On February 6, 2025, the Nihility Across America Tour descended upon Hangar 1819 in Greensboro, NC, delivering a night of sheer sonic devastation. Headlined by Polish technical death metal titans Decapitated, with support from the crushing Incantation, the ferocious Darkest Hour, and the shred-heavy Exmortus, this tour was a celebration of extreme metal in all its forms. From the first blistering riff to the final cymbal crash, each band brought their own brand of chaos, igniting the packed venue into a frenzy of headbanging, moshing, and deafening roars.
Exmortus: Shredding Through Greensboro
Exmortus stormed the stage at Hangar 1819, proving why they’re one of the most electrifying forces in modern thrash. Opening the Nihility Across America Tour alongside Darkest Hour, Incantation, and Decapitated, they wasted no time in commanding the crowd with their signature mix of blistering speed, neo-classical shredding, and warlike energy.
From the opening notes of “Oathbreaker,” Jadran “Conan” Gonzalez and company locked in with razor-sharp precision. “Foe Hammer” and “Mind of Metal” kept the pit moving, while “Storm of Strings” showcased their ability to seamlessly blend classical mastery with thrash intensity. “For the Horde” was a battle cry in sonic form, sending fists into the air as the band fed off the crowd’s energy. By the time they hit “Death to Tyrants,” the room was fully engaged in the controlled chaos Exmortus thrives in.
The highlight came during “Metal Is King,” where Gonzalez and the band put on a clinic in showmanship—trading solos, playing behind their backs, and delivering a finale that left the crowd roaring for more. It was a performance that reminded everyone why Exmortus is more than just an opener; they are a force that leaves a lasting impact.
Exmortus isn’t just a band, they’re a battlefield, a symphony, and a relentless force of metal. If you haven’t seen them live, you are missing out on one of the most exciting acts keeping thrash alive.
Setlist:
- Oathbreaker
- Foe Hammer
- Mind of Metal
- Storm of Strings
- For the Horde
- Death to Tyrants
- Metal Is King
Darkest Hour
If there is one live performance you’d want immortalized in an album this year, Darkest Hour’s set in Greensboro was it. As the second act of the Nihility Across America Tour, the Washington, D.C.-based metalcore legends delivered a masterclass in controlled chaos, seamlessly blending crushing intensity with their signature melodic depth.
Their setlist was a perfect mix of relentless aggression and haunting melody. “The Sadist Nation” hit like a freight train, its politically charged fury still as relevant today as ever. “Doomsayer (The Beginning of the End)” brought a flawless mix of thrash-fueled energy and precision, while “Tranquil” and “Amor Fati” showcased the band’s ability to weave intricate melodies into their raw power. Each song flowed effortlessly into the next, keeping the crowd engaged in a relentless pit of motion.
Then came the moment I had been waiting for “With a Thousand Words to Say but One.” This is the song that defines Darkest Hour for me, and hearing it live was nothing short of transcendent. The haunting intro pulled me in, the crushing riffs hit like a tidal wave, and in that moment, nothing else existed except the sheer force of the music. It was the kind of performance that sticks with you long after the final note fades.
Closing with “Goddess of War, Give Me Something to Die For,” Darkest Hour left the stage in a blaze of sonic fury, proving why they remain one of the most enduring forces in metal. This was the live album that never was, the set you wish you could replay, and a performance that solidified their place as one of the most electrifying bands of the night.
Setlist:
- Societal Bile
- The Sadist Nation
- Stand and Receive Your Judgment
- The Flesh & The Flowers of Death
- Rapture in Exile
- Doomsayer (The Beginning of the End)
- Tranquil
- Amor Fati
- Convalescence
- With a Thousand Words to Say but One
- Goddess of War, Give Me Something to Die For
Incantation
Few bands summon darkness with the sheer ritualistic intensity of Incantation, and at Hangar 1819, they delivered a performance that felt less like a concert and more like a sonic invocation of the abyss. As part of the Nihility Across America Tour, they treated the crowd to a rare and brutal ceremony performing their 1994 death/doom opus Mortal Throne of Nazarene in its entirety. From the first twisted, chugging notes of “Demonic Incarnate,” it was clear this wasn’t just music—it was a summoning.
The album’s punishing mix of breakneck speed and suffocating doom was executed with ritualistic precision (pun fully intended). Tracks like “Emaciated Holy Figure” and “Iconoclasm of Catholicism” showcased Incantation’s mastery of tempo shifts, seamlessly dragging the audience from frenzied death metal chaos into soul-crushing doom-laden passages that felt like the walls were closing in. John McEntee’s guitar tone was monolithic, his guttural vocals resonating like an unholy chant, commanding the crowd into his sonic abyss.
The audience mix of longtime disciples and newer initiates was fully absorbed in the performance. Some threw themselves into the pit’s unrelenting chaos, while others stood transfixed, immersed in the ritualistic atmosphere only Incantation can create. This wasn’t just a show; it was a death metal sermon, and everyone in that room was a willing participant.
A deeply emotional moment came before “Nocturnal Dominium,” when McEntee paused to honor Joshua “Nassaru” Ward, the late drummer and vocalist of Voraath, who tragically lost his life in a drunk driving accident on New Year’s Eve 2024. His words were a sobering reminder of the metal community’s deep connection, urging fans to look out for one another. A GoFundMe has been set up to support Ward’s family, ensuring his legacy extends beyond the music he created. If you wish to support our fallen brother and his family during this difficult time, I will attach a link below.
Closing with the suffocating doom of “Abolishment of Immaculate Serenity,” Incantation proved once again why they remain the high priests of death/doom. Playing Mortal Throne of Nazarene in full was a bold and powerful statement, and they executed it flawlessly. Nearly three decades later, this album still stands as one of the genre’s most formidable works, and Incantation made sure everyone in Greensboro felt every crushing second of it.
Hail the dark lords of death/doom. Rest in power, Joshua “Nassaru” Ward.
Josh Ward GoFundMe
Setlist:
- Demonic Incarnate
- Emaciated Holy Figure
- Iconoclasm of Catholicism
- Essence Ablaze
- Nocturnal Dominium
- The Ibex Moon
- Blissful Bloodshower
- Abolishment of Immaculate Serenity
Decapitated
If there was ever a night that showcased Decapitated’s relentless mastery of technical death metal, this was it. Their Nihility Across America Tour stormed into Hangar 1819, and from the first note, it was clear that this was not just a concert, it was an onslaught, a sonic warpath that left no survivors. For many in the crowd, 2002’s Nihility was not just an album; it was a turning point in extreme metal, a gateway into the abyss of technical death metal brutality. Hearing it played in full, front to back, was not just a dose of nostalgia, it was a full-force reminder of why this record remains a defining moment in the genre’s history.
With Wacław “Vogg” Kiełtyka leading the charge, Decapitated launched into “Perfect Dehumanization (The Answer?),” immediately igniting the room into chaos. James Stewart’s drumming was nothing short of a machine gun assault, his precision driving each blast beat with mechanical brutality, while Eemeli Bodde’s guttural vocals carried the weight of a thousand souls being dragged into the underworld. The guitars were crisp, cutting through the room like a blade, and as “Spheres of Madness” erupted, the entire venue detonated. This was the song that many, including myself, had been waiting for the crushing, hypnotic groove of that iconic opening riff turned the pit into a maelstrom of bodies, limbs, and headbanging fury. For the first time all night, I had to put my camera down just to soak in sheer intensity.
Decapitated’s execution of Nihility wasn’t just tight, it was ruthless. Tracks like “Eternity Too Short” and “Babylon’s Pride” showcased the band’s unmatched precision, each riff locking into place with near-inhuman accuracy. The sheer tightness of their performance made it clear that Decapitated isn’t just playing their old material they are breathing new, devastating life into it. This wasn’t just a nostalgia trip; it was a reanimation of one of the greatest technical death metal albums ever written.
But this show wasn’t just about the music, it was about something more. This night was personal for me. It had been over a decade since I last saw my friend Rusty, and this was the show we chose to reunite for. Back in the early 2000s, Nihility was the soundtrack to our nights spent grinding through Diablo II, its mechanical precision and relentless brutality fueling endless dungeon crawls and boss fights (IYKYK). We had this album on repeat for days, dissecting every riff, every transition, every drum fill. And now, after years of life pulling us in different directions, we found ourselves back in the same room, growling along to “Nihility (Anti-Human Manifesto),” pushing our vocal cords to their limits, trying to match those gutturals just like we did all those years ago.
“You think that destruction is the way
Let your own pain be the answer.”
We did not care if we sounded good hell, we didn’t—but in that moment, it was pure, unfiltered metalhead unity.
After finishing Nihility, the band took a brief intermission, giving the crowd just enough time to process the carnage before diving into a set of newer material. “Cancer Culture” proved that Decapitated isn’t just living in their past—their modern material is just as punishing, just as precise. Vogg’s guitar work on “Iconoclast” was staggering, delivering the kind of technical wizardry that cemented his status as one of the best riff architects in death metal. James Stewart’s drumming was otherworldly, hammering through every track with a mix of brute force and machine-like precision. It was a perfect balance of old and new, proving that Decapitated remains just as vital and aggressive today as they were two decades ago.
This show wasn’t just another stop on a tour it was a reminder of why Decapitated still stands as one of the most respected and powerful forces in extreme metal. The Nihility Across America Tour is not just a victory lap for an old-school album, it’s a declaration of dominance, a performance that proves their legacy is still being written. Whether you’ve been a fan since the early days or you’re just now discovering their music, Decapitated proved beyond a doubt that they remain at the top of their game.
And for me? This was more than a concert. It was a reunion, a reckoning, and a moment that will stay with me long after the final note faded.
Setlist:
- Perfect Dehumanization (The Answer?)
- Eternity Too Short
- Mother War
- Nihility (Anti-Human Manifesto)
- Names
- Spheres of Madness
- Babylon’s Pride
- Symmetry of Zero
- Suffer the Children (Napalm Death cover)
- Cancer Culture
- Never
- Kill the Cult
- Last Supper
- Iconoclast
Final Verdict: A Must-See Tour for Any Extreme Metal Fan
This wasn’t just a concert it was a celebration of everything that makes extreme metal great. Every band delivered a masterclass performance, proving why they are veterans of the scene and still at the top of their game. Whether you were there for Exmortus’ technical thrash, Darkest Hour’s melodic ferocity, Incantation’s crushing doom, or Decapitated’s tech-death perfection, this tour had something for everyone. If you have the chance to catch Nihility Across America, do not hesitate. This is extreme metal at its absolute finest.
Photos by Rocky Kessenger – Through The Metal Lens Photography
Decapitated
Incantation
Darkest Hour
Exmortus
Source: www.antiheromagazine.com
