The Cult, 19th June 2025, Heviti, Copenhell Festival

Photo: Goran www.facebook.com/UrbanMescaleroPhotography

The Cult’s turbulent career checks just about all the boxes. The band rose to fame at a steady pace during the ’80s, only to see it all come crashing down after the massive success of their 1989 landmark album Sonic Temple and a dramatic shift in the rock music landscape. After releasing their heavily underrated self-titled album in 1994—an unsuccessful attempt to align with the then-dominant alternative rock and grunge movements—they disbanded.

Their first comeback attempt came in 2001, when they teamed up with former The Cult and Guns N’ Roses drummer Matt Sorum and Sonic Temple producer Bob Rock for the album Beyond Good and Evil. Unfortunately, the album and subsequent tour didn’t meet expectations, and Sorum soon joined Velvet Revolver.

Since then, The Cult has remained relatively stable. Born Into This may have served as the entry point into what can be seen as the band’s second youth. Their most recent three albums have been of high quality, with consistent collaborations with talented musicians and producers. Particularly, 2011’s Choice of Weapon can stand proudly alongside the best of their discography, and their latest effort, Under the Midnight Sun, once again delivered at a high level while daring to explore new sonic territory.

Along with that evolution, the band has grown in stature, though placing them on the main stage at Copenhell did feel like a bit of overkill. Then again, they have also played the main stage at Roskilde Festival, so it’s not entirely out of place.

But The Cult is not your typical festival band—and never really has been. Over time, they’ve increasingly done things their own way. That approach has resulted in some truly powerful studio albums, but live, Ian Astbury often changes vocal melodies, omits words—or even entire lines—which can be frustrating. Whether or not you’re a fan of that style, it undeniably disrupts the flow of both the songs and the show. And at a festival, where many in the audience aren’t die-hard fans, grabbing attention with the classics is crucial.This habit affected the performance significantly.

The audience wasn’t particularly large—definitely smaller than for Bullet For My Valentine, who played just before—and many in the crowd didn’t seem engaged. Even in the front pit, people were often talking with their backs to the stage, only cheering between songs.

On the other hand, there’s Billy Duffy, whose unmistakable guitar tone was a joy to hear from the very first note of the massive opener, “Rise.” Throughout the show, he was captivating—his playing and sound easily the highlight of the performance. Meanwhile, John Tempesta and Charlie Jones delivered a heavy, groovy rhythm section that matched Duffy’s energy and presence.

When Astbury stuck to the original vocal melodies, he sounded great—as on the gorgeous “C.O.T.A.” and “Spiritwalker”—but those moments were too few and far between.

Sadly, the band’s massive legacy and recent string of excellent albums didn’t quite shine through on this early Thursday evening at Copenhell. It’s a shame, because The Cult live can offer so much more. But let’s end on a high note by once again celebrating how phenomenal Billy Duffy’s guitar tone is. And, as Astbury said to close the show: “Check out our catalogue, it’s actually pretty fucking good.”

Indeed.