Review of Copenhell 2025: A Metalhead from Mumbai in Denmark
For the second consecutive year, I had the privilege of attending Copenhell, Denmark’s renowned heavy metal and rock festival. Copenhell 2025 was inspired by ‘Diana,’ a clay sculpture created by Danish artist Rose Eken, reimagining the Roman goddess as a symbol of chaos, crossroads, and primal power. Over 70 bands, including artists from various countries like Australia, Colombia, Singapore, and the U.S., graced the final lineup. Witnessing streams of fans dressed in their battle regalia queuing up to enter the venue on a weekday morning was a surreal experience for me, accustomed to metal gigs in unconventional Indian locations.
Growing up in Mumbai, where heavy metal is often stigmatized, I encountered naysayers who viewed the genre as detrimental to moral values and humanity itself. However, at Copenhell, the sight of attendees sporting latex, leather, or corpse paint was met with nonchalance. Metal culture was simply a part of everyday life at the festival, a stark comparison to my upbringing. In an attempt to explore the stark contrast in perceptions between metal enthusiasts and the mainstream audience, I turned my focus to first-time festival attendees keen on immersing themselves in the chaos of Copenhell 2025. What ensued were candid and unforgettable interactions with newcomers to the festival scene.
On the opening day, I opted to explore debut performances by emerging acts rather than the prominent main stages Helviti and Hades. The Boneyard stage, housed within a repurposed shipping container, saw the Canadian band Bobby Tenderloin Universe kick off the day with rustic covers of metal classics. Meanwhile, Danish group Vulvatorius, seizing the opportunity presented by Myles Kennedy’s cancellation, delivered a vibrant set, with lead singer Ditte Krøyer riling up the crowd in a frenzy of mosh pits.
Taking a break from the main stage headliners, I ventured back to the Boneyard for Hardcore outfit Hard Lessons’ energetic performance. Hailing from Aalborg and showcasing their latest album ‘This Ain’t No Game,’ the band showcased their prowess on stage, with vocalist Tore stressing the universal appeal of their music despite predominantly writing in English. A surprise guest appearance by Tomas Pérez from Syracusæ further elevated the atmosphere, reflecting the mutual support and camaraderie prevalent in Denmark’s metal community.
As the day progressed, I witnessed the eclectic Australian band BattleSnake captivate the audience with their unique stage presence and powerful riffs at the Gehenna stage. Karnivool, another Australian act, treated the crowd to a stellar performance, debuting their latest single “Drone.” Singaporean grindcore band Wormrot made a triumphant return to Europe after 15 years, garnering acclaim for their visceral set complemented by violin sections, underscoring their innovative approach to the genre. Danish-Swedish progressive group Vola also left a lasting impression with their immersive show on the Pandemonium stage, highlighting the festival’s diverse lineup and the emerging talents that captivated the audience.
As the festival unfolded, each day promised new surprises and unexpected moments, reinforcing the notion that Copenhell’s allure lies not only in the headlining acts but also in the rising stars and transformative experiences that define the event. On the second day, I delved into the stories of first-time attendees, recognizing the festival’s role as a vibrant community where fans find solace, connection, and a sense of belonging amidst the thrilling chaos and unbridled passion of the metal scene. In their shared love for heavy music, festival-goers fostered bonds that transcended language barriers, cultural differences, and geographic distances, highlighting the unifying power of music and the undeniable sense of solidarity that permeated Copenhell throughout the event.