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Stengade, Copenhagen, DEN - 15/4
Album Reviews
Copenhell 2023: Days 3+4
Previous Nextauthor PP date 26/06/23
Perhaps we should not have been praying for that rain as much as we did over the last couple of days. Yes, it's been scorching hot. Yes, the dust bowl known as Pandæmonium needed a good wash-up. Yes, to get the temperature down to just around 21C was much welcome. Be careful what you ask for, though. It's a recurring joke that every year during Copenhell, regardless of which weekend it is scheduled on, we get to experience the wrath of Thor in one way or another. Back in 2017, his relentless fury forced Architects to cease their set after just three songs due to a monsoon's worth of rain hammering upon us from the skies.
As irony would have it, the return of Architects to Copenhell on Friday is spoiled by the exact circumstances: a thunderstorm passes over the festival site just ahead of their set, forcing the festival to evacuate the hills by both of the main stages due to an (arguably overstated) risk of lighting, as well as to cancel the Architects set due to torrential rain and brutal wind gusts risking the equipment on stage. Similarly, Napalm Death's set is cut short and for good reason: one of the large screens next to the stage is blown loose by a wind gust and lands right ahead of where photographers and pit crowd would have been standing.
At the same time, Tutten is apparently at capacity: there's plenty of room inside but the guards are not letting people in except using a one-in, one-out principle. Fortunately, the festival has stocked what feels like enough branded rain ponchos for everyone at the festival: these are being dished over at a reasonable 25 DKK price over the counter at the merch stand faster than band t-shirts and hoodies are.
Did you find the Fernet Bar? It was hidden away from the public: you had to go through what looks like public toilets and such. In you go, and around the corner, you find a bar covered with Fernet. Here you could order fernet, warm (ew), or cold. Honestly, a good place to take a crush or some friends given the secrecy of it all. But it needed chairs and probably better lighting.
ALL PHOTOS BY: Lykke Nielsen, Philip Onyx, Stefan Thor Straten, and Hasan Jensen
For days three and four, we once again sent our photographer Lykke to explore the Copenhell Con in a little more detail. As previously described, this area is dedicated to the nerd culture of all kinds. We've heard podcasts here, a guitar hero competition, and you can even play board games courtesy of Bastard Café. Here are some of her thoughts of the two main acts that were scheduled at the Con.
Florence McLean feat. SKYND: Serial Killers, Criminal Profiling and Metal Music @ 12:30 at Copenhell CON
Once again I found myself sitting eagerly waiting at the CON, this time to listen to a talk about serial killers. I am like many others these days quite fascinated by the darkness of serial killers and why do they end up killing. I didn't know about Florence before listening to her in a couple of episodes of the podcast Mørkeland but I have since read her book “Serial Killers: The Human Behind The Monster", which is a fantastic book to help you understand a bit more about why they do it. In this talk, she had the musician Skynd with her, someone I only recently discovered after watching her support Ice Nine Kills. Skynd has pioneered the genre of true crime music with a grim aesthetic and songs are largely based on disturbing deaths and murders.
Skynd starts by explaining that her name comes from her imaginary friend from her childhood, a friend who helped her spark her interest in serial killers. For her, one of the first was serial Killer Gary Heidnik, while the song about the mysterious death of Elisa Lamb was her first actual single. She later on talks about how much research she does for each case, having brought her own case files. While she can read about the killers from others, it is important to her that she does it herself, in order to get into their heads.
For Florence, it is important to talk about facts from fiction. As a criminal profiler herself, it is quite clear how fiction doesn't quite match real life. When we watch a movie or crime series, we often see profilers out on the scene but this is never the case in real life. Everything is filmed and the criminal profiler will watch these recordings. The profile will also always change as the case goes on. What the profiler does is try to make a story; what happened? Did they stage something? Did they take something from the scene? It's a puzzle you are trying to solve.
The two talk about serial killers such as Arthur Shortkrox and Kathrine Knight, trying to understand the two before ending with a talk about Edmund Kemper, who had an unusually high IQ for a serial killer (usually, serial killers have a normal IQ, while Kemper had an IQ of 145). Kemper had an awful childhood with a mother who would mistreat him at every chance she got (and that is putting it lightly). This resulted in Kemper later killing several people, before realizing it was his mother he wanted to kill. Kemper later said "I hated my mother but I wanted to love her." We then got a surprise premiere of Skynd's song about Edmund Kemper. [9] LN
The two faces of Corey Taylor @ 17:00 at Copenhell CON
I had originally been bummed about the late announcement of the Corey Taylor talk at the Con, our schedules for Copenhell had been complete for a while and I was meant to shoot the band Nestor that started 15 mins after Corey's talk began. However, on the day it got announced that the band had to cancel and the Danish band Red Warszawa was instead taking over the time slot. Anyone knowing me, knows that I do NOT enjoy this band at all. Refusing to go, I instead made my way to the con forty minutes before the talk was about to start and oh boy was it full already! I only managed to get a spot as I was press, and asked Morten Skovgaard nicely if it was possible to squeeze me in. I got a spot on the second row, right behind Corey Taylor's wife and his videographer. Slipknot is a band that will always have a special place within me, so getting a chance to see Corey talk about being a nerd? What more can you ask for?
Corey entered the stage with a stormtrooper on each side, something the rockstar was clearly very excited about. The two stormtroopers also stayed on the stage, ‘protecting' him.
The interview was lead by the Swedish radio host Janne Innanfors who started the interview by checking how good Corey was at pronouncing and guessing danish words such as 'Knallert', 'Mås', 'Bøllebank', and 'Alfons'. This caused lots of laughing as he did not quite get it right. He also admitted that the Scandinavian language is something he struggles a lot with but he is trying hard to get better at it. It was great seeing Corey in such an environment, he seemed down to earth, relaxed, and as someone who was truly enjoying himself.
He then went on to talk about how he moved around a lot as a child and didn't have much. But one thing he did have was his Spiderman comics, which also taught him how to read. That is one of the reasons Spiderman is so important to him. As he got older, he got more into action figures as they were more sturdy, they were one of the few things in his life that gave him joy.
As a collector myself, it was fun to listen to him talk about how he used to have a nerd room called the Vault but now had everything in a storage facility as he's got too much. He wants his room back but he needs to go through everything and decide what is important and not. As he said, he went from a collector to a hoarder. As for favorite toys, Corey mentioned a ‘79 Keller Alien action figure, a Godzilla figure, and original Marvel Secret Wars figures.
We also hear that the ‘78 Halloween movie was his first introduction to horror movies at age 5, and that this ties together with Slipknot. Michael Meyers unintentionally became the inspiration for his mask. Corey then goes on to explain why the band chose to wear masks, explaining that they wanted to become someone else in the music and that you can unleash more when you wear a mask. He also talked about how his mask changes as he changes in his life.
Corey talked about many more things but I cannot write it all down, other things mentioned, Corey has a horror movie in post-production called ‘Zombie vs ninja', his favorite Star wars character is Han Solo and he still cries when he watches Endgame.
I will end this with a quote by Corey as he was asked about bullying.
“There are certain things you have to remember, one of which is that it is temporary. If you can just get through it, you have the rest of your life to try and make amends with it and just make it part of your story." [9] LN
Make sure also to check out our coverage of the first two days of the festival:
Steel Inferno
Steel Inferno @ 12:30 on Pandæmonium
Plain and simple heavy fucking metal – that should definitely do the trick to wake up this Friday. Tasked with this is Copenhagen speed metallers Steel Inferno, and boy, were they the proper antidote for a wake-up party! Despite the area looking pretty much as I left it the previous night, the band do their very best to set the venue ablaze – quite literally. Because with plenty of fire, raw power, and loads of attitude, they do their best to wake up a tired crowd. I've said it before, and I'll keep saying it: Remember (!!!) to watch some early shows and more so with bands, you do not know. Although this wasn't groundbreaking by any means, it was still a pleasant surprise to this scribe, and definitely a band I hope to see more to – despite the eventual shortcomings and lack of energy toward the latter half of the set. Still, very respectable. [6] RUB
Galge (photo by Peter Troest)
The Danish word galge translates to gallows, which is a pretty menacing band name, yet when the quartet appears on stage, they certainly don't look the part of a blackened death metal squad. Bassist Halfdan Geertsen is wearing a rainbow-dyed tee and beach hat, while guitarist Sofus Kromann is dressed in a pink striped shirt, while both of their instruments have a distinct, classic rock look about them. If I didn't know any better, I would guess this to be a ska band, yet as vocalist Søren Tuborg storms in to kickstart the show, any such illusions are quickly and resolutely shattered by his savage growls and domineering showmanship. Yet while the music certainly is brutal, the four-piece plays it tongue firmly in cheek, permeating the air inside the Gehenna zone with youthful enthusiasm. When the standout “Tankeløse tåber" is aired, a stagehand distributes a handful of rainbow-coloured clown wigs to the already grinning audience, encouraging us to embrace the role of the thoughtless fools described in the song's lyrics and mosh like clowns to its infectious groove. The activity in the pit is relatively subdued, perhaps owing to the earliness of the set, but when the brand new single “Kætter" is unleashed, it is as if the level of energy both on stage and in the crowd surges, igniting a circle pit and sending the three standing musicians flying across the stage in a frenzy. It is a fast and furious, hardcore punk-influenced piece that bodes well for the group's looming sophomore album, and it strikes a vivid contrast to the atmospheric darkness of the following, doom-laced track, the title of which escapes me. Here the four musicians seem to be in a more introspective state than earlier, underscoring their penchant for fully embodying the style of their music. But while Galge's show itself is undeniably raw, so, too, is their existing material, which is still missing that final edge to really make their songs memorable beyond the limits of this early afternoon concert. Keep it up and this group is going to be destroying clubs around the country in the near future. [7] AP
Jakob Stegelmann & Aarhus Symfoniorkester
Jakob Stegelmann & Aarhus Symfoniorkester @ 13:00 on Hades
It is no secret that a large portion of the metal community are nerds of all ages at heart, so what better way to repeat the smashing success from 2018 with Jakob Stegelmann & Aarhus Symfoniorkester once more. It is early and the festival fatigue is definitely starting to set in, but it only takes a second for me to start grinning from ear to ear. The “Imperial March" is played to a packed Hades stage and people are already moshing in front - the juxtaposition of impeccably played symphonic music by Aarhus Symfoniorkester and metal pit antics will never not be amusing and the amusement hits a peak as we're treated to the impending horror of the Jaws theme as people make a slow circle pit while raising their hands to make shark fins (or as a friend described it: a “sharkle pit").
Jakob Stegelmann is as charming as ever as he leads us through what he describes as a journey of music with “big emotions". Horror themes like Halloween and Terminator, monster scores like King and Godzilla. Between every movement of the set, Stegelmann will return with great little anecdotes about his life as a nerd that maybe doesn't see as much sunlight as “normal" people and everyone around me are all in high spirits and enjoying it all - as am I. Hearing the video game medley start out with Mute City from F-Zero makes my dork heart sing alongside Doom, Sonic and ending off in a wholesome rendition of the Super Mario theme as everyone sings along and another circle pit is started. Speaking of circle pits, a giant one is created to the fantastically creeping sensation of “In The Hall of the Mountain King" - its continuously increasing intensity being mirrored in the pit hilariously. The concept might seem like easy nostalgia points but I don't really care - it is performed and planned with such love and respect for all things nerdy with such a great response from the crowd that you can't help but just enjoy yourself and be transported back to a simpler time if only for an hour. A perfect way to start the day. [9] KW
Angra
As a youngster, I vividly remember stumbling upon the track “Carry On" by Angra. It was power metal with a capital P, and it just hit all the right notes. Never did I imagine I would get to see that track in particular in a live setting, but here we are! The Brazilians are tasked with the largest stage at the festival, which quickly becomes evident is too large for them to fill. Moreso, the scarce crowd that bothered to show up can largely be described as the classic “spectator crowd. Regardless of this, I'm quickly in awe over how much the progressive element of their music fills the soundscape. And perhaps even more so, how tight and relatively technical it is – largely thanks to the two guitarists Rafael Bittencourt and especially Marcelo Barbosa. On top of this, we have the spectacular vocalist of Fabio Lione who manages to elevate an otherwise rather stale performance to a pretty respectable level. Of course, the last track aired is “Carry On", and it couldn't be a better note to end on. [6] RUB
Haliphron
The scorching sun beaming down on the audience provides a suboptimal setting for this Dutch outfit's gothic, symphonic, blackened death metal theatrics. Haliphron is one of those bands that seems to have emerged out of the blue and right onto every festival poster, with only their recent début album “Prey" to their name — and this fact does nothing to help lift their concert. From a technical standpoint, the music is well played, with particularly the haunting keys and choir vocals of David Gutierrez Rojas and the savaging growls of frontwoman Marloes Voskuil making an impression from the get-go. It is also quite well performed, with Voskuil, in particular, showcasing a commanding presence, smiling wide as she paces back and forth, ensuring that everyone in the front rows feels acknowledged for their support. But something about it all is just… off. Tracks like “Human Inferno" lack their own identity, paying homage to Dimmu Borgir et al. whilst forgetting any original ideas, and suffering from a distinct lack of catchiness. Fortunately, the group's dark aesthetic and the wild antics of Rojas behind his keyboard bring such a strong visual aspect to the show, because if I had to mention even one memorable musical moment in the songs being served, I would be in trouble. It is a concert that leaves me yearning for some kind of epiphany, but as this fails to arrive even after 35 minutes, I decide to check out of the Gehenna area early and head over to watch the next band on my lengthy review list: Strychnos. [5] AP
Defacing God
Defacing God @ 15:00 on Pandæmonium
Defacing God are peripherally known to me and I must admit that I didn't expect the level of show I am treated to. While it isn't the most original setup or sound, everyone donning corpse paint and playing melodic death metal with black overtones, it is all sharply and professionally executed. Lilith never breaks character, speaking in her banshee voice between tracks (“It is way too hot up here for meeeee") and wielding her wooden, pointy custom made mic stand like a very inefficient weapon, while catchy, heavy as shit melodeath is spewed out with an awesome sound mix backing them. Think Arch Enemy with a spice of Dimmu Borgir on top - it's theatrical, fierce and grand. The drums are tight, the solos flashy, the vocal performance top notch.
Lilith is right in one thing - the heat is punishing this afternoon at Copenhell. But the scorching heat at the festival makes it feel like being in hell for real with Defacing God being the house band in whatever dinky bar the demons go to down there. It seems oddly fitting. Defacing God end up being one of the biggest surprises of the week for me. Hell yeah! [8] KW
Strychnos
This Danish trio has been on the receiving end of a veritable hype storm after finally releasing their début album “A Mother's Curse" in 2022 — nearly a quarter of a decade after their formation in 1998. It is an exemplary piece of blackened death metal, brutal yet full of atmospheric melodies. The three musicians appear on stage splattered in blood and grime, presenting a menacing image that fits their music well. Unfortunately, the sound quality is a bit lacklustre, preventing much of Andreas Lynge's crushing guitar riffage from reaching the audience, but also making it sound and feel like a sledgehammer repeatedly slamming into the concrete ground. That is a nice sensation in the context of watching death metal, though I would of course love to hear the melodies instead of only the dense groove of Strychnos' bulldozing music. The bass-wielding frontman Martin Leth Andersen cuts a grim figure on stage by virtue of his acerbic growls and expressions of pure pain, culminating when, before one of the songs, he roars: “We're coming for your children!" Rather than being put off by this disturbing statement, the crowd proceeds to generate a dustbowl of a moshpit, one that soon provides the scene for a truly unexpected moment. As the three musicians are about to unleash another track and a wall of death is formed, one fan takes a knee and proposes to his girlfriend in the middle of the open space. The wall of death is then called off and is replaced by a wall of hugs instead, as hundreds of metalheads surround the newly engaged couple in a collective embrace, soundtracked by an absolutely devastating piece of death metal. I have to admit that I had expected the show to be even more intense, however. Strychnos deserve to perform in darkness, but the trio, completed by drummer Nis Rode Larsen, do what they can to render this into a haunting concert all the same. It may just be me, but the combination of a poor sound mix and the intense sunshine leaves me thirsting for more, something that the band is certain to achieve in a club setting at one of their many upcoming shows. [7] AP
Korpiklaani
Korpiklaani @ 16:00 on Helvíti
Another day, another party starter! Entering the stage exactly 24 hours later than the electro core-party starters of Electric Callboy, the Finns in Korpiklaani are about to dropkick yet another massive beer-fueled dance party on an eagerly awaiting crowd. Despite having two Finns on the reviewing team, I was tasked with the review – but I definitely don't mind, because I always have a great time with these guys, today not being an exception to it. Everyone dances around on stage, as the violin, accordion, and mandolin help create a soothing and melodic soundscape perfectly accompanying the hard-pounding drums and bass. The crowd is treated to all the alcohol-themed bangers such as “Beer Beer" and “Vodka", and my personal favourite “Pilli On Pajusta Tehty", the latter with a chorus so infectious that – although I'm still not entirely sure what he actually sings, do my best to sing along to. Despite favouring yesterday's party slightly more – maybe largely due to the element of surprise, I still have an absolutely amazing time with these guys – hopefully soon will again! [8] RUB
Angelus Apatrida
Angelus Apatrida @ 16:45 on Gehenna
Continuing on my quest to see new and exciting bands, I find myself in the secluded area of Gehenna, where the Spaniards of Angelus Apatrida just entered the stage. In case the party over at the main stage didn't wake you up, this sure will! Being a much more forward metal party consisting of a quite impressive take on the thrash genre, it seems as if the crowd has been missing just this! People crowd surf as if there's no tomorrow, and the energy rubs off on stage too! Without any hesitation or room for breathing, the quintet ploughs through one modern take on the legendary genre after another and eventually ends on the higher end of the scale in this scribe's opinion. One of the better surprises at this year's Copenhell! [7] RUB
Red Warszawa's performance at Copenhell 2023 was an awe-inspiring triumph. The band's explosive energy, blending heavy metal and punk with humor, created an unforgettable experience. Their technical prowess was unmatched, with lightning-fast guitar riffs, thunderous basslines, and relentless drumming. The visual spectacle, featuring pyrotechnics and mesmerizing set designs, enhanced the music's impact. Frontman Lækre Jens commanded the stage, connecting with the audience on a profound level. The setlist, a perfect mix of hits and new material, ignited mosh pits and had everyone singing along. Red Warszawa's ability to infuse humor without compromising intensity was refreshing. This unforgettable performance solidifies their status as legends in the metal world. A resounding 10 out of 10, their show is a must-see for all music enthusiasts. [10] ChatGPT
Napalm Death
Napalm Death @ 17:30 on Pandæmonium
What a terrible shame!! Minutes after writing my live caption of a very promising show, the organisers had to cut the show short due to harsh weather conditions and general concern for crowd safety. Safety first, obviously, but only about four songs in, the band left the stage. This was for very good reasons, as eventually one of the massive side screens did crash down into the barrier just next to where the crowd had been standing during the concert. No one got hurt, and we have the proper decisions made by the stage managers and safety personnel to thank for that! Until next time, legends! RUB
Undergang
Being part of the definite death metal underground here in Denmark, Undergang, always seem to have escaped my eyes and years, despite having existed for about 15 years. Eager to check them out in a live setting, I find myself once again in the secluded venue of Gehenna. The brutality and aggressive nature seem to be right up the alley of the attendees in the crowd, and the show was well underway, before the storm – which just an hour earlier cancelled the Napalm Death show, eventually escalated into pouring rain. As has been seen on different occasions, and also with the now two-time cancelled band Architects, rain can cause quite a bit of issue, and Undergang's gig was not without a few itself. One of the amplifiers caved in during the rain, and it sure looked as if the show was over. Eventually, however, they got it back on track, and despite trying their best, it never really felt as good as, say, the Strychnos show (with Martin Leth Andersen the bass player playing in that band too), but still worthy of some well-deserved horns. [7] RUB
Skynd
Skynd seems very intriguing on paper. An Australian electronic alt rock act based around serial killers and other violent acts throughout history seems like an dark, fun concept and the visual experience is on point on stage - the titular front figure looks menacing with her leather hood and white contacts and boasts some impressive pipes in her vocals to the backing of pumping trap and stadion core beats. The drumming is filled with nice details and I find myself nodding along to the catchy pop chorus of “Michelle Carter" with the angsty lyrics “I love you now die!", but apart from that the music itself feels really tame with such an edgy lyrical universe. Add to that there's an abundance of backing track, going so far as having whole lines in the main vocals of a chorus inexplicably on a prerecorded track - vocal harmonies I'm fine with but this is slightly annoying when you could clearly just sing it yourself. Skynd brought the attitude and teenage edginess that I can't help but be a little bit drawn into by the sheer ridiculousness of it all - I just hoped the music could match the weight of the concept completely. [6] KW
END
“If you don't know the lyrics to this song: it sucks to suck you fucking nerd!" Like the music itself, vocalist Brendan Murphy channels the abrasiveness as he continuously berates the crowd to keep the intensity going. “Beat the fucking piss out of each other!" “Come on you fucking losers!" “I want a pit from tree to fucking tree!" You are not in doubt that this is a hardcore show. The pit is on fire, everyone violently pushing each other, spin kicking around, and crowd surfing in one of the rowdiest pits I've seen at the festival thus far. And it is not hard to understand why. END wield their grimy punch-in-the-gut hardcore like a sledgehammer ready to smash everyone to pieces. It is insanely tight and the sound is amazingly punishing as these barrages of breakdowns and circle-pit-worthy fast outbursts pummel the crowd over and over again. “Hell is a reflection of myself" Murphy screams in the groovy “Absence" while one of their biggest bangers “Necessary Death" sends shockwaves through the crowd in its dissonant finale. It is absolute chaos - almost frighteningly so. It seems END are quite seriously out for your life in these hellish 45 minutes. But while one might come away feeling like Murphy hates the audience with his never-ending trash talk - he leaves the stage with a “we love you all!". At the end of the day, it is all in good fun and END provided the necessary outlet for anger at Gehenna. Hardcore shows don't get much better than this. [9] KW
CABAL
The weather gods are against CABAL as their set is delayed by more than forty minutes due to heavy rain and wind gusts that are threatening to take parts of the stage down. Eventually, they get the all-clear, prompting their vocalist to state "I didn't think an hour ago that this show was going to happen". They bring on short burns of pyro explosions and thick deathcore of the mainstream variety, resulting in deep, synchronous headbangs on stage, and an overall brutal, aggressive, and relentless atmosphere. They bring on a litany of guest vocalists throughout their set, and the pit is active with even a couple of crowd surfers, but at the end of the day, this stage is arguably the biggest it's ever going to get for music as brutal as CABAL. They play a combination of "really old shit" and material from their latest record to demonstrate their deathcore prowess, but it's only the front rows of the pit that are captivated. Decent set but nothing particularly memorable. [7] PP
Slipknot
Whenever Slipknot is in town, the show is guaranteed to be good. We've seen them multiple times over the years and their cacophonic mixture of nu-metal and hardcore pounding is always entertaining to watch live. Today, the clown on the left side on top of the elevated platform is doing hand-stands upside down, then climbing and jumping his way down to the stage, only to do a full frontal slide all the way to stage left falling almost off the stage. Later, he and his companion grab a drum each and gather around Jay Weinberg's drumkit to help smash some kit.
Slipknot
It's stunts like these that make Slipknot show's worth returning to. It's an aggressive, sublime delivery that results in plenty of sing-along moments, such as “Psychosocial" or “The Heretic Anthem", all while giant pyro pillars of fire are rising amidst them on stage. There's so much to look at, as the band has a ridiculous amount of people on stage, ranging from their keyboardist in a dark cloak with a tiny decapitated head menacingly displaying it to the crowd to carrying around burning torches on stage during “Duality".
Slipknot
With classics like “People = Shit" and “Surfacing", the crowd is in an eclectic mood and gladly obliges to sit the fuck down for the “Spit It Out" mosh pit. Slipknot might have seen better days in terms of live shows - they used to be perfect day in and day out - they are still some of the best entertainment available out there for the main stages of festivals like Copenhell. [8½] PP
Lamentari
The task of closing down Gehenna Friday was bestowed upon a local force of nature. Because when it comes to theatrics, creating an ominous atmosphere, and really putting on a show for the crowd, my thoughts usually go to bands such as Dimmu Borgir, Fleshgod Apocalypse, or even Batushka. But in a Danish context, we have our very own Lamentari. Not unlike at least two of the former bands, they deal in the realm of symphonic black metal – something they excel quite well in, despite only having existed for roughly four years. For this showcasing they tried to up their game ever so slightly, because as they enter the stage, it was with a full-backed choir, similarly dressed as the band: dragged in black robes with menacing corpse paint. So far, so good.
Lamentari engulfed in fire!
As have been accustomed at, say, any Batushka gig (the “true" or the “fake", for that matter), so too enters Lamentari to monk-like chanting and lit candles, which helps set the atmosphere of the forthcoming mass. And then it just explodes. With plenty of fire engulfing the stage, it almost feels as if the very stage itself is lit on fire! With lead singer Daniel Lønberg towering around on stage commanding every move of the crowd, it sure seems as if they have been doing this for decades. The professionalism and showmanship – and also a thorough understanding of creating the perfect atmosphere for a show like this, is why Lamentari has risen so fast in ranks – and probably also why they last year placed third in the Wacken Metal Battle. Truly impressive. On top of how the weather gods have been acting the entire day this seems like the perfect way to end a day of destruction, pouring rain, dark clouds, and flashing lightning. Lamentari proves themselves worthy as stage-closer, and they truly deserve everything good coming their way. [8½] RUB
Saturnus
Saturnus @ 23:30 on Pandæmonium
A half-filled Pandæmonium is still up this late for some doom metal. Danish legends in the genre, Saturnus have a new album out on this day and are celebrating a 30 year anniversary. While it is not necessarily my favourite genre of music, I am quickly enveloped in the sound output from the stage. The mellow melodies, spoken word and low growls convey the melancholy perfectly with great sound and tight performances. The clean melody and piano intro of “The Storm Within" is chilling, while “Chasing Ghosts" hypnotises me with fantastic melodic work between guitarists Indee Rehal-Sagoo and Julio Fernandez. So while I am enjoying this a lot more sonically than I had anticipated, the same cannot be said for the stage production. The stage presence from the musicians is expectedly introverted for this type of melancholic music, and that can be fine if you then have something else to draw you in visually. But the lighting is frankly amateurish and feels like somebody just left it on the default settings and called it a day. It doesn't follow the mood or story telling of the music, doesn't match the darkness on display as these musicians are obviously pouring their heart out through these songs to a brightly lit stage and it begins to beg the question as to why I should witness this live and not just put on an album at home. And don't get me wrong: Saturnus have definitely convinced me to do just that but why does Biergarten have better lighting than an actual band playing the festival? Great music let down by boring stage setup unfortunately. [6½] KW
Three Days Grace @ 23:45 on Hades
Can you call a band MyRock champions? Three Days Grace represents exactly the kind of mainstream alternative metal/post-grunge that you tend to hear on that radio station. Yet I don't think people were quite expecting them to deliver such big sing-alongs and a bounce fest like this one. It's crowd-surfers galore, a pit that looks like a trampoline, and rock'n'roll comments like "I've been drinking an hour and a half to catch up with you guys" and "Give it up for Slipknot… never thought I'd say that!" from the vocalist that ensures a solid show. The crowd is chanting Three days grace, three days grace, three days grace! as their heavy, crunchy riffs demonstrate why they have so much popularity on mainstream rock radio.
Three Days Grace
Matt Walst has been the vocalist for Three Days Grace for ten years now, which is what he's celebrating on stage today. Not much is happening on stage, but the pit is in an enigmatic state and pretty much takes care of the concert for the band, culminating in the "I hate… everything about you" sing-along towards the end. It's a solid showing where a drunken crowd ensures that their American radio rock is successful at Copenhell 2023. [7½] PP
Ah, the final day. Your body and soul have been put through a beer-fueled torment over the last few days. Yet your spirit has been cleansed by the heavy metal gods and rock legends. You can feel the tiredness in the air as four-day ticket holders are squeezing the last bits out of their bodies. Some opt to take it easy, and others to go full throttle one more time to break through. The weather continues as patchy and schizophrenic, ranging from hot and sunny to rainy and windy throughout the day, with the main rain culminating on just before Guns N' Roses are scheduled to play on the main stage. We hear through the grapevine that they've requested a five-hour slot from the festival, who promised a maximum of three hours and forty minutes of stage time. All the while no other band is allowed to play on any of the other stages, sigh.
Such megalomania from washed-up rock stars equals passé in this magazine's opinion, yet their popularity within the mainstream crowd is undeniable: there are more people on the festival site today than at any time in Copenhell's past, or at least that's what it feels like. The day ticket holders are streaming in early, as well, given that the entrance queue stretches almost all the way down to the bus stop for the first time this year, and this is already around 2:30 pm! Impressive.
Statement
Statement @ 12:30 on Pandæmonium
As I approach the sunbathed Pandæmonium stage to the tune of “The Reaper" off Statement's 2022 album “Dreams from the Darkest Side", one of the first things that strikes me is the heavy and meaty sound the engineer on duty has cooked up for the Danish hard rock band. The turnout is a bit scant, but the five musicians seem to be unfazed by this, delivering their songs with an earnestness that is difficult to deny. Indeed, at one point, vocalist Jannick Brochdorf even sardonically remarks: “It is fantastic to see so many people here so early… I had hoped for it, but did not believe it", before the quintet then goes on to deliver the anthemic title track from 2016's “Heaven Will Burn". Despite the fact that few in attendance are keen on joining in on the harmonised singing in its chorus, the song is actually pretty decent, and delivered in a much heavier rendition than on record. Brochdorf's vocals, too, are better than I remember — in both the clean and the unclean departments, the latter of which is on full display in the steamrolling “Sacrifice". Nonetheless, I cannot shake the feeling that Statement's music and appearance are like a page from some beginner's hard rock textbook: denim vests, sun glasses, and songs that borrow from virtually all of the genre heavyweights — not least Metallica, whose influence is most strongly felt in the set closer “Indestructible". It is a decent piece of music, one that demonstrates a deep understanding of what makes a good song and showmanship, yet there is very little authenticity or originality about any of it. As such, this opening set of the fourth day leaves a mixed flavour lingering in my mouth, with the attitude, confidence and proficiency of the five musicians standing out, while the songs themselves fail to rise above typical tropes of the hard rock genre. [5] AP
Shaam Larein @ 12:45 on Gehenna
Due to conflicting time slots, I arrive at the Swedish group Shaam Larein's concert some 15 minutes late to immediately be greeted by haunting melodies and a mystical atmosphere lingering within the Gehenna zone. No less than three, enchanting female singers stand before me, their voices intertwined in a mesmerising choir, as though they were conjuring ancient incantations. There is something witchy about their style, especially when set against a backdrop of subdued, yet heavy instrumentation in which it is the keys and swathes of organ that lead the way instead of guitar and bass. It sounds sinister and otherworldly; no wonder that clouds slowly seem to be drawn to it, obscuring the early afternoon sun and setting a glum tone upon the proceedings. “Aurora", taken from the ensemble's 2020 offering “Sculpture", unfurls with a melancholy grace while all eyes fix on the main vocalist's spellbinding showmanship. Her witchy movements are a dance of mystery and seduction, reminding me, to an extent, of Coven's Jinx Dawson and the incredible allure that she creates for her audiences. The songs itself resembles the gothic avant-doom of Messa, albeit with their own personal style established through the strange harmonies in which Shaam Larein's three vocalists sing. They seem to be in and out of tune at once, channeling ancient forces through their vocal chords, and transporting the audience into a realm of gloom and doom where witches rule, and everyone else is their thrall. The aptly titled “Murderer" off the aforementioned “Sticka en kniv i världen" rounds the séance off with an eerie tapestry of sound, its harrowing bass sound bewitching vocals instilling in the spectators — or at least me — a feeling of genuine unease. And judging by the applause that erupts once that song has drawn to a close, I'm far from alone in appreciating Shaam Larein's dark and mysterious, yet also beautiful concoctions. [8] AP
Mammoth WVH
I wouldn't count myself even remotely familiar with the music the son of late legendary guitarist Van Halen plays, but I would be fairly surprised if it wasn't at least in the vicinity of rock ‘n' roll; check. And he too seems like he was born to be on stage. His singing is fairly good live, and even his guitar skills (obviously) are too. I sort of get that “Americaner rock"-vibe or southern-styled vibe, which soothes the much warmer and milder weather this Saturday. The mid-sized crowd seems to enjoy it, and so do I. I stay far out on the right side chatting to some friends, but as I drift in and out, I start nodding along to some of the tracks as well. It's a fairly easy listen, but he did what he came to do, and delivered a respectable showcasing in hard rock. Musically, it doesn't do much for me, but it's clear where he gets his genes from, and I'm sure where ever his father resides, he would agree. [6] RUB
Spectral Wound
Spectral Wound @ 14:30 on Gehenna
I'm very pleasantly surprised with all the amazing black metal at this year's festival, but myyy gooood the timeslots and clashes this Saturday are unbearable! I get how it works with planning and it's quite the puzzle to work out, but putting this Canadian black metal spectacle at freaking half-passed two in the afternoon should be a crime punishable by…. calm down…. I'll leave my anger at the doorstep of Gehenna and instantly pick it up again, as I cross the sound barrier of the venue because these extreme metallers were not going down without a fight! Some could argue that putting on an impressive demonstration in black metal at this time of day would be to traverse the laws of nature itself because it should not be possible to do so in broad daylight. This, however, is exactly what they did. With their blistering, chilling, and spine-ripping black metal they plough through the blazing sun and leave it completely obsolete. Their sheer force and brutality alone just further underline why this music is a better fit for a later time slot. For now, this is simply forgotten as I, amongst quite a large crowd, seem almost mesmerised – or dare I say spellbound, by the performance Spectral Wound put on. Needless to say, you will find me in the crowd, next time they're in Denmark, and if they manage to top their brilliant “A Diabolic Thirst" from 2021, I don't see why these guys shouldn't be going for a headlining tour! [8½] RUB
Livløs
Livløs play a form of thunderous melodic death metal that attracts a huge audience early on at Hades. It's brutal, and fucking loud to the extent where I have to check several times whether my earplugs are correctly in. Their vocalist is in great spirits, constantly swirling and running around the stage like a tornado amidst their thick riffage. The melodies are complex and depth-laden, and the set is delivered tightly despite a whirlwind of energy primarily by their vocalist. When he's not bending down on his knee and headbanging aggressively, he's running towards the other side of the scene, finally entering the crowd during the last song to stand on top of the for a growl session. It's a brutal set that embodies Copenhell's metal spirit perfectly, yet the set is missing something that would capture the audience's imagination beyond just the first front rows of the pit. [7] PP
Forever Still
Forever Still @ 15:00 on Pandæmonium
Although I was not originally assigned to watch Forever Still, a last-minute swap sends me toward the Pandæmonium stage anyway, and there I am presented with a positive surprise. Helmed by the shy, yet charismatic Maja Shining, the Danish alternative metal outfit bears almost all the signs of a great live act. The versatile frontwoman covers a lot of ground on stage, as she sends her impressive voice reverberating through the audience and simultaneously attends to various instruments like a theremin, while guitarist Inuuteq Kleeman storms from side to side, twirling around like a dervish in the process, wearing a look that is part menace, part enthusiasm radiating on his face. Forever Still's performance is a sight to behold, but it is also a musical experience to absorb — at least if the more gothic members of the alternative metal genre, such as Evanescence, Lacuna Coil, Within Temptation fall within your sphere of interests. Shining's vocals are, if not spectacular, then at the very least exemplary, which is plain for anyone to hear during the introspective ballad that is “Say Your Goodbyes", taken from 2019's “Breathe in Colours". It is a poignant moment, as well as a moment of reflection amongst all the down-tuned guitar riffs, thunderous drums, and powerful singing that has been dominating the set thus far. Even more heartfelt is the band's subdued cover of Loud Reed's “Perfect Day", which sees Kleeman seamlessly switching between his main instrument and a tambourine, and Rune Frisch stepping down from his drum platform for play the muted melody in that song on a keyboard. Say what you will about the inclusion of cover songs in a (relatively) short set, but this particular rendition is stunning, delivering a breath of nostalgia and homage to a concert that always seems to be teetering on the verge when it comes to variety. And it also ensures that the impact of the subsequent final track “Embrace the Tide" is felt that much harder, as Kleeman conjures a colossal, bone-rattling sound with an eight-string guitar he has just brought in from backstage. It provides an heavy and energetic ending to a show that, while not exactly exceptional, contains enough standout moments to render it into an unexpected early high during this final day of the festival. [7] AP
Billy F. Gibbons
Billy F. Gibbons @ 15:45 on Helvíti
The dust swirling around in the air before the Helvíti stage is laden with history as the joint forces of ZZ Top's frontman Billy F. Gibbons, the country rock icon Austin Hanks, and the former Guns N' Roses drummer Matt Sorum take their positions amid the sound of a revving motorbike. A large audience has gathered to witness these legends play together, and there is an audible eruption of enthusiasm when the familiar guitar chords of ZZ Top's “Got Me Under Pressure" ring from Gibbons & Hanks' axes. What follows is a veritable hit parade of primarily ZZ Top songs, but also a selection of his solo material and a number of country covers — all of which are united by their same-sounding guitar work, as well as a powerful, albeit invisible bass guitar presence. There is an infectious groove about the tracks that are aired, and the mass of people gathered in front of the stage dutifully claps and sings along to classics like “Gimme All Your Lovin'" and “Blue Jean Blues". Yet as the show progresses, it is impossible to resist the initial, lurking yearning for variety that has slowly worked itself into a ravenous hunger for variety by the time the halfway mark is reached after the latter of those songs. Indeed, the crowd's enthusiasm often feels more akin to paying respects to the past rather than embracing the trio's show, which, while showcasing some of the tightest and most exquisite guitar playing at this festival yet, feels very static throughout the 18 songs that it covers. That raw and rebellious spirit of rock'n'roll is conspicuously absent, replaced instead by a reliance on well-rehearsed routines that have planted the three musicians dead center of the stage as though their feet had been glued to it. Another semblance of excitement does, of course, flare up when Hanks tells Gibbons: “Let's play the one I love" as a prelude to ZZ Top's boogie-driven smash hit “La Grange" off 1973's “Tres Hombres". There is no question that Copenhell had to invite the bearded legend that is Gibbons over for a show. But the combination of a monotonous setlist, showmanship that never truly reaches over the stage edge, and an audience that is composed mostly of casual admirers means that it is probably not going to be remembered as a standout in the festival's history. [6] AP
Night Fever
Night Fever @ 16:30 on Gehanna
Night Fever was a band many hardcore fans found themselves excited about during Copenhell Day 4. Rightfully so, the band came and decided to deliver some powerful vocals. A confident vocal presentation that Night Fever is very well known for. For 30 minutes, for me, since I had to run over to see Fighbone, there wasn't anything other on our minds than how much we appreciated the return of Night Fever after a short break. So, Night Fever came onto the stage, and we were ready; people around had started forming mini pits. And I'm just excited to hear them live.
They lived up to every bit of it. It was fast, heavy, and on Gehanna, so it wasn't bad. Night Fever has a vocalist that can compete with some top-league hardcore bands. He knows this because whenever he had a chance, he would put those vocals on display. With the trusty band behind him to keep him hyped. So fucking awesome. It was what I needed to stretch before heading to Fishbone. [7] KRS
Angus McSix
Did you know Prince Angus invented sound in ancient times, before which there was no sound? And to our great fortune, he also invented stereo sound. Yes, Angus McSix (featuring ex-Gloryhammer vocalist Thomas Winkler) is just about as ridiculous as advertised. Let's start with the fantasy metal band's outfits. The vocalist looks like a Roman warrior, dressed in a Golden six-pack suit. Next to him is an Amazonian warrior, Thalestris. In front of them, is a giant sword that can only be pulled out by the one and only Angus in the universe. The guitarist/bassist looks like Death himself in a cloak and a skull costume. They bring a dinosaur on stage to dance. The Amazonian asks everyone to do an ululululu chant. They are killing flies that are buzzing by, thus getting the crowd to clap for “Fireflies of Doom" to help them kill them off (because they hate them more than Goblins…). It's hilarious and ridiculous, culminating in a quest for an audience member to surf the plastic unicorn of steel (inflatable unicorn) all the way to the bar to fuel the Amazonian guitarist's engines with beer… as she only runs on beer, we're told. Lots of gimmicks, high-flying power metal, and fantasy themes all the way. The musical content is not particularly interesting, but at least the show is pure entertainment. [7½] PP
Fishbone
Fishbone @ 17:00 on Pandænomium
After three days of intense drinking at Copenhell, we have heard a lot of bands and today we finally have Fishbone entering the stage to show us exactly what proper ska legends they are. You see, I love ska, I love Fishbone and I love the overall vibes that come from going to a ska concert. As Fishbone come out on stage, it's apparent that they are here to put on one of the biggest shows in their careers. And everyone is ready for this moment. Angelo Moore, vocalist from Fishbone had enough energy to pass around in the crowd because some were probably more hungover than ever.
But he did manage to bring people to their feet. And with that, people were skanking, honey. From the perfect moment, when Moore threw his saxophone across the stage, where it was perfectly caught by another member. To the interaction from Christopher Bowd, Dirty Walter, and Moore just nailing song after song. To the rest of the band, having a party in the back, Fishbone goes on to prove that it won't ever matter how old you are as long as you accept your age, and still fucking party. This is basically what we all did at Pandænomium during Fishbone, mostly during “Alcoholic", where I and AP joked that it just needed the word “functioning", and that would be our song. Anyway, this show was worth coming out for during the rain. [9] KRS
Ghost
The Helvíti stage is adorned like a grand cathedral, setting the scene for another epic performance by one of the most theatrical acts in rock and metal music: Ghost. Led by the enigmatic frontman Tobias Forge aka. Papa Emeritus IV, the band otherwise consists of The Nameless Ghouls, all of whom are donning futuristic, steam-punk inspired helmets when they emerge amid a burst of fireworks and kick the concert off with “Kaisarion" off the band's latest album “Impera" from 2022. From a purely technical standpoint, the show has been sandpapered into aesthetic perfection, with no corner of the stage left undressed, well-timed pyrotechnics reflecting climactic moments in the music, and a sound mix which leaves no instrument or sung note behind. But after the mandatory sing-along to “Rats", which resides on the group's 2018 offering “Prequelle", it is starting to feel like Papa Emeritus IV has decided to run this one on routine. I cannot really blame him — Ghost has played at Copenhell three times in the past, and two of these appearances have been as the true headliner of the night. It must feel kind of defeating, even when the reason is obvious: Guns N' Roses are also playing tonight.
Ghost
And so Ghost proceeds like a well-oiled machine, delivering virtually all of their catchiest tunes to a ravenous audience gleefully singing along to every word in tracks like “Cirice" off 2015's “Meliora", “Year Zero" off 2013's “Infestissumam", and the viral hit “Mary on a Cross", which is found on Ghost's 2019 double single “Seven Inches of Satanic Panic". All of these massive sing-songs are delivered by Papa Emeritus IV with nigh offensive disinterest, his only notable moments manifesting themselves through several wardrobe changes that reflect his past and present incarnations, as well as of course his customarily excellent vocal performance. All the bells and whistles that constitute a Ghost concert — fireworks, plumes of smoke and flame, explosions of confetti, a sparkling suit jacket during the group's cover of “Jesus He Knows Me" by Genesis… you name it! — seem to transform into mere smoke and mirrors tonight, for a vain and stubborn frontman who obviously doesn't want to be here. Or rather, doesn't want to be playing before Guns N' Roses. The production of the concert is undeniably grandiose and people get to hear and sing along to the songs they came for. But Ghost is capable of so much more, and tonight's show thus ends up feeling like a slap in our collective faces. [6] AP
Speed
Copenhell has seen an abundance of great hardcore shows at this year's rendition of the festival and judging from the attitude that Australian outfit Speed come on stage with, I think we're in store for another one. My suspicions seem to be correct as “gang called Speed" is yelled with tough-guy breakdowns and karate kicks on stage. “This is fucking hardcore!" Speed's meathead hardcore is infectious and while not overly original just a shit-ton of fun. What is somewhat original is seeing the whole band switch around instruments constantly to take over frontman duties between songs - a great gimmick that doesn't seem to deteriorate the quality of the performance at all. Main vocalist Jake Evans is a force to be reckoned with, delivering his lyrics with ferocity and conviction, his stage presence commanding, as he effortlessly commanded the attention of every individual in the venue. 30 minutes of rage is all we get but nothing more and nothing less is needed. Speed provided a riveting hardcore show with enough wink and attitude to make even the most festival-tired person bang their head for a short while. [8] KW
Spiritbox
After a long weekend of brutal and aggressive metal, Spiritbox hits the nail on the head with its ethereal, tranquil form of metalcore and post-hardcore. Their soothing moments are perfect to calm a soul but yet are also beautiful and infectiously catchy. They bring to mind Rolo Tomassi's latest album, while simultaneously shifting to a scream in an instant. Vocalist Courtney LaPlante's demeanor is casual but appreciative, giving away a charming impression as she demonstrates her prowess in terms of vocal range. She's dancing, stomping, and shaking her way into our hearts as the band explores an equal measure of tranquil melodies and humongous breakdowns that far surpass their recorded versions on a large stage such as Hades. "You know why we love playing in Europe?", she asks, "It's because you're so accepting of whatever we choose to play". Apparently, the US audiences are not as keen on the graceful delicacy of their softer melodies as we are here at Copenhell. Either way, their songs are beautiful and expansive and result in a performance that feels not only extremely solid but also like one of the best pure musical experiences at this year's Copenhell. [8½] PP
Blackbraid
Blackbraid @ 20:00 on Pandæmonium
Although Blackbraid's evening set unfortunately clashes with an extremely hyped black metal band in Gaerea, it was never a choice for me which one I would be watching. Envisioned by the recondite Jon Krieger, who prefers to use his Native American name Sgah'Gahsowáh, this one-man act hailing from the Adirondack Mountains in northeastern United States oozes mystique and originality, not least by virtue of incorporating indigenous mythology into his atmospheric brand of black metal music. In the live setting, it turns out that Blackbraid swells into a full-fledged quintet, all of whom are wearing Native American warpaint, facing down the crowd with an intense glare as they unleash their opening track unto it. It is a mesmerising performance from the very beginning, soaring tremolo melodies resonating through the dusk, and powerful cascades of double pedal drumming injecting fear and humility into the hearts of everyone gathered before the Pandæmonium stage. It is as though the heavens themselves acknowledge the grandeur of this group's music, the sky opening up to send raindrops wistfully falling upon the audience during the second song.
Blackbraid
The light drizzle seems to accentuate the themes of nature and paganism that Sgah'Gahsowáh explores through his lyrics, as he prowls the stage with a fiendish energy, wielding his microphone stand like a weapon of war, his long hair blowing in the strengthening wind. His stage persona is incredibly arresting, although the rest of his session band members do not fall far behind in this regard either, each one embodying the music in full and feeding off the mayhem happening in the moshpit in order to generate a sense of disquiet and constant threat. As the concert reaches its zenith in the final song, Sgah'Gahsowáh grabs his microphone stand with both hands and raises it high above his head in a display of atavistic might, commanding the entire crowd's attention as the track soars into a final crescendo, bringing this spectacular performance to its conclusion all too soon and leaving me hoping that that Blackbraid will make a swift return to our ancestral Viking lands. [8] AP
Gaerea
At long last! My eyes are set on Portuguese Gaerea, whom I just interviewed a few hours before this show – that didn't lower my expectations one bit. The weather is dim but notably better than yesterday, so the atmosphere is just right for this kind of display of black metal. Ranking their latest offering “Mirage" amongst the best of 2022, I'm pleased to see a setlist mostly consisting of tracks from that outing. The razor-sharp intensity is instantly visible. Before them, a jam-packed Gehenna seems like the perfect fit for this. New man – at least when it comes to manning the pipes, Guilherme Henriques commands the venue from the very moment he takes the stage, but when it comes to moshing there's no need to demand: It forms in an instant. The emotion and intensity in their music flow directly to both crowd and the rest of the band and leave a lasting mark and an extremely unforgettable experience on the spectators, who almost seem as if in a trance. The sonic nature of the music even gets rather sentimental towards the end of the set, as their music along with their vivid performance eventually erupts in a giant mosh pit and propels yours truly to do perhaps the shortest crowd surf ever – but it was totally worth it. Very tight and to the point, and leaves very little doubt that this band is going places. [9] RUB
Guns N' Roses @ 21:30 on Heltivi
15 minutes late… 15 minutes late… Those were the words I kept repeating to my friends as Axl and the gang took the stage. I'll admit, I wasn't surprised that my shots arrived faster than Guns N' Roses, but I had hoped that it wouldn't be the case this time around.
Guns N' Roses finally decided to join us, and people were cheering. But it was pretty clear, that those once bigger than life itself rockstars were a distant memory. But either way, it's time and Axl hadn't pulled a temper tantrum over anything, so we can only expect good stuff from that moment forward.
As they began their set with “It's So Easy", Axl should've thanked the audience, as it's clear that the voice he once had isn't really any longer there. But lucky for him, the audience could sing along and help. Slash, being that big bragger that he is, pulled off 61 guitar solos. And they were fucking cool. But it didn't change the fact that age has caught up with them, and they too have accepted that. But what a party, it was rowdy to the point where I once again decided to wonder why I wasn't sitting on the hill. But rain, so no. After three hours and ten minutes, I needed a break, but still pleased that I got to hear and sing along to “Welcome To The Jungle" and “Sweet Child O' Mine", so I'm okay over here! [6] KRS
Demon Head
Demon Head @ 00:30 on Pandænomium
Due to Guns N' Roses, Demon Head had a bit of a late start, and the sound reflected that, to be honest. The energy that they had made up for the lack of work the sound techs had at the beginning of the set. But suddenly it was fixed and everything was good. Actually better than I honestly expected from a band with the name “Demon Head", and I'm not being judgemental. But as the festival was drawing to a close, the crowd was also getting bigger as people wanted to catch the last few bands. And Demon Head did deliver throughout the whole set. The lights, the pyro, and the vibes around me brought my mood way up as I was preparing for the post-festival blues. Overall, Demon Head was here and ready to close down this year's edition of Copenhell, and what a joy they were to experience. [8] KRS
Afsky
So, Guns N'-fucking-Roses played, did you notice? Not only did they have a set longer than that of epic proportions, they managed to ensure the reminder of the bands couldn't even play their shows, until Guns' were done. What's even better: They were playing 30 minutes longer than initially scheduled, leading me, once again, to conclude: fuck Guns N' Roses. Now that the bile is out of the way, I can proceed to the final show on Gehenna and who better to close that stage, than atmospheric black metallers in Afsky. As soon as the show gets under way, it becomes evident that they did not spare any expense when it comes to closing the stage in proper fashion. After a very sombre acoustic intro, the entire venue is bathed in a spectacular light show, maybe only rivalled by Zeal & Ardor on the very first day of the festival. Coupled with haunting spectres of smoke engulfing the entire area in front the of the jam-packed venue, the band enter with lit torches. In front of us lies a full nine songs, showcasing just how good of a band Afsky has become. Or in fact, have always been, because Ole Luk, the main guy and lead singer of the band, is simply an incredible talent when it comes to writing captivating stories and melodies told through chilling shrieks and ice-cold atmosphere. The set consist mostly of tracks from the latest offering “Om hundrede år", and although I personally liked the previous one, “Ofte jeg drømmer mig død" slightly better, it's still a very hypnotic experience to witness; and it would seem as if the entire crowd is in similar state of mind, as every song is enjoyed to the fullest. The prowess of the songs – all sung in his native tongue, at this time of the night, is definitely one for the history books. The lasers switching from dark blue, to chilling red to light blue, makes the entire concert stand out as one of the performances you will look back on years to come – just like Orm did, when they closed the exact same stage at last year's edition. People in the crowd give it their best and squeeze out the last bit of crowd surf and aggression piled up in side, and as the onslaught of blasts and strobes finally conclude, I'm once again taken aback by the performance of these guys. Truly one of the best black metal bands Denmark has to offer. [9] RUB
Kellermensch
As the last echoes of Guns N' Roses' marathon concert fade away on the neighbouring Helvíti stage, the six musicians of Kellermensch, who have been waiting their delayed turn with impatience, instantly launch their opening track “Mission", taken from 2022's “Capitulism" album. The stage is lit in moody, dim and pale shade as the delicate plucks of violin in the beginning of that song are aired, enveloping band and audience alike in a sense of deep melancholia and weariness. But although this is a recurring theme in this progressive chamber rock group's music, it is not without its explosions of energy, many of which manifest through their charismatic frontman Sebastian Wolff. As always, he transforms into a vessel of raw emotion, immersing himself completely in the music and show, pouring his entire being into his performance and captivating the audience with his unpredictable antics. He is like a tornado in the midst of an otherwise sullen ensemble, startling us with some truly ferocious screams during “The Pain of Salvation" off 2018's “Goliath", shushing the crowd before a heart-wrenching rendition of “Another Drink", and at one point even throwing his guitar high into the air without catching it, letting it smash to smithereens against the stage floor. This is the perfect opportunity for my annual crowd surfing moment, I think to myself, and fling myself onto the heads and hands of the audience ahead, making my way toward the stage when one of my personal favourites, “Moribund Town" from the band's self-titled 2011 offering is aired. Thus surrendering myself to the cathartic euphoria that Kellermensch's music invokes for so many people including yours truly, I am sent into the night in a bittersweet state of ecstasy and melancholy, forgetting, it seems, to remain for a three-song encore that occurs shortly after. Be that as it may, it is nice to be able to leave not with the exhausting, near three-and-a-half hour litany of guitar soli that defined Guns N' Roses concert in mind, but with the life-affirming and relatable cuts of one of Denmark's best kept secrets: Kellermensch. [8] AP
And there you have it. We dare say it is the most comprehensive coverage of Copenhell 2023 out there. Every single band that played this year has been reviewed in our three articles. We've also provided thorough commentary on the festival itself: its organization, its layout, its amenities, and some pointed critique of the identity crisis that it currently finds itself in.
Our nine staff (five writers, and four photographers) have completed a mammoth task of jotting down notes in their drunken stupor and materializing those notes into thoughts and reviews about not just the bands, but also the food and the side shows available at the festival. There's just too much to see and describe to fit it even within three separate articles, so we're bound to have missed out on something special. Please do let us know in the comments if that is the case.
What we are hoping to see from Copenhell in 2024 is a revitalized and renewed connection to its roots: the rock and metal scenes. The people behind the festival are known for taking the wishes and dreams of the metal community into account when planning the festival. They are also running a business. It is, however, essential that the driving ideology behind the festival continues to be that music, the setting, and the theme comes first. Making slightly less profit should be acceptable if the other scenario results in thousands upon thousands of disgruntled fans who have made the festival what it is over the past decade.
The prices of especially food must come down to a reasonable level, or at least there should be budget options available at half the price of current levels. Lockers and/or the wardrobe should be free of charge (for example, brand or advertiser driven or via volunteers as in previous years). The merchandise cut of the bands' sales must be removed, or at least adjusted to something more reasonable than 25%. Does the parking really have to cost upwards of 600 DKK for the festival duration? I don't even own a car and I think that's a ridiculous price. The corporate boxes and ‘hellspitality' packages with special invitation-only access inside the R.I.P area - do these really belong to a rock/metal music festival or are they better suited at Royal Arena and Parken?
All that being said, everyone at our magazine had a fantastic time at the festival, as we do every year. We strive to provide you an experience through a lens of a music fan - so you'll find us near the pit, chugging down a few beers in the process, dancing polka arm-in-arm with others during the Korpiklaani concerts and the like. Our reviews reflect a combination of our seasoned expertise through having done this for two decades straight and having seen a lot, as well as our enthusiasm to feel it like the crowd does in the process.
And with that, I'll leave you with our classic The Good, The Bad, The Ugly summary of what we thought was great, not so good, and what must be improved at the festival for future reference. As always, thanks for reading this far, you're a legend!
THE GOOD
- The theme is spot on as usual - a metal theme park, that's for sure.
- The Gehenna & Udgård area is just so enjoyable as with the forest surroundings and wood chop on the ground
- Great variety of food options that are not generic like at other festivals - even if the portions are tiny nowadays
- Pant scheme is still brilliant: it's a great way to save some money to return e.g. 5 cups and get 25 DKK off from your purchase. It keeps the site clean and students able to afford the festival.
- Enough rain ponchos for sale when it started raining
- Husted Vin and the wine bar by Hades: Nice to have a focus on something else than beer. A great addition despite their ludicrous, restaurant-level prices.
- Never a problem finding a seat at the festival, whether eating or wanting to drink a beer with your friends.
- Tutten - when it's bad weather or if you just want a bit more of a bodega vibe, this spot is a hit every year.
- R.I.P. area is great: spacious, the hammocks in the forest provide shade and relaxation options, and plenty of bars and food to choose from here, plus surprise sideshows.
- Copenhell Con: we love the association between metal and another subculture.
- The locker system by the entrance was great, if somewhat expensive at 175,- per locker.
- No queues for beer, and toilets for the most part. Even food queues were not terrible unless you chose to eat exactly at the peak hour.
- Biergarten is still an epic party whenever the headliners finish
- All the random things you see during the festival, such as the marching band advertisement for Bier Garten “attacking" Tutten as if it was a rivalry
THE BAD
- An 80 DKK craft cider order gives you a 0.2-liter cup - is this a joke?
- The festival is starting to feel extremely commercial
- Traffic chaos with the buses each evening. Can be up to two hours to get home with public transport on a route that usually takes 25 minutes tops. What about moving the bus stop a bit further down the road?
- How does a tiny bit of wind and rain cancel a concert? This wasn't a problem in any of the previous years... Remember when The Scorpions played in a thunderstorm and the lightning cut across the skies?
- Prices have gone up way too much. Food, merch, lockers, you name it.
- Can we please get 0.5 Liter cocktails somewhere instead of the tiny 0.3 cl gin and tonics? Anywhere?
- Water pressure failed at the RIP bathrooms for at least two consecutive days. Maybe we should go back to the blue porta-potties?
- More than three hours without other bands playing during Guns N' Roses. The headliners could start alone, but why not allow others to play at the same time after an hour or so?
- The pandæmonium area badly needs a facelift. It's too barren and feels unfinished.
THE UGLY
- Professional pant collectors in the crowds with anti-social behaviour and disturbing concerts even inside the pits. There should be a maximum for how much pant you can return at once to weed them out.
- How can R.I.P. run out of beer and some food halfway through the last day when people paid big money for the upgrade? This should be the last area that runs out, not the first.
- Copenhell takes a 25% cut from artists selling merchandise. That's not a good look.
Make sure also to check out our coverage of the first two days of the festival:
