What started as an IKINÄ showcase quickly became something bigger at the Hellsinki Metal Festival: a fierce, full-throttle celebration of female metal talent. The Choir of Hecate added new layers of power and drama, the historic collaboration moved from punishing riffs to haunting ballads and left a lasting mark on the night.
Sure it’s a grand spectacle to see 15 Finnish women in metal on stage at the same time, growling, howling and singing.
But it’s the intensity of IKINÄ, hailing from Kouvola, in the southeast part of the country, the Gotham City of Finland—a filmmaker’s favorite when it comes to dark details, grimy gore and mystical forests; a metalhead’s muse where colorful architecture doesn’t blind you and block the feel for heavy riffs. Perkeletto . . . even the old city hall has doubled as a garage for up-and-coming bands!
IKINÄ was founded just about a decade ago by siblings Tuuli (vocals) and Santeri Paju (drums) alongside Katariina Sorsa, who shares the lead vocal duties, and guitarist Samuli Suokas and bassist Aake Lämsä.
On their first two albums Samoista soluista (Of Same Cells) (2017) and Milleniaalin itsehoito-opas epävarmaan aikuisuuteen (A Millennial’s Self-Help Guide to Uncertain Adulthood) (2019) they infused pop influences with alt-rock. This era produced a memorable gym track with a vocal style reminiscent of Disturbed’s David Draiman: “En tullu pysähtyy (I Won’t Stop).” “I won’t give up / I’m just building up my strength inside / This is a mental deadlift.”
By 2023, the band had morphed into one of the hardest acts in the scene.
Songs such as “Sarvet (Horns),” “Aurora” and “Raato (Carcass)”—bangers from their latest independent release Valkyria (2026)—got the crowd moshing and roaring with full-throated jubilation.
“Elämänviiva (Lifeline)” was one of the highlights. The track reminded me of Jinjer at their best. As Tuuli Paju growled, every feature of her face told a story of absolute devotion. Her neck tensed to hold back a flood of sound before unleashing it into the crowd.
Santeri Paju’s locked in grooves, clear accents and rapid double-bass work were impressive, and not least because of the standout drum solo.
Yet this gig was more than an IKINÄ showcase.
It was a massive celebration of female metal talent.
Exit light, enter night! The songs were heavy tonight, and they weren’t of Snow White once IKINÄ and their choir of sirens brought the darkness to the stage.
Depending on the song and its demands, the choir shifted in size.
“Lautturi (Ferryman)” turned the Finnish rock classic by PMMP into one of the most haunting metal ballads of the time.
“Jumalatar (Goddess)” was the pinnacle of the historic collaboration, built to break boundaries.
And they did.
The collaboration left its mark well beyond the stage.
I’ve been humming the melody all week.
It’s your turn now.
