Copenhell has firmly established itself as a Mecca for those seeking an unparalleled rock experience. From the sizzling riffs to the thunderous drum beats, this festival captures the essence of rock and metal in its purest form. With an impressive line-up of internationally renowned acts and emerging talents, Copenhell consistently delivers an unforgettable feast of headbanging and adrenaline-packed performances.
The festival’s roots go back to its humble beginnings in 2010 when it first kick-started the Danish music scene. Since then, Copenhell has grown exponentially, capturing the imagination of fans around the world and building a reputation as one of Europe’s premier rock festivals. The festival started on Wednesday.
For more than 30 years, Clutch has been gradually enriching the world with energetic blues rock and their contribution to this year’s Copenhell clearly shows that the more melodic and groovy segment has certainly earned its place at the table. Neil Fallon & co, have already released 13 albums and have managed to keep the core members for over 3 decades. Their dedication to their work is clearly reflected in what they bring to the stage. There is a good dynamic between the band members and they deliver a complete and well-rehearsed stage show, with many cool riffs that only a blues guitar can deliver. They also managed to fill both the square and the hill well with the public. Even if it’s not exactly mosh pit music; there was enough momentum in the group’s singing when the probably biggest hit of the band, ‘Electric Worry’, was released! (Mark Vilstrup Pedersen)
What can be said about Mötley Çrüe that hasn’t already been said? As always, the guys put on a great show and don’t skimp on the hits people want to hear. The square and the hills were packed from start to finish as one of the year’s biggest names took the stage, and on Wednesday they were accompanied by two beautiful dancers/backup singers, The Nasty Habits, who also played a major part of the show. made up. Maybe that’s why the band didn’t want any photographers other than their own photographers. The female forms were also a bit of the overarching theme of the show, as 6-foot-tall shapely plastic ladies were blown up during the classic ‘Girls Girls Girls’. The highlight of the show was also probably for some when Tommy Lee got a handful of women and a few men to expose their ‘trumps’, while for others it might have been John 5’s formidable guitar solo. (Mark Vilstrup Pedersen)
Dance with the Dead:
Dance with the Dead certainly delivered a show that stood out from everything else at the festival. The mix of metal and synth was both energetic and fast, giving nostalgic vibes reminiscent of old movies from the 80s with their special use of melodic guitar and up-tempo keyboards. It’s both the kind of music that was used and the background music in horror movies. The atmosphere among the audience was absolutely crazy and the small forest area around the Gehenna stage was filled to the brim. This is despite the fact that the entire concert was instrumental, with samples from both movies and other music. Dance with the Dead, despite a slight delay and shorter running time, pulled it all off from start to finish, and it was certainly an experience you’ll remember. (Mark Vilstrup Pedersen)
Whether it was because the sun had finally set after all festival goers had to wipe the sweat from their brows, or because the playlist contained a large portion of the band’s more soulful songs, the audience was not very lively. the beginning of the concert. This is despite a very good turnout. It was clear that the elderly gentlemen can still draw a huge crowd, but after about 45 minutes the edges of the audience started to disappear. Only part passed. The music itself was, as always, good, and the band also tried to get an already exhausted audience going, but without much success. However, all this changed abruptly when the familiar notes of ‘Pour some sugar on me’ blasted out of the speakers. Suddenly the crowd got their energy back, and you could see people of all ages screaming along from start to finish throughout the song. The concert ended shortly after, but people left with big smiles. (Mark Vilstrup Pedersen)
Zeal and Ardor:
On one of the two smaller stages in Copenhell, Pandemonium, the crowd got ready to welcome the band that many have been looking forward to all day, Switzerland’s Zeal and Ardor. Not everyone can mix black metal with “African American spirituals,” a subgenre of Christian music with a focus on plantation songs created by African slaves in the US. The style later developed into gospel and blues. Despite the paradox of mixing the music of those who burn churches and those who sing in them, Zeal & Ardor’s music worked very well in their own way. Both genres have their own darkness and the music, with its mix of genres, is complicated, to say the least. However, Manuel Gagneux, who delivered strong vocals and seamlessly switched between the heavy soulful melodic tones and the more aggressive black sound, managed to tie it all together. This was clearly not your grandmother’s metal, and both the sound and the atmosphere were original and exciting. It was also reflected in the audience, where it seemed like a hobby to make fun of those who hadn’t heard of it before at their pretty confused, but interested faces. There was a tightly packed and abnormally large crowd in front of Pandemonium, who went full throttle to the end. One can hope to see more of Zeal & Ardor in the future. (Mark Vilstrup Pedersen)
Sick of it All:
The energetic performance of Sick of It All at the Copenhell Festival was a true explosion of energy! It was palpable as soon as they entered the stage. The band’s relentless presence on stage created a well of energy among the audience that spread like wildfire. The crowd went wild during their rousing repertoire, the mosh pits and singing along with unparalleled enthusiasm. It was amazing to watch the band reign the stage with ease, hitting every note with clarity and passion.
The whole audience was left thrilled and hungry for more due to the obvious chemistry between Sick of it All and their spectators. Their performance at Copenhell was a convincing demonstration of their enduring legacy and unparalleled capacity to entertain an audience. It was good to see a punk band like Sick of It All absolutely rip apart at Copenhell on the second biggest stage. (Morten Holmsgaard Kristensen)