NOT SCIENTISTS
Mainstage 1, June 21, 11:05 am
Sunday morning: a fourth day shaping up to be worse than the others heat-wise, and bodies are already fairly battered. Even so, there’s a decent crowd in front of MS1 for NOT SCIENTISTS. Getting the masses up and moving in the morning under an already-154°F sun (give or take ^^) is a bit of a challenge, but plenty answered the call — and nobody would regret it.
A simple, direct, effective set. A well-judged setlist for 30 minutes. The guys deliver: it’s fast, nervy, and it gets the crowd happily bopping along. They’re hot, we’re hot, but them like us, everyone is glad to be here. Despite the physical distance between the guys on stage (yep, the MS is big!), the chemistry is there and the songs keep rolling.
One small gripe on my end: from the front row I could barely hear Fred’s (the guitarist’s) voice — a shame, because the backing vocals really add to the songs. Oh well, I sang them in my head. A good concert (too short) full of freshness (yes, yes, the heat is all in the mind), hoping to see them a little higher up the running order next time for a longer set.
Setlist:
ENDGAME
Rattlesnake
Like gods we feast
Paper Crown
HURRICANE
CAUGHT IN A WEB
Perfect World
Leave Stickers on our Graves
REVNOIR
Mainstage 2, June 21, 11:40 am
A revelation of the French alternative scene, Revnoir offers a modern blend of metalcore, electro and female vocals. A performance that quickly draws the festival-goers’ curiosity. The band impresses with its energy and its ease on stage. Melodic passages alternate with powerful breakdowns, and the crowd gives this young outfit a very warm welcome.
Setlist:
New World
Burn Me Alive
Lost in the Dark
Echoes
Crimson Skies
Blackout
THE DWARVES
Mainstage 1, June 21, 12:15 pm
Forty years of provocations, lightning-fast concerts and scandalous records: The Dwarves are one of the most irreverent punk outfits in American underground history. Formed in Chicago in the 80s before migrating to San Francisco, the band around singer Blag Dahlia has never given ground on anything — not the suggestive album covers, not the half-naked concerts, not the fake deaths staged to get people talking.
In 2026, they arrive at Hellfest with “Jenkem”, thirteen little hardcore bombs by way of a calling card. Bad taste, violence, scatology: so many delicious ingredients these iconoclasts have used and abused since the late 80s, and which have helped write the legend of this unclassifiable band. Provocateurs to the core, the Dwarves entertain as much as they shock or mystify crowds with their smutty, schoolboy humour.
This Sunday, the sun is already brutal, Mainstage 1 is slowly waking up, and these San Francisco lunatics roll in to set the place alight with all the delicacy of a jackhammer in a library. The tone is set from the off: Blag Dahlia, a survivor of his own legend, harangues the pit with that blend of genuine charisma and constitutive bad attitude. The songs last two minutes on average, sometimes less, follow one another without any notable interruption, and each one works like a little fragmentation bomb of hardcore punk. The midday pit, which perhaps hadn’t planned on undergoing shock therapy at noon, found itself pogoing with a conviction that seemed to surprise even itself. And that was exactly what this final day needed to get going.
Line-up:
Blag Dahlia (Blag Jesus) – vocals
Gianluca ‘Ginger’ Panero – guitars
Nick Oliveri – bass, vocals
Snupac – drums
Setlist:
Massacre
Anybody Out There?
Everybodies Girl
Unrepentant
Way Out
Everybody’s Girl
Surfing the Intercourse Barn
Let’s Fuck
Act Like You Know
RESOLVE
Mainstage 2, June 21, 12:50 pm
In just a few years, Resolve has established itself as one of the references of French metalcore. Carried by modern compositions and contagious energy, the band once again confirms its rise on the Mainstage. The crowd responds immediately to the singer’s calls, and the first big mosh pits of the day form in front of the stage. A powerful performance that confirms the band’s growing status.
Setlist:
Human
Molotov
Death Awaits
Older Days
Smile
Sandman
Between Me and the Machine
Emerald Skies
THE BONES
Mainstage 1, June 21, 1:35 pm
Karlskrona, Sweden, 1996: four guys get together to play a greasy, well-oiled punk rock, somewhere between Social Distortion, Johnny Cash and the Devil Dogs. Thirty years later, The Bones are still keeping their promise of rock hewn with a billhook, without needless ornament, effective as a punch. Their discography runs from the “Horrorway” EP to the albums “Burnout Boulevard” and “Flash the Leather”, chronicles of life on the road and mornings after that fall flat. Little known to the general public but revered by the European punk scene, they’re here for one of their rare French appearances.
The Bones are the kind of band that never makes magazine covers and yet has been filling its venues all over Europe for twenty-five years on the strength of one thing alone: they play as if it were their last concert. Marcus Petersson — voice roughened by years of intensive touring, hair a mess, the posture of a guy who hasn’t slept in three days — is exactly what the “punk rock” label always promised without always delivering.
Hellfest’s Mainstage 1 is a wildly oversized setting for a band of their calibre, and the Swedes know it. Rather than being intimidated by it, they seize it with the nonchalance of people who have seen other rooms and other contexts. The songs flow with the fluidity of a band that knows its business inside out. No grand dramaturgy, no showboating: just punk rock carved from raw timber, served by people who still believe in it after thirty years. A lovely surprise of this final day.
Line-up:
Marcus “Beef Bonanza” Petersson – vocals, guitar
Jonas “Boner” Andersén – vocals, guitar
Andi Nero – bass
Fredrik “Spooky Fred” Andersén – drums
FULCI
Altar, June 21, 2:20 pm
Off to the Altar to discover Fulci, an Italian outfit whose name pays tribute to horror film director Lucio Fulci. After an introduction of dark, unsettling sonorities, the combo quickly tips over into massive death metal tinged with gothic doom and horror accents. The riffs are heavy, the vocals particularly cavernous, and the many mid-tempo passages instantly make you want to shake your head. The effectiveness is there. Despite already-crushing heat, the front rows answer the call. The audience lets itself be carried along by this avalanche of big riffs that aims for anything but subtlety. Solid and brutal.
SCOUR
Temple, June 21, 3:10 pm
Suffocating heat or not — and even if you have to be slightly masochistic to stand under a tent — the Temple is well filled for Scour. The project of bassist John Jarvis and Mister Phil Anselmo delivers an extremely violent, aggressive set, driven by an impressive rhythm section. It’s quite simple: the three quarters of an hour of the set are one long succession of destructive blast beats topped with black metal riffs. Phil seems to take genuine pleasure in operating in this unusual register for him. Musically, the whole thing is tight, even if rather linear and blunt-force over the duration. Lovers of extreme music will surely have enjoyed it; I confess I struggled to make it to the end.
THE ATARIS
Mainstage 1, June 21, 3:10 pm
Change of mood with The Ataris, who bring a touch of Californian punk rock to this final day. The band strings the classics together in front of a crowd won over in advance. The choruses are sung along by the festival-goers, especially on their famous cover of “The Boys of Summer”. A simple, effective, resolutely feel-good concert.
Setlist:
In This Diary
Unopened Letter to the World
The Hero Dies in This One
Takeoffs and Landings
Boxcar (Jawbreaker cover)
The Boys of Summer (Don Henley cover)
Eight of Nine
Your Boyfriend Sucks
San Dimas High School Football Rules
Car Song
BUZZCOCKS
Warzone, June 21, 4:00 pm
They invented everything, or almost: pop punk-rock, teenage love transformed into punk energy, the Sex Pistols’ first tour. Founded in Bolton, Manchester, in 1976, the Buzzcocks of Pete Shelley and Howard Devoto changed the face of British punk by showing that a two-minute song could be both rough and melancholy. Pete Shelley’s death in December 2018 could have stopped everything, but Steve Diggle decided to keep the band alive, with guitarist Mani Perazzoli as the indispensable complement. Those absolute classics “Ever Fallen in Love”, “Orgasm Addict” and “What Do I Get” still ring out with undiminished freshness. The veterans of English punk still have plenty up their sleeve: a quiet force of undeniable influence.
And there is something moving about seeing the Buzzcocks on the Hellfest Warzone in 2026. A band founded fifty years ago, that lived through original punk and the death of its emblematic singer, and that finds itself here, under a blazing 35-degree sun in Clisson, playing “Orgasm Addict” in front of twenty-year-old kids who weren’t born when Pete Shelley wrote the song. Steve Diggle carries all of that with remarkable lightness. He plays, he smiles, he harangues the pit with the enthusiasm of a veteran who knows what he holds in his hands and refuses to apologize for it. The setlist is a near-perfect best-of that winds back through history in forty minutes flat, from “What Do I Get?” to “Harmony in My Head”, with the absolute summit of “Ever Fallen in Love” triggering an unexpected collective communion in the Clisson afternoon. The only regret: the band didn’t take advantage of this new audience to play songs from its new album “Attitude Adjustment” (with the exception of “Queen of the Scene”).
The Warzone, which one might have feared would be a little cold towards a band of this generation, responded with a generosity that says a lot about the quality and durability of this repertoire. The Buzzcocks don’t need to be spectacular — their songs have been doing the work for half a century, and they’re doing it still.
Line-up:
Steve Diggle – guitars, vocals
Mani Perazzoli – guitars, vocals
Chris Remington – bass
Danny Farrant – drums
Setlist:
What Do I Get?
I Don’t Mind
Everybody’s Happy Nowadays
Queen of the Scene
Senses Out of Control
Sick City Sometimes
Why Can’t I Touch It?
Destination Zero
Love You More
Orgasm Addict
Manchester Rain
Ever Fallen in Love (With Someone You Shouldn’t’ve)
Harmony in My Head
BLACK VEIL BRIDES
Mainstage 2, June 21, 4:00 pm
With its ever-polished visual universe, Black Veil Brides makes its return to Hellfest. Between modern heavy metal and hard rock, the band delivers a perfectly controlled show.
The crowd answers the call from the first notes of “Knives and Pens”. The classics follow one another and Andy Biersack multiplies the interactions with the front rows. A solid performance that satisfies long-time fans and the curious alike.
Setlist:
Knives and Pens
Bleeders
Hallelujah
Vindicate
Certainty
Rebel Love Song
Revenger
Faithless
The Legacy
In the End
PARLOR
Purple House, June 21, 4:20 pm
Meanwhile, over at the Purple House (= the steam room) with HellHaine. PARLOR played the Purple House and we made it out alive!!! Well, I think. I thought long and hard about going, because let’s be honest, the Purple House’s reputation precedes it, and at 154°F outside (yes, still), there was a real chance of croaking in there. In the end, since not going and not supporting a little French gem simply wasn’t an option, I drank all the water I could drink beforehand, soaked myself as much as possible, and stepped into the furnace.
Luckily, there were occasional little wisps of air, but well — I dieded like the donkey in the tale, and it was worth it. So, there was PARLOR in the cage and, despite the conditions, they were impeccable — drenched, but impeccable! And in a way, those conditions added a little something to their gloriously bonkers music. The band, led by their singer Arthur — who, like a lion, eventually escaped the cage to circle it and go play with the crowd — gave us a set full of intensity and rage.
Their chaotic hardcore was perfectly suited to this stage, and the sound did justice to the tidal wave of notes they battered us with. The quartet gave everything despite the furnace; they put everyone in attendance through the wringer — and the worst part is, we loved it! In short: we definitely lost a few hit points, but oh, was it worth being there!!
EYEHATEGOD
Valley, June 21, 4:50 pm
From now on (FredH), it’ll be me parked at the Valley until close of play, for this dream run of bands from the “Nola” scene. So, it’s Eyehategod opening this “sludge fest” within the fest. With Mike Williams and his gang, expect nothing spectacular. “Just” some guys, some amps, a drum kit and a sound — sticky and filthy — practiced for several decades now.
Little interaction with the crowd (apart from Jimmy Bower’s explicit gestures inviting us to go… you know where). Despite the intense heat, the Valley is packed, and you can spot more than a few fans shaking their heads vigorously or raising their fists. With Eyehategod, it’s all one thing (it’s excellent) or all the other (it passes you by). Today was very much an “on” day.
PENNYWISE
Mainstage 1, June 21, 4:50 pm
A true institution of Californian punk rock, Pennywise returns to Hellfest with its energy intact. Between unifying anthems and a frantic pace, the band quickly turns the main stage into an immense playground for circle-pit lovers. The classics come one after another with no dead air, and the crowd answers the call from start to finish. An effective performance that reminds everyone why Pennywise remains a reference of melodic punk.
Setlist:
Peaceful Day
Straight Ahead
Wouldn’t It Be Nice
Same Old Story
My Own Country
The World
Fuck Authority
Do What You Want (Bad Religion cover)
Fight for Your Right (Beastie Boys cover) (Partial)
Pennywise
Society
Stand by Me (Ben E. King cover)
Bro Hymn
CIRCLE JERKS
Warzone, June 21, 5:45 pm
Keith Morris, one of the great voices of American hardcore punk, founded the Circle Jerks in 1979 after leaving Black Flag. With their first album “Group Sex” (1980) — a masterpiece of barely fifteen minutes and fourteen explosive songs — the Los Angeles band established itself as one of the founding outfits of Californian hardcore. After a long hiatus, the band reformed in 2020 with its classic line-up and has been touring ever since with undiminished conviction. Keith Morris embodies that original hardcore spirit: no compromise, no safety net, 100% punk. Except that the reality of a Circle Jerks concert in 2026 is slightly more complex — and much more interesting — than the summary suggests.
The concert starts strangely. No immediate riff, no frontal assault — Keith Morris takes the mic and introduces his musicians one by one, in the manner of an evening’s MC, including in the round of introductions the sound engineer, saluted as if he were a full member of the band. The audience laughs, a little thrown. We’re not exactly on the same wavelength as the other bands of the morning. Morris, seventy years on the clock and the air of a man who has survived decades many wouldn’t have made it through, takes his time. He explains that punk existed well before the “hardcore” label got stuck on it — that back then it was the era of platform boots, that his contemporaries were called Mott the Hoople and David Bowie, and that what they founded was built in reaction to all of that, not in a vacuum.
Then comes the music, and everything accelerates. “World Up My Ass”, “Beverly Hills”, “I Just Want Some Skank” — the songs follow one another with that compressed density that is the band’s signature: short, brutal, near-interchangeable in their virulence, and yet perfectly distinct to anyone who knows them.
But Morris doesn’t stop there. Between songs, he talks. A lot. He brings up Social Security, with that blend of sarcasm and sincere bitterness that is his alone: at his age, he says in essence, he should be collecting his federal pension rather than playing punk at a French festival — but as long as he can pay for food and keep a roof over his head, he’ll keep going. He finds the crowd a bit soft, too well-behaved, like at a funeral — “I hope you’re gonna move a little more than that” — and the pit gradually loosens up under the rhetorical pressure.
The most striking moment comes before “Moral Majority”. Morris asks whether there are any Christians in the audience. He lets a silence pass. Then he talks about that category of people — the white Christian nationalists, the ones who wave their Bible like a weapon, the ones once called the Moral Majority and now called other, equally unsavoury names. He says: “When we wrote this song, when Greg and I wrote this song, we had a group of people back then, we called them the white fucking moral majority” — and the band launches into the song. At a Hellfest of 60,000 European festival-goers who didn’t vote for Trump, the speech lands differently than it would on a Las Vegas stage facing MAGA fans — but the energy of the song itself loses none of its relevance.
A concert wobbly in its form, luminous in its substance — exactly the kind of show that only a band of this generation and this calibre could deliver.
Line-up:
Keith Morris – vocals
Greg Hetson – guitars
Zander Schloss – bass
Joey Castillo – drums
Setlist:
Deny Everything
Letterbomb
In Your Eyes
Back Against the Wall
Behind the Door
I Just Want Some Skank
Beverly Hills
When the Shit Hits the Fan
Under the Gun
Coup d’état
Moral Majority
Don’t Care
Live Fast Die Young
Wild in the Streets
I, I & I
Beat Me Senseless
World Up My Ass
Wasted
Revenge
Nervous Breakdown
What’s Your Problem
Question Authority
THREE DAYS GRACE
Mainstage 2, June 21, 5:45 pm
For its return to Hellfest, Three Days Grace draws an impressive crowd. The Canadian band alternates between its biggest classics and its recent songs, carried by contagious energy. The interplay between the two singers brings genuine dynamism to the concert. The choruses of “Animal I Have Become” and “I Hate Everything About You” are belted out at full lung capacity by the crowd, delivering one of the highlights of the afternoon.
Setlist:
Dominate
Animal I Have Become
So Called Life
The Good Life
I Am Machine
Time of Dying
The Mountain
I Hate Everything About You
Mayday
Painkiller
Never Too Late
Riot
CORROSION OF CONFORMITY
Valley, June 21, 6:40 pm
It’s with a “Fuck the rules, Fuck the System, Fuck you” dropped by Pepper Keenan that the gig gets under way. For an hour, Corrosion of Conformity’s singer-guitarist and his three accomplices send our way compositions drawn mostly from the recent “Good God / Bad Man” and from one of their best records, “Deliverance”.
Even though we’re roasting (39°C), this blend of heavy riffs and laid-back groove is a genuine treat. And my little moment of bliss of the set: a track from “Blind” — and what a track (“Vote with a Bullet”).
RISE AGAINST
Mainstage 1, June 21, 6:40 pm
As politically engaged as ever, Rise Against delivers an intense concert blending power, melodies and strong messages. The Americans once again confirm their status as a festival safe bet. The pit never stops moving for the entire duration of the concert. Between the most energetic songs and the more melodic passages, the band strikes the perfect balance and leaves the stage to a fine ovation.
Setlist:
Re-Education (Through Labor)
Under the Knife
Satellite
Give It All
Help is on the Way
Ready to Fall
The Good Left Undone
Prayer of the Refugee
Swing Life Away
Chamber the Cartridge
Savior
AGNOSTIC FRONT
Warzone, June 21, 7:45 pm
Roger Miret and Vinnie Stigma embody, all by themselves, the history of New York hardcore. Founded in 1980, Agnostic Front is one of the founding bands of the NYHC scene, with albums like “Victim in Pain” (1984) and “Cause for Alarm” (1986) that laid the foundations of an entire subgenre. Their music, at the crossroads of hardcore punk and crossover metal, has influenced hundreds of bands. Vinnie Stigma, immovable pillar since the beginning, is an institution. Roger Miret, who has ruled the mic since 1983, is the voice of an entire culture. Legendary New York hardcore in all its brutality: fast, vindictive, full of rage. Agnostic Front laid the foundations of an entire scene with uncompromising sincerity and explosive energy. On stage, it’s chaos and communion — a wall of sound, hardcore anthems like sonic uppercuts.
The Warzone was full to welcome this important pillar of hardcore history. The band started without delay with “AF Stomp”, then “Way of War” with the arrival on stage of Roger Miret, who immediately asked the crowd to form a circle pit — which it did, under the burning Clisson sun. The band strung the songs together with very few pauses between them, just long enough to take on some water. Between songs, Roger Miret gave speeches of unity in the face of everything that seeks to divide us, insisting on what really matters to him: true friendships, people you can count on.
The concert was also a showcase for the inexhaustible Vinnie Stigma, who has 70 years on the clock. He moves, strikes his usual pose with both fists planted on either side of his belly, salutes the crowd with a big smile and criss-crosses the stage non-stop. Even if you can occasionally see him catching his breath in this heat and without shade, it’s one hell of a performance. He was duly celebrated, getting to sing one of the last songs of the set while Roger Miret asked the crowd to chant his name — Stigma raising his guitar, with his name engraved on it, in response.
As usual, to close the set, Roger Miret pays tribute to the Ramones with a cover of “Blitzkrieg Bop”, reckoning that without them, hardcore could never have existed. A class act of a concert, a band of rare integrity, and one of the finest hours of this closing Sunday.
Line-up:
Roger Miret – vocals
Vinnie Stigma – guitars
Craig Silverman – guitars
Mike Gallo – bass
Danny Lamagna – drums
Setlist:
AF Stomp
Way of War
The Eliminator
My Life My Way
You Say
For My Family
Friend or Foe
Fall of the Parasite
Matter of Life & Death
Victim in Pain
Your Mistake
Blind Justice
Old New York
Sunday Matinee
Peace
Crucified
Power
Gotta Go
Police State
Addiction
Blitzkrieg Bop
ARCHITECTS
Mainstage 2, June 21, 7:45 pm
A few months after the release of their latest album, Architects returns to Hellfest with a show as massive as ever. The band alternates between its new songs and the essentials of its career, and the crowd responds instantly to Sam Carter’s calls, circle pits multiplying in front of the Mainstage. The choruses of “Doomsday” and “Animals” are taken up by thousands of festival-goers, confirming once again Architects’ place among the headliners of modern metal.
Setlist:
Elegy
Whiplash
Doomsday
Black Lungs
Blackhole
Impermanence
Broken Mirror
Brain Dead
when we were young
Everything Ends
Seeing Red
Animals
ACID BATH
Valley, June 21, 8:50 pm
We’d hoped for them last year as the Valley’s “Very special guest”; in the end it was Hermano/John Garcia who came (what a blast, thinking back on it). The metal gods (and the organizers) heard us, and here we are: this year, Acid Bath is here.
For their first appearance at the festival from hell, the pioneers of Louisiana-made sludge treat us to ten songs drawn from their only two studio records (“When the Kite String Pops” from 1994, “Paegan Terrorism Tactics” from 1996). Between songs, no communication at all, apart from a single “We are here to destroy the sun” dropped by one of the guitarists (it’s still 34°C at 9:00 pm). The anticipation was immense; we were not disappointed.
THE HIVES
Mainstage 1, June 21, 8:50 pm
Impossible to stand still in front of The Hives. True to their reputation, the Swedes deliver a concert overflowing with energy in which Pelle Almqvist monopolizes the attention with his charisma and his humour. The singer spends his time haranguing the crowd and gets an immediate response from the audience. The classics follow one another in an electric atmosphere, making this concert one of the most fun of the day.
Setlist:
Enough is Enough
Main Offender
Hooray Hooray Hooray
Paint a Picture
Bogus Operandi
Hate to Say I Told You So
Countdown to Shutdown
Come On!
Tick Tick Boom
Legalize Living
Walk Idiot Walk
The Hives Forever Forever The Hives
THE ADICTS
Warzone, June 21, 9:55 pm
Ipswich, 1975. Four teenagers form a band whose look, borrowed from Kubrick’s A Clockwork Orange, would become a worldwide trademark. The Adicts, led by singer Monkey (Keith Warren) made up as Alex DeLarge, play a melodic, festive punk rock that owes as much to English skinhead culture as to the Ramones. “Sound of Music” (1982), their landmark album, remains an absolute gem of second-wave British punk. Their shows are genuine visual happenings, electric carnivals where the crowd no longer knows where to look.
Closing the Warzone on the last day of Hellfest is a mission few bands could take on with as much aplomb as the Adicts. Monkey strides on stage. Monkey arrives arms wide open, in the pose of an absolute showman. What strikes you immediately: an immense holographic, iridescent cape spread out like the two wings of a giant butterfly — red, pink, silver, covered in sequins and reflections that catch every light on the purple stage. It fills two-thirds of the picture and creates a spectacular visual effect, halfway between music hall and the Venice carnival. Underneath: a black waistcoat with golden stars, a bright red belt, and silver-and-gold holographic trousers — from floor to ceiling, he sparkles from every angle. On his head, the iconic black bowler hat, firmly screwed on. The face is painted white with dark lips — the Adicts’ trademark Alex DeLarge make-up, intact since 1975.
Monkey flings playing cards into the crowd and showers himself with confetti pulled from his hat. In short! A concert by The Adicts would never be a concert without all these theatrics that turn a gig into a piece of theatre without ever sacrificing the punk urgency of the thing. The Warzone held firm despite the exhaustion of four days of festival and heatwave temperatures, and the festival-goers who had survived until this hour deserved exactly this kind of closer: festive, slightly surreal, showered in confetti and “Viva la Revolution”. Their great songs haven’t aged a day. Monkey — who runs, dances and interacts with the pit with an energy many twenty-year-old frontmen would envy — reminds everyone at every concert why the Adicts aesthetic has never been copied by anyone. A Warzone finale worthy of a top-flight punk day.
Line-up:
Monkey (Keith Warren) — vocals
Pete Dee (Pete Davison) — guitars
Highko Strom – guitars
Kiki Kabel — bass
Kid Dee (Michael Davison) — drums
Setlist:
Let’s Go
Joker in the Pack
Horrorshow
Johnny Was a Soldier
How Sad
4321
Numbers
Troubadour
Angel
You’re All Fools
My Baby Got Run Over by a Steamroller
Just Like Me
Rockin’ Wrecker
Who Spilt My Beer?
Fuck It Up
Crazy
Chinese Takeaway
Bad Boy
Viva la revolution
You’ll Never Walk Alone
BAD OMENS
Mainstage 2, June 21, 9:55 pm
Hotly anticipated by fans of modern metalcore, Bad Omens confirms its immense popularity with a Mainstage 2 packed solid. The band delivers a visually polished show, alternating atmospheric passages and explosions of power. Noah Sebastian instantly captivates the crowd with his stage presence, while the light show perfectly matches the mood of the songs. Between emotion and violence, Bad Omens offers a particularly striking performance.
Setlist:
Specter
Glass Houses
THE DEATH OF PEACE OF MIND
Dying to Love
CONCRETE JUNGLE
Nowhere to Go
Limits
ARTIFICIAL SUICIDE
V.A.N
Left For Good
What It Cost
Like a Villain
Just Pretend
Impose
DOWN
Valley, June 21, 11:15 pm
To conclude this 2026 edition on the Valley side, what better than Down at the Valley? We may be wrung out after four days of festival and cooked by the day’s heatwave, but there’s no way not to be here. It’s a genuine ovation that greets Pepper Keenan, Kirk Windstein, Jimmy Bower, Pat Bruders and Phil Anselmo (barefoot) as they walk on.
For today’s setlist, in addition to two songs taken from “Down II: A Bustle in Your Hedgerow” (“Ghosts Along the Mississippi”, “Lysergik Funeral Procession”), the band treats us to no fewer than ten songs (out of the album’s thirteen) drawn from the cult classic “NOLA”. Pure, unfiltered bliss. Phil regularly exchanges with the crowd, notably paying tribute to Dimebag Darrell, Vinnie Paul and Ozzy Osbourne (before “Lifer”) and saluting the “badass troopers” facing him (before “Hail the Leaf”). The finale (“Bury Me in Smoke”), performed with several pals as guests (including the members of Corrosion of Conformity), arrives far too soon.
THE OFFSPRING
Mainstage 1, June 21, 11:15 pm
To close this 2026 edition on the Mainstage side, The Offspring offers a genuine best-of of its career. The Californians string the hits together in front of a packed Mainstage, turning Clisson into an immense punk rock karaoke. The crowd sings every chorus from start to finish. Between “Come Out and Play”, “Why Don’t You Get a Job?”, “Pretty Fly (For a White Guy)” and “Self Esteem”, the band leaves no dead air and concludes the festival in an exceptional atmosphere.
Setlist:
SUPERCHARGED Intro
Come Out and Play
All I Want
Want You Bad
Staring at the Sun
Hammerhead
Bad Habit
Electric Funeral / Paranoid (Black Sabbath cover) (Snippet)
Crazy Train (Ozzy Osbourne cover)
In the Hall of the Mountain King (Edvard Grieg cover)
Love Story (Taylor Swift cover)
Hit That / Original Prankster
Gotta Get Away (With drum solo ending)
Why Don’t You Get a Job?
Pretty Fly (for a White Guy)
The Kids Aren’t Alright
You’re Gonna Go Far, Kid
Self Esteem
