Four days. Four days spent sprinting from one stage to another under a sun that spared neither festival-goers nor the artists. For the final act, Hellfest even had to adjust its operations: red heatwave alert, suspension of strong-alcohol sales, beer limited to 25 cl, fireworks canceled… The authorities are starting to feel the strain, but the Sunday lineup still holds its share of discoveries, big comebacks, and highly anticipated concerts. A final sprint that, despite the fatigue, leaves no one taking a break.
Not Scientists (Mainstage 1)
The opening riffs of this last day return from the Lyonnais of NOT SCIENTISTS. Despite a still early schedule and a temperature already well above thirty degrees, the crowd answers the call in front of Mainstage 1.
The band draws heavily from Voices, their latest album, with “Endgame”, “Hurricane” or “Caught In A Web”, not forgetting several older tracks that help the show maintain an excellent balance. Without revolutionizing their formula, Not Scientists deliver a generous performance, propelled by a clear desire to fully enjoy this first appearance on a Mainstage of the Hellfest. A perfect opening to steadily get the machine running again.
REVNOIR (Mainstage 2)
Only three years after their inception, REVNOIR continues a meteoric ascent by earning a slot on Mainstage 2. The Île-de-France outfit quickly proves that this placement is no accident.
Their modern metalcore, enriched with electronics seamlessly integrated, instantly finds an audience. From “Bang Bang”, the first walls of death appear in front of the stage, while the videos broadcast on the screens reinforce a visual identity that is already meticulously crafted.
Maxime Rodriguez-Medallo impresses with his vocal versatility, switching deftly between melodic sections and harsher screams. “In Limbo”, “20mg” or “Alchemised” confirm the strong promises glimpsed since Revenant, while revealing a band already very comfortable on a stage of this magnitude. A solid performance that confirms REVNOIR is now among the French acts to watch closely.
The Dwarves (Mainstage 1)
Impossible to talk about the THE DWARVES without mentioning their reputation. For almost forty years, the Americans have cultivated a deliberately provocative image, piling up outrageous stunts and juvenile humor even long before they hit the stage.
Yet behind this irreverent facade lies a remarkably effective group. Songs follow one another at a furious pace, rarely exceeding two minutes, while Blag Dahlia alternates provocations and jokes with disarming ease. By his side, Nick Oliveri brings all his experience to a rhythm section that offers little respite.
More than a concert, The Dwarves deliver a genuine punk-hardcore blast, as brief as it is nerve-wracking, reminding that sometimes thirty minutes are enough to leave a lasting mark on a festival day.
Gnome (Valley)
Impossible to miss GNOME. The Belgians storm the Valley with their famous red hats handed out to the front rows, quickly turning part of the audience into a veritable army of garden gnomes.
But behind this deliberately quirky image lies above all an excellent stoner band. Rutger Verbist’s groovy riffs immediately find a place in a Valley already packed despite the heat, while “Wenceslas”, “Golden Fool” or “Kraken Wanker” trigger a festive, good-natured atmosphere.
The trio never tries to overdo it. Their universe is enough to carry the crowd, which naturally sings along and headbangs as much as it dances. An excellent discovery that brings a breath of fresh air to a day that is otherwise stifling.
End It (Warzone)
Back to the Warzone where END IT confirms that the heat has absolutely no impact on the audience’s energy. The Americans trigger a rapid succession of circle pits with a direct, uncompromising hardcore approach.
Akil Godsey frequently speaks between songs to remind the audience of the band’s commitments, addressing police brutality and the American political situation frankly. Some interventions may be lengthy, but they are fully part of the identity of a band whose hardcore remains deeply rooted in reality.
Musically, the band never relents. Not aiming for technical display, End It delivers a raw, sincere show that perfectly fits the spirit of the Warzone.
Resolve (Mainstage 2)
The French metalcore scene continues its showcase with RESOLVE. A few notes of Édith Piaf echo before the Lyonnais take the Mainstage 2, immediately followed by bursts of flame.
Anthony Diliberto commands the space with assurance as the songs grow even more powerful thanks to a particularly massive sound. “Death Awaits” triggers the first big crowd movements, before “Molotov” allows the vocalist to address those who once told him that living from his music would be impossible.
Beyond the quality of the concert, two sign-language interpreters deserve praise, accompanying the entire set with remarkable energy. An initiative still too rare at major festivals and one that deserves recognition.
Black Tusk (Valley)
The Valley continues its immersion into the southern United States with BLACK TUSK. The Georgians lay down a brutal sludge, tinged with punk hardcore, perfectly suited to this stage.
Without chasing showy gimmicks, the four musicians share the vocal duties, letting the massive riffs speak through a sound that is convincingly strong. The setlist, largely centered on The Way Forward, confirms the band’s current form, while the crowd responds despite the heat continuing to weigh on everyone.
A solid, unsurprising performance that ideally opens this long sequence dedicated to American sludge.
PRESIDENT (Mainstage 2)
Arguably one of the most anticipated groups of this final day. Since their first singles, PRESIDENT has intrigued as much as it has divided, with a mysterious aesthetic, a carefully cultivated identity, and clear influences from Sleep Token.
Beneath heat that has become almost unbearable, the band nonetheless preserves the full force of its universe. Costumes, masks, a presidential lectern, and a minimalist stage setup create an atmosphere instantly recognizable. Despite the challenges posed by outfits that are extremely taxing in temperatures over forty degrees, Charlie Simpson delivers an impressive vocal performance, capable of weaving between clean singing and much more aggressive outbursts without losing precision.
“Fearless”, “Conclave”, “Destroy Me” and “In The Name Of The Father” demonstrate that the group already possesses a coherent musical identity, even if certain influences remain very perceptible. Where PRESIDENT convinces most is in its ability to bring this universe to life on stage. Without over-speaking, the band lets its songs, lighting, and staging tell the story. A performance as intriguing as promising, confirming that the project now surpasses mere curiosity after opening for Bad Omens during the American tour earlier this year.
Drain (Warzone)
If you had to pick one Warzone show to remember on Sunday, many would name Drain. Under the blistering sun, the Californians turn the stage into a vast playground where the band and the audience seem to merge as one.
Sammy Ciaramitaro never stands still. From the opening tracks, he leaps into the pit, routinely extends his mic to the front rows, and relentlessly encourages circle pits, stage dives, and walls of death. It’s impossible not to get swept up in this overflowing energy.
Around him, the band delivers a crossover hardcore that is as effective as it is galvanizing. “Loudest In The Room”, “Good Good Things”, “Not The Only One” or “California Cursed” trigger a sequence of crowd movements that never abates. To celebrate the final date of their tour, several members of their crew even join on stage for the last tracks, further strengthening the sense of a grand collective celebration.
Forty minutes of pure pleasure, definitively confirming Drain as one of the rising forces of today’s hardcore.
Black Veil Brides (Mainstage 2)
The mid-afternoon marks the return of BLACK VEIL BRIDES to Hellfest’s Mainstages. Long perceived as representatives of a more accessible metalcore scene, the Californians now seem fully at home in front of a large crowd.
Andy Biersack quickly appears in strong form, mixing interactions with the front rows and a particularly polished interpretation. If the band lacks an especially elaborate stage show, they more than compensate with stage ease and a setlist that salutes their entire career.
“Faithless”, “Crimson Skies”, “Bleeders”, “Knives And Pens” or “In The End” trigger an immediate reaction from a crowd that instinctively belts out the choruses. Behind him, Jake Pitts and Jinxx add guitar harmonies while Christian Coma drives a steady rhythm to a concert that hardly has a dull moment.
Long considered an outsider of the American scene, Black Veil Brides now proves they have the shoulders to defend such a high-profile niche.
Eyehategod (Valley)
Back to the Valley for one of the most emblematic outfits of the New Orleans scene. True to its reputation, EYEHATEGOD never tries to seduce with artifices. It all rests on sludgy riffs, the heaviness of the compositions, and this constant sense that the band is playing exactly as it wants.
Mike Williams toggles between playful provocations toward the audience while Jimmy Bower unfolds his riffs with almost insolent ease. The show remains deliberately minimalist in staging, but this simplicity ends up perfectly suiting a sludge that has never needed more.
In a Valley slightly calmer than the day before, Eyehategod delivers a particularly convincing performance, powered by excellent sound from start to finish.
Three Days Grace (Mainstage 2)
There was certainly curiosity around THREE DAYS GRACE. Adam Gontier’s return beside Matt Walst offered the band an unprecedented setup, reuniting its two vocalists on the same stage for the first time.
The chemistry works immediately. Rather than squaring off, the two frontmen naturally share the songs, each bringing their personality to the different eras of the band’s career. Classics like “Animal I Have Become”, “Pain”, “Never Too Late” or “Riot” regain a particularly intense energy, while newer tracks slot in with great natural ease.
The crowd responds from start to finish, turning several choruses into giant choirs. More than a nostalgic comeback, Three Days Grace feels like a rediscovered balance that opens new possibilities for the rest of their story.
Corrosion Of Conformity (Valley)
The journey to Louisiana and the American South continues with CORROSION OF CONFORMITY. From the first riffs, Pepper Keenan reminds why he remains one of the defining figures of this scene, alternating heavy riffs and rockier passages with remarkable ease.
The band delivers a balanced setlist across the different eras of its career. “Who’s Got The Fire”, “Albatross” and “Clean My Wounds” immediately underline Corrosion Of Conformity’s role in the evolution of modern sludge.
Despite a mix where the rhythm guitar sometimes sits a touch back, the performance never loses its intensity. Without forcing anything, the Americans deliver a classy show, powered by decades of experience.
Architects (Mainstage 2)
Four years after their last visit to Clisson, ARCHITECTS return to Hellfest in a position that no longer surprises anyone. Now established among the unquestioned headliners of modern metal, the British quintet takes Mainstage 2 with a confidence that shines from the first minutes.
Massive vertical screens, meticulously choreographed lighting, and flames accompany a show crafted down to the finest detail, but it’s Sam Carter who immediately captures attention. Always as invested, the frontman blends power, emotion, and immediacy with the crowd, even descending to the barrier to share several choruses with the front rows.
The setlist naturally places a strong emphasis on The Sky, The Earth & All Between, without neglecting tracks that have become essential such as “Impermanence”, “Curse”, “Animals”, “Doomsday” or “Seeing Red”. While the newer tracks hint at a move toward a more melodic approach, their impact on the festival remains undeniable, carried by a crowd singing every chorus with impressive fervor.
More than a display of force, Architects confirms their ability to evolve their identity without losing what built their success. A performance worthy of their status.
Acid Bath (Valley)
For many, this was simply the day’s essential appointment. Reformed after nearly thirty years away, ACID BATH stepped onto a European stage for the first time, offering the Valley one of the edition’s most anticipated shows.
From the moment of “Tranquilized”, a particular emotion swept the crowd. Despite a brief interruption due to a technical issue, quickly resolved, the band immediately regained the thread of their set. Dax Riggs, still as magnetic, lets the songs speak with a weight that seems intact despite the decades.
The tragic passing of Audie Pitre hangs over this performance, especially during “Venus Blue”, performed with sweeping intensity by a Valley held in thrall to every word of the singer.
More than a simple return, Acid Bath offers a moment of true communion, where time seems to stop in a heartbeat.
A rare show, loaded with history, that many will remember for a long time.
Napalm Death (Altar)
While the Valley holds its breath, the Altar returns to its brutality with NAPALM DEATH. The Brits, founding figures of grindcore, demonstrate once again that they have not lost a shred of their rage.
Barney Greenway never stays still. True to form, he multiplies disjointed movements that have become part of his persona, while alternating pointed speeches and ferocious vocal outbursts.
The band tears through tracks with hardly any downtime. Danny Herrera’s blasts, Shane Embury’s precision, and the unrelenting violence of the compositions transform the Altar into a true battleground. Even after more than forty years of career, Napalm Death remains an absolute reference in grindcore.
Bad Omens (Mainstage 2)
This final day, heavily oriented toward metalcore, closes on the Mainstage with BAD OMENS, finally present at Hellfest after the 2024 date was missed. The band had then cancelled its European leg to allow Noah Sebastian, suffering extreme exhaustion, to step back. LANDMVRKS had brilliantly filled in, but the anticipation around this first Clisson appearance had only grown.
Two years later, the Americans arrive with a changed status. The pit is packed as the sun finally begins to dip, offering a welcome respite after four days of heat. The atmosphere is electric even before the first notes of “Specter”, which instantly establish the band’s characteristic mood.
Very quickly, one detail stands out. Used to near-perfect live pitch, Noah Sebastian, known for allergies and heat sensitivity, sometimes struggles to regain vocal clarity that normally defines his performance. Some notes require extra effort, but never to the point of compromising the show.
The setlist leans heavily on The Death Of Peace Of Mind, while giving room to newer tracks like “Dying To Love”, “Left For Good” and “Impose.” The various “Tape” video segments ensure smooth transitions and reinforce a staging that is particularly polished, with lighting, screens, dozens of lasers, and synchronized videos contributing fully to immersion.
The finale on “Dethrone” releases a last wave of energy before a crowd fully won over. Bad Omens fully embraces their new status. More than a long-awaited show, this first Clisson appearance marks a major milestone in the band’s history, confirming their place among the indispensable headliners of this new generation of modern metal.
Down (Valley)
The Valley closes its vast interlude devoted to New Orleans with DOWN. More than a mere concert, it’s a whole scene that seems to gather one last time around Phil Anselmo, Pepper Keenan, Jimmy Bower, Pat Bruders and Kirk Windstein.
The band draws broadly from Nola, whose tracks take on a particularly grand scale in this setting. Phil Anselmo is especially vocal, alternating jokes with tributes to Dimebag Darrell, Vinnie Paul, and Ozzy Osbourne, while leaving ample space to his musicians, all major figures of American sludge.
The magic peaks during the finale. “Bury Me In Smoke” gradually becomes a massive jam session where friends, fellow musicians, and guests come together to celebrate a day entirely dedicated to the sound of New Orleans. Kirk Windstein even invites several festival-goers to come up and play a few measures on his guitar, to the cheers of a Valley completely won over.
More than a concert, Down feels like the close of a huge family gathering. A perfect way to cap off this exceptional lineup devoted to American sludge.
Bilan
Four days of concerts, hundreds of artists, and heat that left its mark on this edition as much as its lineup. Despite incredibly challenging conditions and several last-minute changes, Hellfest once again demonstrated its ability to bring together all families of metal around a lineup of remarkable diversity.
From discoveries on the Hellstage to headliners on the Mainstages, through the moments of grace on the Valley, the brutality of the Warzone, and the celebrations of the Altar and Temple, this 2026 edition delivered its share of memorable performances. The reunions with mythical bands, the first steps of promising new acts, and performances likely to stay in memory remind us once again why Clisson remains year after year one of the essential summer destinations for fans of extreme music.
Day 1 – Day 2 – Day 3 – Day 4
