REF 2025 – last echoes of Rasnov citadel

Following last year’s edition, which I found to be an absolute triumph, I told myself I might as well turn my attendance into a full-fledged tradition. Thus, as I write these lines, I can confidently say I’ve already secured my ticket for next year’s edition in Ghimbav. For about a month now, in fact.

Logistically speaking, things ran at least as smoothly as last year. This time around, I managed to arrive a day early, ensuring everything went effortlessly – smooth and easy. I had both the time and the luxury to pick a pitch for my tent, which paradoxically consumed more of my time; when presented with choices, decision-making becomes an art in itself. Last year was far swifter. The campground was so packed when I arrived, that the moment I spotted a modest patch of grass between a few tents, I knew I had to stake my claim right there, or risk my options dwindling to nothing. This year, it took me nearly an hour, despite being equipped with a Decathlon “two-second” pop-up tent. Afterward, I went to collect my festival wristband. It was a complete departure from last year’s two-hour ordeal. When I arrived, there were only a handful of people and a few drizzle drops. Smooth sailing, utterly hassle-free. Granted, lines did form later on, but I only noticed them en passage, baby. Arriving a day early is clearly worth it. But hey, don’t rush in. 🙂

The food court’s offers were pretty much in line with last year’s offerings, which is to say, good, varied, plentiful, and catering to almost every palate. And yes, the éclairs made their return. Brilliant.

In terms of the bill, this year boasted some absolute heavyweights, offering stellar representation across the entire sonic spectrum, from the underground to the mainstream, and from the soft and mellow to absolute bone-crushers. Gojira, Emperor, Mastodon, Machine Head, Obituary, Septicflesh, Nile, Kataklysm, Brujeria, Within Temptation, Katatonia, and Covenant were just a few of the mandatory acts on my checklist.

While I lack the historical context of earlier iterations, except for 2024, I can confidently assert that this year saw the highest turnout yet. There were sets where moving an inch was a literal impossibility. Squeezing through the flanks was a lost cause, and the dense, monolithic mass of bodies extended far past the FOH tents, bleeding into the food court and toward the exit. During Gojira, I barely managed to secure a viable vantage point. That entire sea of humanity felt like a single, living organism. Personal autonomy dissolved entirely. You moved and breathed in tandem with the collective. Hive stuff. Remember the wasps from last year? 🙂 Sepultura elicited a nearly identical phenomenon, perhaps a fraction looser behind the FOH stations, but barely.

I am still inclined to believe, much as I did last year, that the Andrei Calmuc stage possesses a singular magic. It plays host to genuinely compelling billings and radiates an exceptional energy. It may be as well due to the fact that the ground slopes gently downward toward the stage, creating a natural amphitheater effect. As you retreat further back, you gain a magnificent panoramic view, a stark and far superior contrast to the main stages, where the reverse layout forces you to crane your neck, especially if you find yourself further back or happen to be positioned behind a particularly tall crowd.

I will refrain from dissecting individual performances in granular detail, just as I did last year. Much like music itself and our varying tastes, the way we perceive a live artistic performance  is inherently subjective. It hinges entirely on how one resonates with a specific musical architecture, the sonic energy, and, of course, one’s fleeting disposition. For instance, I unfortunately missed the last few songs of the Gojira’s set. I wasn’t feeling particularly well, and the sheer density of the crowd made finding a decent vantage point impossible, prompting my early departure. Yet, in a twist of supreme irony, by the time I reached my car on the opposite side of the citadel hill, the entire performance echoed through the air absolutely crystal clear.

Generally speaking, however, the acts I anticipated most delivered unequivocally. Furthermore, I discovered other bands that put on truly memorable shows, such as 1914, Orange Goblin, and High Parasite.

One phenomenon worth noting is that the very bands met with widespread booing upon their initial announcement ultimately generated an indescribable frenzy. The turnout was massive, the revelry ecstatic. This proves to me, once again, that things are never quite what they seem on the surface. The festival is neither dull nor lacking an audience, and the attendees don’t actually harbor genuine malice or disdain. Quite the contrary. I’d say it’s a healthy sign. Let’s see what happens next year, when things seem poised to expand to entirely new dimensions.

See you next year, in Ghimbav.