Review And All Photos By Tony Sanchez/@oculoscaecos
Welcome to the Hellfest 2024 live report, where the devilishly diverse lineup once again proves why this festival is in a league of its own. From the blistering riffs of metal legends to the haunting melodies of avant-garde acts, Hellfest's eclectic programming is nothing short of spectacular. The festival site is impeccably organized, offering an enjoyable experience from dawn till dusk, setting a gold standard that other festivals, like Wacken and Download, can only aspire to (as of this writing). Hellfest stands miles ahead, delivering an unparalleled blend of musical diversity and logistical excellence, making it the ultimate pilgrimage for music lovers worldwide.
The Birth of Hellfest: A Haven for the Hardcore
Hellfest began in 2006 in Clisson, France, born out of the ashes of the Fury Fest. It quickly gained a reputation for its unapologetic embrace of the heaviest, most extreme acts in metal, punk, and hardcore. Hellfest was a raw, chaotic celebration of the underground. Acts like SLAYER, CANNIBAL CORPSE, and EMPEROR headlined stages that throbbed with the energy of a movement not meant for the faint of heart.
The Shift Towards Mainstream
As Hellfest's popularity grew, so did its appeal to a broader audience. The festival began to attract more significant numbers, including those less familiar with the deep cuts of the metal world. With this influx came inevitable changes - in programming, atmosphere, and overall vibe.
The most noticeable change has been the lineup. Where once Hellfest prided itself on showcasing the most extreme and avant-garde acts, recent lineups have included more mainstream, commercially successful bands. Acts like KISS, AEROSMITH, and even DEFTONES, while still heavy in their own right, signal a shift towards a more palatable roster designed to attract a wider audience.
This isn't to say these bands don't deserve their place; they certainly have legions of fans and rich histories in rock and metal. However, their presence marks a departure from the festival's original ethos of celebrating the fringe elements of the genre.
The Disneyland Effect
The term "Disneyland effect" has been bandied about by disgruntled long-time attendees. It's not just about the music but the overall experience. The festival grounds have seen increased amenities, cleaner facilities, and more corporate sponsorships.
The essence of Hellfest - its gritty, unpredictable nature - seems to be slipping away. Where festival-goers once reveled in the chaos, they now find themselves navigating a well-manicured landscape that feels more like a theme park than a festival rooted in counterculture.
The Pros and Cons
This evolution is not without its benefits. The increased mainstream appeal has brought financial stability and growth opportunities, ensuring Hellfest's longevity. The improved facilities and organization have made the festival safer and more comfortable, attracting a new generation of fans who might have been intimidated by its earlier incarnation. As a dude in his mid-40s, I put Hellfest at the very top of the festival list in terms of enjoyable experience. I personally don't have anything against comfort, good food, cleanliness and safety for all.
However, this comes at a cost. The homogenization of the festival experience risks alienating the core audience that helped build Hellfest into what it is today. For many, the festival's appeal lay in its rawness and authenticity – qualities that are hard to maintain amidst its commercial expansion.
The Future of Hellfest
As Hellfest continues to grow, it faces the challenge of balancing its roots with its future. The festival's organizers must navigate the fine line between embracing new audiences and preserving the spirit that made Hellfest a haven for the hardcore crowd.
For now, Hellfest remains a premier destination for rock and metal fans. But as it evolves, the festival will need to consider how to retain its unique identity in the face of mainstream success. Whether it can maintain its edge while expanding its appeal will determine if Hellfest can continue to thrive without losing its soul.
In the end, Hellfest's journey from underground rebellion to mainstream acceptance is a microcosm of the broader struggles faced by subcultures as they intersect with popular culture. Only time will tell if Hellfest can reconcile these worlds, or if it will become just another stop on the festival circuit - a metal Disneyland, polished and primed for mass consumption.
Navigating Hellfest as Outsiders
An increasing number of attendees are non-metalheads, drawn by the festival's growing reputation and eclectic lineups. These "tourists" navigate the festival grounds like visitors on a high street, taking in the sights and sounds of a culture they are unfamiliar with, often approaching the event with a sense of novelty, treating it as a spectacle rather than a cultural experience. This influx of outsiders has not been without its complications, often leading to friction and misunderstandings with the festival's core audience.
A Clash of Cultures
One of the most glaring issues is the ignorance of certain customs and etiquette within the metal community. Metal festivals have their own unwritten rules, especially regarding crowd behavior in mosh pits and circle pits. These are not just wild, chaotic spaces; they operate on mutual respect and an unspoken understanding of safety and camaraderie. When mainstream audiences venture into these pits without this knowledge, it can lead to serious injuries and disrupt the experience for others.
Injuries and Ignorance: The Hidden Cost
This year, Hellfest saw a noticeable increase in visits to the first aid tents, largely due to the influx of inexperienced festival-goers. Many of these injuries occurred in the mosh pits, where the combination of heavy music and intense physical activity can be dangerous for those unprepared. Circle pits and slammers are not for the faint of heart, and understanding how to navigate these spaces is crucial for safety.
During the QUEENS OF THE STONE AGE set, I witnessed a stark example of this ignorance. A girl, clearly unprepared for the intensity of the crowd, was evacuated with a busted eye, blood gushing out, only a few seconds into the first song. It was a shocking reminder of how unprepared some attendees are for the realities of a metal festival. One can only imagine the potential dangers if she had ventured into the pit at a more aggressive show, like SUICIDAL TENDENCIES.
The Learning Curve
For Hellfest to maintain its reputation as a premier metal festival, it's crucial that both the organizers and attendees address these cultural gaps. Organizers could consider providing more education and guidelines for newcomers, ensuring they understand the dynamics of metal festival crowds and the importance of safety and respect.
Experienced festival-goers, while understandably frustrated, also have a role to play. Sharing knowledge and guiding newcomers can help preserve the spirit of Hellfest while making it a safer environment for everyone. After all, the metal community is known for its inclusivity and camaraderie, and extending a helping hand to those willing to learn can only strengthen the festival's culture.
The Balancing Act
Hellfest's challenge is to balance its growing mainstream appeal with the deep-rooted traditions that made it iconic. As it attracts a broader audience, the festival must navigate the fine line between inclusivity and authenticity. By addressing the cultural clashes and fostering an environment of mutual respect and understanding, Hellfest can continue to evolve without losing the essence that makes it unique.
In the end, Hellfest's journey is a reflection of the broader dynamics at play in subcultures as they intersect with the mainstream. Whether it can successfully integrate newcomers while preserving its core will determine its future. For now, it remains a mecca for metalheads, albeit one that must adapt to the changing tides of popularity.
DAY 1: THURSDAY
Grindcore is always a good choice to kick off a 4-day binge of heavy decibelery, and in the last few years no one has done it better than Singaporeans WORMROT. Rasyid has recruited Gabriel Dubko from IMPLORE on vocals to rip through the punishing drums of Vijesh, who has left the band just days after their uncompromising performance that day. Let's hope the future still hold something special for Rasyid & Co. A great show it was.
The drummer's going ballistic, the lead singer is shredding his vocal cords, while a second vocalist, some kind of acid-drenched Yoko Ono, is tossing out completely dissonant vocal ecstasies that blend chaotically with the maelstrom that is WORMROT. Not my usual cup of tea, but hey, they know how to set the Fest's atmosphere on fire.
Next door at the Temple stage, MORNE from Boston is seducing the crowd. A fresh discovery, their heavy riffs and atmospheric downtempo almost made them a better fit for the Valley stage. Their discreet performance was nonetheless enjoyable. Since coming back from the festival, I've been diving into their albums "Engraved With Pain" and "Asylum" adding them to my regular rotation.
I then head over to my preferred haunt, the infamous Valley, where I plan to spend most of my time, just like previous festivals. This time, it's KHEMMIS on stage. The set is tight, the band is solid, though a bit one-paced for my taste. But it's early in the game, so it's unfair to judge based on one performance. I liked them well enough; they brought a good amount of energy to their set. Overall, a good show.
Next, I aim for the main stage for Kerry King, but while waiting in the photographers pit, I stumble upon SLAUGHTER TO PREVAIL and ICE NINE KILLS. Not my style at all, but I find them entertaining enough. SLAUGHTER's barbarian, toxic masculinity theme and ICE NINE KILLS' horror, psycho-killer shtick, somewhere between "American Psycho" and "Funny Games" are quite the spectacles. Musically, they fall into the "core" genre that I don't usually vibe with. SLAUGHTER TO PREVAIL breaks the record for the world's largest Wall Of Death, with a notary present and all. ICE NINE KILLS walks the line between brutal metalcore with sharp vocals and overly clean melodies-too clean for my taste. But their show is good, offering something interesting on stage, if not at least entertaining.
I ditch Kerry King's set after two songs-it's second-rate SLAYER, let's be honest. I'd watch, but I wouldn't buy a ticket specifically for him. SLAYER, though? Any day. So I head back to the Valley for GREEN LUNG. This is what I came for! I've been into these Londoners since their debut album, Woodland Rites dropped in 2019. The Valley is packed and the crowd is electric. Tom Templar, the singer, is on fire. Watching from the photo pit, it's a blaze, the crowd's going nuts. I step out to actually enjoy the show because I'm a fan and don't just want to snap photos all night. Stellar performance.
I wander back to the main stages hoping to catch MEGADETH but stumble upon BABYMETAL instead. I had no clue what they were about. Entertaining as hell, and it's refreshing to mix things up. They're not my thing, but seeing the elitist metalheads lose their minds over their presence at Hellfest? Priceless. Pissing off the purists is always a win.
At the Temple, I cached the last part of SYLVAINE. A Post-metal Dark-gaze artist I have not listened to prior to the show. Clearly something to discover in the next few weeks to give the music the attention it deserves. On the live side, really enjoyed the part that I witnessed and could quite possibly cover one of their shows in the near future perhaps in a smaller, more intimate setting, if the opportunity comes.
Back at the Valley, the Swedish band GRAVEYARD is up with their good old psych-tinged hard rock. Not my current go-to genre, but it's decent. There's a glut of psych-stoner bands, and it's getting repetitive, but GRAVEYARD brings enough muscle to keep things interesting without dragging the mood down.
Then, it's ALL THEM WITCHES, the Valley's headliner. Highly anticipated, they draw a fired-up crowd. The band plays well; the vibes are great. But their set is a bit too mellow for my festival taste-good energy but too floaty and psychedelic for my liking. Still, judging by the crowd's reaction, it's a win for the first day.
Back to the main stage for the big headliner, AVENGED SEVENFOLD. I first caught them in 2006 opening for GUNS N' ROSES and picked up their major-label debut, City of Evil. Not my usual fare, but I push through the crowd, managing to get close to the front. The show is visually impressive; the crowd is wild. I don't know most of their recent stuff, but the performance is tight. I only wish they would have played more old school, in particular from City Of Evil. They deserve their headliner status though, no doubt.
Finally, CRADLE OF FILTH closes out the first day. I've known them by name since the '90s but never really listened to them. To my surprise, I enjoy their set. Dani Filth is in a great mood, engaging with the crowd—contrary to what I'd heard about him. I snap my photos, then hang back to take in the rest of the show. At 45, I finally get CRADLE OF FILTH. Not my go-to, but I appreciate their musical prowess and Dani's unexpected charm.
And that wraps up day one.
Missed Connections: Crystal Lake, Sodom, Brujeria (just learned of the passing of Pinche Peach as I'm writing this...sad)
Highlight: Green Lung
DAY 2: FRIDAY
I had grand plans to catch the first shows of the day, but the gods of logistics had other ideas. So, it was under a blazing sun that I found myself making a late entrance to the Warzone for DROPOUT KINGS. These guys brought a raw, unhinged energy to the stage, blending Hardcore Punk, Fusion, and Neo Metal into a chaotic frenzy. The pit was wild, the stage even wilder, with not one but two charismatic singers leading the charge. This is festival gold-fun, stage dives, and heavy guitars all day long.
Waiting in the photo pit line at the main stage, I got a sneak peek of WHILE SHE SLEEPS. Not typically my jam, but festivals are all about expanding horizons, right? Their set was tight and energetic, with the crowd soaking up every bit of it under the relentless sun. It felt like their 40-minute set was over in 20, which speaks volumes. Maybe this La-LaCore thing isn't half bad after all.
Finally, in the pit for KARNIVOOL, the band I was itching to see. You don't get to see these guys often, so I hoped for a more intimate vibe. They played the hits-"New Day" and "Simple Boy"-and sounded pristine. Andrew commanded the stage like a seasoned performer, relaxed and confident. After snapping my shots, I dove back into the crowd to enjoy the rest of the gig. KARNIVOOL should've had a later slot, maybe even headlining the Valley, but their performance was still top-notch, even if it got a bit lost in the mid-afternoon heat and dispersed crowd. For the fans, it was a treat.
Next, I headed to the Altar for KLONE. They came highly recommended by a friend whose taste I trust, and man, was I glad I listened. The place was packed, and judging by the OPETH, TOOL, and RIVERSIDE shirts, I knew we were in for something special. KLONE delivered a powerful, heavier-than-expected set, and the audience response was electric. Definitely a band to add to my regular rotation.
Over at the Temple, it was time for MORK, bringing some new-old-school Norwegian Black Metal. They weren't 100% trve Norwegian, but close enough, with a modern twist. Hard to gauge the full impact from the pit, but the crowd's enthusiasm was undeniable. A solid set all around.
Back in the photo pit queue at the main stage, POLYPHIA were on, delivering their intricate, technical blend of styles. Tim Henson's smile never left his face, and the crowd in the first few rows were loving it. Not what I expected, but they fit well into the day's lineup.
I had originally planned to shoot STEEL PANTHER, but the throng of photographers made me reconsider. Their set was a carbon copy of their 2022 gig, right down to the banter. Even the "new" bass player was the same. The only fresh element was their record attempt for the most topless girls on stage. Fun for a first-timer, but this one fell flat for me.
After what seemed like an eternity, it was time for Tom Morello. Predictably polished, from his shirt to his bandana. I grew up on RAGE AGAINST THE MACHINE, so I just wanted a few cool shots of the guy who played "Bombtrack". The earlier press conference veered into politics, which was expected but tiring. The irony of denouncing elites when you are one isn't lost on me. Still, the performance was as expected-solid.
Then, a breath of fresh air with ACID KING at the Valley. No frills, just pure, unadulterated Doom riffage. Les Pauls, Fuzz, and tube amps-it was like a cleanse for the soul. Unlike some of the airier acts from the previous night, ACID KING was exactly what I needed.
Over to the Warzone for the OGs, BIOHAZARD. They kicked off with "Shades of Grey", and from that moment, it was pure mayhem. Evan looked healthier than ever, and the band's chemistry was spot on. The setlist, heavy on tracks from Urban Discipline and State Of The World Address kept the energy through the roof. No chance I was leaving for another stage-sorry MACHINE HEAD. I soaked in the scene, feeling the energy in anamorphic VR. What a show.
Back to the Valley for the Stoner OGs, FU MANCHU. The vibe was thick, the riffs were heavy, and the crowd was fully engaged. Meanwhile, over on the Warzone stage, it was time for even more OG action with BODY COUNT featuring Ice T. Here the energy in the crowd overpowered the energy on stage, but it's a treat to witness this influential formation in their OG lineup.
Finally, after roaming the infernal grounds in search of sustenance, I found myself way back, watching THE PRODIGY close out their set. Funny how they feel more metal than some of the actual metal bands today.
Missed Connections: Satyricon, Emperor, Red Sun Atacama, Houle
Highlight: Biohazard
DAY 3: SATURDAY
Another (very) late start on Saturday, thanks to the logistical gods conspiring against me. I did get to roam a bit backstage, enough to catch a distant glimpse of METALLICA's 900m2 dressing room/gym/pool/rehearsal space/My Little Pony theme park. Priorities straight, I headed for the main stage to catch MAMMOTH WVH. I missed them last year due to a cancellation, so I was keen to see what they'd bring to the table live. Wolfgang and his band didn't disappoint-storming the stage like they owned it, which, rumor has it, they might have actually rented from METALLICA. If they managed to snag it without buying Lars a new silk kimono, then hats off to them. Wolfgang is a fantastic musician and a hell of a singer, delivering a solid rock show.
A few hours later, over at the Valley, it was time for the much-anticipated CHELSEA WOLFE. I'd missed her performances before, so this time, come hell or high water (and it was definitely the latter), I was determined to catch her. Her dark, delicate sound truly comes alive on stage. As the band played "16 Psyche" the skies darkened, and the rain began to pour down. It was a beautiful, wet, immersive experience that reminded me of the importance of living in the moment.
Clad in a rain cover, I made my way to the Warzone for the NEKROMANTIX. Their psychobilly madness was a refreshing break from the heavier acts. Even though the Warzone wasn't packed, and everyone was getting drenched, the gig was fun and didn't lack energy. This year's Hellfest was shaping up to be the most eclectic yet.
Back to the Valley for MR. BUNGLE, where Mike Patton opted for a thrashier incarnation, perfect for the occasion of re-releasing The Raging Wrath Of The Easter Bunny. With Dave Lombardo on drums and b>Scott Ian on guitar, it was as thrashy as it gets. Not the avant-garde MR. BUNGLE, which was a relief. I stood in the rain for a while before deciding to call it quits. Bruce Dickinson on the main stage wasn't something I was looking forward to (sorry, MAIDEN fans), and METALLICA was still an hour away. Time to head back to camp for some dry clothes.
After waiting out the rain in my cozy "high-roller" tent, I heard the strains of "The Ecstasy of Gold" signaling METALLICA's imminent start. They were running 20 minutes late, thanks to the weather, giving me hope that I'd make it in time to snag a good spot. Spoiler alert: I didn't. I did catch "Master of Puppets" towards the end of their set, but regretted it immediately. The band felt static, uninspired, and Kirk was butchering "Master"-not some new track he was still learning, but "Master of Puppets". I bailed, wishing I'd gone to see JULIE CHRISTMAS at the Valley instead. Heard she put on a killer show.
The real headliners for me tonight were SUICIDAL TENDENCIES. My first "real" rock concert was GUNS N' ROSES in 1993 in Nancy, and SUICIDAL TENDENCIES opened. That day, a new Pandora's box opened for me. Now, back in the Hellfest pit with my beat-up Canon, I was ready to witness ST again. SUICIDAL TENDENCIES have carved out their own unique niche in the music scene. Mike Muir stared out at the crowd, defiant, and they stared back, waiting. The intro to "You Can't Bring Me Down" heralded the end of any remaining calm before all hell broke loose. It's almost ritualistic, a well-oiled machine that neither surprises nor disappoints. Anyone seeing ST for the first time can't deny the electric connection between the band and the crowd. I left the pit to enjoy the show from the crowd, soaking in the energy and the moment.
Missed Connections: Brutus, Julie Christmas, KVELERTAK and Metallica ;)
Highlight: Chelsea Wolfe
DAY 4: SUNDAY
For the last day in Hell, I decided to take it easy, channeling my inner McConaughey. First up, HIGH ON FIRE, surprisingly early on the main stage at 12:30pm. I've seen them 5 or 6 times, but with their latest album Cometh The Storm getting critical acclaim, I guess it's why Mr. Pike and company are gracing the main stage. Despite the odd early slot, the band sounded fantastic, ripping through their set like pros, even if the crowd was still waking up. A sunny Sunday indeed.
FRANK CARTER AND THE RATTLESNAKES took the main stage next, kicking off with a mellow song before cranking up the energy. Frank jumped into the crowd with the mic stand, stirring things up. I discovered him two years ago at the same festival but didn't follow up much afterward. However, this performance was stellar, convincing me to add their latest album to my rotation. Live, Frank and his band are a force, even if you're unfamiliar with their music.
Over at the Altar, the crowd was massive for THE BACK DAHLIA MURDER, extending well past the tent. Probably the heaviest band of the day, Brian did an excellent job on vocals, and the band delivered a killer performance. I'm eagerly awaiting their upcoming album Servitude.
On the main stage, COREY TAYLOR gathered a huge crowd. I let the other photographers cover this one to secure a first-wave spot for the next band. I haven't heard his solo stuff, but it didn't matter. Corey was in a contagiously positive mood, throwing in a few SLIPKNOT songs that lit up the crowd. An acoustic ballad for his wife was a touching moment. Overall, he knows what the crowd wants and delivers with the expertise of an OG. Watching him, I thought he might benefit from branching out like Frank Carter.
While heading to Main Stage 2 for QUEENS OF THE STONE AGE, I saw a girl with a bleeding eye being carried away-festival hazards. Josh Homme appeared on stage in a state of, shall we say, beverage-induced happiness, doing a slow rendition of Axl Rose's snake dance while strumming "Regular John". The QUEENS warmed up slowly but hit full speed with "Burn The Witch", ending with "A Song For The Dead". A clean, festival performance. During the press conference, Josh mentioned an upcoming performance in the Parisian Catacombs. I couldn't help but sneer, as many unknown Parisian bands have played there for decades with no fanfare. Maybe we'll head to the desert with generators next, that'll be a first too.
Back at the Valley, I was eager to see Chino Moreno's project CROSSES. A hybrid of Dark Wave, Electro, Gothic Rock, and Post-Punk? Yes, please! Unfortunately, technical issues limited their set to two songs. I snapped some photos but decided to head to the Warzone to secure a spot in the pit. The band returned after 30 minutes to finish their set, so kudos to Chino for not torching the place. I'll catch CROSSES at another show.
I wouldn't call myself a hardcore guy, but this year's Warzone lineup made me nostalgic for the early '90s. MADBALL, with Freddy still at the helm, was a highlight. The crowd's energy was insane, and Freddy's dynamism was contagious. I got lucky, entering the pit just in time for an explosive rendition of "Set It Off", Freddy jumped into the crowd, and I followed, camera in hand, experiencing a MADBALL show as it should be-right in the middle of the action. The hardcore spirit of oneness, regardless of whether you're on or off stage, was palpable. MADBALL is the epitome of hardcore.
At the Valley, a decent crowd gathered for RIVAL SONS. I wasn't familiar with them, but it was clear the crowd was. They played the main stage two years ago at an earlier spot, and now they're headlining the Valley-a testament to their growing popularity. A great performance, with guitarist Scott Holiday on fire. A good show for classic rock lovers.
Finally, the main event: FOO FIGHTERS. After a six-year hiatus from French stages, they stormed in with "All My Life". Dave Grohl was on fire, performing at his peak. They honored the festival's roots with covers of "Mr. Crowley", "Paranoid", and "March Of The Pigs". They played their greatest hits, perfect for the festival crowd. It was a fantastic show, albeit a bit short, ending 15 minutes early.
I headed to the Temple for DIMMU BORGIR but couldn't really focus on the show. It was the last gig of the festival, and we, a bunch of photographers and press from around the world, decided to have a good time in the pit, saying goodbye with smiles, laughter, and a few slams. But I'd say the show was awesome!
Missed Connections: Sang Froid, Batushka, Crosses
Highlight: Madball
PS: Thanks to the Press Team for their hospitality and hard work. Thanks to the many volunteers that make the experience even more enjoyable. Thanks to the security, in particular to the challengers at the various stages that are always caring, making sure everyone has a good and safe time.
Check out some more photos from the festival!
All Photos By Tony Sanchez/@oculoscaecos
