Flowers, confetti and a song written for the people in the pit. We’re premiering POINT MORT’s “Celebrity Spin”, filmed at Hellfest 2026 — a small reminder that tenderness can handle considerable volume.
For music with such a healthy interest in breaking rules, hardcore occasionally has strong opinions about the decorations.
French pop-core outfit POINT MORT brought flowers to the Warzone anyway. Confetti, too. Somewhere, a very serious definition of heaviness had to sit down for a moment.
The Paris-region five-piece returned to Hellfest Open Air Festival in 2026 with “Celebrity Spin”, a surprise song written specifically for that stage and its audience. The idea was straightforward: give people something direct, get them involved, and make the encounter count. That’s the story behind the live video premiering here at Score A/V.
Festival appearances tend to become career milestones in a band’s biography. Fair enough. But “we played Hellfest” tells you where something happened. The more interesting question is what happened between the people there.
For vocalist Sam Pillay, “Celebrity Spin” grew out of the joy of reaching the Warzone and the desire to reach towards its crowd. Afterwards, she describes the memory as a spin: adrenaline and connection compressed into an instant that couldn’t exist without that exchange.
Your phone gets the footage. Your body keeps the slightly less organised archive.
That sense of shared involvement runs through POINT MORT’s music. They call it omnicore, a term that leaves the door open to hardcore, pop, metal, electronics and rap. It’s also a useful warning against getting too comfortable with your first impression.
After ‘Le point de non-retour’, their 2025 album, the more revealing connection between those elements is emotional. A melody can draw you closer; a sudden shift can unsettle you; physical impact can give an exposed feeling somewhere to go. The changes matter because they change your relationship with the song.
There are meeting points with Brutus in the closeness of vulnerability and force, with Rolo Tomassi in the restless construction, and with Faith No More in the freedom to let another musical language interrupt proceedings. Useful company for listeners finding their way in. Genre supervision remains a voluntary position.
But the flowers tell part of this story more economically than another paragraph of comparisons could.
Heavy music gives anger plenty of room to express itself. Affection sometimes gets a more suspicious reception, as though emotional sincerity ought to arrive wearing something less conspicuous.
Why should saying “we’re glad you’re here” require less conviction than saying “we’ve had enough”?
“Celebrity Spin” comes from that first impulse, with enough energy to involve the pit. The flowers and confetti make sense alongside it: a celebration built around contact, with the audience helping determine what the moment becomes.
That is what makes a live document worth returning to. It can preserve the occasion, but it can also remind you why being there—with other people—felt important in the first place.
The full performance arrives as ‘Live at Hellfest’, pairing a live album and concert video on November 13 through Almost Famous (Clegane…), distributed by Baco Records. A documentary following the preparation for the show is scheduled for December 10.
For now, the bouquet is ready.
