Baxaxaxa in Chile — The Devil Walks Under the Latin Moon

The first Chilean appearance of Germany’s Baxaxaxa took place at Sala RBX in Santiago on October 10, 2026. Billed as The Devil Walks Under the Latin Moon, the evening brought the group together with Chilean acts Tagirion Est Tiferet, Deathwards and Lex Talionis. The date offered a rare opportunity to witness a cult name from the German black metal underground on a local stage.

We did not arrive in time to witness Tagirion Est Tiferet and cannot offer an assessment of their set. Our account begins with Deathwards, who delivered a notably solid performance and presented songs from their forthcoming debut, Realms of Sin, scheduled for October 30. Members of Baxaxaxa were among those watching, an observation that gave the encounter between visiting and local musicians a particularly direct character.

The same visitors could also be seen attending the opening portion of Lex Talionis. Travelling from Coyhaique, the band stood out through a fast, intense set and a convincing stage presentation. Performing with two guitarists but no bassist, they occasionally left the low frequencies wanting, although their energy and attack remained forceful throughout.

The atmosphere shifted as soon as Baxaxaxa began. Incense marked the opening of the ritual before the band launched into the classic ‘Church of the Antichrist’. Robes, ceremonial details and a deliberate stage presence worked together without distracting from the music. From the opening minutes, the performance carried the authority and precision expected of an established international underground act.

Sound was another of the night's strengths: the instruments remained distinctly audible while retaining the rough edge essential to Baxaxaxa’s material. The clear, powerful mix allowed the slower, darker sections and the band's more aggressive passages to make their full impact.

Audience participation was particularly evident during ‘De Vermis Mysteriis’ and ‘Catacomb Cult’, whose passages were sung along to by members of the crowd. Selections from the band's older repertoire also stood out, bringing different periods of Baxaxaxa's work into the same ritual without making the set feel fragmented.

The band's connection with those present continued beyond the music. Afterwards, attendees had the opportunity to share photographs with the musicians and have records signed — a fitting conclusion to a concert that felt close to its audience despite the distance travelled by the headliners.

The evening also demonstrated the importance of promoters prepared to bring niche underground acts to Chile for the first time. Such dates may never aspire to the scale of commercial tours, but they contribute to a living record of the country's connection with international extreme metal. Baxaxaxa's Santiago performance was memorable not through spectacle alone, but through its sound, atmosphere and proximity to the audience.