Copenhell 2024 Review: A Mumbai Metalhead in Denmark

When Machine Head’s Robb Flynn stylized the band’s 2022 album as Øf Kingdom and Crøwn, he was unaware of the enthusiasm it would spark among Danish metalheads. His use of the ‘Ø’ was purely for its aesthetic appeal. “It looks so metal,” he said while on stage at Copenhell this year.

Copenhell, Denmark’s premier rock and metal festival, has been held at Refshaleøen in the heart of Copenhagen since its inception in 2010. This man-made island, once home to Burmeister & Wain’s powerful diesel shipbuilding operations, provides an ideal setting for the festival. The industrial backdrop of vast halls, heavy machinery, and massive entrances perfectly suits the heavy metal atmosphere, with four stages across the site.

“Don’t write. Don’t give in to nostalgia,” the local movie projectionist Alfredo tells his young protege Salvatore in the 1990 Academy award-winning film Cinema Paradiso. 

As a metalhead who grew up in Mumbai, walking through the dilapidated shipyard at Copenhell, I couldn’t help but recall another factory I visited almost a decade ago. Richardson & Cruddas was the venue, and the festival was the BIG69 music festival.

Unlike the underground nature of metal music in India, Copenhageners embrace it wholeheartedly during Copenhell. A yellow public bus, illuminated with a ‘666 Copenhell’ sign adorned with red horns waiting outside the central railway station in Copenhagen, showcases the Danish spirit of acceptance and their love for metal.

The lineup this year featured Bruce Dickinson, Corey Taylor, Dying Fetus, Hatebreed, Karnivool, Kerry King, Limp Bizkit, and Tom Morello, among others. The headliners were progressive metal giants Tool, despite the band members’ insistence that Tool is not a metal band. That’s not all. What makes Copenhell special is its dedication to the entire spectrum of metalheads. 

Copenhell Con caters to geeks who love horror, comics, and board games. The Boneyard features skaters and BMXers showcasing their skills with live band performances. At the Safe & Sound booth, festival-goers can speak with volunteer mental health practitioners if they feel overwhelmed and need a break from the noise.

Additionally, Copenhell organizes a Rock Academy for 13-19-year-old girls and non-binary individuals, with an annual performance in November, supported by the municipality of Copenhagen. It’s reassuring to see the country’s biggest rock and metal festival nurturing the next generation of artists. 

Day 1: Guarding the Gates of Hell

In Denmark, it’s never too early to drink beer, especially not at a metal festival on a Wednesday summer afternoon.

Copenhell opened with ticket holders getting a chance to interact with a graphic artist at Copenhell Con, who transformed them into comic book characters, giving them a unique souvenir before any band hit the stage.

Corey Taylor kicked off the main stage with tracks from the 2024 release CMF2B or Not 2B. The biggest reactions, however, were reserved for Slipknot songs, a nod to Corey’s long-standing connection with Danish fans since 1999.

Next up, Californian punk rock legends The Offspring celebrated their 40th anniversary with their first appearance at Copenhell. While Danish fans aren’t known for singing along, they excel at crowd surfing and creating massive circle pits.

Bruce Dickinson and the Mandrake Project

For Indian fans, seeing Iron Maiden’s talisman on a side stage might seem unusual, reflecting their deep reverence for the band since its groundbreaking 2007 appearance in India. The Mandrake Project is not just a studio album but also a comic series created by Bruce Dickinson and scripted by Tony Lee.

“It is inspiring to see Bruce’s energy on stage. If he can do it in the heat in Brazil, so can I,” said Philip Näslund, a multi-platinum Swedish-American musician who joined Bruce as his guitarist this February.

Their set was incredible, with Bruce weaving stories of power, abuse, and the struggle for identity. “I speak to dead poets all the time while I am in the U.K.,” he remarked.

If the Danes were puzzled before, they were stunned when Bruce played a theremin in the middle of a power ballad. The show-stealer was when the first chord of “Rain on the Graves” was struck, showcasing Bruce’s high-pitched melodies, incredible lyrics, and his hellish laughter.

“To kneel before the poet, not the altar or the priest…” his voice echoed from the Hades stage.

Day 2: What the FUNK

With Denmark facing England in UEFA Euro 2024, the festival atmosphere was tense. Copenhell’s organizers screened the game in the Biergarten tent, showcasing their attention to detail and understanding of the audience. This, along with over 5,000 volunteers, was greatly appreciated.

When guitar virtuoso Tom Morello took the Hades stage midway through the second half, all hell broke loose. Opening with “Soldier in the Army of Love” from his upcoming solo album, co-written with his son Roman Morello, Tom captivated the crowd with his inimitable guitar skills. At one point, he used just his palm and lead cable to drive the rhythm, thrilling the audience. The crew even climbed barricades to catch a glimpse of the tribute to Chris Cornell, as an Audioslave classic rang through the crowd singing aloud to “Like A Stone.”

The crown jewel of the evening was Limp Bizkit’s first appearance at Copenhell. Fred Durst, in a hi-vis jacket, kicked off with a trip back to the Nineties. While the nu-metal veterans still sounded tight, the energy was different. There was plenty of headbanging and fists in the air, but the edge was off. 

Day 3: Summer Solstice Spectacle

As the summer solstice lit up the sky, Copenhell’s third day celebrated diverse musical prowess. Prog metal band Karnivool delivered an electrifying set, blending complex rhythms with powerful melodies. Fresh from their four-city tour in India, I spoke with guitarists Andrew Goddard, Mark Hosking, and lead vocalist Ian Kenny about their experiences in the subcontinent.

“From the first show, we were surprised by the love and connection with the audience,” said Mark. Andrew noted that a shared interest in cricket and similarities in cultures added to the vibe. When asked about their next album release, Ian humorously replied, “November 18th. Look out, mate. Which year? We have no idea.”

American Celtic punk legends, the Dropkick Murphys returned to Copenhell this year. The atmosphere was electric. Every track got a resounding pop from the crowd who clapped along throughout the band’s performance. “The Boys are Back,” “Smash Shit Up” and “I’m Shipping Up To Boston” got the whole place moving.

A massive storm was approaching the city when Machine Head stood at the main stage. The sight was like the climax of an epic medieval war sequence. The crowd braved the elements and watched in awe as Robb Flynn played with their emotions. Hyping them up to feel the intensity of the breakdowns and the melancholy in “Darkness Within,” “Locust” and “Davidian.”  

Day 4: TOOL! 

The band infamous for not playing too many shows were, dare I say, close to perfection. Reappearing at Copenhell after five years, Tool were everything you imagine them to be. The little to no crowd interaction is more than made up by just the visual spectacle the band conjures up. Maynard hardly made himself visible but that voice pierced through. The band played recent and older classics like “Pnuema,” “Schism” and “Rosetta Stoned” but left everyone hanging by not playing “The Pot.”

As the final chords faded, I caught up with Tushar Verma from Pune-origin instrumental prog band Celestial Teapot. “This is my fourth time at Copenhell and I keep returning because it feels like family. I belong here, much like I did at NH7 Weekender. Few metal festivals offer a mix of comic con, ska, and reggae artists,” he said. Tushar also hinted at new music from the Celestial Teapot coming soon.

Throughout the festival, metalheads often asked me about Bloodywood, who recently performed at Copenhagen’s Pumpehuset during their European leg of the Rakshak tour last year. Hearing a room full of Danes chant “ARI, ARI, ARI!” in Danish accents was surreal.

Copenhell 2025 might be the last edition at Refshaleøen – there are speculations that the shipyard is being repurposed for other uses – but Copenhell will continue to be recognized as one of Northern Europe’s premier rock and metal festivals.