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Copenhell is a marathon, not a sprint. In recognition of that, today’s experiences focus on opening our minds in preparation for the two very long hours with Tool this Saturday. I indulge in just one classic metal concert: Cradle of Filth.

With determination, I open my senses to new sounds and encounters.

Here are the other parts of our Live Report:

[LINK Day 1]: The gates of the Metal Party Opens
[LINK Day 3]: The Longest Metal Day in Denmark
[LINK Day 4]: Lethargy and Grand Finale

Day 2 -Oddities and Different Strokes

DeathByRomy

The 24-year-old from Los Angeles takes the stage with a meticulously planned show, true to American style. She knows where to be and when, offering well-choreographed performances with her guitarists, rock to the core. She pleases, entertains, and amuses. The rock spirit is strong, coexisting well with a pop approach to music and stage design, perfect for photo poses on your social network. Romy Flores doesn’t yet have a vast repertoire to choose from, but her strong presence and clever touches infuse a Gothic and Dark vibe even into tracks more aligned with Pop, Trap and R&B.

A great gig for practicing with the camera and reels.

Mr. Bungle

The “unofficial” headliner arrives just before 3 PM.

Mike Patton’s Mr. Bungle is the symbol of the second day of Copenhell 2024, gloriously metal yet innovative, unpredictable, and anarchic. With the eclectic Mike on vocals and synth, they are joined onstage by Scott Ian (Anthrax, SOD), Dave Lombardo (formerly of Slayer, Testament), and Trey Spruance (formerly of Faith No More). Mr. Bungle subjected us to shock therapy: Speak “Danish” or Die (SOD) segues into La Cucaracha, Hell Awaits (Slayer) morphs into Spandau Ballet, and it ends with “You Lose” (7 seconds). They close with “All by Myself” (Eric Carmen), transformed into the sincere advice “Go Fuck Yourself,” a suggestion I’ll carry into Tool.

Did you understand any of it? neither did we. We were at the concert dazed with a smile plastered on our faces, unsure whether to embrace, mosh, or dance. Scott Ian laughed from beginning to end seeing our bewildered expressions under the onslaught of his guitar. There’s no point in trying to rationalize what happened: like a strange hallucination, it happened, we lived it, and we even enjoyed it.

Cradle of Filth

Before requesting psychoanalysis, I find a warm and blissful corner to recover and heal my soul.

Under Cradle of Filth’s stage, I find Gaia and Davide also trying to regain their sanity. There’s almost nothing to say about Cradle of Filth; they give us exactly what we want with the skill we expect. Finally at ease in a crib of black leather covered in bloody cotton and metal spikes, we are lulled by the sharp cries of the giant Danny.

We’re at home.

Cradle of Filth. credits: Gaia Micatovich

Limp Bizkit

This is the party for millennials.

A call comes in: your old friends are at a party like it’s New Year’s Eve 1999. Leave the dog and suburban villa, dust off your vintage clothes, and drive your Polo to the besieged villa. You’re welcomed by a crowd spilling out onto the street, drinking, shouting, and throwing toilet paper. At high volume, the DJ friend is still playing the same songs from 25 years ago.

Wes Borland arrives in a Mercedes, honks to disperse the crowd, and parks in the driveway. He adjusts his jacket, pulls out from a velvet-lined box a golden headdress with crosses pendants, and goes to be admired. Sophisticated and well-groomed, he stands out among the revelers.

Wes in gala dress. Credits: Gaia Micatovich

There’s a bang, Fred arrives in a Lancia Delta and bumps into Wes’s car in the driveway. He puts on a reflective vest, gets out, looks at the dent, and decides he doesn’t care anyway. He drags Wes to the guitar and grabs the microphone and starts abusing it. No nonsense, just a microphone, instruments, and music.

Limp Bizkit. Fred has reached the “Zero Fuck”. Credits: Copenhell.dk

Fred has reached “The Zero Fuck”, shamelessly singing just to ignite the party.

The crowd jumps and moshes, waves of people swept up in an adrenaline rush make a stormy sea in front of the stage. Are you metalheads? Take “Walk” by Pantera and unleash wild moshing! Fred knows he can afford the audacity. “Behind Blue Eyes” is on the setlist with “Careless Whisper,” and a strange cover of “Come as You Are” is commented on by Fred himself: “This is better than the original”. “Breaking Stuff” as the finale is a frenzy, maybe not the devastation of New Year’s Eve 1999, but more than a few vases have been broken.

Limp Bizkit. Behind Blue Eyes. credits: Gaia Micatovich

I don’t care to comment on Limp Bizkit’s music; this concert was an event for millennials in need of a real party. Limp Bizkit plays by their rules, shamelessly giving the audience what they want.

HMW Special: Kink at Peech with RedLily

Peech opens the doors of his sexy shop at Copenhell 2024, the peculiarity of this store is creativity.

In a rusted container, colors stand out and from the ceiling hang chains with alien and tentacled dildos, well-selected kink and fetishism for the metal audience.

We’re talking about this shop for a very particular reason: Peech’s team of girls organized workshops during the festival in collaboration with our Beatrice RedLily (redlily.dk), intimacy coach and teacher of Shibari & Kink.

It starts today, Day 2, with Shibari attracting a good number of people, but the largest success was with spanking, which seems to resonate particularly well with the local metalheads.

After a practical demonstration of the paddle, whip, and flogger, metalheads are allowed to play under supervision. The enthusiasm is palpable and audible; soon adult-kindergarten teacher Beatrice has to take away the toys from the children and send everyone to the mosh pit to continue the impact play in metalhead style.

More useful insights to keep in mind for Tool.