Behemoth @ The Vic, Chicago (US)

BEHEMOTH / DEICIDE / ROTTING CHRIST / IMMOLATION

Date: 25th April, 2026
Venue: The Vic Theatre
Ticket Price: $49/€42 - $139/€118
Promoter: Jam Productions

BEHEMOTH have built a formidable presence in the States, with every tour drawing more followers into their ecclesia. This time, the Polish Blackened Death Metal force assembled a truly imposing package with bands not only aligned in philosophy and sound, but also carrying decades of history. Seeing the Chicago date sell out came as no surprise.

Indeed, Vic Theatre looked packed as the stage crew was putting the final touches for IMMOLATION. Having a band like IMMOLATION as openers speaks volumes on the massive gravitas 'The Godless IV' is moving across the States.

The recorded intro signaled IMMOLATION’s arrival, and without hesitation, "These Vengeful Winds" set the tone for a night that would demand full engagement from the crowd. Bathed in red light, the band pushed hard to fit as much brutality as possible into their set. The front rows responded instantly, with a mosh pit erupting as "The Ephemeral Curse" followed. Ross Dolan led with his unmistakable growls, while Robert Vigna and Alex Bouks delivered razor-sharp riffs. Behind them, Steve Shalaty's relentless drumming anchored the band's crushing sound. When Dolan called for noise and “raised horns,” it may have sounded cliché, but seeing the crowd respond, remains one of the clearest affirmations of a band's impact.

The 26-year-old "Swarm Of Terror" intensified the headbanging while showcasing IMMOLATION's consistency. “We are so blessed to have your support,” Dolan noted, a loud reminder of the bond between this band and the audience. A strong three-song run followed, with "Attrition" and "Adversary" from "Descent" surrounding "Act Of God". Dolan also acknowledged the tour lineup, humorously renaming it 'Jurassic IV' to reflect the decades-worth of history each band has on its shoulders.

That sentiment made it fitting to revisit "Immolation", the first song they ever wrote, before closing with "Bend Towards The Dark". A powerful set that left little doubt, but I am sure IMMOLATION will return to Chicago soon.

IMMOLATION setlist:

01. "These Vengeful Winds"
02. "The Ephemeral Curse"
03. "Swarm Of Terror"
04. "Attrition"
05. "An Act Of God"
06. "Adversary"
07. "Immolation"
08. "Bend Towards The Dark"

IMMOLATION

Even though I've seen ROTTING CHRIST on both sides of the Atlantic, the excitement remains undiminished; if anything, it has only grown stronger. Their persistence and renewed focus on the U.S. have sharpened their impact, and as one of the defining forces of Hellenic Black Metal, they show absolutely no signs of wear.

With "Triarchy Of The Lost Lovers" as a backdrop, the Greek legends took the stage, with Themis Tolis greeting the crowd, before Sakis stepped forward: “Good evening, Chicago, we are ROTTING CHRIST from Athens, Greece, and we’re gonna play f*cking Black Metal.” The mid-tempo, snare-driven "Dies Irae" from "The Heretics" kicked off the Hellenic Black Metal ritual, with the intensity steadily building from there. “Feels great to be back here,” admitted Sakis, before the unmistakable ROTTING CHRIST riffing introduced "Demonon Vrosis", instantly reigniting the mosh pit. Watching the energy of the four-piece onstage, it became clear that this had to be one of their strongest Chicago performances, even without headlining. Each member looked locked in, determined to make the most of their time while drawing the crowd deeper into the set.

Themis then launched into the blast-beat assault of "Kata Ton Daimona Eaytoy", a personal favorite from the band's recent era. Hearing the Greek lyrics carried a different kind of pride, and this is why it felt rewarding to sing along, chant the riff, and watch the pit move in sync with the tsabouna melodies.

ROTTING CHRIST are far from resting on their laurels, continuing to expand the Hellenic Black Metal sound with each release. The epic "Like Father, Like Son" from "Pro Xristou" proved how effectively the album's atmosphere translates at concert volume. It also made me think that this record deserves a stronger presence in the setlist. Though, given the limited time, that wasn't possible on this night.

Sakis then began reciting the ancient Greek verse of "Elthe Kyrie", fueling the crowd even further as the pit intensified and crowd-surfers started making their way toward the photo pit. The primitive "Dub-Sag-Ta-Ke" rode that momentum seamlessly, pushing things closer to a peak that would come with the THOU ART LORD cover. Bassist Kostas Heliotis called for a wall of death as Sakis introduced "Societas Satanas", with the snare signaling the charge for the crowd to unleash everything they had left. The song hit hard, so much so that it felt like a finale, even though one more song remained.

Sakis began chanting “grandis spiritus diavolos”, with the guitars gradually joining in to bring the set to a triumphant close. It may have felt short, but the intensity never dipped from start to finish. See you soon, brothers!

ROTTING CHRIST setlist:

01. "Dies Irae"
02. "Demonon Vrosis"
03. "Kata Ton Daimona Eaytoy"
04. "Like Father, Like Son"
05. "Elthe Kyrie"
06. "Dub-Sag-Ta-Ke"
07. "Societas Satanas"
08. "Grandis Spiritus Diavolos"

ROTTING CHRIST

Of course DEICIDE need no introduction. Active since the mid-’80s under their original name AMON, the band has built a legacy defined by both longevity and controversy. A simple backdrop with their iconic logo above Steve Asheim's drum kit was all the stage presence they required; the rest came through an eleven-song set that hit like a ten-ton hammer on the Vic Theatre stage.

“Chicago, Illinois, let’s f*cking do this!” Benton roared, opening the gates with "When Satan Rules His World". The song instantly brought back memories of the reaction to "Once Upon The Cross" in the mid-’90s, when some retailers refused to stock it, with controversy spreading beyond the U.S.; a reflection of DEICIDE’s uncompromising stance and the extreme face of Death Metal at the time.

Taylor Nordberg and Jadran “Conan” Gonzalez drove into "Bastard Of Christ", with Benton delivering the provocative lyrics in his unmistakable growl. The set leaned heavily into the band's early catalog, with "Once Upon The Cross" and "Sacrificial Suicide" keeping the crowd in constant motion as each blasphemous verse landed with force. After tossing a few bass picks into the crowd, Benton turned toward the drum kit as the band launched into the relentless "Serpents Of The Light". “Let’s keep things rolling,” he said, and they did, with Asheim driving "Forever Hate You" with a pounding rhythm, followed by the snare-heavy "They Are The Children Of The Underworld", which slowed the tempo slightly without losing any weight.

"Scars Of The Crucifix" and "Homage For Satan" represented the later era, but the focus remained firmly on the band's first decade. With "Dead By Dawn" from their debut and "Homage For Satan" closing the set, DEICIDE delivered a stripped-down, uncompromising performance: minimal breaks, maximum impact. By the end, the crowd was more than ready for the headliners.

DEICIDE setlist:

01. "When Satan Rules His World"
02. "Bastard of Christ"
03. "Behead the Prophet (No Lord Shall Live)"
04. "Once Upon The Cross"
05. "Sacrificial Suicide"
06. "Serpents Of The Light"
07. "Forever Hate You"
08. "They Are the Children Of The Underworld"
09. "Scars Of The Crucifix"
10. "Dead By Dawn"
11. "Homage For Satan"

DEICIDE

The stage was then cleared for BEHEMOTH's elaborate setup, featuring raised platforms at the front and along the drum riser, with spotlights positioned for precise synchronization. A BEHEMOTH performance is more than a concert; it's a carefully orchestrated visual and sonic experience. While certain elements are clearly rehearsed to maintain that balance, it never diminishes the raw immediacy of the live setting. It's something that's difficult to fully capture in words; you have to witness it.

As the venue lights dimmed, a pulsing heartbeat echoed through the speakers ,while spotlights flickered in sync, building anticipation. Nergal called for action as "The Shadow Elite" opened the set. With Seth and Inferno frequently stepping onto the front platforms, the band immediately established a commanding presence. The three mic stands adorned with cobras and Lucifer symbols added another layer to the already striking stage design.

The crowd responded instantly, and it didn't take long for crowd-surfers to appear. Under red lighting, "Ora Pro Nobis Lucifer" followed, its intro reinforcing the immersive atmosphere.

The stage shifted to stark black and white as Seth and Inferno moved toward center stage, facing each other. Under cold blue lighting, "Thy Becoming Eternal" unfolded, with Nergal urging the crowd: “Chicago, let me see the horns…” The combination of a loud, clear mix and strong crowd participation gave the closing lines even greater weight.

“This is the ‘Godless IV’… a four-headed beast,” Nergal declared, introducing the tour lineup before launching into "Conquer All". Standing elevated with arms outstretched, he delivered the lines as white spotlights formed an inverted pentagram around him. This was one of the night's most striking visual moments. After gauging how many in the audience had seen BEHEMOTH before, Nergal welcomed newcomers to the band's ecclesia, leading directly into "Ecclesia Diabolica Catholica". "Blow Your Trumpets Gabriel" followed, with Seth and Inferno positioned on opposite platforms under white lights, maximizing the stage's full visual potential and setting up a seamless transition into "Nomen Barbarvm".

As "Bartzabel" began, Nergal briefly left the stage and returned wearing the catholic priest-looking mitre from the music video. This was another example of how BEHEMOTH translate their visual identity into the live setting, spreading goosebumps.

Reflecting on the band's first U.S. shows, Nergal acknowledged the significance of performing a sold-out concert decades later, a journey that made nights like this possible. The BATHORY cover "The Return Of Darkness and Evil" injected a raw edge, perfectly setting up "Ov Fire And The Void".

During "Chant For Eschaton 2000", Nergal appeared hooded on the stage-left platform, spitting theatrical blood toward the front rows. The contrast between the corpsepaint and red visuals created a striking image. At the end of the 17-year-old song, Nergal took a bow, and together with the rest of the band, began saying their goodnights. It genuinely felt like the show had reached its conclusion and even the post-show photo was taken, there was more.

Under red lights and strobe effects, BEHEMOTH returned for the epic "O Father O Satan O Sun!", a towering finale that needed no introduction. There were no closing words this time, which somehow made the ending feel more natural, almost as if the encore hadn't been planned.

An epic performance from BEHEMOTH, matched by excellent sets from all three supporting bands. The "Godless IV" continues to prove why it stands out as one of the strongest touring packages across the States this year. Don't miss it.

BEHEMOTH setlist:

01. "The Shadow Elite"
02. "Ora Pro Nobis Lucifer"
03. "Thy Becoming Eternal"
04. "Conquer All"
05. "The Shit Ov God"
06. "Ecclesia Diabolica Catholica"
07. "Blow Your Trumpets Gabriel"
08. "Nomen Barbarvm"
09. "Bartzabel"
10. "The Return Of Darkness And Evil"
11. "Ov Fire And The Void"
12. "The Deathless Sun"
13. "Chant For Eschaton 2000"
14. "O Father O Satan O Sun!"

BEHEMOTH