Ino-Rock Festival 2024: Two Days of Rock with a Focus on the Scandinavian Music Scene
The Ino-Rock Festival is an annual music event held since 2008 in Inowrocław, a charming spa town in Poland. Traditionally held in the last weekend of August, the festival attracts both local and international rock enthusiasts. This year, the festival took place on August 23 and 24, 2024, and for the first time expanded to two days instead of one, giving visitors the chance to enjoy even more powerful and energetic rock performances.
The festival’s line-up highlighted a strong emphasis on atmospheric and emotionally charged music, featuring a diverse selection of artists rooted in progressive rock, alternative rock and folk. The performances took place at the Summer Theater, adjacent to the picturesque Brine Park. With over 1,000 seats and ample standing space, the venue provided enough room for attendees to fully enjoy the shows.
Day 1 of the festival featured performances by Paatos, The Amazing, Gazpacho and Eivør. These artists, primarily from Northern Europe, brought their distinctive ethereal and dreamy sounds and folk influences to the stage, creating a unique atmosphere characteristic of the Scandinavian music scene. Day 2 continued this theme with performances by Sivert Høyem, Łysa Góra, Antimatter and Michał Łapaj. Ray Wilson‘s distinctive voice and sound added a valuable dimension to the musical line-up.
In addition to the music, the festival featured a lively atmosphere with a food court and merchandise stands. The energy and enthusiasm of the audience, who came from various backgrounds but were united by their love for rock music, enhanced the performances and created an exciting interaction between artists and attendees.
Line-Up Overview:
Day 1 (August 23, 2024)
- Paatos
- The Amazing
- Gazpacho
- Eivør
Day 2 (August 24, 2024)
- Łysa Góra
- Antimatter
- Sivert Høyem with band
- Michał Łapaj with guests
- Ray Wilson with band
DAY 1
The Long-Awaited Return of Paatos
One of the main reasons we decided to attend this year’s Ino-Rock Festival in Inowrocław was the comeback of Paatos. After twenty years, this Swedish band, which has always held a special place in my heart, was once again on stage before me. Their blend of progressive rock, trip-hop, alternative rock and even metal influences has earned them a cult status, though they have remained relatively unknown in the mainstream.
After a long hiatus, Paatos is now returning with high expectations. With an almost completed new album on the horizon and a refreshed lineup, they took the stage again for their first performance in five years. This appearance at the Ino-Rock Festival not only marked their return to the stage but also a potential new beginning for the band.
At the Ino-Rock Festival 2024, Paatos delivered a strong performance that explored both their classic sound and new musical ventures. The set opened powerfully with “Gasoline”, a track that immediately captivated the audience with its perfect balance between dreamy atmospheres and explosive energy. The band successfully preserved the raw and mysterious character of the song live, creating a magical start to the set. Petronella Nettermalm’s vocal performance, supported by a strong rhythm section and layered keyboards, drew the listeners deeper into Paatos’ world.
After this energetic opening, the band continued with “Happiness” , a song that shifted the mood to a more upbeat tone. This track, with its infectious melodies and subtle influences from bands like Porcupine Tree and Radiohead, evoked a sense of joy and introspection in the audience. The combination of hypnotic keys and powerful guitar work resulted in a dynamic performance.
Paatos then surprised the crowd with the introduction of new material, including “Beyond”. This track offered a first glimpse into the dark and profound themes of their upcoming album, showcasing the band’s ongoing musical evolution. Like the other new songs, such as “I’m Letting Go”, “Ligament”, “Chemical” and “Last Ones”, “Beyond” was well received by the audience. The live performance suggested that the band remains true to their signature sound while simultaneously exploring new musical paths.
The set continued with “Gone”, a track from their album Breathing (2011). The performance was both powerful and emotionally charged, with strong contributions from Ivarsson on bass and Hux Nettermalm on drums. The band succeeded in translating the complex, layered sound of the studio recording to the stage.
“Absinth Minded”, another highlight of the evening, offered a dark and immersive experience, where the keyboards played a significant role. The final song of the regular set, “Breathing” was a powerful statement, once again proving Paatos’ ability to combine emotion and musical complexity. The build-up of the song to a climax provided an intense conclusion to the main set, leaving the audience eagerly anticipating the encore.
The set concluded with “Tea”, a song that in all its simplicity and beauty provided a perfect ending to a memorable performance. Sung in Swedish and dedicated to the daughter of Petronella and Hux Nettermalm, this track touched the audience with its delicate and melancholic atmosphere. The transition from soft to intense was masterfully executed, bringing the performance to an intimate and emotional climax.
At the Ino-Rock Festival 2024, Paatos demonstrated that they both respect their past and confidently look towards the future. With a set that struck a perfect balance between old favorites and exciting new tracks, the band reaffirmed their status as an intriguing and innovative act in the (progressive) rock scene. Their upcoming album, which focuses on the impact of humanity on the planet as well as the ever-present themes of life and death, has set high expectations. The audience was treated to an evening full of musical highlights, and the anticipation for what lies ahead is now greater than ever.
The Amazing – A Captivating Return to Picture You
Known for their unique blend of psychedelic rock, folk and progressive influences, The Amazing delivered a set that largely drew from their 2015 masterpiece Picture You. They opened strongly with the title track “ Picture You”. From the very first strummed guitar chords and the melancholic vocals of Christoffer Gunrup, the audience was immediately immersed in the dreamy atmosphere that is characteristic of the band. The music, simple yet rich in emotion, built up to an intense crescendo that instantly captivated the audience. Following this powerful opener were “Safe Island” and “Circles”, tracks that further delved into the depths of Picture You. “Safe Island” stood out with its experimental intro and powerful guitar outbursts, creating a compelling contrast with the more subdued moments in the set. The layered guitar work of Reine Fiske and Fredrik Swahn, combined with Gunrup’s dreamy vocals, created an immersive atmosphere that fully captured the audience.
One of the evening’s highlights was “Broken”, where the band perfectly showcased their Cure-like guitar lines and warm, analog sound. The song gradually built up to a climax, leaving the audience in a nearly hypnotic trance with its unexpectedly soft and beautiful outro.
After “Broken”, the band transitioned into “Asleep” from the album “In Transit”, exploring a quieter and more introspective sound. The subtle build-up and Gunrup’s gentle vocals created a dreamy atmosphere that seamlessly connected with the previous track.
The set also offered a preview of their upcoming album “Piggies” (2024) with the song “Figurehead”. Although new, it fit seamlessly into the set, maintaining the same melancholic mood but with a slightly more modern and darker tone. This penultimate track of the evening left the audience eager to hear what more the band has in store for the future.
The Amazing concluded their set powerfully with “Fryshusfunk”, showcasing their most straightforward rock sounds. A standout guitar solo by Reine Fiske added depth to the track, providing a grand finale to the evening.
The current lineup of The Amazing—Christoffer Gunrup (vocals, guitar), Reine Fiske (guitar), Fredrik Swahn (guitar, keyboards), Alexis Benson (bass) and Moussa Fadera (drums)—played with a synergy that can only come from years of collaboration.
With this set, The Amazing reaffirmed their status as one of the most unique bands in the alternative rock landscape. The focus on their classic album “Picture You” provided a sonic journey that was both introspective and captivating. I find their music incredibly beautiful—slightly ethereal, psychedelic-tinged West Coast rock with rich harmonies and jazzy influences. The concert was a display of musical craftsmanship and emotional depth, leaving a lasting impression on everyone present. It’s a pity they didn’t bring their own sound engineer, as the mixing wasn’t always optimal. It’s also worth mentioning that guitarist Reine Fiske is one of the founders of the first band, Paatos. However, he left the band after their debut album.
Gazpacho – A Melancholic Journey Through Time and Space
Gazpacho’s performance at Ino-Rock was an immersive musical journey that captivated the audience from the very first note. This Norwegian sextet, known for blending classical music, post-rock, ambient and atmospheric neo-progressive folk, focused on their album “Tick Tock” during their set. However, the concert was more than just a musical experience; it was a meticulously crafted whole where every element, from the music to the visual presentation, seamlessly intertwined.
The concert opened powerfully with “Fireworker,” where the virtuosity of drummer Robert Johansen immediately stood out. His phenomenal drumming provided a solid, driving foundation that set the evening in motion. Johansen’s rhythms were not only technically impressive but also filled with emotion and dynamics, perfectly complementing the atmospheric sounds of the rest of the band. This energy was amplified by Kristian Olav Torp’s driving bass lines, providing a solid and pulsating backbone for the band’s intricate and layered compositions.
Lead vocalist Jan-Henrik Ohme guided the audience through the evening with his distinctive voice, capable of being both tender and powerful. His vocals added an extra layer of emotion to the music, his voice perfectly conveying the melancholic and introspective nature of the songs. Often compared to Marillion’s Steve Hogarth, Ohme has a similar ability to infuse each word and note with deep feeling, strengthening the association between Gazpacho and Marillion—a band to which they are frequently likened.
The set continued with an extended performance of “The Walk” in two parts and the suite “Tick Tock”. These songs, which thematically explore Antoine de Saint-Exupéry’s struggle for survival in the desert, were accompanied by haunting video projections in the background. The visuals, featuring sandy landscapes, amplified the themes of solitude and time embedded in the music.
After “The Walk”, the band moved through three other tracks from different albums before returning to “Tick Tock”. “Defense Mechanism” from “Missa Atropos” opened with powerful vocal lines and drums. The song began energetically but transitioned into a deeper, more introspective mood, with the vocal lines building towards a climactic ending. Following this, “Upside Down” from “Night” delivered a dreamy experience laced with melancholic undertones, highlighted by sensitive guitar work and an emotional ending featuring mournful violin and warm guitar tones. This track left a lasting impression with its melancholic beauty. “Sapien” from “Fireworker” offered a profound and intense experience, with its slow build and energy giving the audience goosebumps.
The lighting played a crucial role in enhancing the mysterious atmosphere of the evening. With heavy use of backlighting, the musicians were often seen as silhouettes, appearing more like shadows than people. This created a captivating visual experience that deepened the music, making the band members seem like they were part of the dark, melancholic world they were crafting on stage.
One of the highlights of the evening was the performance of “Tick Tock, Part 3,” where the audience was surprised by the emergence of a male choir, beautifully represented in the visuals—albeit through a sampler. This added an epic dimension to the song, as if the voices were coming from the depths of time and space, creating an intense and unforgettable musical moment that perfectly underscored the central theme of time and transience.
The set ended with “Winter Is Never,” an emotionally charged track from “Tick Tock” that encapsulated the band’s signature melancholia.
Eivør – A Magical Journey Through Musical Storytelling
Eivør, the folk singer from the Faroe Islands, draws inspiration from the rugged beauty of Syðrugøta, the tiny village of just 450 inhabitants where she grew up. With ten studio albums to her name and collaborations with artists such as Ásgeir and Lana Del Rey’s Dan Heath, Eivør is recognized as one of the most eclectic Scandinavian artists and one of the most captivating vocalists of the moment. Eivør’s music is deeply rooted in cultural folklore and the occult, with nearly 1 billion streams and sold-out tours across Scandinavia, Europe and the U.S. This year, she made her second stop in Inowroclaw to present her latest music. With a setlist reflecting the versatility of her discography, Eivør guided the audience through an enchanting musical experience.
The evening began powerfully with “Gullspunnin” from her album “Segl”. The combination of electronic elements and guitar created a dynamic opener that immediately captured the audience’s attention and illustrated her ability to blend various musical styles.
Following the energetic start, Eivør continued with a series of songs showcasing the breadth of her musical range. From the hypnotic “Let It Come” to the powerful “Skyscrapers,” also from “Segl”, she took the audience on a journey through her musical evolution. The contrast between electronic pop and traditional neofolk created a fascinating dynamic that kept the crowd enthralled.
Eivør also introduced four songs from her latest album “Enn”, with the title track standing out as one of the highlights. The track “Enn” was marked by Eivør’s powerful voice and tribal rhythms, exploring themes of war and light in dark times. “Hugsi Bert Um Teg” brought a melancholic mood with soft synths and piano, while “Jarðartrá” added energy and rhythm, delving into humanity’s relationship with the earth. The final song from this album, “Upp Úr Øskuni,” was a powerful anthem of female empowerment, enhanced by throat singing and metal influences. These songs highlighted both the depth of Eivør’s work and the essential role of her band in creating a captivating live experience.
A standout moment of the evening was “Trøllabundin” from her “Eivør“ (2004) album. Accompanied only by a hand drum, Eivør delivered a phenomenal performance that revealed the intimacy and power of her music. The sparse instrumentation emphasized her impressive vocal abilities and the hypnotic quality of the song. This minimalist approach created a profound and moving atmosphere, showcasing both Eivør’s artistic versatility and her talent for entrancing an audience.
Also on the setlist was “Hymn 49,” part of the soundtrack for “The Last Kingdom”. Eivør’s contribution to this historical drama series is a prime example of how music can enhance the mood and emotional depth of a story. “Hymn 49” is a haunting, atmospheric piece that beautifully complements the drama and intensity of the series. With her dreamy, almost ethereal vocals and minimalist musical accompaniment, Eivør created a sense of mystique and emotional depth.
The evening concluded with a powerful encore, “Falling Free,” from her album “Room” (2017). This track closed the set in an emotional and powerful way, highlighting the versatility of Eivør’s music. The return to electronic and emotionally charged sounds made for a memorable conclusion to the show.
At the end of the first day of the festival, Eivør’s masterful performance deeply moved the audience and left a lasting impression. Though many attendees were unfamiliar with her music at the start of the show, Eivør’s versatile set and breathtaking performance won everyone over. Her ability to blend different styles and instruments, along with her captivating and atmospheric vocals, made this show an unforgettable experience. Eivør has proven why she is a unique and revered artist in the contemporary music world and her performance was a stunning end to the first day of Ino-Rock.
DAY 2
Łysa Góra Brings Slavic Folk Soul to Life at Ino-Rock
Łysa Góra kicked off the second day of the Ino-Rock Festival under a blazing sun, delivering an impressive blend of musical styles deeply rooted in Slavic culture. Their “folk soul” music seamlessly moves between folk, rock and even heavy metal, creating a sound that is both energetic and unpredictable. Traditional elements from the Polish countryside and the cultures of their eastern neighbors play a central role in their lyrics, creating a profound cultural connection.
The band was previously led by two powerful “mountain witches”: Dorota Filipczak-Brzychcy, the frontwoman with an impressive voice and Sylwia Biernat, who captivated the audience with her violin playing and vocals. Following Sylwia Biernat’s departure, Łysa Góra welcomed two talented new musicians: Karolina Sienkiewicz on violin and Klaudia Fedyryszyn on cello.
Łysa Góra is further supported by a strong musical foundation, with Piotr Kocimski on guitar, Krystian Jędrzejczyk on drums and Paweł Piotrowicz on bass guitar. Piotr, known for his work with the highly underrated prog-metal band Indukti, adds powerful guitar work to the band, amplifying the dynamics and intensity of their sound. This “wall” of sound supports the vocal and instrumental prowess of Dorota and the new members.
During their festival performance, the influence of their debut album “Toi Hola” was still evident, with a captivating mix of powerful vocals, electric guitars, deep bass and the sounds of cello and violin. However, their set was fully dedicated to their latest album, W Ogniu Świat (The World in Flames). They opened with “Oj Dolo” (Oh, Fate) and concluded with a festive finale, “Wino Porzeczkowe” (Currant Wine).
Antimatter Brings Intense Melancholy to Ino-Rock
Antimatter, led by Mick Moss, delivered a powerful and atmospheric set at the Ino-Rock Festival. Though this was not their first appearance at the festival, it remained an impressive experience that deeply resonated with the audience. Antimatter’s music is hard to categorize but can best be described as a blend of melancholic rock, dark ambient and progressive elements. They combine introspective, emotionally charged lyrics with somber yet captivating melodies, resulting in a unique and profound musical experience.
The performance at Ino-Rock began with “Another Face in a Window,” a track that immediately set the melancholic tone for the evening. Drummer Fabian Regmann and bassist Stephen Harold Hughes formed a solid rhythm section, with Regmann’s precise and powerful drumming and Hughes’ deep basslines providing the musical foundation for the set. Their interplay contributed significantly to the intense atmosphere that defines Antimatter’s sound.
Mick Moss’ vocals were particularly effective, with a voice that can be both tender and powerful, perfectly complementing the melancholic and introspective nature of the songs. Moss’ ability to infuse each word with emotion added an extra layer of depth and connection with the audience.
Following the opener were “Stillborn Empires”, “Partners in Crime” and “Black Eyed Man” which further explored the somber and introspective mood. Moss’ lyrics delved into themes of struggle and isolation, supported by the rich musical backdrop provided by the band.
One of the highlights of the evening was the performance of “The Third Arm” from the album “Black Market Enlightenment”. This track created a hypnotic atmosphere, emphasizing the emotional weight of the lyrics. It explored themes of alienation and control in a chaotic world, with the musical buildup enhancing the introspective experience.
“Heathen” from “A Profusion of Thought” was another key moment, showcasing the band’s power and darkness. With heavy guitar riffs and an atmospheric soundscape, the song created an intense experience that further examined themes of struggle and isolation.
The set concluded with “No Contact” bringing the performance to a powerful close. The combination of emotional vocals, strong instrumentation and the dreamy dark ambiance provided a fitting end to the show.
With their performance at Ino-Rock, Antimatter once again proved that they are more than just a band; they create an immersive musical experience where emotion and depth converge. Their previous performances at this festival had already left a mark, but this set reaffirmed their ability to craft a profound and captivating atmosphere.
Sivert Høyem – a mix of melancholic rock, dark folk and subtle Americana influences
Sivert Høyem, born in Oslo, Norway, is a singer-songwriter renowned for his powerful voice and introspective lyrics. In the 1990s, Høyem, along with friends, founded the band Madrugada, which soon gained popularity both in Norway and beyond. As the band’s frontman, his soulful voice and poetic lyrics drew attention with their melancholic rock sound. After the death of a band member and the temporary suspension of Madrugada in 2007, Høyem pursued a solo career. His debut solo album, “ Ladies And Gentlemen Of The Opposition”, was well-received and established him as a solo artist. Since then, Høyem has explored various genres, including folk, blues and alternative rock. Following the reactivation of Madrugada in 2022 and the release of their album “Chimes At Midnight”, Høyem returned to his solo work. In January 2024, his new solo album, “On An Island”, was released.
With a career spanning over two decades, Sivert Høyem is still one of Norway’s most respected musicians, known for his unique voice, poetic lyrics and captivating performances. Høyem’s music is a mix of melancholic rock, dark folk and subtle Americana influences. His deep baritone voice is his greatest asset, conveying complex emotions from pain and loss to hope and yearning. His work often leans towards the dark and introspective, with slow, immersive melodies and minimal but effective instrumentation.
Sivert Høyem took the stage and immediately set a magical atmosphere. His performance began with “Lioness” from his album “Lioness”, with the dark, atmospheric sounds immediately setting the tone for the evening. Høyem’s deep, somber voice filled the space, giving the audience goosebumps.
Throughout the set, Høyem guided the audience through his rich musical catalog, with highlights including the dark “Black & Gold,” a single released between “Endless Love” and “Lioness “. “ Long Slow Distance” was also heavily dark and even edged towards noise rock. Sivert Høyem overwhelmed us with a deluge of darkness at the start before letting in the light later. The slow, immersive melodies were interspersed with more intense tracks like “My Thieving Heart”, which left some in a melancholic trance.
A particularly emotional moment was the performance of “Prisoner of the Road”, a song with a political edge. The track captures a sense of alienation and longing, highlighting how music can connect in ways that political stances often do not.
Next was the ominous “Now You See Me/Now You Don’t” which, with its dark tones and oppressive atmosphere, heightened the tension further. The song was followed by the long, raw and stormy “Give It a Whirl” which captivated the audience with a swinging gospel twist and a climactic guitar sound.
The exotic “The Boss Bossa-Nova” brought a surprising twist to the set, with its airy rhythms and Southern flair, while “The Rust” deepened the melancholic atmosphere with its electronic post-punk base, blending raw energy with introspection.
Throughout the performance, Høyem was supported by a talented band. Guitarist Christer Knutsen, who also co-produced the album “On An Island”, played a crucial role in creating the intimate and personal atmosphere of the songs. Drummer Børge Fjordheim, who, along with Høyem and Knutsen, recorded the album in an old Norwegian church, provided a subtle yet powerful rhythmic foundation. Guitarist Cato Thomassen and bassist Øystein Frantzvåg added depth and dynamics to the music. Together, they brought the restrained and sometimes raw tracks to life in a way that completely captivated the audience.
The evening concluded powerfully with “Sleepwalking Man” and “Run Away” as Høyem increased the tempo and his band gave their all. The performance ended with the powerful and nostalgic “Majesty” closing on a high note. It was a pleasure to hear this Madrugada classic once again.
Sivert Høyem’s performance at the Ino-Rock Festival demonstrated once again that he is one of the most authentic and immersive artists of his generation. His ability to convey deep emotions, combined with his impressive voice and strong lyrics, makes him a must-see for fans of dark, introspective rock music.
Michał Łapaj Shines with Emotional Depth
Michał Łapaj, known for his evocative keyboard work with the Polish band Riverside, is a distinguished solo artist with a flair for blending atmospheric and melancholic elements in his music. His solo career took off with the release of “Are You There” (2021), showcasing his ability to craft intricate and emotive soundscapes. At the Ino-Rock Festival, Łapaj delivered a captivating performance that highlighted his multifaceted musical influences and talents.
The concert began powerfully with “Session 1” from his album “Sessions” (2022), accompanied by drummer Maciej Dzik and supported by a very good light show. Łapaj then performed four tracks from his debut solo album “Are You There” (2021), with “In Limbo,” “Surfacing,” “Flying Blind” and “Shattered Memories” taking center stage. These compositions, characterized by their melancholic ambiance and rich musical textures, showcased Łapaj’s diverse musical influences.
“In Limbo” an instrumental piece, was performed with a dark, sultry atmosphere reminiscent of Massive Attack’s trip-hop. “Surfacing” demonstrated his mastery in creating a sonic journey that felt both somber and hopeful with rich keyboard layers and subtle electronic elements. The composition built gradually, balancing tension and release to create an immersive listening experience.
The vocal contributions from Mick Moss of Antimatter added an extra emotional depth to “Flying Blind” and “Shattered Memories”. Moss’s distinctive, trembling voice brought intense melancholy and depth to these pieces. “Flying Blind” with its hypnotic, trance-like background and intriguing melody, was a standout moment of the set. The lyrics about separation and misunderstanding, combined with Moss’s vocals, deeply resonated with the audience.
While Łapaj’s performance was a powerful showcase of his ability to merge various musical worlds, fans were left hoping for a future collaboration with Bela Komoszyńska to experience his full range. Overall, Łapaj’s set at Ino-Rock confirmed his position as a versatile and emotionally charged artist in the progressive rock scene, blending influences from electronic music and melancholic rock into a compelling and memorable performance.
Ray Wilson – A Musical Journey of Genesis Classics and Personal Hits
Ray Wilson closed the Ino-Rock Festival with a concert that featured a mix of Genesis classics, his own work and carefully chosen covers. He opened with “No Son of Mine” and continued with Genesis tracks like “That’s All”, “Carpet Crawlers” and “Calling All Station”. In addition to his time with Genesis, Wilson highlighted his period with the band Stiltskin, performing their hit “Inside” which became a number-one hit in the UK in the ’90s. He also played some own songs like “Take It Slow” and “Footsteps”. The band, including his brother Steve Wilson added a rich musical layer, with standout contributions from violinist Alicja Chrzaszcz and multi-instrumentalist Marcin Kajper. Drummer Mario Koszel was positioned behind plexiglass to maintain the sound balance. Ray Wilson included Kool Lyczek in his band as a keyboardist. Lyczek’s contribution to the Ray Wilson Band involves enhancing live performances with his keyboard playing, which is often praised for its ability to add both subtle and powerful musical layers. The concert ended with an intimate acoustic medley, providing an emotional close. Ray Wilson proved his worth as a torchbearer of the Genesis legacy while honoring his Stiltskin period and showcasing his own style, delivering a fitting finale to the festival.
Report by Jaak Geebelen with thanks to Ela Williamson for her assistance in this coverage. This festival is the result of collaboration between the city of Inowrocław, Kujawskie Centrum Kultury and Rock Serwis Agency Piotr Kosiński.
We’re a group of Prog-lovers who started a journey to share with you our thoughts about albums, concerts, tours and festivals, the photo galleries of the Prog concerts we visit, as well interviews with upcoming or established musicians or prog-related people. Follow our Facebook page for frequent updates and news around the Progniverse.