Hellfest 2026 (Thursday): The Pretty Reckless, Deep Purple, Alice Cooper and Bring Me The Horizon Ignite a Spectacular Opening Day
- The Riff Collective
- Jun 28
- 8 min read
Across nineteen editions, Hellfest has grown into one of the most important heavy music festivals on the planet. This year, close to 200,000 fans descended on Clisson over four days to witness 183 bands spread across six stages.
Yet Hellfest has always been about far more than numbers.
What makes this French giant truly special is its near-flawless organisation and a unique identity that sets it apart from every other festival in the world. The two main stages, Mainstage 1 and Mainstage 2, sit side by side and operate in an alternating format, allowing fans to enjoy almost non-stop music from early afternoon until well past midnight without ever needing to move. Barely five minutes separate one show from the next. Meanwhile, Temple and Altar provide a covered home for the festival’s more extreme offerings, from black metal to technical death metal, while Valley and Warzone continue to fly the flag for stoner, doom, hardcore and punk.
Like a cathedral built for heavy metal, Hellfest continues to expand its collection of monuments dedicated to some of the genre’s most iconic figures. While Lemmy Kilmister’s towering statue has watched over the festival grounds for years from its position between Valley and Warzone, the nineteenth edition introduced a brand-new tribute to Ozzy Osbourne. Standing proudly near the festival entrance, the imposing sculpture welcomed fans from the moment they stepped through the gates and instantly became one of the most photographed landmarks on site.
All of this unfolded during one of the most intense heatwaves France has experienced in recent years, with temperatures reaching or surpassing 40°C in several regions. Once again, Hellfest proved why it remains the gold standard for festival organisation. Shaded areas such as Hellfresh within the Kingdom of Muscadet, countless water points, sunscreen stations, medical facilities, ear protection and even sleep-aid services helped attendees survive what were genuinely extreme conditions.
With that backdrop, Thursday could hardly have started any better.
Opening the Mainstages was Mikkey Dee & Friends, a project created by the former Motörhead drummer to keep Lemmy’s legacy alive. Joined by Viktor Skatt on bass and vocals and William Dickborn on guitar, both from Swedish rockers The Drippers, Dee delivered exactly what the crowd wanted: a celebration of one of the most beloved bands in rock history.
It was impossible not to smile while watching Skatt channel Lemmy’s unmistakable look and stage presence. Classics such as “Born To Raise Hell” and “Killed By Death” immediately set the tone for the weekend, with Alice Cooper bassist Chuck Garric making a guest appearance during the latter. More than a concert, it felt like a heartfelt tribute to the man whose spirit remains woven into the very fabric of Hellfest.
From there it was a sprint to Temple to catch Perchta, one of those bands that perfectly illustrates the extraordinary diversity of the festival. The Austrian outfit combines Alpine folk traditions with black metal, creating a sound and visual aesthetic unlike anything else on the bill.
Led by the charismatic Frau Percht, the band transformed the stage into a pagan ritual filled with masks, folklore and eerie atmospheres. The most surreal moment came when the singer distributed the contents of a ceremonial chalice among the musicians before blessing the audience. From the photo pit, it quickly became apparent that more than a few photographers would receive an unexpected baptism of their own. Thankfully, the mysterious blood-like substance proved easy enough to clean off.
Back on Mainstage 2, The Pretty Reckless showed exactly why they have long since graduated from promising newcomers to established festival heavyweights. After spending the last two years opening stadiums around the world for AC/DC, the New York outfit looked completely at home on one of Europe’s biggest stages.
Taylor Momsen commanded the crowd like a seasoned rock star, leading a set that balanced fan favourites with material from the band’s forthcoming album. “Death By Rock And Roll” and “Since You’re Gone” quickly won over the audience, while newer tracks demonstrated a band still evolving creatively.
Meanwhile, staples such as “Heaven Knows” and “Going To Hell” reminded everyone why The Pretty Reckless remain one of the strongest forces in contemporary hard rock. One of the standout moments arrived when Momsen stepped down to the barrier to perform the recent single “When I Wake Up” alongside fans already hanging on her every word. Judging by the marriage proposals displayed on signs throughout the crowd, she had certainly made an impression.
Then came one of those moments that only Hellfest can truly deliver.
Because how often do you get to watch Deep Purple perform in front of tens of thousands of metal fans?
Opening with the immortal “Highway Star”, the British legends immediately demonstrated that they remain a force to be reckoned with. Ian Gillan, now in his eighties, exceeded expectations throughout the performance, while Roger Glover, Ian Paice, Don Airey and guitarist Simon McBride once again proved that the Purple machine is still running remarkably smoothly.
Rather than relying solely on nostalgia, Deep Purple continued to showcase newer material and even offered glimpses of what lies ahead. It was a statement of intent from a band that refuses to become a museum piece more than fifty years after changing rock music forever.
Of course, the closing stretch belonged to the classics. “Space Truckin’”, “Black Night” and the inevitable “Smoke On The Water” triggered huge reactions, but perhaps the most memorable sight was watching younger fans experience these songs performed by their original creators for the very first time.
My visit to The Halo Effect was admittedly brief. Just three songs before another dash across the festival grounds. Still, it was enough to understand why the band has been gaining such momentum.
Featuring several of the architects behind the legendary Gothenburg sound, the group combines decades of experience with the energy of a relatively new project. Mikael Stanne was all smiles throughout the performance, visibly appreciative of the strong turnout inside Altar. The set leaned heavily on material from Days Of The Lost and March Of The Unheard, confirming that The Halo Effect have long since moved beyond the “supergroup” label and established a distinct identity of their own.
As the sun began to set over Clisson, Papa Roach transformed the Mainstages into a massive nu-metal celebration.
With giant flames erupting around the festival grounds, songs such as “Getting Away With Murder”, “Scars” and “Help” hit even harder than usual. Yet the real star of the show was Jacoby Shaddix.
At 49 years old, and more than a decade into his sobriety journey, the vocalist remains one of the most charismatic frontmen in modern rock. His energy never dipped for a second, and his connection with the crowd was undeniable.
One of the most emotional moments of the entire day arrived during “Brain Dead”, when his son Brixton joined him onstage. It was a genuinely touching family moment that drew one of the loudest ovations of the evening.
The entertaining “Nü-Metal Time Machine” segment paid tribute to Korn and System Of A Down before Papa Roach launched into a devastating final stretch featuring “Last Resort” and “Between Angels And Insects”.
If there was a genuine contender for performance of the day, Papa Roach were firmly in the conversation.
From nu metal, the festival shifted directly into another cornerstone of rock history.
If Deep Purple represented living rock history, Alice Cooper served as a reminder of why he remains the undisputed king of shock rock more than half a century after helping invent the genre.
Unlike many veteran artists who survive largely on nostalgia, Vincent Furnier still understands that an Alice Cooper show must be more than a collection of songs. It has to be an experience. Theatre, horror, humour and rock and roll rolled into one perfectly crafted production.
From the opening moments, it was clear the audience was witnessing a carefully choreographed spectacle. At 78 years old, Cooper continues to command the stage with astonishing authority, effortlessly moving between characters while guiding fans through a world of monsters, madness and classic rock anthems.
“I’m Eighteen”, “Hey Stoopid”, “Poison” and “No More Mr. Nice Guy” arrived one after another while his exceptional backing band performed with surgical precision. Ryan Roxie, Tommy Henriksen, Chuck Garric and Glenn Sobel have become one of rock’s most dependable line-ups, while young British guitarist Anna Cara impressed throughout as she temporarily filled the role normally occupied by Nita Strauss.
“Feed My Frankenstein” delivered one of the evening’s biggest visual highlights, with the giant monster making its traditional appearance to the delight of the crowd. Later, “Brutal Planet” provided an opportunity for each musician to shine individually, reminding everyone that beneath the theatricality lies a genuinely outstanding band.
Naturally, the iconic “Ballad Of Dwight Fry” sequence returned as one of the most anticipated moments of the show. The appearance of Sheryl Cooper led to the inevitable guillotine scene. Everyone knows how the story ends, yet it remains impossible not to watch with a mixture of amusement and admiration.
The finale was irresistible. “School’s Out”, blended as always with elements of “Another Brick In The Wall”, turned Hellfest into one giant celebration. Then came one final surprise. A cover of Nirvana’s “Smells Like Teen Spirit” sent younger fans into a frenzy, in some cases generating even bigger reactions than Cooper’s own classics.
It was another reminder that Alice Cooper has never been content simply looking backwards. He continues to find ways to connect with new generations, and few artists of his era do it better.
The most emotional moment of the day followed shortly afterwards. A tribute to Ozzy Osbourne unfolded across the giant screens, celebrating one of the most influential figures in heavy metal history. As “Bark At The Moon” echoed throughout the festival grounds, a spectacular fireworks display illuminated the night sky.
The tribute carried extra significance because these would ultimately be the only fireworks of the entire weekend. Due to the extreme temperatures and heightened wildfire risk, Hellfest’s traditional Sunday closing fireworks had already been cancelled. It felt like a fitting honour for a musician whose influence could be felt in every corner of the festival.
Then it was time for Thursday’s headliners.
Bring Me The Horizon demonstrated exactly why they represent a new generation of modern metal. Their production was simply enormous. Giant screens transformed into a dystopian video game, featuring infected humans, digital nightmares and cinematic visuals that captivated the audience from start to finish.
Combined with flawless camera work, relentless pyrotechnics and a unique catwalk extending deep into the crowd, the band delivered the most visually spectacular performance of the day.
Musically, Oli Sykes and company focused largely on their more recent material, reflecting the evolution that has taken them from metalcore outsiders to one of the most ambitious and forward-thinking bands in contemporary rock.
And just when it seemed impossible to ask anything more from a crowd that had spent ten hours battling 35°C temperatures, Alestorm arrived to prove that fun remains a fundamental part of the Hellfest experience.
The Scottish pirates transformed the festival into a giant floating tavern. Inflatable yellow ducks flew through the air, thousands of fans sat down to row during “Nancy The Tavern Wench”, imaginary barrels of rum flowed freely and a gigantic inflatable “FUCK YOU” dominated the stage during “Fucked With An Anchor”.
It was the perfect ending to a memorable opening day.
Because if Thursday proved anything, it is that Hellfest remains far more than a festival. It is a celebration of heavy music in all its forms, a meeting point for different generations and a place where legendary pioneers share the same stage as tomorrow’s headliners.
And best of all, there were still three days left to go.
The Riff Collective
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