What would Copenhell be, without their house orchestra Red Warszawa. A bit shorter possibly, as the festival would be without the perpetual closing act.
This year, Red Warszawa was closing the festival together with The Black Dahlia Murder, and our choice went in favour of the drunken Danes, because why not?

“How good it is to see that we have so many here to have a homo party!”
- ‘Lækre’ Jens Mondrup (vocals)

Well, why not indeed. Red Warszawa was again this year playing at the Hades stage, confining the much larger band to the much smaller Pandæmonium stage. This says something about Copenhell’s direction, and it also says something about how popular this band is around these parts. Because trust me, they are popular, and they had managed to fill up the grounds before stage pretty damn well, as far as I could see. And people were enjoying themselves as well. After all, when going to a Red Warszawa concert, you know exactly what you’re getting yourself into, and that is the very reason most people go. On the other hand, if you for one reason or the other didn’t know what you were getting yourself into, you’d be in for the shock of a lifetime.

Red Warszawa was dishing out their patented mix of alcoholism, degrading toilet humour, and adding just enough distorted music to make it legal to put on a stage.
Opening with Return Of The Glidefedt, we were in for a ride through many, many of the band’s live staples, as well as a few newer songs, including one brand new track called something like Fried Lies, something that hasn’t stuck with me after the show at all. Because, you know, not all of this band’s material is worth saving, and while some of it, like Julemandens Selvmordsbrev and Jeg Hader Alle Mennesker, can put a smile on your face, and others like Mosekonen Brygger and Nord For Nordkap gives a nod to the headbangers out there, Red Warszawa has also produced such songs as Har Man Ikke Hul I Røven and the short Hennings Løg Er Meget Længere End Hans Pik, and yeah, less said the better, I suppose.

The performance was, as always, completely over the top, filled to the brim with sillines and debauchery. There was drinking, fornicating, and tight latex outfits, quite like an office christmas party, but on the other side of the calendar circle.
‘Heavy’ Henning Nymand showed his bare ass, and so much more that no one had an interest in seeing, and My Tight Ass (Matthias) Pedersen strutted around like a gay sailor on shore leave. Honestly, the gay humour, in lack of a better word, has grown in amount a lot over the years with this band, and had now (hopefully) reached its peak - there was so much of it, I’m sad to say the show became an embarrassment to witness. Sure, it was fun when Lækre Jens crowd surfed, and I guess it was a hit when the band brought out a knitted leek which the band members spanked each other with. It was clear that the audience was anticipating this at least, and a lot of people had brought their own leeks to the show, which they now proceeded in throwing at the stage, throwing at each other, and doing other unmentionable things with.

That Red Warszawa is best experienced on the other side of being drunk into peaceful oblivion is neither new nor surprising, but when your not in a self-inflicted alcoholic coma, and have no desire to be, I must admit, some of the charm wears off.
This was silly, juvenile, and downright stupid. Argue all you will that this is the way it has always been, and that this is the way they want it, I will not argue with you. I will just say that the ship sailed without me this time, and I wasn’t sad to see it leave, just a bit bored with the time it took to do so.

Setlist:

Return Of The Glidefedt
Metadonmix Fra Maribo
Børn Er Dumme Og Grimme
Har Man Ikke Hul I Røven
2000 Tyskere
Mosekonen Brygger
Aldi
Nord For Nordkap
Kan Henning Vise Røv
Jeg Vil Ha’ En Kvinde Med En Kraftig Måtte
Jeg Hader Alle Mennesker
Julemandens Selvmordsbrev
Fried Lies
KKK-Salat
Singelingeling
Han Har Svenskergarn
Hennings Løg Er Meget Længere End Hans Pik
Karry
Motorvej
Æggemad
Dyresex Det Er Fedt