Czech DIY punks Rabies opened the night, with an intense taste of what was to come. Kim Beamish
For one week, Cambodia became the epicentre of underground metal and hardcore, as Slam City III roared through Siem Reap province and Phnom Penh in a relentless showcase of raw energy and uncompromising sound. What started as a grassroots movement years ago has evolved into a festival that not only amplifies Cambodia’s own heavy music scene but also pulls in international acts from across Asia and beyond.
With final shows at “Noisy Chilli Taphouse” and “Cloud” in Phnom Penh, Slam City III cemented itself as a key event in Southeast Asia’s underground music circuit. More than just a festival, it’s a statement — a declaration that metal and hardcore in Cambodia are here to stay.
A scene that refuses to be silent
The country’s own heavyweights — Reign in Slumber, After God, Doch Chkae and Nightmare A.D. — held their own against a lineup of international talent. This year’s festival featured Switzerland’s People Die at the Fair, Singapore’s Opposition Party and Truth Be Known, Japan’s Seventh Son and Eleanor, and China’s high-energy punks Dummy Toys.
Though Cambodia’s metal and hardcore scene remains relatively small, its influence and ambition are undeniable. The bands performing at Slam City are not weekend hobbyists — they have recordings and albums that could sit proudly alongside major international acts.
Mia Priest, vocalist of Nightmare AD and one of the festival’s three organisers, is even in a band with members of Megadeth and Rudra. That kind of credibility is hard to ignore.
Theara from local heroes Doch Chkae delivered another of his trademark performances, channelling his rage into a single-minded stage presence. Kim Beamish
Siem Reap: Where the noise began
The festival kicked off in Siem Reap at “Atlantis Metal Bar”, a venue that has become the heart of the city’s underground music scene. Run by Chihiro, another key festival organiser, ‘Atlantis is a place where bands play loud, late, and without compromise.
The opening night set the tone, as Swiss band People Die at the Fair unleashed a bass-heavy, growling set that rattled the walls. Over three nights, the small bar pulsed with energy — Opposition Party’s punk-fuelled anthems, Eleanor’s dramatic stadium-ready performance, Seventh Son’s relentless shredding and Dummy Toys’ riotous punk chaos.
At one point, the doors had to be thrown open to accommodate the growing crowd, as even the spirits from nearby temples seemed drawn to the noise.
By the time the festival moved to Phnom Penh, the bar was left in ruins—figuratively, if not literally.
Dummy Toys’ vocalist Xaokui was so powerful that at one point the venue’s power cut out. Kim Beamish
Phnom Penh: A city that knows how to mosh
The road-weary bands arrived in Phnom Penh with little time to recover before launching straight into another round of sonic destruction. Noisy Chilli Taphouse — named after a cat with a particularly terrifying growl — was the first stop.
Czech DIY punks Rabies opened the night, their furious set a fitting welcome to Slam City Phnom Penh. From there, the energy only escalated:
Eleanor returned with their theatrical, gothic metal stylings.
Reign in Slumber's Nel delivered vocals with the force of a storm, her bandmates tearing through their self-described "charred crust metal" set.
Seventh Son brought their high-energy metal anthems to what remained of the stage.
After God’s lead guitarist commanded the space with electrifying solos, while bassist ‘Vichey’ held it all down before launching his instrument into the air.
Then came ‘Bon’.
A heavily tattooed Thai standing in the crowd, he suddenly stormed the stage, grabbed the mic, and bellowed:
“I AM HERE TO ANNOY YOU!!!!”
With that, he let out a guttural roar that sent the mosh pit into a frenzy before disappearing back into the crowd, his mission accomplished.
The night continued, with Opposition Party, Nightmare AD and Dummy Toys each raising the intensity, pushing both performers and audience to their limits. By the end of the night, fans staggered out, drenched in sweat and beer, knowing that the final showdown at Cloud was still to come.
Seventh Son of Japan delivered high-energy metal anthems to the stage. Kim Beamish
Cloud: The final battle
The last night of ‘Slam City III’ was the most intense. Dummy Toys opened with a furious instrumental, Qingqing hammering the drums while Birdie, her giant orange mohawk defying gravity, shredded on guitar. Mid-set, Xaokui launched into her vocals — so powerful that the venue’s power briefly cut out. A quick reset, and they were back at it as if nothing had happened.
Nightmare AD delivered one final, crushing performance.
Doch Chkae’s Theara ignited the pit, his vocals and stage presence channelling pure, unfiltered rage.
After God took it up another level, with Bon once again stepping onto the stage, this time looking like he was about to carry out Doch Chkae’s lyrical threats himself.
Then, Singapore’s Truth Be Known closed the night with a set that blurred the line between performance and riot. Lead singer Subash — a whirlwind of long hair and fury — led the band through a relentless barrage of thrash anthems, his three guitarists pushing the sound to the absolute limit. The crowd surged, bodies colliding in a final eruption of noise.
And just like that, Slam City III was over.
But before leaving the stage, Subash had one last thing to say:
“I hear there are only four metal bands in Cambodia,” he grinned. “Well, next time we’re here, I want to hear 40!”
Festival organiser Mia Priest, here on vocal duty for Nightmare A.D. has been a long-term supporter of the Kingdom’s nascent scene. New bass player Joe was thrown in the deep end with a phenomenal atmosphere. Kim Beamish
The future of metal in the Kingdom
As the final chords faded and exhausted fans spilled into the Phnom Penh night, one thing was clear: Slam City wasn’t just another festival — it was a turning point.
Cambodia’s metal and hardcore scene is still small, but it’s thriving. Bands are recording, touring and proving that the country has a place in the global heavy music landscape. The passion, energy and sheer volume of Slam City III demonstrated that this is no passing phase.
And if Subash’s challenge is anything to go by, the next time the festival returns, the scene will be even bigger, even louder and even harder to ignore.
For now, Phnom Penh sleeps — but its ears will be ringing for a long time to come.
Kim Beamish is an Australian freelance writer and filmmaker, with a notable interest in cultural events and global affairs.
