Day 3 – Saturday 13 June
By the third day of the festival, everyone is starting to feel the strain. Long days spent chasing one concert after another, followed by nights of celebration, inevitably take their toll. The sweltering Saturday heat certainly does little to help create a festive atmosphere from the early afternoon onwards.
We too slowly make our way towards the Jungfrau Stage, arriving just in time for the performance by BLOODYWOOD from New Delhi, India. It has been a long road that brought them from the Indian capital to a stage nestled among the Swiss mountains, and the band’s enthusiasm is immediately apparent. Their blend of nu-metal, metalcore and traditional Indian folk influences is both powerful and distinctive, and the audience seems to appreciate it. Anyone still suffering from the previous night’s festivities certainly received a much-needed shot of adrenaline.
The mood changes completely with Ukrainian outfit THE HARDKISS. Attention is immediately drawn to the elegant and charismatic frontwoman Julia Sanina, who also proves herself to be an exceptionally talented vocalist. The band’s rock sound, however, feels somewhat less effective in a festival setting—perhaps a little too sophisticated and understated to make a significant impact at four o’clock in the afternoon under thirty-degree heat.
We then head over to the Eiger Stage where, following the recommendation of a fellow journalist, we catch German band APRIL ART. The group arrives on stage dressed entirely in red, including the dreadlocks of the charismatic singer Lisa-Marie Watz. An undeniable eye-catcher, even before the first note is played. Musically, the band delivers a crossover sound that strongly recalls the early days of Guano Apes. The similarities go beyond simply having a female vocalist; there are clear musical parallels as well. The band moves confidently and energetically across the stage, displaying considerable experience while engaging the audience with ease and charm. A genuinely interesting discovery.
Back at the main stage, it is time for the Americans BREAKING BENJAMIN. While they are bona fide stars in their homeland—with more than 19 million records sold and multiple platinum certifications to their name—they remain considerably less well known in Europe. The fact that their last Swiss appearance dates back to 2017 certainly has not helped increase their profile at our latitude. The crowd’s reaction reflects this divide. Dedicated fans near the front sing along to every word, while more casual listeners observe from a distance with a beer in hand. Their alternative metal—or post-grunge, if you prefer—fails to leave a particularly strong impression in this setting. Both the band and frontman Benjamin Burnley remain rather static throughout the performance. Perhaps their music works better in a headlining environment where they can create the atmosphere it requires, but as far as I am concerned, their Interlaken performance is unlikely to go down as one of the festival’s memorable moments.
We then race back to the second stage for French crossover heavyweights RISE OF THE NORTHSTAR. Strongly inspired by Japanese pop culture—the band’s name is apparently derived from the manga Fist of the North Star—they deliver an explosive blend of hardcore, thrash metal, and hip-hop. Frontman Vithia commands the stage with authority, whipping the crowd into a frenzy from the very beginning. A violent mosh pit erupts almost immediately, and the band’s performance quickly turns into a full-scale sonic assault that more than confirms the qualities already evident on record.
Unfortunately, we must leave early and hurry back to the main stage in order not to miss THREE DAYS GRACE. Here, the atmosphere is completely different from that surrounding their American compatriots earlier in the day.
Their brand of hard rock combines memorable melodies with considerable weight, driven by crushing guitars and dynamic bass lines. Vocalists Matt Walst and returning singer Adam Gontier prove to be true stage animals, constantly engaging and energising the crowd. While they may not enjoy the same level of popularity in Europe as they do at home, the band still commands a substantial following, and the audience responds enthusiastically to what is undoubtedly one of the strongest performances of the entire festival.
PAPA ROACH need little introduction. Having risen to prominence during the peak of the nu-metal boom in the early 2000s, Jacoby Shaddix and company have remained remarkably consistent over the past twenty-five years, continuing to be one of those bands that rarely disappoint in a live setting.
Their performance at Greenfield is no exception. Driven by Shaddix’s boundless energy and a catalogue packed with crowd-pleasing hits, the band succeeds in setting the festival ablaze. The only disappointment is that the band’s management did not grant us the permission to shoot the show, leaving us unable to provide any visual evidence of the performance.
The festival concludes with Danish headliners VOLBEAT, longtime friends of Greenfield Festival and now appearing for the sixth time on its stages.
Michael Poulsen and his band take to the stage in excellent spirits and clearly motivated to deliver. The production is remarkably stripped back: a backdrop featuring the band’s logo, some lighting, and plenty of rock’n’roll. No flames, no elaborate stage props—just a long catwalk extending deep into the crowd.
For many longtime fans, VOLBEAT have lost some of the freshness and spark that characterized their early albums, partly due to a stylistic shift on certain releases that seems deliberately aimed at a more mainstream audience. Yet tonight they appear genuinely revitalized, dusting off songs that have been absent from their live repertoire for years, including “Guitar Gangsters & Cadillac Blood”
For many they may no longer be the VOLBEAT of old, but they remain a highly capable live band and most of the crowd seemed to be pleased by their gig.
And so another edition of Greenfield Festival comes to an end. Despite the occasional highs and lows of the line-up, it remains a first-class event: very well organized and set against one of the most spectacular backdrops any festival could hope for.
See you again next year.
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