Welcome To Rockville has never exactly been for the faint of heart, but 2025 turned up the heat – literally and figuratively. With Daytona Beach baking under a relentless sun and thermometers flirting with triple digits, the stage was set for a weekend that tested stamina as much as it celebrated sound. But if rock ‘n’ roll thrives under pressure, then this year’s edition proved it’s practically indestructible. Four days, dozens of bands, and countless gallons of sunscreen later, Rockville emerged not just unscathed but triumphant.
Few genres captured the spirit of the festival better than metalcore, and during the four days, there were plenty of opportunities to enjoy performances from a myriad of bands in that realm. Fit For A King ignited early chaos on the Vortex Stage, tearing through a high-octane eight-song set that balanced precision and fury. “No Tomorrow” and “Backbreaker” kicked off the sweat-soaked frenzy, while “God Of Fire” brought it to a climax, with Ryan Kirby rallying the entire crowd into a unified jump. Bassist Ryan “Tuck” O’Leary nearly levitated from the stage — literally — spending the end of their set crowd-surfing on his back without missing a single note.
Photo by Alex Ochoa / DWP Presents
Asking Alexandria delivered a polished yet visceral performance. Their mix of gritty guitarwork and electronic polish hit hardest on “House On Fire” and “Don’t Pray For Me”, with Danny Worsnop prowling the stage and urging the crowd into motion. A moment of pause came when the band halted the show for a medical emergency, showing a human touch before launching into a roaring finale with “The Final Episode (Let’s Change The Channel)”.
Photo by J Mulka / DWP Presents
Florida’s own Trivium were met with a hero’s welcome. Blistering renditions of “Rain” and “A Gunshot To The Head Of Trepidation” had the crowd screaming every word back at Matt Heafy, who, alongside Corey Beaulieu, fired off razor-sharp riffage. Their set pulled heavily from Ascendancy but closed with a thunderous, unified shout-along to “In Waves” that reminded everyone why this band remains metalcore royalty.
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I Prevail, down one vocalist but not an ounce of intensity, leaned into their heavier catalog. Eric Vanlerberghe carried the vocal weight with raw urgency, commanding attention on “Body Bag”, “Choke”, and “Visceral”. With synchronized lights and well-timed pyros, the band turned “Self-Destruction” into a volcanic blast of crowd energy, especially when the now-iconic line — “If you don’t know the devil, then you don’t know me” — ripped through the night air.
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Memphis May Fire brought the hooks. The balance of melodic choruses and teeth-gritting breakdowns on “Shapeshifter” and “Blood & Water” had the Inferno Stage rocking. Matty Mullins masterfully alternated between soaring vocals and throaty screams, each line seemingly pulled from personal anguish, each chorus an anthem of redemption.
Of course, there was plenty of room for the breakdown masters. Killswitch Engage offered catharsis in sonic form. Their dozen-song set was a blur of fire, emotion, and unrelenting energy. “Hate By Design” and “Rose Of Sharyn” were lit up by massive pyro bursts, but the spiritual moment came with their iconic cover of “Holy Diver”, which saw the crowd collectively explode into movement. Jesse Leach, with a raw, confessional delivery, kept fans both moshing and connecting on a deeper level.
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Bullet For My Valentine, fresh from cutting their much hyped tour with Trivium short, took the Vortex Stage like men possessed. From the opening blast of “Suffocating Under Words Of Sorrow” to the crushing finale of “Scream Aim Fire”, they never let up. Matt Tuck and Michael Paget delivered dual guitar wizardry with effortless confidence, igniting the crowd with every tempo shift and breakdown.
Beartooth turned the Apex Stage into a battle zone of emotion and volume. Caleb Shomo, shirtless and sweating, was a whirlwind of motion, belting out “Riptide”, “I Was Alive”, and “In Between” with everything he had. Every pyro blast felt like a heartbeat; every chorus, a chant of survival. Few bands wore their hearts so visibly on stage.
Photo by Steve Thrasher / DWP Presents
Gothic-tinged and theatrical metalcore mainstays Motionless In White struck a dark contrast with the sunny Florida open air, clad in midnight black and pale white makeup that was further enlightened by a massive display of pyrotechnics and CO2 columns. The highly emotive and mobile presence of singer Chris “Motionless” Cerulli commanded the lion’s share of the audience’s attention as he sang and screamed his way through punchy melodic anthems like “Eternally Yours”, “Another Life” and the Emo/punk-infused “Ghost In The Mirror”, flanked by a metallic riff assault at either side by guitarists Ryan Sitkowski and Ricky “Horror” Olson.
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Ukrainian progressive metalcore stalwarts Jinjer raised hell via the Inferno Stage with a 7 song set that was mercifully free from the technical issues that had dogged them at the Sonic Temple. The tattoo-clad and highly charismatic presence of vocalist Tatiana Shmayluk alone set the masses ablaze beneath the setting sun with a versatile assortment of barks, growls, and serene vocalizations that were nestled comfortably within a tableau of mixed meter beats and nuanced guitar and bass work.
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Knocked Loose brought the most violent pit of the weekend. Their performance was so visceral, so overpowering, it forced the band to stop mid-song (“Blinding Faith”) for a crowd injury. That didn’t stop them. Joined by Matt McDougal and Juan Pardo, their set turned into a chaotic, communal outburst of anger and catharsis. With bizarre Ent-like trees on stage and backlit shadows, the entire set felt like a fever dream with breakdowns.
Photo by J Mulka / DWP Presents
Similarly, as it happened during Sonic Temple just one week before, thrash and death metal firepower were well represented. Exodus brought classic Bay Area thrash at full velocity. With Rob Dukes snarling his way through “Bonded By Blood” and “Strike Of The Beast”, and Gary Holt shredding without mercy, the Inferno Stage briefly became a late-’80s time machine. Circle pits swirled nonstop, unbothered by the heat.
Municipal Waste kept the chaos going with their booze-fueled brand of crossover thrash. “Slime And Punishment” and “Grave Dive” lit up the pit as Tony Foresta barked out orders like a general. With non-stop riffing from Ryan Waste and Nick Poulos, and a rhythm section that hit like a cinderblock, their set was fast, fun, and ferocious.
Photo by J Mulka / DWP Presents
Testament dialed things up with a technical and brutal barrage. Chuck Billy’s growls powered through “Time Is Coming” and “Practice What You Preach”, while Alex Skolnick’s leads elevated the music into something surgical and soaring. Chris Dovas hammered through every blastbeat with mechanical precision. The pit during “Into The Pit” was exactly as advertised: pure, glorious bedlam.
The Vortex Stage was the site where face-melting fury with a hardcore sense of brevity and anger would rival the scorching conditions courtesy of California hardcore maniacs Nails. A no frills brand of extreme aggression channeled through the template of grindcore with death metal overtones, as the quartet proceeded to play their asses off like they were battling their way to the final frontier.
In sharp contrast, Obituary slowed things down with their swampy, sludgy death metal. Kicking off with “Redneck Stomp”, they moved into “The Wrong Time” and “Body Bag” with a groove-heavy crawl that hit like a sledgehammer. John Tardy’s vocals were inhuman in the best way, and Trevor Peres’ and Kenny Andrews’ guitar tones were thick enough to chew.
Photo by Alex Ochoa / DWP Presents
Arch Enemy offered something sharper and more melodic. Michael Amott and Joey Conception delivered laser-precise dueling leads on “War Eternal” and “The Eagle Flies Alone”, while Alissa White-Gluz showcased her dynamic range — screams that scraped the sky and occasional clean harmonies that soared. Their set was a reminder that heavy doesn’t have to mean ugly.
Nu-metal nostalgia and alternative energy found their way to the airwaves, and familiar anthems were sung at the top of thousands of lungs. From Ashes To New fused EDM flourishes, hip-hop swagger, and alt-metal angst to great effect. “Heartache” and “Panic” were Linkin Park – adjacent bangers that got fists pumping and voices raised. A heartwarming moment came when the band invited a recovered fan onstage after a mid-song medical scare, earning thunderous cheers.
P.O.D. leaned into the throwback vibe hard. Kicking off with “Boom” and closing with “Alive”, Sonny Sandoval spun, danced, and whipped his dreads through every note. The band’s new songs off Veritas held their own, but it was the old-school bangers that brought the house down. Meanwhile, Hollywood Undead turned their set into a party, mixing in “Riot”, “Everywhere I Go”, and “Undead” with bombastic confidence. Equal parts chaotic and crowd-pleasing, they balanced serious themes and tongue-in-cheek irreverence. Their use of Ozzy Osbourne-inspired samples added extra flair.
Photo by Steve Thrasher / DWP Presents
Mudvayne’s return was a monstrous spectacle. With full makeup and old-school rage, they ripped through “Happy?”, “Under My Skin” and “World So Cold”. Ryan Martinie’s bass acrobatics and Chad Gray’s manic stage presence were unforgettable, particularly on the throwback material from L.D. 50, where their technicality and weirdness merged perfectly.
Photo by Lexie Alley / DWP Presents
Marilyn Manson entered with fire, smoke, and fury. “These mother**ckers tried to take me away. They failed,” he told the crowd, setting the tone for a defiant set. “Nod If You Understand”, “Sacrilegious”, and the iconic “The Beautiful People” made sure everyone remembered why Manson still holds a place in rock’s dark heart. The visual display of smoke and dancing LED lights in the background was a constant accent to a set dominated by hard and heavy slabs of angst and fury set to Manson’s shrill and haunting voice.
Photo by Steve Thrasher / DWP Presents
Modern rock acts and 90s legacy band also had their time to shine under the merciless Floridian heat. Candlebox celebrated their 30-year legacy by sounding as vital as ever. Kevin Martin belted out “Far Behind” and “You” like he was still in his twenties, with Peter Klett adding bluesy grit to “Change” and “Cover Me”. Their Seattle tribute during “Far Behind” — honoring Layne Staley, Chris Cornell, and Kurt Cobain — hit especially hard. We may as well have been transported back to 1995.
Bush fused nostalgia with a modern sheen. Gavin Rossdale scaled barricades, embraced fans, and wandered the runway while powering through “Machinehead” and “Everything Zen.” In contrast to Candlebox, Gavin and company ended up splitting the difference between their certified classic entries off of Sixteen Stone and Razorblade Suitcase and more recent material since the band reformed in 2010; and their newer material traded blows with the classics, turning the crowd into a roaring choir.
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Incubus brought soulful contrast with “Nice To Know You”, “Drive”, and “The Warmth”, the latter weaving in pieces of “In The Air Tonight” and “Glory Box”. The blend of funky grooves and incidental heavier nu-metal elements made for a unique contrast with much of what had transpired earlier within the modern rock and metal paradigm, and was naturally helped along by the onset of dusk, moderating the temperature a bit. Brandon Boyd’s hypnotic stage presence and the band’s experimental interludes added texture to an already rich set.
Photo by Steve Thrasher / DWP Presents
Building upon the momentum of a grand performance at Sonic Temple 2025, Canadian post-grunge veterans Three Days Grace won over the total love and devotion of the Welcome To Rockville masses in short order from the Apex Stage. The emotional impact of “Away From The Sun”, dedicated to Brad Arnold, couldn’t be overstated. Adam Gontier and Matt Walst shared vocals effortlessly, switching between “Animal I Have Become” and “I Hate Everything About You” with seamless power.
Stepping up to fill in for 3 Doors Down, New York hard rockers The Pretty Reckless braved the heat and arguably saved the day. As both a force to be reckoned with at the microphone and a commanding presence in all other senses, Taylor Momsen led the proverbial charge in her signature black attire through rousing performances of 8 classic songs, buoyed by the vintage grade riff work of Ben Phillips and the rock solid rhythm section provided by bassist Mark Damon and drummer Jamie Perkins.
Photo by Steve Thrasher / DWP Presents
Chris Daughtry ditched any lingering adult-contemporary reputation and went full rock. “The Reckoning”, “World On Fire”, and “Pieces” hit harder than expected, while his reworked version of “Separate Ways (Worlds Apart)” brought Journey’s spirit into a heavier realm. There was an added sense of grit and vitality to every note Chris sang that was reflected in the crunch of guitarist Brian Craddock’s playing alongside the rest of Daughtry’s instrumental lineup.
Photo by Steve Thrasher / DWP Presents
And impossible not to remark the swarms that reunited to catch the post-hardcore extravaganza put on by San Diego’s own Pierce The Veil. Having seen a surge in popularity in the festival circuit and still riding high off the success of their 2023 album The Jaws Of Life, the glass-shattering voice and emo persona of Vic Fuentes and the rest of the band was rivaled right from the beginning of their set by the deafening roar of the crowd that they had drawn. Riveting pop/punk drenched anthems like the opening foray “Death Of The Executioner”, the mid-paced and quirky “Pass The Nirvana” and the progressive-tinged speed rocker “Hell Above” played perfectly to Fuentes’ high energy display, as well as the technical chops of lead guitarist Tony Perry and bassist Jamie Preciado, to speak nothing for the jazzy groove mixed with driving rock beats emulating by touring drummer Loniel Robinson.
Photo by Millz Filmz / DWP Presents
Each night closed with something monumental — and larger than life in both sound and scope.
Green Day brought punk attitude and pure spectacle to their headlining set, proving that their appeal still spans generations. Bursting out of the gates with “American Idiot”, they kept the energy soaring with “Holiday”, “Know Your Enemy”, and the emotionally charged “Boulevard Of Broken Dreams”. Moments of levity came through classic hits like “Basket Case” and “She”, while “Wake Me Up When September Ends” and “Good Riddance (Time Of Your Life)” brought the kind of reflective sing-alongs that only they can deliver. Pyro, fan interactions, and a few playful covers — including snippets of “Free Fallin'” and “Jack And Diane” — rounded out a set that was both massive and deeply personal.
Photo by Who Is Coop / DWP Presents
Shinedown transformed the Apex Stage into a fully immersive spectacle. With pyrotechnics erupting in all directions and Brent Smith guiding the emotional journey, the band rolled out a set that included fan favorites like “A Symptom Of Being Human”, “If You Only Knew”, and an emotional closer in “Second Chance”. A surprise partial cover of 3 Doors Down’s “Kryptonite” paid tribute to their sidelined peers, while the band’s biggest showstopper came in the form of “Simple Man” — joined by Johnny Van Zandt and Rickey Medlocke, bringing Jacksonville pride to the forefront in a truly unforgettable moment.
Photo by Nathan Zucker / DWP Presents
Linkin Park’s return to the festival circuit has been nothing short of a reinvention. With Emily Armstrong now sharing vocal duties with Mike Shinoda, the band’s three-act set, plus a four-song encore, felt like theater, wrapped in nu-metal urgency. “Crawling”, “Numb”, and “New Divide” landed with weight and new emotional layers, while remixed moments (like snippets of “Enjoy The Silence” or “There They Go”) brought surprise energy. Joe Hahn’s ambient interludes smoothed transitions, crafting a flow that was a more immersive experience than a mere concert. Their finale, “Bleed It Out”, was a euphoric exhale from an audience that had given every last ounce of energy.
Photo by Steve Thrasher / DWP Presents
Korn were tasked with closing out the entire four-day marathon, and they did so with a dark pageant of fire, strobe, and sonic muscle. From the primal opening thuds of “Blind” through the deep grooves of “Clown” and “Shoots And Ladders”, their set leaned heavily into early classics but still left room for curveballs. “Coming Undone” mashed unexpectedly with “We Will Rock You”, and the surprise inclusion of “4 U” was a gift for longtime fans. Jonathan Davis’ crowd control was surgical, his every movement commanding full attention. By the time the final chords of “Freak On A Leash” rang out, it wasn’t just the end of a set but the end of an epic.
Photo by Steve Thrasher / DWP Presents
Blistering heat be damned, Welcome To Rockville 2025 delivered a searing lineup that more than matched the Florida scorching sun’s intensity. From sweat-drenched circle pits to euphoric sing-alongs echoing across the Speedway, this year’s edition was a masterclass in controlled chaos – equal parts grit, glory, and good times. If this is what the inferno feels like, count us in for next year’s burn.
Special thanks to Jonathan Smith for his writing contributions to this article.
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