumblobulated” (Elegant Degradation), tracks that highlighted dense, crushing riffs while Jon Burr’s guttural vocals — deep, grave, and constant — dominated the sounds mix. The drums took a central role from the first moment, with fast pedals and an unrelenting bass drum, creating a continuous sensation of physical pressure in the room.
Next came “Psychotic Disinhibition” (EP Mosaic of Morbid Manifestation) and “Third Degree” (Elegant Degradation), keeping the intensity to the maximum. The connection with the audience became evident as fans climbed on stage to headbang alongside the band, while an intense circle pit formed in the crowd, perfectly synchronized with the brutality of the sound.
The band continued with “Mosaic of Morbid Manifestation” (EP Mosaic of Morbid Manifestation) and “Spasticated Facial Chiropody Encounterment” (Fallopian Fallout), reinforcing the perfect technical execution and chaotic character of the night. Then, “Indiscriminate Barbaric Debasement” (EP Mosaic of Morbid Manifestation) kept the audience in constant tension, while cutting riffs and relentless rhythmic sections ensured moments of total physical impact.
In the final stretch, the set included “Do Not Resuscitate” (Elegant Degradation) and “Brokecrack Pounding” (Fallopian Fallout), before closing on high note with “Flagellating at the Slab” (Elegant Degradation), consolidating the band’s reputation as reference in the European brutal death metal scene.
Colpocleisis once again proved why they are respected in the extreme scene: solid execution, constant intensity, and a stage presence that pushes the audience to the limit. This made it clear that Xapada Fest was not for amateurs — it was for those who dedicated themselves completely to this kind of violent sonorities.
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AMPUTATED – Relentless Slam Brutal Death Metal
Immediately after Colpocleisis’ violence, Amputated, veterans from Bristol, United Kingdom, took the stage at Xapada Fest for an intense demonstration of slam brutal death metal, with heavy riffs, fast rhythmic sections, and constant tempo changes. From the very first second, it was clear that the band was to be taken seriously.
The concert began with “Cue the Intro”, preparing the audience for the brutality that followed with “Wading Through Rancid Offal” (Wading Through Rancid Offal). Gareth Arlett’s relentless drumming and the sharp riffs set a frenzied pace, quickly triggering circle pits and extensive headbanging amongst the audience.
Next came “Cunt Like a Sewer” (Wading Through Rancid Offal), “Rectal Conception” (Demo 25), and “Anally Disemboweled” (Gargling With Rancid Offal), tracks that kept the audience in constant movement. Vocalist Mark Pearce delivered his deep, cavernous gutturals, while the band delivered every riff with precision and full power. The energy was contagious, with the audience following every moment with headbanging, raised arms, and a controlled chaos that spread to the entire venue.
The set continued with “Dead Hungry” (Gargling With Infected Semen), “Skullfucked Lobotomy” (Demo 25), and “With the Force of 1000 Coat Hangers” (Demo 25), before moving into “Repugnant Genital Deformity” (Wading Through Rancid Offal), maintaining the intensity to the maximum.
“Regenerate the Carnifex” and “Slam Pig” (Wading Through Rancid Offal) elevated the adrenaline level, with the audience fully surrendered to the riffs and the tireless drumming. To close, “Uterus Swollen With Festering Putrescence” (Wading Through Rancid Offal) ended the performance with total brutality, consolidating the band’s reputation in the European slam brutal death metal scene.
The atmosphere on stage and in the audience was intense: circle pits, headbanging, marked by a close interaction, with the audience that kept responding to every moment of the performance. Which was a solid, aggressive and direct. Another performance that reinforced the power of Xapada Fest and left the audience exhausted — yet completely satisfied.
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BESTA – Energy and Chaos in Every Chord
Hailing from Lisbon, Besta brought to Xapada Fest an intense burst of heavy/grind metal, with strong thrash and death influences. Showcasing how brutal sounds goes hand in hand with an explosive stage presence. The band performed with Paulo Rui on vocals, Ricardo Matias on guitar, Rick Chain on bass, and Paulo Lafaia on drums.
With exception to the vocalist, all band members are also part of Sinistro, a close relationship that was reflected in the band’s chemistry.
The concert opened with “Intro: Escape from NY”, immediately creating an atmosphere of tension and anticipation. Without any delays they moved into “Estrela Negra” and “Assalto à 13ª Esquadra” (John Carpenter). The fast and on point riffs as well as the powerful drumming marked the start of an intense set.
From the very beginning, Paulo Rui retained everyone’s attention with an energetic performance. All his exaggerated gestures, grimaces and even kisses thrown to the audience kept the audience engaged and responsive.
The journey continued with “A Cidade dos Malditos”, “Eles Vivem”, “O Nevoeiro”, “A Bíblia de Satanás” and “A Coisa” (all John Carpenter), followed by “Nas Garras do Mandarim” (EP Mongoloid). One of the most remarkable moments of the concert was Rick Chain’s performance, which had to perform while seated due to a recent surgery. This was no limitation and audience could witness solid riffs and his strong stage presence — even during a brief sound problem that was quickly resolved by the festival technicians.
In the final stretch, the set moved through “Vermes” and “Requiem Macabro” (Filhos do Grind), “Olhar Seráfico” (Terra em Desapego), “Diamorte” (Eterno Rancor), and “Cravado em Lume Negro” (Filhos do Grind). Each track reinforced the intense connection between band and audience, with Paulo Rui constantly praising the crowd’s dedication, which throughout the performance kept the high energy levels.
On stage, Besta proved why they are one of the most consistent names in the national extreme scene: precise riffs, tireless drumming, a charismatic vocal presence, and evident chemistry among the musicians. At the RCA Club, the audience experienced every chord and and intense concert, absolutely faithful to the spirit of Xapada Fest.
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EMBRACE YOUR PUNISHMENT – Brutality and Aggression in Motion
Embrace Your Punishment, a band from France, brought to Xapada Fest a deathcore/slam onslaught marked by heavy grooves, crushing breakdowns, and a no-filter attitude. The performance began with “Sample + Intro Slam”, an intro used by the band to open concerts, immediately unleashing chaos in the room and setting the mood for what was to come.
“Ascension” (Nameless King) and “Worthless Hound” (Made Of Stone) kicked off, with intense headbanging from the front rows and the first circle pits. Between songs, Vivien Rue maintained direct contact with the audience, encouraging participation and gradually increasing the energy levels in the room.
Next came “Aeons of Fire” (Made Of Stone), keeping the high intensity, followed by the sample “Fear the Wolves” (Nameless King), which led into “Fear the Wolves” (Nameless King). This was one of the most explosive moments of the set, with the audience fully surrendered to the performance. On stage, the band appeared visibly playful, showing complicity between the members and reacting to the crowd energy.
With “Black Storm” (Nameless King) and “Allegiance” (Nameless King), the circle pits returned in force . Geoffroy Mansard on guitar and Futhark Clem on bass provided a solid sound foundation, while Clément Eyp on drums maintained the intensity. Some occasional bass drum sound issues were noticeable, but didn’t compromise the overall impact of the performance.
In the final stretch, “Sample + Fallen Kingdom” (Nameless King), followed by the intro from the Nameless King album, created a denser, more expectant atmosphere in the room. “Alone in this Pit” (Honor Before Glory) once again set the audience in constant motion, culminating with “Nameless King” (Nameless King), closing the concert in a climate of total communion between band and audience.
Between songs, Embrace Your Punishment remained communicative and upbeat, thanking the crowd for the warm reception and encouraging a controlled chaos in the pit. Overall, a performance marked by mutual fun, extreme high energy, and a strong connection to the underground attitude.
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BRUTAL SPHINCTER – Chaos, Humor and Grind without limits
Hailing from Belgium, Brutal Sphincter took the stage at Xapada Fest with an explosive and completely irreverent presence. An unavoidable reference in European goregrind, the band combines fast riffs, crushing drumming, and a generous dose of dark humor, turning each performance into a chaotic and fun celebration.
The concert opened with “Prolapse of Society,” followed by “Tony Hawk’s Pro Choice 2022” and “Crusta-Colada (Crack’n Kofola)”, all taken from the album Sphinct-Earth Society. From the very first riffs it was clear the audience would witness relentless drumming, sharp sounding guitars, and unstoppable vocalists, creating a contagious energy that quickly spread to the audience. Between songs, several fans climbed onto the stage, some to dance with the band, others to crowd surf, while intense circle pits formed in the room.
Midway through the set, the collective madness increased with “Autistic Meltdown” and “Anders Breivik Utøya Party”, both from the album Analhu Akbar, followed by “Sphinct-Earth Society” (Sphinct-Earth Society). In “The Art of Squirting” (Analhu Akbar), the vocalists directly engaged the audience, asking the present females to form a circle pit, in a moment blending provocation and humor, resulting in total interaction between audience and the band.
The final stretch kept the RCA Club boiling. “Beatdown Syndrome” (Sphinct-Earth Society), “Analhu Akbar” (Analhu Akbar), “Make Goregrind Great Again” (Analhu Akbar, again with a circle pit request), “Prohibit Anime” (Analhu Akbar), “Unvaxxed Lives Matter” (Sphinct-Earth Society), “Abolish Frontex” (Sphinct-Earth Society), and “Goregrind Number One” (Analhu Akbar), performed solely by Jimmy, closed a set defined by controlled chaos and total commitment.
Throughout the concert, Mayor Diarrhea and GG Stalin kept the audience fully engaged, while Julien Racine’s fast riffs and relentless drumming fueled every circle pit, every headbanging moment, and every dive into crowdsurfing. On stage and in the audience, Brutal Sphincter transformed the RCA Club into a space of pure energy, extreme humor, and collective communion — proving once again why they are one of the most iconic and unpredictable names in European goregrind.
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UNFATHOMABLE RUINATION – Technical Brutality and Total Communion
Hailing from the United Kingdom, Unfathomable Ruination brought along an unrelenting display of technical brutal death metal, marked by high technical precision, constant aggression, and a very close connection with the audience.
From the opening with “Anti-Genesis”, “Carved Inherent Delusion” (Misshapen Congenital Entropy), and “Enraged And Unbound” (Enraged And Unbound), the room immediately erupted. Circle pits and mosh pits followed one another without pause, with the crowd responding to every rhythmic change and every more violent from the band.
Throughout the concert, while singing, the vocalist joined the crowd several times, pushing the room’s energy to extreme levels. Moments like “Inhuman Reclamation” (Finitude), “A Withered Embrace”, and “Suspended In Entropic Dissipation” (EP Decennium Ruinae) were experienced with constant crowdsurfing, while the vocalist directly interacted with those in the pit.
With “Maniacal Disillusion” (Enraged And Unbound), “Nihilistic Theorem” (Finitude), and “Harbinger”, the intensity remained at its peak. Between songs, the band continued to push the audience, encouraging more movement, more chaos, in a constant exchange of energy between band and crowd.
The concert closed with “Protoplasmic Imprisonment” (Enraged And Unbound), one of the most striking moments of the performance. At the end, several audience members climbed on stage to take a photo with the band, ending the concert in an atmosphere of closeness, celebration, and mutual respect.
Unfathomable Ruination delivered a devastating performance at Xapada Fest, where technique, brutality, and close interaction with the audience made the performance one of the festival’s most intense performances.
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BEHEADED – Maltese Death Metal in Ritual State
Hailing from Malta, Beheaded took the stage at Xapada Fest as one of the most relevant presences on the lineup, bringing decades of death metal experience, with strong influences from dark themes, ritualistic atmospheres, crushing riffs, and Davide Billia’s relentless blast beats on drums.
The performance began with Intro, creating a dense and threatening atmosphere that quickly gave way to “Ihirsa” (Ghadam). From the very first riffs, there were circle pits forming and constant headbanging spreading throughout the room.
Next came “The Charlatan’s Enunciation” (Only Death Can Save You) and “Xtrajt I-infern” (Ghadam), tracks marked by heavy, measured riffs accompanied by Frank Calleja’s deep and authoritary vocal tone, which reinforced the ritualistic character of the performance. The band maintained a firm, focused, and intense stage presence, while the audience responded with movements synchronized to their sound.
With “Ghadam” and “II-Kittieb” (Ghadam), the energy surged again. The riffs gained even more prominence, provoking new circle pits and a constant physical response from the audience, who followed each rhythmic change with vigorous headbanging.
Midway through the concert, “Transcendental Iniquity” (Perpetual Mockery) and “Embrace your Messiah” (Only Death Can Save You) deepened the dark atmosphere, with the band opting for a denser, hypnotic approach. The audience remained fully engaged, in a mix of near-ceremonial respect and total surrender to the performance brutality.
In the final stretch, “Recounts Of Disembodiment” (Recounts Of Disembodiment), “Resurgence Of Oblivion” (EP Resurgence Of Oblivion), and “B’niket Inhabbru I-mewt” (Ghadam) once again elevated the intensity, closing the set with crushing riffs and a final synchronized collective headbanging.
Beheaded confirmed at Xapada Fest their status as one of the main references in Maltese death metal, delivering a solid, heavy, and identity-filled performance, where heavy riffs, vocal tone, and audience physical response merged into a true extreme ritual.
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INHUMAN ARCHITECTS – Modern Weight and Incessant Headbanging
Hailing from Portugal, Inhuman Architects took the stage at Xapada Fest with a proposal rooted in deathcore and modern metal, marked by dense riffs, heavy grooves, and a contemporary approach where aggression goes hand in hand with dynamics and impact.
The performance started with “Hell’s Gate” (EP Cultus Deorum), a track that immediately put the audience in motion. The deep riffs and the impact of the bass drum, delivered by their new drummer, Dichen Pakhrin, set the tone for a concert that would witness constant headbanging throughout the venue.
Next came “Shadows From The Void” (EP Cultus Deorum), where the band displayed strong cohesion on stage. The guitars built a solid and heavy foundation, alternating between cutting riffs and more measured passages, while the rhythm section maintained a high pressure. On vocals, Fábio Infante stood out with an aggressive register, combining deep gutturals with a confident stage presence.
With “Re:birth” (single released in March 2024), marking the band’s comeback and restructuring phase, the intensity rose to another level. The audience promptly responded, with synchronized movements and growing energy, transforming the venue into a compact block of continuous motion.
“Valiant” (EP Cultus Deorum) maintained the heavy groove and the band’s characteristic heaviness, preparing the ground for “Interplanetary Suffering” from the album Paradoxus, one of the strongest moments of the performance. Here, dense riffs and relentless drumming pushed the audience into almost automatic headbanging, with raised fists and total devotion.
Without relying on long speeches, Inhuman Architects delivered a direct and effective performance, letting the sonic impact speak for itself. The audience responded with constant intensity, creating a clear connection between stage and crowd.
In the context of Xapada Fest, Inhuman Architects established themselves as a solid name in the national scene, able to combine deathcore and modern metal with their own identity and a stage presence that kept the RCA Club in constant boiling energy.
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LETHARGIC – Morbid Psychedelia and Ritual Chaos
Hailing from Spain, Lethargic brought to Xapada Fest a unique proposal within death metal, blending extreme weight with a psychedelic, dark, and deeply visceral approach, marked by disturbing lyrics and dense atmospheres.
The performance began with an Intro, creating an oppressive atmosphere quickly broken by “Decúbito Supino” (Woodoo Tumba), launching the audience into immediate headbanging. At the center of the stage, vocalist Toño stood out early on with expressive arm movements, almost choreographed, and an intense body posture that reinforced the ritual character of the music.
Next came “Amor Necroftalmológico” and “Letárgico Lisérgico” (Woodoo Tumba), tracks where heavy and repetitive riffs created a hypnotic sensation. The band remained focused and immersed in their own atmosphere, while the audience reacted with constant movement, and the first circle pits spontaneously formed. “Psychophonie I” (Woodoo Tumba) maintained the dark and claustrophobic environment.
Midway through the concert, Lethargic returned to their first album, Chapter Soil, with “A Figure in the Soil”, bringing a more raw and direct approach. The change was well received, with a new explosion of collective headbanging amongst the audience.
The return to Woodoo Tumba came with “Lápida Pozo” and “Woodoo Tumba”, intensifying the ritualistic atmosphere once again. “Mearé Sobre Tu Fosa” reinforced the morbid character of the performance, before a new Intro prepared the ground for “Seres que se Arrastran” (Woodoo Tumba).
In the final stretch, “The Flesh and the Fiends” (Chapter Soil) once again immersed the room in crushing sounds, before “Slay Them” (Mind Holocaust) closed the performance in a brutal, direct, and uncompromising manner, with energy reaching a maximum level both on stage and in the crowd.
Lethargic closed the first day of Xapada Fest with a performance marked by extreme and strong performative elements, transforming the venue into a true ritual of psychedelic death metal.
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XAPADA FEST 2026 – DAY 2
On January 17, 2026, Xapada Fest returned to RCA Club in Lisbon for its second day, with the same intensity that marked the previous day. The venue once gain filled up from early on, with no expectation to slow down.
On the second day, it was Crucivore, Bleeding Display, Kanine, Dead Meat, Serrabulho, Stillbirth, Rotten Sound, Analepsy, and Teething. Inhume ended up canceling due to an accident involving their drummer.
CRUCIVORE – Modern Brutality and Total Communion
Crucivore is a relatively recent Portuguese project operating in the death metal / slam territory, with a modern approach, violent riffs, and a crushing rhythmic foundation. The performance began with “The Crucivore’s Feast (Intro)”, creating a threatening atmosphere that quickly exploded into “The Banished Torment”.
With “Depths of Despair” and “Memento Mori”, the band displayed a clear chemistry on stage. Ricardo “Bugs” on vocals assumed the role of chaos maestro from the start, repeatedly instigating the audience into action and keeping a close connection with the crowd. Known as a true master of growls and “bree brees”, Bugs commanded the performance with authority and strong presence.
A highlight moment came with “The Oracle”, featuring a special guest appearance by guitarist Jens Strack of Dekathexis, adding even more weight and density to the performance. Shortly after, in “The Matriarch”, the stage welcomed another guest: Lucas Matronn, a student from Bugs’ vocal classes, who joined to share the microphone in a moment of strong complicity and enthusiasm.
In the instrumental section, Cláudio on bass and Sérgio Páscoa on guitar stood out for their heavy riffs and groove, always in close synchronization and frequently exchanging positions with Ricardo, creating an intense visual and sonic dynamic. On drums, Tomás Persan delivered a powerful and fast performance, with an incisive bass drum.
The final stretch featured “Triumph of the Grotesque Disorder”, further elevating the intensity, before closing with “Whispers from Eternal Sickness”, sealing a performance marked by brutal energy, violent riffs, and an enthusiastic audience.
With such an intense debut, Crucivore established themselves as a solid prospect in the national extreme metal scene, leaving anticipation in the air for the forthcoming album.
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BLEEDING DISPLAY – Staged Violence and Relentless Death Metal
Hailing from Portugal, Bleeding Display brought a direct and aggressive death metal assault. Heavily inspired by themes of crime, violence, and psychopathy, represented both musically and visually.
It was clear this would be an intense performance. Sérgio Afonso on vocals was tireless, constantly moving across the stage and catching the audience attention into the performance. His deep and aggressive vocal register perfectly matched the cutting guitar riffs, creating a suffocating and violent atmosphere. The band’s visual presentation was equally striking, appearing on stage in blood-stained clothes, reinforcing the theatrical and disturbing character of the show.
The concert kicked off with “The Skin” (Dawn of a Killer), immediately immersing the crowd in constant headbanging. This was followed by “Dark Passenger” (Deviance), where heavy riffs and dragging grooves pushed the audience into the first circle pits of the performance.
With “Green River Killer” (Dawn of a Killer) and “Basement Torture Killing” (Dawn of a Killer), the intensity increased. The band remained highly cohesive, while Juca on drums delivering a powerful and incisive performance, with a fast and crushing bass drum that kept the pressure to the maximun.
Midway through the set, “Refinement Of Evil” (Deviance) and “213” (Dawn of a Killer) kept the room in full frenzy. Between songs, Sérgio Afonso continued to encourage the audience, asking for more movement and commitment, in a constant exchange of energy between stage and audience.
One of the highlights of the performance was the appearance of a special guest – João Jacinto, a former member of the band and current bassist of Analepsy. This enhanced the impact of “Killing Spree” (Deviance). This was followed by “Remains to Be Seen” (Deviance), which closed the performance with intensity, leaving the audience completely engaged in a constant collective headbanging.
Bleeding Display delivered a solid performance with strong visual elements, and a continuous interaction with the audience. A solid and impactful presence in the national death metal scene.
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KANINE – Bass Drops, Slam, and Total Chaos
Hailing from France, Kanine delivered a devastating brutal death metal / slam performance, built on massive grooves, devastating bass drops, and a modern approach designed for maximum live impact. The experience was enhanced by the stage setup, different and psychedelic lights, following every rhythmic change and intensifying the sense of controlled chaos.
From the opening track, “Virtual Target” (single, 2024), it was clear that the performance would be lived to the limit. Jason Gerhard’s deep guttural vocals immediately stood up, while Lucas Eckert’s distorted bass added a crushing layer to the sound. The audience responded intensively, witch constant headbanging and crowdsurfing.
Next came “Damaged” (single, 2023), maintaining the high pace. “808” (single, 2025) brought even more brutal bass drops, supported by a fantastic bass drum, one of the main engines of the performance.
With “Doom Bringer” (EP Doom Bringer, 2025), Kanine entered an even more aggressive phase of the concert. The heavy groove, combined with the psychedelic stage lights, constantly pushed the audience to keep moving, a continuous waves of crowdsurf and a completely frenzied collective response.
One of the most anticipated moments came with “Sharped Teeth”, an unreleased track, received with huge enthusiasm and lived as if it were already a classic. The energy remained high with “Anubis” (Karnage), where the bass sound once again took the spotlight, creating a dense and violent ambience.
In the final stretch, “Counter Slam Bass Drop Offensive” (Karnage) brought the concert to its peak intensity, with the venue in total controlled chaos, a mix of slam, headbanging, and bodies flying over the crowd, while the spotlights painted the stage with intense colors.
Between songs, Lucas Eckert took the time to mention how much the band loved playing at RCA Club, describing the experience as “pure madness”, a sentiment clearly shared by the audience, who responded with applause and enthusiastic cheers.
Kanine closed their set with an overwhelming performance, marked by raw energy, visual impact, and intense interaction with the audience. One of the most brutal and physical concerts of the second day.
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DEAD MEAT – Direct Violence and Ruthless Riffs
Right after Kanine’s overwhelming performance, it was time for Dead Meat, hailing from Castelo Branco, Portugal, to take the stage at RCA Club for a raw, unadorned blast of brutality, faithful to the underground spirit of Xapada Fest.
The performance kicked off with “Good Clean Cut” (Preachers of Gore), which from the first riff incited the audience into headbanging and form the first circle pits. From there, the band maintained an aggressive and focused stance, with fast and incisive riffs, always supported by an unrelenting rhythmic foundation.
Next came “More Than Eats Flesh”, “Cadaver’s First”, “Artificial Born Killer”, and “Brites-The Brutal” – newer tracks set to appear on their upcoming album, scheduled for release on March 21, 2026. The audience responded with growing intensity, keeping the room in constant motion.
An essential part of the performance was Rolando Barros’ drumming, with a fast and relentless bass drum that gave each track muscle and helped maintain the intensity to the maximum. On guitars, Josen Grinder and Fábio (one of the new band members) delivered fast and cutting riffs, pushing the crowd into an increasingly abrasive atmosphere. Joey on bass, also a recent addition, provided a solid and heavy foundation, reinforcing the overall impact of the band’s sound.
In the final stretch, “Smell Over the Rotten Pussy” (Stench of Rotten Years) was received with special enthusiasm, with collective headbanging and circle pits in the center of the venue.
Vocals were handled by Dinis, delivering deep guttural and aggressive lines traditional to death metal, maintaining a constant aggressive posture which decisively contributed to the violent atmosphere that defined the entire performance.
Without long speeches or pauses, Dead Meat delivered a direct and effective performance. A clear statement of their solid position within the national extreme metal scene, reinforcing that the Portuguese extreme underground scene is strong.
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SERRABULHO – Humor, Collective Dance, and Total Anarchy
Hailing from Portugal, Serrabulho once again proved why they represent festive, irreverent and completely unexpected grindcore performance. More than a concert, their performances are a collective celebration, where extreme music, absurd humor, and constant interaction with the audience merges into one happy chaos.
From the start with “Rest in Piss” (Piss & Love), it was clear that no one. The floor quickly turned into a moving mass, with beach balls and dolls in the air, people dancing, jumping, and singing — some in wigs, others in swimsuits — as the band cheered the crowd at every break between songs. “Congro” and “Caguei na Betoneira” (Star Whores) maintained the frenetic pace, with spontaneous circle pits, laughter, and blast beats blending into an atmosphere of pure fun.
With “Pissachu” (Piss & Love) and “Dingleberry Ice Cream” (Porntugal – Portuguese Vaginaterian Gastronomy), the interaction between band and audience got even tigher. It became constant for people to climb onto the stage to dance with the band, who then immediately threw themselves into the arms of the crowd, fueling continuous and totally uncontrolled crowdsurfing.
One of the most remarkable moments came with “Sweet Grind O’ Mine” (EP Grind Is Love) and “Piss or Love” (Piss & Love), turning the venue into a full grindcore dance. “Toco Loco du Moi” (Ass Trouble) took the interaction to another level: Carlos Guerra, the band’s vocalist, grabbed a 360º camera and stepped out of the venue into the town streets. Unsurprisingly, he was followed by a large part of the audience, forming a sort of conga line, singing and dancing in a totally relaxed and fun way. Upon the return to the venue, everyone was in a mood of total euphoria.
Back on stage, “Pentilhoni Nu Culhoni” (Star Whores) kept the party atmosphere alive, before Carlos stopped everything to pull the audience into one of the most ridiculous moments of the night. The audience was asked to shout in unison “Quero Cagar e Não Posso”, which translates to “I want to poop and I am not able to” — first the ladies, then the men, and finally everyone together, in an absolutely surreal collective chorus.
The concert closed with “Pubic Hair in the Glasses” (Ass Trouble), in a finale with constant headbanging, active circle pits, and even more people climbing onto the stage to dance and dive into the crowd.
Serrabulho delivered, once again, an unpredictable, fun, and fully participative performance, getting the entire audience to dance, laugh, and celebrate. A concert where there was no separation between stage and pit — just one big party.
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STILLBIRTH – Surf, Brutality, and Collective Happiness
Hailing from Germany, Stillbirth brought an explosive performance of brutal death metal/slam. Brutal sonority blended with good dose of fun were mixed to deliver a highly interactive performance
From the start with “Trapped in Darkness” (Survival Protocol), the audience’s response was immediate, with intense headbanging and the first circle pits formed. Szymon Skiba’s fast and incisive riffs set the tone of the performance, while Lukas’ powerful guttural vocals kept dominating.
Next came “Schmand an der Hand” (Plakative Aggression), keeping the high energy level, followed by “Endgame Is Near” (Endgame Is Near) and “Rising from the Ashes” (Homo Deus), deepening the intensity. Throughout the gig, the band kept communicative and clearly having fun on stage. The close connection with the audience became increasingly evident.
One of the most remarkable moments came with “Panem et Circenses” (Revive the Throne) and “Global Error” (Global Error), when the stage really came alive: surfboards scattered across the stage that were used for crowdsurfing, creating a sequence of chaotic moments of great enjoyment. The audience responded with absolute enthusiasm in an atmosphere of pure celebration.
With “Beating Pacifists” (Endgame Is Near) and “Steuerklasse 1 Und Keiner Sagt Danke” (Plakative Aggression), the circle pits formed again, with the band constantly encouraged movement. “Throne of Bones” (Survival Protocol) brought fast riffs and a crushing groove once more, keeping the venue energy boiling.
The final stretch featured “Autonomous Eradication” (Homo Deus), culminating in a special moment: the band played a riff from “Disgraced” (Homo Deus) as a bonus, triggering applause and smiles from both the audience and the musicians.
The crowd was visibly happy with the performance, a feeling clearly shared by the band, who repeatedly demonstrated how much they loved playing at RCA Club. Between extreme music, humor, and constant interactions with the audience, Stillbirth delivered one of the most memorable and relaxed concerts of the festival.
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ROTTEN SOUND – Relentless Grindcore and Maximum Intensity
Hailing from Finland, Rotten Sound brought an absolute lesson in grindcore. Marked by its extreme speed and sound, and an uncompromising execution. They delivered a short, intense, and devastating performance, as demanded by the genre’s tradition.
The show kicked off with “Self e Power” (Cursed), triggering the audience into frenzy. Fast and cutting riffs, coupled with an extremely rapid bass drum, lead the audience into instant headbanging, with circle pits forming straight up the opening moments.
Next came “Pacify”, Equality”, “Suburban Bliss”, and “Renewables” (Apocalypse), keeping the energy to the maximum. On stage, Keijo Niinimaa commanded the audience with his raspy and aggressive vocals, firing words like projectiles, while the band maintained a firm, focused, and relentless stance.
With “Lazy Asses” and “Inhumane Treatment” (Abuse to Suffer), the pace remained frantic. The audience responded with constant movement, a succession of tight circle pits and continuous physical energy discharge, perfectly aligned with the brutal sounds coming from the stage.
Midway through the performance, “Targets”, “Void”, and “Insects” (Murderworks) reinforced the raw and direct character of the show. Each song came as a short and precise attack, without pauses, pushing the audience into an increasingly intense response.
With “Ownership” and “Sharing” (Apocalypse), the connection between stage and audience remained strong, with synchronized headbanging spreading throughout the venue. This was followed by two tracks dedicated to the Mass Extinction EP, “Brave New World” and “Ride of the Future,” bringing even more urgency and aggression to the final stretch of the performance.
Near the end, “Slay”, “Western Cancer”, and “Sell Your Soul” (Exit) elevated the intensity again. “Salvation” (EP Species at War) and “Trashmonger” (Abuse to Suffer) set the stage for the finale.
The concert closed with “Blind” (Cycles), sealing a brutal, fast, and uncompromising performance, experienced with maximum intensity by the audience, who responded until the very last second with constant movement and uncompromised attention.
Rotten Sound proved, once again, why they remain one of the absolute references in global grindcore. Delivering a bone-crushing, devastating performance completely faithful to the essence of the genre.
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ANALEPSY – Technical Brutality and Absolute Impact Before the Finale
The Portuguese band Analepsy, hailing from Lisbon, the penultimate act at Xapada Fest, brought an intense dose of slam death metal / brutal death metal, marked by heavy sounds, technical precision, and devastating breakdowns.
The performance was also defined by the commanding presence of Călin Paraschiv, the Romanian vocalist. Whose deep and brutal voice dominated from the very first second, leading the show with constant authority and aggression.
The set kicked off with “Cryogenic Rebirth” and “Doomsday Protocol”, singles released in 2025, which quickly ignited the audience with heavy breakdowns and crushing rhythmic sections, prompting an immediate physical response from the crowd.
João Jacinto, on bass this time, added further depth and aggression to Analepsy’s sound, contributing to a solid and demolishing rhythmic foundation. His presence was felt both in the sonic impact and in the connection with the audience, who responded with immediate enthusiasm.
A powerful sequence followed with “Locus of Dawning” (Quiescence), “The Vermin Devourer” (Atrocities From Beyond), “Fractured Continuum” (Quiescence), and “Stretched and Devoured” (Quiescence), keeping the intensity at its peak and driving the room into a state of total agitation.
With “Apocalyptic Premonition” and “Atrocity Deeds” (Atrocities From Beyond), the audience’s response reached new heights: many fans climbed onto the stage to dive straight into crowdsurfing, creating a constant flow of bodies over the crowd and complete communion between band and audience.
In the final stretch of the main set, “Genetic Mutations” (EP Dehumanization by Supremacy) reinforced the more direct and brutal character of the performance, paving the way for an encore met with immediate enthusiasm.
The concert concluded with “Viral Disease” (EP Dehumanization by Supremacy) and “Quiescence” (Quiescence), sealing a heavy, technical, and visceral performance that confirmed Analepsy as one of the most consistent forces in Portuguese brutal death metal, leaving the audience exhausted and ready for the festival’s final chapter.
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TEETHING – Absolute Chaos and Total Communion
Teething had the mission of closing Xapada Fest, and the Lisbon-based band fulfilled it with an intense, chaotic performance deeply connected with the audience. Known for their explosive fusion of hardcore and grindcore, Teething transformed RCA Club into a space of collective liberation, where no barriers existed between stage and crowd.
The show kicked off with an intro sample, setting the stage for “Roach Apartment”, “Striking Fires”, and “Beth”, all from the album Help, immediately accompanied by circle pits, raised fists, and a fully engaged audience.
Next came “Vandalize!” from the EP That Night We Regret, maintaining the intensity, followed by a purely grindcore moment with “Your Boyfriend Sucks” from the EP Anaconda, short, direct, and explosive.
The band then dove into The Map Says We’re Fucked with “Devilock!”, “Teethgrinder”, and “Starting Fire”, keeping the venue in constant frenzy, with fans repeatedly climbing onto the stage and crowdsurfing.
The set returned to Help with “Just Kiss”, before moving to the EP We Will Regret This Someday with “Mic Check” and “You and Your Fucking Car,” consistently met with an immediate response from the audience.
Again from Help, “Your Band Sucks” was followed by “Filipino Violence” from the EP We Will Regret This Someday, one of the most intense moments of the night. The vocalist, Luisifer, of Filipino origin, jumped several times into the middle of the crowd, singing surrounded by fans and even crowdsurfing.
The final stretch revisited The Map Says We’re Fucked with “White Cross Inversion”, before the encore, where the band surprised with the 2025 singles “Set It Off” and “Firestorm”, ultimately closing the concert with “Empty Promises” from the EP That Night We Regret.
Álvaro’s drumming was always powerful and tireless, driving a performance marked by direct riffs, controlled aggression, and unwavering energy. The audience responded in kind: constant headbanging, circle pits, stage invasions, and a room fully immersed until the final notes.
Teething bid farewell to a strong round of applause, closing Xapada Fest in the best possible way — with chaos, unity, and the certainty that this edition was lived to the fullest.
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XAPADA FEST – A Farewell Lived Until the Last Note
Xapada Fest may have hosted its final edition — and that was felt in every note, every scream, and every moment of communion between bands and audience. Over two intense days at RCA Club, the festival was more than a succession of concerts: it was a collective celebration, a noisy embrace between musicians, audience, and organizers, all aware that this could be a closing chapter.
Extreme music served as a common language to express what words often cannot: resistance, dedication, friendship, and belonging. Each band took the stage with the urgency of knowing the moment was unique, and the audience responded in the only way possible — moving their bodies, raised fists, circle pits, sweat, and tired smiles.
The potential farewell carries even more weight with the departure of Rita Limede from the organization, for an indefinite period, a key figure in building and shaping Xapada Fest alongside Sérgio Páscoa. Her dedication, vision, and passion were essential pillars in making this festival a safe, free, and profoundly humane space within the underground.
If this truly was the last Xapada Fest, it ended in the only acceptable way: lived to the limit, without concessions, with truth, emotion, and community. And even if silence follows, what was built does not disappear — it remains in the memory of those present, in the bonds created, and in the certainty that the underground lives through people.
XAPADA FEST does not say goodbye! IT STAYS! ??
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