Words and Pictures: Adrian Hextall / MindHex Media
The year 2025 marked our fourth consecutive pilgrimage to Copenhell, Denmark’s premier rock and metal festival. Nestled on a peninsula just east of Copenhagen’s bustling city centre, this industrial playground transforms annually into a vibrant hub for music, camaraderie, and a surprisingly diverse array of eccentric entertainment. For over two decades, Copenhell has consistently delivered an exceptional experience, blending world-class musical acts with a uniquely Danish flavour of hospitality. Our journey began as it often does, with a flight from London Stansted, a short drive to our rented apartment, and then a quick dash to the festival grounds, eager to immerse ourselves in the sonic onslaught.
Day 1: Wednesday, June 18th – A Spirited Start
Our arrival, roughly an hour after the gates opened, was met with a slight adjustment to the initial schedule. Unfortunately, Will Haven and, more surprisingly, Myles Kennedy were unable to perform. Kennedy’s absence, reportedly due to issues with his gear making it into Copenhagen, was a particular shame, but the spirit of Copenhell remained undimmed. We quickly settled into the familiar rhythm: a cold Tuborg beer in hand, chased by a shot of the festival’s infamous coffee and liqueur concoction, “Skull.” Suitably refreshed, we plunged into the day’s musical offerings.
Our first stop was the Pandæmonium stage, the third largest arena, where we caught the opening act.
Employed to Serve
Employed to Serve are a British metalcore band, known for their aggressive and intense sound. They kicked off the proceedings on the Pandæmonium stage. Composed of Justine Jones (vocals) and Sammy Urwin (guitar, vocals), among others, they delivered a raw and powerful opening to the festival. Their performance was perfectly timed, and we simply took in whoever was opening the festival—a perfect primer for what was to come.
Skunk Anansie
This iconic British quartet, fronted by the magnetic Skin (vocals), along with Cass (bass), Ace (guitar), and Mark Richardson (drums), delivered a truly impressive set on the main Helviti stage. Known for hits like “Weak” and “Hedonism (Just Because You Feel Good),” Skunk Anansie’s recent resurgence has seen them return with renewed vigour, drawing massive crowds eager to witness their powerful live performance. Skin, as always, commanded the stage with her incredible vocal prowess and undeniable presence. The black and white camera work projected onto the screens behind them perfectly complemented their distinctive visual aesthetic, enhancing the raw intensity of their show and making it a truly worthwhile experience.
Sylosis
Following Skunk Anansie, we ventured into the heavier realms with Sylosis, a British metal band known for their blend of thrash metal, melodic death metal, and metalcore, often featuring intricate guitar work from frontman Josh Middleton. While I hadn’t encountered them before, they perfectly embodied the kind of intense, hard-hitting sound one expects from a premier heavy metal festival like Copenhell. Their performance was a solid dose of hardcore, showcasing the raw power and aggressive energy that defines the genre, a welcome addition to the festival’s diverse lineup.
Battlesnake
Without a doubt, Battlesnake, an Australian band known for their theatrical and bizarre blend of hard rock and psychedelic elements, were one of the standout acts of the entire weekend. On the Gehenna stage, nestled charmingly within the woods on a chip-bark floor, they captivated the audience. The frontman, a dead ringer for Jake Peralta from Brooklyn Nine-Nine, not only shared a striking resemblance to Andy Samberg but also exuded the same cheeky, playful aura, which translated wonderfully into their crazy, genre-bending music. Dressed in robes with outlandish headpieces and incorporating spoken passages that playfully alluded to biblical texts, their sheer energy and theatricality were off the charts. For those in the UK, keep an eye out for their upcoming headline shows – I’ll certainly be there. Their unique blend of captivating visuals, unbridled energy, and an utterly bizarre yet brilliant sound is a truly unforgettable experience.
Within Temptation
Returning to the main stage, we were treated to one of my all-time favourite bands, Within Temptation, the Dutch symphonic metal giants known for hits like “Ice Queen” and “Stand My Ground,” featuring the powerful vocals of Sharon den Adel. They consistently deliver an impeccable show. Despite not headlining this particular evening (that honour went to Dizzy Mizz Lizzy), Sharon den Adel and the band brought their characteristic grandeur and spectacle. Sharon continued to display her admirable solidarity with Ukraine, featuring the Ukrainian flag painted on her arm. Their documentary on the Ukraine conflict, available on YouTube, is a powerful and insightful watch, offering a vital perspective on the ongoing situation that, sadly, is sometimes overshadowed by other global events. Their set was a masterful blend of new material from their latest album and beloved classics, all delivered with their signature polish and power. It was a truly enjoyable and fortunate experience to witness their artistry live.
Poppy
After grabbing some food, we headed back to the Pandæmonium stage for Poppy, an American artist known for her experimental blend of pop, industrial, and nu-metal, with songs like “Bloodmoney” and “I Disagree.” This multifaceted artist and her band put on an absolutely electrifying show. Full of boundless energy, they expertly got the crowd bouncing and engaged, delivering exactly what you want from a high-octane performance. Their set was a dynamic and captivating display of their unique blend of genres, leaving the audience thoroughly entertained.
Dizzy Mizz Lizzy
Heading back to the main stage, we witnessed the Danish legends Dizzy Mizz Lizzy headline, known for their alternative rock and grunge sound, with popular tracks like “Waterline.” The band, fronted by Tim Christensen (vocals, guitar), along with Martin Nielsen (bass) and Søren Friis (drums), are heroes in their home country. While less familiar to me personally, this is precisely the beauty of international festivals: experiencing local heroes embraced by their home crowd. The atmosphere was akin to watching a national team play at home – the crowd’s response was phenomenal. It was clear these songs had topped the charts for years, as 35,000 people sang back every single word, creating an almost overwhelming sense of collective joy. To be among such a fervent crowd, witnessing this outpouring of devotion for a band I barely knew, was truly something to behold. Their set finished close to 11 PM, concluding our first day.
Dethklok
Though we had departed by 11 PM, Dethklok, the beloved animated melodic death metal band from the animated TV series Metalocalypse, closed out the main stage. Performed by real musicians bringing the cartoon characters (Nathan Explosion, Skwisgaar Skwigelf, Toki Wartooth, William Murderface, Pickles) to life, their inclusion on the lineup is always a treat for fans, promising a theatrical and brutal end to the first night.
Day 2: Thursday, June 19th – Amplified Energies
After a refreshing night’s sleep and a hearty breakfast, we were back at the festival grounds for day two, arriving in time for the first band on the main stage.
The Sword
This American band from Austin, Texas, known for their stoner metal and hard rock sound with tracks like “Freya,” kicked off the day. I hadn’t seen The Sword before, but their retro-infused sound immediately impressed. They possess a deep understanding of classic rock and metal, channeling a distinct 70s vibe with their progressive leanings. Their music feels timeless, a solid and hugely impressive performance that transcends modern trends. They truly know how to deliver a powerful, well-crafted set.
Syracusa
Over on the Gehenna stage, Syracusa, a band tapping into the metalcore and hardcore sound, delivered a forceful performance. The chip-bark floor of the Gehenna stage provided the perfect setting for the enthusiastic crowd, as numerous mosh pits opened up, with attendees bouncing and getting back up with ease. The band successfully ignited the audience, who fully embraced the aggressive energy and delivered it right back.
IXSYL (Eyes vs. Sill)
One of the undeniable highlights of Thursday, and indeed the festival, was the explosive set by IXSYL (or Eyes vs. Sill), a high-energy band whose precise genre is hard to pin down but leans towards metalcore or an aggressive rock subgenre. Dressed in crisp white t-shirts and trainers – apart from the tattooed guitarist in just shorts and shoes, who looked absolutely fantastic – the band exuded an incredible visual presence. Their energy was relentless, bleeding off the stage and into the crowd. The vocalists’ dynamic interaction and the sheer intensity of their performance were nothing short of phenomenal. This was festival music at its absolute best: attitude, raw energy, a cohesive look, and a full-throttle, frantic set that truly ignited the day.
Bullet for My Valentine
The energy level remained sky-high as Welsh heroes Bullet for My Valentine took to the main stage. This metalcore/heavy metal band, featuring Matthew Tuck (vocals, rhythm guitar), Michael “Padge” Paget (lead guitar), Jamie Mathias (bass), and Jason Bowld (drums), is known for anthems like “Tears Don’t Fall” and “Waking the Demon.” Celebrating an anniversary for their debut album, they performed it in full, interspersed with a few fan favourites, much to the crowd’s delight. Having witnessed their progression over the years, it’s clear they’ve ascended to headliner status, now playing arenas in the UK. Their success is a testament to their enduring appeal. While Matt Tuck’s accent has certainly become harder to place – seemingly leaning more American than Welsh these days – it’s still fantastic to see a homegrown band achieve such widespread acclaim and be so well-received internationally. They proved their headliner mettle once again.
Gloryhammer
Just 50 yards to the right, on a neighbouring stage, the utterly enjoyable Gloryhammer brought their unique brand of fantastical power metal. This Scottish band, led by vocalist Angus McFife XIII (Michael Barber) and keyboardist Zargothrax (Christopher Bowes), is known for humorous, fantasy-based songs like “Angus McFife” and “Universe on Fire.” Whether you prefer your rock to be fun, anthemic, or gloriously silly, Gloryhammer delivers it all. Their performance is pure joy, prompting smiles, singing, and unadulterated enjoyment. In a genre that can often lean towards anger or negativity, Gloryhammer throws all that out the window, focusing instead on epic battles against goblins, unicorns, and orcs, wielding giant hammers with gleeful abandon. They make metal fun, and that’s something to truly appreciate.
The Cult
Immediately after Gloryhammer, we returned to the main stage for a resurgent The Cult. This British hard rock and gothic rock band, featuring the iconic duo of Ian Astbury (vocals) and Billy Duffy (guitar), is known for hits like “She Sells Sanctuary” and “Love Removal Machine.” I’ve seen them several times in recent years, and whatever they’ve been doing, they are currently in some of the finest form of their career. Ian Astbury, though dressing with a unique flair that’s hard to describe (and perhaps not one I’d personally replicate!), carries it with confidence, and it certainly doesn’t affect his voice or performance, both of which were exemplary. Billy Duffy, his long-time foil, peeled off lick after lick, riff after riff, on all the band’s iconic songs. Anthem after anthem, the crowd responded tremendously, clearly appreciating the continued power this fine act brings. It’s particularly impressive to see Ian Astbury looking fitter and more toned than ever – a stark contrast to his earlier 2000s struggles. He simply oozes rockstar presence, pausing at the microphone with such gravitas that he could make the world pause with him. Massively impressive.
Exodus
We briefly took in some of Exodus, the legendary American thrash metal pioneers, known for albums like Bonded by Blood and featuring guitarist Gary Holt, before heading for some much-needed food. Their raw, aggressive energy and classic thrash sound were exactly what you’d expect from such veterans of the scene.
The Prodigy
One of the UK’s first true crossover acts, The Prodigy, delivered an absolutely seismic performance on the main stage. This electronic music group, renowned for their big beat and breakbeat hardcore sound, led by Liam Howlett (keyboards, programming) and Maxim (vocals, MC), with iconic tracks like “Firestarter” and “Breathe,” continued to captivate. Despite the heartbreaking loss of singer Keith Flint, they’ve masterfully found a way to honour his legacy without attempting to replace him. Their set was a relentless assault of beats and synths that had the entire 35,000-strong crowd literally bouncing as one. It was a visceral, exhilarating experience, a testament to their enduring power and influence in fusing electronic music with rock’s raw energy.
Lorna Shore
As The Prodigy concluded, we had a choice: the popular deathcore heroes Lorna Shore on the Hades stage, or classic death metal. This American band, fronted by vocalist Will Ramos and known for their symphonic deathcore sound and intense tracks like “To the Hellfire,” has seen a rapid rise in popularity. Their crushing sound makes them a compelling act for many, and their inclusion on the bill was certainly a nod to current trends in heavy music.
Abbath
We opted for the classic death metal of Abbath on the Pandæmonium stage. Abbath Doom Occulta, the Norwegian black metal musician known for his distinctive corpse paint and his work in the band Immortal before forming his solo project, delivered a set of atmospheric and dark music. His performance was dark, atmospheric, and visually striking, offering a captivating challenge for photographers with its moody lighting and imposing stage presence. It was a perfectly dark and intense way to wind down the second night of the festival before heading back for rest and preparation for day three.
Day 3: Friday, June 20th – A Spectrum of Sounds
Day three kicked off with an early start, ushering us into another day of diverse musical experiences.
Soulfly
Opening the main stage on Friday was Soulfly, the renowned American groove metal project led by Max Cavalera (vocals, rhythm guitar), best known for his foundational work in Sepultura. With tracks like “Eye for an Eye” and “Bleed,” Soulfly continued to deliver their signature blend of aggressive metal and world music. The crowd’s response was overwhelmingly enthusiastic, acknowledging the presence of a band carved from heavy metal history. While personally not my preferred style of music, the sheer presentation and powerful delivery of their set were absolutely fantastic, a testament to their enduring impact and Max Cavalera’s unyielding energy.
Trold
We then moved to the second stage for Trold, a Danish folk metal outfit known for blending folk music with melodic death metal and drawing inspiration from Nordic fairy tales and mythology. Their current lineup includes Allan Madsen (vocals), Jesper Myrup (lead guitar), Christian Christiansen (rhythm guitar), and Frederik Weile (drums), often incorporating guest musicians like Laura Emilie Beck on violin. Their imagery and iconography, featuring trolls and traditional folk attire, combined traditional folk music with heavy metal instrumentation. This blend allowed them to seamlessly cross genres, drawing the audience in and building incredible support. The masterful use of flame pots and pyrotechnics further enhanced the visual spectacle, perfectly complementing their sound. Trold was a definite highlight of the weekend, offering great visuals, compelling backdrops, excellent pyro, and uniquely interesting songs, all presented with remarkable flair. A clear win!
Dream Theater
Bouncing back to the main stage, we caught the prog metal heroes Dream Theater, the American band renowned for their complex and virtuosic progressive metal, featuring members like James LaBrie (vocals) and John Petrucci (guitars). Known for lengthy, intricate compositions such as “Pull Me Under,” photographing them often means you might get through one song in fifteen minutes. We often just let security wave us in and out as appropriate. However, Dream Theater delivered precisely what’s expected: they are undisputed masters of the progressive rock and metal genre, executing their complex music with unparalleled clinical precision. Nobody does it better, and their performance was, as always, an exercise in musical virtuosity.
Brat
In stark contrast to Dream Theater’s precision, we high-tailed it over to the Gehenna stage for Brat, an American band from New Orleans known for their aggressive blend of hardcore punk and noise rock. This band offered a fantastic, high-octane mix, delivering an explosion of raw energy and an aggressive, in-your-face approach. The contrast between their intense, unbridled performance and the meticulousness of Dream Theater highlighted the incredible musical diversity available at the festival.
Kreator
The festival’s diverse palette continued with the classic thrash metal from German titans Kreator, led by vocalist and guitarist Mille Petrozza, and famous for their aggressive thrash sound and songs like “Phantom Antichrist.” This is precisely why you attend festivals – for the sheer variety of music. Kreator, as always, brought an incredible show. Their stage set was a dark, fiery spectacle, complete with columns, demon statues flanking the drum riser, and constant pyrotechnics, creating the perfect illusion of a band performing straight from hell. Given the festival’s name, Copenhell, Kreator perfectly embodied its spirit. What a fantastic band, and the immediate contrast between their aggressive thrash and Brat’s hardcore, and even the softer folk of Myrkúr (which we would see later), truly showcased the breadth of genres on offer.
Myrkúr
As Kreator finished, another stage opened up, and on Hades, we were drawn into the soft, lilting folk music of Myrkúr. This Danish project, led by Amalie Bruun, is known for blending folk music with blackgaze and experimental elements. Myrkúr’s ethereal sound, often haunting and progressive, draws you in. The contrast between Myrkúr’s ethereal sound, Kreator’s thrash, and Brat’s hardcore could not have been more pronounced. Again, it hammered home the unique experience of being able to witness such disparate genres on the same day, all within walking distance at Copenhell.
Dirty Honey
The Gehenna stage then hosted Dirty Honey, an American hard rock and blues rock band, featuring charismatic frontman Marc LaBelle (vocals) and guitarist John Notto. Known for songs like “When I’m Gone,” to say it was packed would be an understatement. Everyone, it seemed, had come to see them. This band definitely deserved a larger stage, and I predict they will be on main or secondary stages within a couple of years. Dirty Honey channels their inner Aerosmith, a perfect fit given Aerosmith’s current inactivity. Marc LaBelle is a consummate frontman, exuding classic rock charisma. Their performance was incredibly enjoyable, delivering that hard rock vibe, infectious energy, and sing-along choruses that get the crowd bouncing. I’m already looking forward to seeing them again at Maid of Stone Festival in the UK later in July. Their set was perfectly timed just before the Friday headliner, providing that ideal burst of classic rock energy.
Billy Idol
Following Dirty Honey, Billy Idol opened as the main stage headliner for Friday – never an opportunity to be sneezed at. This iconic British rock star, known for his new wave and hard rock hits like “Rebel Yell,” “White Wedding,” and “Eyes Without a Face,” delivered a powerhouse performance with long-time collaborator Steve Stevens on guitar. Initially, photographers were ushered into the pit, only to be promptly told to move to front of house after about 20 seconds. Navigating 35,000 people to get there was a challenge, but armed with a long lens, my height, and a willingness to push through the crowd, I managed to capture some great shots. Was it worth the effort? Absolutely. The exciting prospect of new music from Billy, reportedly channelling his great 80s sound, only added to the anticipation. Long may he reign—I sincerely hope to see him again soon.
King Diamond
To conclude our Friday night, the king himself, King Diamond, graced the stage. The Danish heavy metal vocalist, famous for his distinctive falsetto and theatrical horror themes, particularly with his solo career and the band Mercyful Fate, delivered an unforgettable show. It’s a rare treat to witness a King Diamond show, especially now that his main band, Mercyful Fate, is taking a touring breather. When King Diamond steps out, you know you’re in for a full, incredibly impressive show. The stage set was a masterpiece of dark, gothic, almost Victorian design, complete with lamps and eerie stage props like the infamous doll, Abigail, which King Diamond brings out. The lighting was absolutely crucial, meticulously crafted to enhance the macabre atmosphere inherent to a King Diamond performance. Pristine in every detail, his set drew heavily from classics like the Abigail album. What a fantastic way to end the night – a great show, an incredible performance, some of the songs and the set list you simply wouldn’t hear anywhere else. Absolutely fantastic.
Festival Amenities and Ambiance
Beyond the music, Copenhell consistently excels in its overall festival experience. The site itself, set on industrial crushed concrete grounds, is a blessing, guaranteeing no mud, ever. It allows ample space for crowds to spread out and explore. In addition to the four main stages, the festival boasts a dedicated Comic-Con in one of the large warehouses, providing a cool retreat from the sun. The colossal container warehouse houses numerous bars, offering a fantastic opportunity to grab a cold beer and catch up with friends while still being immersed in the festival’s atmosphere. The beer tent, perpetually packed, resembles a miniature Oktoberfest, bustling with energy. While you collect your own drinks here, the sheer volume of beer flowing and the constant music (including surprisingly frequent cover versions of “Master of Puppets”!) keep the spirits high.
The market stalls and food vendors are equally impressive, often featuring clever, metal-themed names for their culinary delights. But Copenhell truly shines in its more unconventional offerings. Where else can you witness medieval fighting with knights in full armour, motorcycle burnouts, and even a sex shop where you can test your aiming skills by throwing rubber dildos at targets? If tossing rubber dildos isn’t your cup of tea, you can always grab a pig’s head for lunch. These quirky pastimes are commonplace at Copenhell, and long may they last.
Day 4: Saturday, June 21st – A Blazing Finale
Our final day at Copenhell began with some powerful acts on the main stage.
Heaven Shall Burn
Heaven Shall Burn, a German melodic death metal/metalcore band known for powerful tracks like “Endzeit” and “Valhalla,” kicked off the main stage on Saturday. Their usual frontman, Marcus Bischoff, is currently sidelined due to a serious infection. As a result, Britta Görtz, the formidable vocalist of the melodic death metal band Hiraes, is currently fronting Heaven Shall Burn for their live performances. She did an absolutely amazing job, powerfully driving the performance home. It was interesting to observe, as someone unfamiliar with the band, how much the stand-in relied on autocues and visual monitors, understandable given she hadn’t written the tracks. However, the band’s commitment to fulfil their obligations, and her stellar performance, were truly commendable.
Alien Ant Farm
Next up was Alien Ant Farm, an American alternative rock/nu metal band probably best known for their incredibly popular cover of Michael Jackson’s “Smooth Criminal” – arguably the definitive version for many – as well as their own hit “Movies.” While their original material may not have the same widespread traction, these guys know exactly how to ignite a crowd. They had everyone up, bouncing, and moving. What more can you ask for from a festival performance?
Kim Dracula
Out on the Pandæmonium stage, I finally got to see Kim Dracula, an Australian artist known for their unique blend of industrial metal, glam rock, and gothic elements, with songs like “Papara” and “Make Me Famous.” I’d heard a lot about them, and their performance was absolutely fantastic, instantly making them one of the standout new acts to watch. If you haven’t seen them, prioritize it whenever you can. Brilliant.
Powerwolf
Back on the main two stages, the back-to-back performances of Powerwolf and Skillet were a perfect way to punctuate the day. Powerwolf, a German power metal band known for their theatrical, often werewolf-themed songs like “We Drink Your Blood” and “Army of the Night,” should have been higher on the bill – they belong as headliners. Their show, with its incredible fire, flames, lighting, and elaborate stage set, is built for a headlining slot. While we experienced all of that visual spectacle, seeing it in the middle of the afternoon diminished some of its impact. Nevertheless, the music was fantastic, the presentation immaculate, and the songs on offer couldn’t be faulted. As one of my favourite bands, I try to see them as often as possible and will be catching them headlining Masters of Rock Festival in the Czech Republic very soon.
Skillet
Skillet, an American Christian rock band known for their anthemic hard rock sound with hits like “Monster” and “Hero,” and featuring the dynamic vocal harmonies between John Cooper (vocals, bass) and Jen Ledger (drums, vocals), knows how to put on a show. This four-piece delivered a wonderful performance. Jen is arguably one of the best singers currently behind a drum kit – a brilliant voice and an excellent drummer, and being British, there’s always a touch of national pride. John and Korey Cooper (guitar, keyboards), being married, possess an undeniable synergy, playing off each other perfectly. Along with Seth Morrison on the other guitar, this band is incredibly tight, presenting their music flawlessly. Their anthemic, sing-along tracks are consistently great, and we truly love what they do.
In Flames
In Flames, a Swedish melodic death metal band highly respected in the metal scene for songs like “Cloud Connected” and “Only for the Weak,” was a band I almost missed, primarily due to being captivated by Kim Dracula. However, their set drew a huge response from the crowd, affirming their well-deserved place high on the festival bill. They are hugely respected as a metal act and certainly have the potential to be future headliners; they’re not far off that status already. An interesting and powerful performance from these Swedish metal giants.
The Sandmen
On the Hades stage, we discovered The Sandmen, a Danish rock band known for their blend of Southern rock, classic rock, and hard rock, with members like Allan Vegenfeldt (vocals). I hadn’t encountered them before. Their intriguing mix of genres was captivating. While not drawing the largest crowd, their music was some of the cleanest and most refined of the weekend. Their lead guitarist, decked out in a cowboy hat, delivered some truly amazing playing. They were definitely worth checking out and listening to, providing a smooth, memorable close to our Saturday.
Slipknot
The main headliners of the weekend, Slipknot, the iconic American nu-metal/heavy metal band known for their masks, intense live shows, and hits like “Duality” and “Psychosocial,” unfortunately, did not allow photographers into the pit, so we were unable to capture their performance. However, their presence alone speaks to their immense drawing power and the magnitude of their show.
A Festival for the Ages
Year after year, Copenhell proves to be an absolutely fantastic experience, consistently ranking as one of the best festivals in Europe. Its unique location on crushed concrete industrial grounds ensures it never gets muddy, providing ample space to spread out. The four stages, coupled with the Comic-Con, the bustling beer tent, fantastic food stands, and, yes, even the rubber dildos for target practice, create an unparalleled atmosphere. The thoughtful details, like food stalls with metal-themed names and medieval fighting demonstrations, elevate Copenhell beyond a mere music festival.
I, for one, will definitely be returning next year. Hopefully, my aim with the rubber dildos will have improved by then!
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