FESTIVAL REVIEW: Hellfest Open Air 2019 – Friday

At five minutes past nine on the Friday morning of Hellfest, rumours that had begun to swirl the previous day were confirmed – MANOWAR had cancelled their headline slot with a shade under fourteen hours until they were due to take the stage. The reasons behind it look set to be theorised for a long time to come, but for the fans that had travelled over from other countries to see them, it served as a crushing blow. There was also the question about who would take their spot, but that would be revealed soon enough. For now, it was time to get back to the music and, with all six stages open and playing music from 10:30am, there was plenty to get stuck into.

Native black metallers AORLHAC (6) give a good account of themselves and are aided by a responsive crowd on the Temple, but their sound is all too generic and it would be a surprise to see them break out of France. CULT LEADER (8) unleash a torrent of unholy rage on the Altar and their caustic, blackened grindcore near enough rips the stage apart. It’s something UADA (6) can’t compete with, their lacklustre riffs and howls failing to connect with a tame and non-plussed crowd. No such issues for DAUGHTERS (8) however, whose performance is disturbing, virulent, hypnotic and mesmerising in equal measures; vocalist Alexis Marshall seems to be fighting or possibly even expelling some vicious demons as he throws himself about the stage, slamming his head against the mic in the process and howling out anguished screams. POWER TRIP (7) have been making great waves in the thrash scene over the past few years and they don’t harm their trajectory here either; Executioner’s Tax (Swing of the Axe) is always a sure fire winner to get a circle pit going as well. Next to them, All THEM WITCHES (8) are tame in comparison, but it’s all too easy to get carried away on the honeyed, moody vocals of Charles Michael Parks Jr and their old school rock ‘n’ roll vibes with an unmistakeable Americana sound makes for an energetic and varied set.

ME FIRST AND THE GIMME GIMMES (8), by rights, should not have broken out of the pub circuit in their native San Francisco given their total lack of original material, but when your set consists of covers of the likes of Cher, BLONDIE and Elton John in a pop-punk style, it’s one hell of a party at the Warzone. Back at the Temple, the charred rock ‘n’ roll of IMPALED NAZARENE (7) shakes things up as the evening draws in, the riffs coming fast and heavy in a style akin to a dirtier-sounding VENOM. GRAVEYARD (9) take to the Valley stage as the sun is setting and their mix of psychedelia, blues and stoner is complimented beautifully by the perfect acoustics, resulting in a captivating  performance that includes the likes of Uncomfortably Numb and Ain’t Fit to Live Here. They might be almost 25 years into their career but DROPKICK MURPHYS (8) show no signs of slowing down. Still just as raucous and bouncy, they keep the party vibes high, from their covers of The Irish Rover and You’ll Never Walk Alone to the customary closer of I’m Shipping Up to Boston. The performance of UNCLE ACID AND THE DEADBEATS (9) is downright dirty and delicious, with everything falling into place just right to allow for a spellbinding performance, while CARCASS (8) are still one of the best death metal bands around and their fourth Hellfest appearance is welcomed with a sizeable audience and warm reception throughout. On the Altar, POSSESSED (7) are a band revitalised following the release of their first studio album since 1986 earlier this year; you also have to give props to vocalist Jeff Becerra, prowling the stage in a wheelchair and giving everything he possibly can.

So, to the heroes of the hour – instead of MANOWAR, Hellfest are given a second SABATON (7) show in the space of twenty four hours. As has been well documented though, what could have been a coming-of-age set for the Swedes turned into a – pun intended – battle against the odds, with frontman Joakim Brodén lasting three songs due to blowing his voice out the night before at Knotfest. As he croaked on stage though, ‘SABATON don’t cancel’ and, with lyrics sheets under their mic stands, guitarists Tommy Johannson and Chris Rörland take on lead vocals for the first ever time; they perform admirably and receive a huge reception from the crowd in front of them. There’s no bad blood from any MANOWAR diehards, no sense of a difficult audience, just band and punter coming together to make this as good as it can be given the limitations. It’s naturally not the best, but it’s a triumph all the same. What hurts them most, however, is that GOJIRA (10) follow them immediately after and simply level the place. Shows in a band’s home country are always special and GOJIRA are rarely disappointing live, but this is one of those occasions where everything aligns perfectly, allowing for a moment in time that will be burned long into the memories of those who were there to witness it. Up against them, KING DIAMOND (7) have their usual haunted house theatrical set up with the King himself parading up and down the stairs whilst belting out his impossibly high and creepy falsetto. It’s unfortunate that he is unable to maintain this throughout – there are a fair few wobbles which are slightly helped with the backing vocals of his wife, Livia Zita – but he proves he still has a lot left in the tank. Most notably, a brand new song titled Masquerade of Madness is aired, which hints at a possible new record, something that would be very welcome indeed.

Words: Elliot Leaver & Abi Coulson

And that rounds off our coverage of the Friday at this year’s Hellfest! Stay posted to Distorted Sound as we bring your our coverage of Saturday and Sunday’s action soon!