One of the many good things of Copenhell is that you can go from a massive show of lights, pyro and what more, to an essential concert, where the stage is there just to host the band, nothing fancy around it. Queensrÿche belongs to the latter, and you are fully locked in to the music, leaving the visual input to the minimum effort.

Queensrÿche kicked off the gig hard and energetic: Todd La Torre‘s peculiar voice enchanted the crowd, that got on the same wave length of the band right away. 

Queen of the Reich opened the concert and Casey Grillo was spectacular, both acoustically with his drums and visually with his air, constantly up in the air like in a wind tunnel (how big could have the fan be?).

A loud siren sound announced Warning, that filled in the hair with its mix of hard rock and melodic vibe, before NM 156 went out powerful, with its dystopian setting and outlook.

Guitar intros and twin-solos kept going during the whole gig, and the mixed crowd appreciated it: whether they were older sleeveless men or younger shirtless boys, they kept moving on the rhythm of this powerful ban, lightning up even more when Revolution Calling‘s chords, drums and melody brought us back to the 80s sound: it was a blast.

Luca Bruschi

The sky got darker and darker and finally the lights could play an important role on stage for Mastodon, something impossible for the other bands in a perfect sunny weather. The transition from dark blue to red introduced the artists on stage. Troy Sanders‘ theatrical entrance was of course the last one; he casually walked in front of Brann Dailor‘s drums, faced him and with a perfect synch with the pyros and the drums hit he started up the concert with a guitar riff

That’s how Tread Lightly kicked off the gig.

Troy Sanders’ long white beard and hair lighted up the stage as much as the pyros. His presence was awesome: he Was the choreography, nothing else was needed.

From the first song onward, the energy level from the stage didn’t go down an inch, and it was perfectly transmitted to the big crowd, that simply loved that.

Actually, the whole gig was a crescendo of drums, rhythm, guitar riffs and plays of lights.

As the sky turned into night mode, the pyros got more frequent, as more frequent crowd surfing brought bodies beyond the fence, with the safety personnel ready to catch them. By the way, big kudos to all the men and women part of the crew, who did a tremendous job to make crowd surfing a safe and spectacular moment.

At the end of the concert Troy Sanders, with heartfelt words, introduced the just released song You Are Ghost Again, and dedicated it to the former guitarist Brent Hinds, dead in an accident. A nice final touch before leaving the crowd to their next move in the Copenhagen summer night.

Luca Bruschi

Alice Cooper‘s concert started with the whole band on stage, except him: where is Alice Cooper? 
A big panel in the middle of the stage fell and he appeared behind it.

Alice Cooper’s concerts are not just about music, but they are a big show, where he and his band tell stories, interact with monsters, killers, crazy characters, while having blood spots everywhere on the clothes.

Speaking of which, I think it was amazing to see how agelessly he could perform: not only he ran up and down the stage, but he wore a different costume for every song, acting like a great actor, while singing and doing the right gesture at the perfect time.

It’s raining picks, Hallelujah! All the guitarists on stage had many picks and it was a continuous throwing of these little triangles: I was a bit disappointed with myself for not being just in front of the stage.

Before starting Feed My Frankenstein, an horrific creature helped him wearing a blood stained crazy doctor coat. In the middle of the song, a gigantic Frankenstein made it to the stage and chased the musicians.

On Dirty Diamonds Alice Cooper started throwing necklaces to the crowd: it was the second time I regretted not to be just closer. Going home with a relic from Alice Cooper’s concert would have been quite cool.

It was a continuous theatrical show: next in line, during Hey Stoopid, a photographer wandered on stage annoying the band; he didn’t get away with it and ended up stubbed by Alice Cooper’s stick.

From singing a whole song stuck in a straitjacket to an amazing guitar solo from Nita Strauss, to a dance and fight with the doll that had been lurking from the stage for the whole time.

The doll didn’t have a nice end and, after a ballad where Alice Cooper’s face ability of expressing all different emotions reached the next level, she came alive.
It was love and hate: they kissed, and then he killed her.
It was justice time, and a guillotine was brought on stage for Alice Cooper, who was beheaded. The cold blood alive doll pulled up his head and showed it to the crowd. A dark and spectacular moment.

Believe it or not, Alice Cooper was still alive and showed up all white dressed: big balloons were thrown to the crowd, that played with them while still caught in the big drama on stage.

The big concert ended with the cover Smells like teen spirit.
What a great show the Copenhell folk experienced!!!

Luca Bruschi

Tom Morello did exceed my expectations!

He was a blast of energy, rock, political messages and family.

Soldier in the Army of Love kicked off the concert. What immediately impressed all of us in front of the stage was a very young guitarist, that got a lot of time on the big screens at the side of the stage. His resemblance with a (much) younger Tom didn’t leave room for any doubts and confirmed what it had been happening for a while now: Roman and Tom, father and son together on stage. Like LeBron and Bronny James, at Lakers (apology to the non basketball readers, but I couldn’t help with the analogy). Genes definitely were well transmitted. Family moment #1.

A huge crowd was in the open area and on the hill in front of the stage: compared to the previous concert, this crowd’s age group was definitely more Generation X than Y and Z.

“I’ve waited a long time to play this song for you”, and then Adjourn It kicks in.

But he really got the crowd to the next level when he asked three questions:
“Is there anyone here who loves Rock’n’Roll?” – big response
“Is there anyone here who hates fascism?” – even bigger response
“Is there anyone here who loves Rock’n’Roll hates fascism?” – big roar!

And with that, he asked everyone to go down on knees, and then up to create a big earthquake.

Did you know that he almost had to cancel this concert? Next song was for his mom, 102 year old, who luckily for her, for him and for us, recovered from health issues. Family moment #2.

Everything Burns was played with an essential setup: a black screen with four white words: Torches, Pitchforks, Molotovs, & Bricks”. The energy level rose again, if even possible.

The song that made him fall in love with music got then its place on stage: Ozzy‘s Mr. Crowley.

The words printed on his guitars were all In line with his political beliefs: “Arm the homeless” was in front of us for most of the concert, but it is when he reverse-played the guitar that the other message made the crowd roar again: on the back of it four words in Danish claiming “Hands off from Greenland”.

The concert ended, leaving all of us with the feeling to be part of something big.
And of course, what a better ending than leaving the stage with Bella Ciao playing in the background?

Luca Bruschi