Words: Ellie Odurny //  Photos: Paul Lyme

Erotic Secrets of Pompeii

It’s not even noon yet, and local band Erotic Secrets of Pompeii might be just slightly too much for the late morning crowd at the Bixler stage. Sunlight floods into the tent, illuminating the shirtless vocalist in a way that feels at odds with the intentionally bizarre nature of their output. No shade to the band (pun intended) – there’s a buoyancy to their music which suits a cheery midday set, but with shadier undertones and a hint of the macabre, a smaller, darker setting feels like it might be better suited.

Meatdripper

Over on PX3, Meatdripper are less encumbered with sunlight, which allows their doomy sludge to permeate the tent and create an atmosphere of twisted, goblin-like psychedelic metal. Gloriously heavy, they stack groove-laden riffs on top of thundering basslines, with dual vocals winding and snaking around a distorted melody. Despite the hefty gloom, Meatdripper maintain a level of hazy warmth that keeps everything from veering into dirge territory.

Reclus.É

Reclus. É have only been in existence for a few months, so it’s not surprising that the crowd gathered to catch them at the Yohkai stage isn’t massive. Tummyache vocalist Soren Bryce switches between sensitive, melodic whispers and heartfelt, ardent screams in a set that undulates between slower numbers with jazzy licks and faster, more ferocious post-punk stylings. Subtle, intricate guitars weave around alt-rock rhythms that feel carefully considered and deliberately understated.

Din of Celestial Birds

One of the biggest challenges for any instrumental band is to convey a narrative without lyrics, and that is something that post-rockers Din of Celestial Birds do very well indeed. The soothing melodies flare into vast, penetrating moments of pure emotion before dropping back to emotive, sparse meditative sections. There is a profound sense that each member of the band is pouring their heart and soul into the performance, experiencing the serenity of the softer instants and intensity of the huge builds along with the audience. Moving and powerful.

Gösta Berlings Saga

If you can ignore the Breaking Bad style white boiler suits, Sweden’s Gösta Berlings Saga present a fascinating display of intricate musicality. With one percussion set-up looking like part of a retro sci-fi set, they are a synth-heavy instrumental prog band with a sound that is firmly rooted in 70’s psych-rock, but with a modern experimental twist. The steady beat keeps the momentum marching ever forwards, the twinkly keys and warped synth sound like a soundtrack to a journey through alien lands. It’s oddly eerie, but in a way that’s intriguing far more than it is spooky.

Oathbreaker

On hiatus since 2017, Belgian quartet Oathbreaker returned this year with a re-issue of 2016 album ‘Rheia’, and the crowd gathered at the main stage for their performance of the album is thick with anticipation. An Oathbreaker set is more of an immersive experience than a musical show, and there’s a sense that everyone here is ready to lose themselves entirely for the best part of the next hour. There are very few bands who manage to transition so organically between the softest, most delicate, stripped-back vocals and the raw, visceral power of abrasive blackened metal screams and furious drum rolls. During the solemn, introspective moments there is a tangible stillness to the crowd that makes the hairs stand up on the back of your neck. This stillness then explodes into an enormous outpouring of unadulterated fury, with vocalist Caro Tanghe’s emotionally charged wails demanding every ounce of attention and sucking you into an all-encompassing, expressive catharsis.

TTNG

TTNG are another band that haven’t been around for a while, but with a new EP dropping just in time for ArcTanGent, they’ve brought their mellow, intricate brand of post-rock back to Fernhill Farm for an affable Saturday evening slot on the Yohkai stage. Punctuated with nimble guitar picking and tender vocals, TTNG are a welcome tonic to the more extreme acts peppered across the stages, and their set offers a chance to chill out and appreciate artistic musicianship without necessarily losing your mind.

Eivør

The softly spoken Eivør mixes traditional rhythms of Nordic folk with elements pulled from modern rock, electronica, classical and jazz. Backed by the force of a double stack of keys and mixers as well as a full drumkit to complement the iconic hand drum, the result is a compelling blend of dark and moody synth and primal, ancient ritual. Ethereal passages sung primarily in her native Faroese glide over deep synth and pulsating rhythms, creating an atmosphere that builds from a slow and sensual groove into an immense combination of beats, chords and powerful vocals.

A.A. Williams

Closing the Bixler stage, A.A. Williams presents a masterclass in understated melancholy. Haunting melodies drift over dark and brooding guitars at a pace that forces the audience to lock in and zone out. The concentrated power of the slow, considered heaviness is no less impactful than the more high-octane, aggressive artists on the bill. Instead, it demands a more intentional focus from the listener, and looking around the tent it’s evident that the crowd are invested in each deliberately placed rise and fall, allowing space to absorb the full scope of Williams’ striking performance.

Cult of Luna and Julie Christmas

Neither Cult of Luna nor Julie Christmas are strangers to ArcTanGent stages. However it’s an incredibly rare treat to witness them join forces in a live setting to perform 2016’s ‘Mariner’ in full. As giants of the post-metal world, Cult of Luna deliver pounding rhythms and gigantic riffs which fill the space with dark intensity. But it’s the layers of Christmas’ shrill upper range over Johannes Persson’s fervent roars that make an already multidimensional sound that much more magical. The beauty of this collaboration is that it’s always floating around the edge of dissonance. The additional vocals from Christmas oscillate between melodic melodies and emotive screams, never fully blending with the crushing lower end, but never conflicting with it either. For an album centred on themes of space travel, the live experience is fittingly otherworldly, with dramatic backlighting silhouetting the seven bodies on stage in a shroud of interstellar mystery. Packed with raw emotion, musical prowess and deep narrative, the set exemplifies the spirit of the festival and delights a captivated crowd. As the smoke fades and the final notes of marathon closer ‘Cygnus’ draw to a close, it’s clear that this extraordinary show was a fitting finale for ArcTanGent’s last night at Fernhill Farm.

Words: Ellie Odurny //  Photos: Paul Lyme

Wildernesses

Drifting gently into Friday are dreamy shoegazers Wildernesses. Quiet, touching vocals build gradually in volume and intensity, with the upper range soaring out of the tent and into the late morning sun. There’s a subtlety to their set: the guitars build imperceptibly into big post-rock soundscapes and the tempo changes enough to stay interesting without ever feeling jarring. Wildernesses’ debut album ‘Growth’ was released in March this year, and the title feels very relevant to their live performance. Nothing happens suddenly, but everything feels intentional, planned and nourished. The band may be relatively new, but the combined experience of its members creates an air of humble confidence and calm assurance.

Conjurer

As firm favourites on the underground scene for a number of years, it’s unsurprising that there is a large crowd gathered under the main Arc tent keen for Conjurer to deliver a blistering, emotionally charged assault on the senses. Filled with intentionally discordant bass and guitar, savage growls and technically brilliant drumming, Conjurer have nailed the art of being both crushingly heavy and shrewdly expressive. The softness of the clean vocals ring out, highlighting the raw emotion contained within the immense weight of the heavier moments. There is an authenticity to a Conjurer show that can’t be faked – it always feels like the band are enjoying playing as much as everyone in the crowd is enjoying watching and today’s set is no different, every word, beat and note played with fervour from the first chord to the last.

Mass of the Fermenting Dregs

There is a lightness to Mass of the Fermenting Dregs that proves to be the perfect antidote to the heavy rain that begins shortly after they’ve started playing. Bodies are bouncing gently into the tent for shelter, swaying along with the cheery rhythms and animated vocals. The softer dream-pop tones make way for big psych-infused post-rock noise, befitting a band with more instruments than their three members wield. Switching between speaking English and singing Japanese, the catchy melodies and tuneful harmonies are engaging regardless of the language they’re sung in, and it’s impossible not to get swept along with the infectious indie rock energy.

Heck

Almost every Heck gig could be described as absolute chaos, but the “actual” last ever show takes chaotic to another level. We’re barely a couple of tracks in and no guitarists remain on stage, instead preferring to jump over the barriers into the pit, crowdsurf on their backs or stand on top of the crowd supported by dozens of hands gripped tightly around calves. With the rhythm section on stage steadfastly keeping the beat, the resulting loud and frantic riffs remain impressively solid as Heck power through every track of 2016 album ‘Instructions’. The set is packed full of feral screams, ridiculous breakdowns, twiddly guitar licks, triple vocals, the list goes on. The mic is cut when Matt Reynolds climbs too high up the rear pillar and is reconnected once he is caught by the crowd and lowered to relative safety. A wall of death opens from the front to the back of the tent, a drum falls over, eventually every member of the band returns to the stage for a hot minute before more pandemonium ensues. For a band who only reappeared briefly in 2022 since they played their original “last ever show” at ArcTanGent nine years ago, the legacy Heck leave behind is one of beautiful bedlam, and they surely wouldn’t have it any other way.

Arcane Roots

Back over on the other side of the field, Arcane Roots are the antithesis of chaos. The gentle, ambient keys and melodic vocals of new single ‘A Wave, Across the Sea’ erupt into an enormous wall of sound that is powerful and intense, yet with energy that is entirely contained. There’s a feeling of controlled vivacity that allows the unconventional math rock time signatures and sudden dynamic shifts to shine, highlighting the technical skill and cohesion of the band. Arcane Roots aren’t about to start climbing pillars or jumping into the middle of a pit, but they will let the music speak for itself and take you on a deceptively heavy, emotionally charged, cleverly polished journey through multiple tempos, volumes and rhythms.

Nothing

The mood is mildly melancholy for shoegaze outfit Nothing, who mix fuzzy bass with dreamy, reverb-laden vocals to create a sound that flits between angsty grunge and contemplative post-rock. From a distance, the soft harmonies and clean guitar tones float across the field in a fairly innocuous way, but inside the tent the sound wraps around the space, enveloping the listener and drawing them in. The heavier sections pack a punch, toe tapping rhythms morphing into wistful soundscapes, hefty riffs into atmospheric layers of distortion. The changes of pace keep the narrative engaging with the slower numbers allowing space for introspection, before the intensity builds again into a fierce melee of emotion.

Perturbator

For a festival that is known and loved for its mixture of niche subgenres of metal, prog and alternative rock, there will always be at least one booking that seems out of place, until it doesn’t. This year, that booking may well be electronic artist James Kent, otherwise known as Perturbator. Steeped in darkwave synth and industrial beats, the Arc tent is temporarily transformed into a gothic rave as headbanging and moshing is replaced by writhing bodies and pulsating lights. It’s still moody and intense, there is still a drummer thrashing out heavy, bassy rhythms, but for a little while, everyone switches into club mode and as the sun sets on the penultimate day at Fernhill farm, there’s a distinct feeling of party in the air.

Primus

The site was noticeably busier today, with a number of suspiciously fresh-looking punters milling around in matching t-shirts. Those shirts, of course, were all bearing the name of experimental prog favourites Primus. There are few bands that have been talked about as much as a perfect headliner for ArcTanGent, and it seems fitting that their debut is at the last iteration of the festival at its current location. When Les Claypool asks if anyone was at the Brixton show a couple of nights ago, the roar from the crowd indicates just how many people have made the journey from London to just outside Bristol for a chance to see the band one more time. We’re promised that tonight’s show is going to be “way better,” and with a set that plucks a number of crowd pleasers from their extensive back catalogue of quirky, trippy, psychedelic tunes, perhaps it is. Technically, Primus remind us that behind the silly chatter and comic song titles, there is some serious talent. Switching from the unmistakable slap bass to a bowed double bass, Claypool demonstrates why he is renowned as one of the best in the business to churn out the low end in such a distinctive way. The groove rhythms have the crowd dancing along all night, backed up with chunky chords and illuminated by an impeccably timed lighting display that pulses in syncopated time with the eccentric but solid drums. Primus are a peculiar, avant-garde bunch of accomplished musicians who have remained true to their unique sound for decades, and their popularity is apparent by the sheer number of fans who descended on Fernhill tonight.

ELLIE ODURNY

Words: Ellie Odurny //  Photos: Paul Lyme

Ronker

The early morning rain has all but vanished, and the sound of Justin Timberlake’s ‘Sexyback’ drifts across the fields from the Yohkai tent. ArcTanGent is a beautiful mixture of bands who take themselves very seriously, and those who absolutely do not. Ronker are very much in the latter camp. With big energy, the power of three guitars and an enchantingly animated vocalist, the Belgian noise rockers fill the stage with moustaches, mullets and a whole lot of sass. Calling for the slowest circle pit ever, they may not have been aware that Swamp Coffin opened the festival yesterday and set the bar incredibly slow. Everyone here is clearly having too much fun to put the brakes on and there’s a healthy space for the more energetic pit action, with bodies bouncing gleefully into one another during a cover of Kelis’ smash hit ‘Milkshake’. Slower numbers like ‘Snuff’ display a more sensitive side to the band, who excel at storytelling as much as they do playing hard and fast.

Michael Sarah Palin

There is a universal sense of community and belonging that ripples throughout the weekend, with many bands highlighting the importance of inclusivity, diversity and support. Michael Cera Palin are one such band, with vocalist Elliott Brabant expressing solidarity “…for all my fellow Queers, fellow Homos, for my trans brothers, sisters and siblings waiting for an answer.”  Musically, the Midwest emo influences are strong, with melodic vocals, clean guitar tones and upbeat rhythms. It’s the lyrical content and fierce energy that set MCP apart from so many other bands in that category, the passion positively oozing from every inch of stage covered by the Atlanta trio.

Alcest

Word trickles back through the crowd meandering towards the main stage for Alcest that they’re running late. Some people hang around, others turn around and walk away, presumably hoping to catch a few minutes of XO Armor over on PX3. When Alcest do appear, it’s immediately apparent that their delayed arrival meant they’d not had time to get the mix right. The treble is tinny, the screams are muffled and there’s nowhere near enough weight in the bass. That being said, the ethereal waves of guitar and dreamlike vocals in the slower sections still float around the space with sensitivity, and there’s no doubt that the crushing contrast of the heavier post-black-metal infused sections would have been fabulous if only they filled the tent with the intended intensity. The short set is not their finest, and we can only hope that they will return to the new site in the not-too-distant future to set things right.

Igorrr

Opera, synth, blast beats and heavy, blackened metal shouldn’t work together. But somehow, they absolutely do when presented through the ritual of an Igorrr show. What started as a solo project from French multi-instrumentalist Gautier Serre has grown into a full spectacle of a live experience. Darting between baroque rhythms and guttural growls, techno beats backed up with ferocious drum fills and operatic vocals soaring over devastating riffs, there really is no other outfit that produces such a multifaceted sound. At times it borders on terrifying, but in such an enjoyable way it’s impossible not to be drawn in. The aptly named ‘ADHD’ sums up the clever melee, with dark, harpsichord tones running into heavy techno synth in an indescribably effortless way. There are moments of pure serenity that descend into demonic screams, an all-out rave in the middle suddenly becomes a savage onslaught of hefty riffs without leaving time to take a breath. It’s all-encompassing and entirely brilliant.

Maruja

Whilst the clever scheduling and convenient layout of ArcTanGent mean there’s only ever a 50/50 choice between acts playing at any one time, it does mean that there’s very little time to decompress if you’re planning on catching two bands back-to-back. Nonetheless, there’s a steady procession of mildly shell-shocked punters making their way over to the Yohkai tent where Manchester post-punk jazz quartet Maruja have just appeared. Known for their fiercely political content and intense saxophone-drenched crescendos, Maruja manage to lean into the free-form nature of jazz whilst still sounding cohesive and concise. The instrumentation grows like a living beast into a frantic, monstrous noise; vocal passages teeter between emotive poetry and heated rage. In their own words, “We may be aggressive, but our message is one of peace. This festival is a testament of solidarity, of love.” This is a sentiment that is echoed countless times over the weekend. Be noisy, be furious, go wild in the pits, but be kind, stand together and look out for each other.

Chelsea Wolfe

For all the chaos that bounces around site earlier in the day, ArcTanGent often chooses to book darker, less erratic headliners, and this year is no different. Chelsea Wolfe is at once powerful and delicate, brooding and tender. The anticipation for tonight’s set is doubly loaded, this being a rebooking from the cancelled 2020 edition as well as a day before the release date of new album ‘The Dark’. The sun has long set now, and the stage lights add to the atmosphere of gothic fantasy, silhouetting Wolfe against a minimal backdrop. The whole set is minimal in a way, with big, rumbling chords carefully placed to drive the sonic journey ever forwards at a considered, calculated pace. Despite the overt simplicity of the material, nothing feels lacking. In fact, the live show has injected another level of ineffable intensity, the fuzzy bass bringing additional warmth, the soaring vocals just that bit more haunting. It’s a welcome sight to see (and hear) Alcest’s Neige appear for guest vocals on ‘Vex’; a redemption of sorts after the difficulties of their own set. Three tracks from the new album are delivered at the end of the set, aptly welcoming the inevitable dark of the late night. It’s a gentle end to the first full evening, but one filled with depth, emotion and quiet assurance.

ELLIE ODURNY

Wednesday

If you’ve set up your camp and grabbed a bite of lunch, then head over to the Yohkai tent to catch Brighton quartet Chalk Hands. With elements of math-rock, screamo and post-hardcore, they’re a great example of the brilliant mishmash of intensity, subtlety and musicality that exemplifies the festival as a whole.

It’s likely that virtually everyone on site on Wednesday will gather to witness Svalbard’s last ever festival performance. Firm favourites in the underground metal scene for more than a decade, they announced in May last year that 2026 would be their final year as a band. Svalbard are known for bringing passion and emotion to their own brand of atmospheric post-rock tinged metal. With their hometown of Bristol just down the road, this farewell set is sure to be an emotional one.

It’s worth heading straight over to the PX3 stage for Brazilian folk prog metal outfit Papangu. Mixing guitars, bass, drums, vocals, flute, keys, synth and potentially even a rubber chicken, they’re a mesmerising fusion of psych rock, prog, jazz and metal with a distinctly South American flare. You’ll never quite know what’s coming next with this band but it’s sure to be entertaining.

Back at the Yohkai stage are Cardiacs; one of the most talked about additions to the ArcTanGent lineup this year. Joined by Mike Vennart (Oceanzise, Empire State Bastard, Biffy Clyro) after the death of founding vocalist Tim Smith, the band have a developed a cult following from fans young and old. They will likely focus mainly on material from 2025’s album ‘LSD’, but with a catalogue dating back to the eighties, their set is sure to be packed full of avant-garde punk and eccentric prog rock.

Thursday

ActTanGent is the kind of festival where it’s always worth dragging yourself out of your tent to catch the earlier bands. If you’re feeling fresh on Thursday morning, then get yourself down to the main stage where IAN are opening. Don’t let the cello fool you into a false sense of security though, the dulcet strings morph into huge riffs and crashing symbols. Get down the front and breathe it all in. If you didn’t quite make it to the Arena first thing, then head to Terminals on the Bixler Stage. The Birmingham trio will wake you up with gloriously heavy, growling basslines and melodic, soaring vocals.

For a brutal lunchtime assault on the ears, head to the PX3 Stage, where Dublin trio Bucket will no doubt be mixing electronic beats over distorted screams and turning everything up to eleven. Ronker will also be doing their best to blast the roof off the Yohkai stage straight afterwards. The Belgian noise rockers always bring ferocious energy to their live shows, their fast-paced rhythmic charge and guttural screams riling up the crowd. If far less aggressive American pop-punk is more your thing, be sure to catch Michael Cera Palin on the Bixler stage a bit later in the afternoon. The subject matter of their songs can be heavy, but their sound is at the much lighter end of the spectrum, with warm guitar tones and upbeat rhythms. As the sun sets, head over to Yohkai for Manchester jazz punk quartet Maruja. Expect to be kept on your toes with tempo changes galore, and fervent vocals that make way for saxophone sections that move from frenetic to poignant and back again in a heartbeat.

Friday

If you’re an early bird who wakes up and chooses violence, you might enjoy being screamed at by Worn Out on PX3 to get Friday started with a bang. For something far more gentle, head over to Bixler and let the dreamy shoegaze melodies of Wildernesses carry you into the day. Once you’ve had your post-rock fix from the likes of Civil Service and Barrens, you must catch the final ever appearance of Heck on the Yohkai stage. For a band with only one album, who broke up in 2017 and reappeared briefly in 2022 for a couple of shows, their fanbase is as dedicated and devoted as they come. They’ve promised that this ArcTanGent appearance really will be their last, so prepare for them to go out all guns blazing in a raucous, ridiculous farewell.

If you’ve got any energy straight afterwards, take a wander over to the main stage for another band who have returned from hiatus; Arcane Roots. Much less erratic than Heck, and fresh from two sets at sister festival 2000 Trees, expect a tight performance packed with powerful, emotive vocals and raging riffs. Later on in the evening, head back to PX3 for the doomy, grungy, punky sounds of Manchester quartet Witch Fever. Think heavy basslines, driving beats and pure fury.

Saturday

If you make it into the arena before noon on the final day, then check out the mildly unnerving but highly infectious Erotic Secrets of Pompeii on the Bixler stage. Self-described as “apocalyptic lounge music”, the local band are a melting pot of theatrics, experimental rock and a touch of the bizarre. For your wistful but simultaneously heavy post-rock needs, Din of Celestial Birds will take you on a sonic journey over on the Yohkai stage. Following yesterday’s theme of bands making a comeback, Oathbreaker return to the UK after nearly ten years and are sure to captivate the main stage crowd with their crushing blend of blackened post-metal.

If you need some light relief after the emotional onslaught that’s inevitable from an Oathbreaker set, head over to Yohkai for the ever-charismatic Jamie Lenman. There will likely be plenty of chat in between songs, which themselves may well jump between genres from alt rock to folk, with influences from heavier rock, jazz and emo. For a contrast to so much wordiness, Danish instrumentalists Town Portal return to ArcTanGent on the PX3 stage with polyrhythms and big math-rock riffs aplenty. After you’ve finished watching Cult of Luna & Julie Christmas perform ‘Mariner’ in full, you should make sure you’ve got your headphones ready for Battlesnake on the silent disco. A delightfully silly way to finish a delightfully varied few days of music. Trust us.

Words: Ellie Odurny // Photos: Jessi Lotti, Sam Huddleston and Tim Bugbee

TRUCKFIGHTERS

Formed back in 2001, Swedish stoner rock outfit Truckfighters have steadily garnered a global fanbase as a powerhouse duo with a revolving series of drummers. They manage to embody the coolness of Californian desert rock, whilst simultaneously fizzing with energy. The set is heavy on tracks from new album ‘Masterflow’ – their first in a decade – which slot seamlessly into the realm of muzzy guitars and hefty beats that fans have grown to know and love. Spinning whilst shredding guitar behind your head is quite the talent, one which a topless Niklas “Dango” Källgren is quite happy to share as he jumps, skips and hops around on stage. Oskar “Ozo” Cedermalm drives the rhythm steadily onwards on bass, belting out bluesy powerful vocals with a rasp that is quintessentially stoner rock. There’s nothing enormously innovative or challenging about Truckfighters’ music, but as archetypes of the genres that are most prevalent at Desertfest, they do a darn good job.

HOWLING GIANT

It can’t be easy being scheduled to start at the same time as Earthless, especially at Desertfest. This could be why people aren’t quite jostling for space at the Underworld. For once, nobody is stuck behind one of the infamous pillars. This thankfully doesn’t seem to dampen the spirits of Tennessee’s Howling Giant, who announce mid-set “We’ve come all the way from Nashville, and we weren’t sure what to expect so thanks for making this great”. If you’re also not sure what to expect from a Howling Giant live show, think beefy, classic rock riffs, subtle progressive tempo changes and big soaring harmonies (even if you’re not entirely sure where they’re coming from). The mix isn’t always perfect, with the melodic treble at times lost under bellowing bass notes, but Howling Giant add a psychedelic flair to a set packed with rock’n’roll charm.

FORLORN

The Dev is once again shrouded in mystery and ritual for folk-metallers Forlorn. Shrouded so much, in fact, by the constant plumes of smoke cloaking the stage, that anyone more than a few feet away will likely only be able to catch an occasional glimpse of an eerily waving arm or the spikes of the crown adorning vocalist Megan Jenkins. Much as it would be nice to see the band in all their darkly haunting glory, it’s almost enough just hearing their mix of airy melodies waft over the bar and descend into fiendish screams, grinding metalcore riffs and grizzly bass. The lack of a focal point does mean that it’s hard to remain attentive throughout, rendering Forlorn somewhat as victims to circumstance, playing to a venue with ample daylight before the sun has fully set.

THE SWORD

With a “blink-and-you’ll-miss-it” hiatus that lasted all of around 18 months, it has still been over ten years since Texan quartet The Sword have played on UK soil. There’s a buzz around the Roundhouse for the penultimate main space act, and an eager cheer marks their entrance. Sadly, the sound levels don’t quite pack the expected punch and the vocals, despite being tuneful, are muffled beneath slightly flat guitars. This doesn’t seem to deter the core crowd, however, who are lapping up the hazy stoner guitar refrains and drum fills with delight. As the chatter towards the edges dies down and the head-banging ramps up, it’s easy to get lost in the undeniable riffs and precise, heavy blows. What The Sword might lack in reckless abandon, they more than make up for with smooth, ballsy confidence.

CLUTCH

There’s probably not a great deal to say about headliners Clutch that hasn’t already been said already. A prolific touring band with a career that spans four decades, they’ve finessed their live show to run like a well-oiled, supercharged, sleek machine. You could focus on their unmatched stage presence; the charisma that oozes from Neil Fallon on the mic or the understated but phenomenally tight rhythm section. You could talk about how Clutch usually don’t follow a specific setlist for each tour, preferring to surprise the audience with the mix and order of songs from their extensive back catalogue. There is one moment of novelty this evening in the form of ‘Drifter Returns’; a live rework of 1999’s ‘The Drifter’.  It sounds great, but then again, it isn’t really anything new. You could mention how the smooth blues sometimes make you forget how heavy Clutch can be. Perhaps you could mention how odd it is to see the band grace the Roundhouse stage in May, as opposed to their usual slot every few years in December for what is now endearingly described as “Clutchmas”. The more memorious of you will note that the 2022 edition of said festivities featured Saturday headliners Green Lung as support. The fact that these two bands now share a headline slot indicates the meteoric rise of Green Lung over recent years, in comparison to rock giants Clutch’s calm and steady consistency in delivering a solid, warm and fuzzy show time after time after time.

Words: Ellie Odurny // Photos: Jessi Lotti, Sam Huddleston and Tim Bugbee

INSTAR SLING

Downstairs in the Underworld, things are decidedly less lively as Instar Sling launch into a relentless assault of brutal noise. Every drawn-out, downturned chord sounds like it’s been dragged through a mire and every snarled vocal is packed with venom. It’s slow, it’s dark and it’s crushingly heavy. They aren’t going to get any toes tapping or heads banging, but if you like your doom to be as bleak, sludgy and as smothering as possible, then Instar Sling are the band for you.

INHUMAN NATURE

The Roundhouse replaces the Electric Ballroom as the largest space for the weekend dates of Desertfest, so it’s a small trek up to Chalk Farm to watch Inhuman Nature in the opening slot. The London five-piece inject intensity into their set from the start, as hardcore-tinged vocals interplay with rapid thrash rhythms. Scattered over the weighty riffs and the occassional half-beat breakdowns are plenty of guitar solos that make full use of the fretboard, dishing out delightful metal squeals. The pace in general is much faster than a lot of the bands on the line-up, and even though the pit isn’t enormous or particularly ferocious, Inhuman Nature do a great job of blowing off any cobwebs from day one to hurtle into the second day of Desertfest at full velocity.

HARROWED

It’s a sprint back down the road to catch Kent trio Harrowed, who are busy trying to blow the roof off the Underworld with their raucously rapid metallic hardcore. Visceral vocals are screamed over ruthless drums and heavy-as-heck riffs. The set is full of the kind of aggression that constantly sounds like it has a purpose; always furious, never unhinged. Harrowed are ear-shatteringly loud, sure, but not just for the sake of it. There are elements of punk and death metal woven into the mix, adding texture and nuance to a technically impressive performance.

ELEPHANT TREE

It’s back to the Roundhouse again for Desertfest favourites Elephant Tree. The stoner/psych rockers bring a dreamy, groove-ridden mood to an increasingly-busy floor, as fuzzy guitars and entrancing beats wash over the crowd with ease. The tempo is slow and steady, with heads nodding along to the psychedelic, bluesy and occasionally doom-infused pulse. Not for the first time at Desertfest, the crowd sing happy birthday to bassist Peter Holland, the trailing cheers drowned out by hazy bass and laidback melodies.

PIGS PIGS PIGS PIGS PIGS PIGS PIGS

Newcastle’s Pigs Pigs Pigs Pigs Pigs Pigs Pigs always look like they’re having a fantastic time on stage. Their energy is infectious and it doesn’t take long for the Roundhouse crowd to work themselves into a frenzy in response. The bass thunders out into the rafters and trademark gravelly vocals power through to the very back of the room. The band have been carving out a space for themselves in the metal scene for the past 14 years and have developed an inimitable stage presence during that time. There’s no stillness to their operation; it’s a buzzing, energetic hive of activity that waxes and wanes through syncopated rhythms and churning guitars. Combining the groove of the early heavy metal scene with the driving rhythms of more upbeat stoner rock, Pigs Pigs Pigs Pigs Pigs Pigs Pigs deliver a set that has everyone bouncing and thrashing along from start to finish.

GREEN LUNG

It felt like every other person in Camden today was wearing some kind of Green Lung merchendise. The now-London locals have amassed quite the fanbase over the years, and it seems like most of them are here tonight for Green Lung’s inaugural Desertfest headline set. With the gathering masses still jostling to find the best spot, vocalist Tom Templar appears, bathed in a spotlight to deliver the opening bars of ‘The Harrowing’. A fittingly flamboyant beginning to a show that is steeped in occult iconography and folk mystery. Imagery aside, the production is (almost always) slick and confident, without veering into conceited territory. The guitar solos ooze old-school metal charm, and it’s quite something to see a tambourine being played so aggressively. New track ‘Evil In This House’ is a stomping tune, lapped up by the crowd and dripping with classic heavy metal flare. The slower numbers are heavy on the bass, with the theatrical vocals lifting a doomy low-end into something altogether more dramatic. It’s not all serious though. In a scene that could have been cut from ‘This Is Spinal Tap’, a mysterious creature appears on stage, only for the horned head to flip over backwards and render the beast virtually headless. It’s swiftly tossed back into place by a visibly amused Templar who carries on regardless with a smooth professionalism that epitomises a Green Lung show. There are layers of carefully constructed sound and there are moments of mildly self-indulgent guitar trilling, but overall, they’re just a whole lot of fun. For the finale, original bassist Andrew Cave joins the band on stage for ‘Let The Devil In’, with Joseph Ghast adding some brass flounce on saxophone. It’s another string to the proverbial bow of a Green Lung gig, and the camaraderie, cohesion and talent on stage are proof of why this band’s popularity is ever-growing.

Words: Ellie Odurny // Photos: Jessi Lotti, Sam Huddleston and Tim Bugbee

CAPRICORNS

Friday’s largest gig space is the Electric Ballroom, which is where instrumental quartet Capricorns have reunited for their first live show since disbanding in 2008. There’s no sign of rustiness, however, as they deliver an accomplished mix of doom-laden, math-rock-tinged tracks to an appreciative audience. An impressive twin guitar stance and synchronised head-banging exudes confidence, with rumbling bass and solid drums driving the rhythm through the doomy, fuzzy riffs. The earlier tracks are linked with a distorted spoken word recording, which fades out as the intensity grows and the pace quickens into a heavy, almost frantic beat. There are mellow moments too, gradually building to a big booming sound, peppered with drumrolls and guitar licks. The tuning might not always have been 100%, but for a band that haven’t performed in nearly two decades, Capricorns still sound cohesive and powerful.

WITCHSORROW

Underneath the World’s End Pub, a bell tolls, heralding the arrival of doom metal trio Witchsorrow to The Underworld’s stage. With the floor in darkness and the stage bathed in a dull red light, the tempo is slow and the mood is gloomy. Hanging onto every resounding bass note for a moment longer than is strictly comfortable, there’s something strangely mesmerising about the macabre dirge. The set is interspersed with skilful shredding and plentiful use of effects pedal, which seem to pull the crowd out of their state of hypnosis momentarily. Feet begin to tap and heads begin to nod, faces still fixed towards the stage, spellbound by Witchsorrow’s brand of dark magic.

GNOME

Back around the corner, things look decidedly cheerier, as a very busy Electric Ballroom is populated with a sea of pointy red hats for Belgian rockers Gnome. For a band that look rather silly and draw a crowd of similarly whimsical fans, their sound is altogether more serious. With three albums released since their inception just over ten years ago, Gnome blend elements of sludge, doom and stoner rock into a sound that’s far grittier than their image would suggest. They sound tight from the off, with a meaty bassline providing the foundation for rock ’n’ roll grooves and strong vocals. A small but fairly raucous pit opens up, hats and hands flying in the air as everyone grins at one another, crowd and band alike. With deft picking and some enormous riffs, Gnome bounce between heavy, thundering beats and more experimental proggier rhythms with ease.

CWFEN

Pronounced “Coven” for those not-in-the-know, Cwfen hail from Glasgow. As the name would suggest, they lean heavily into witchy folklore-inspired genre of doomgaze. The set moves through 2025’s debut album ‘Sorrows’ with purpose, confidence and a real sense of a strong narrative. There are nods to the gothic romanticism of the darkwave, but with an eerier edge and a heavier beat. Ethereal vocals soar gently over the slowly-swaying crowd, punctuated by blackened screams that add to the atmospheric ambience in the room. The pulse quickens and harmonies add to the depth of sound, with a few perfectly-timed crashing cymbals building to a crescendo that is simultaneously both dark and uplifting.

HERMANO

There are some bands for whom this year’s Desertfest is one of their first gigs. Not so, for the members of Hermano. A stoner rock supergroup of sorts, the band came about when members of Kyuss, Supafuzz, Afghan Whigs and Disengage/Earshot joined producer and bassist Dandy Brown to make an album at the turn of the millennium. Since then, Hermano have played and recorded together, when their schedules have aligned, to produce a sound that epitomises the heavy, bluesy groove of the Desert Rock scene. They play to the packed room with an ease that comes from years of experience, and a swagger that portrays their talent without a need for grandiose gestures. It’s not often that a vocalist takes a quiet step back to put the spotlight on the rest of the band, but subtle moves like this from John Garcia cement a sense of cohesion in the band. There are no egos in tonight’s performance, just suave vocals, a commanding stage presence, big riffs and a pounding rhythm section driving proceedings ever forward. It’s a rare treat to catch Hermano live and even more so in the UK, and it’s clear from the sea of captivated faces in the Electric Ballroom tonight that the fans are delighted to be here.

HÄLLAS

Swedish quintet Hällas stand out from the majority of the attendees at Desertfest today. Clad in sequins and capes, their “Adventure Rock” output matches their outfits; dripping in 70s psychedelia and theatrical storytelling. There’s a lightness to their performance, with intricate guitar work and distinctly proggy keys lifting the emotive vocals.  The tempo changes and an overall more dreamlike vibe provides a welcome respite from the relentless chugging of  the heavier bands on the bill. That’s not to say Hällas don’t have weight. There are chunky riffs and rolling drums aplenty, but there’s a delicacy to their sound that adds to the intrigue. The final set at the Underworld today is indeed an adventure, packed with a variety of rhythms, sonic complexity and a whole lot of pizazz.

MEATDRIPPER

Closing out the Friday night, the delightfully-named Meatdripper are shrouded in smoke on the tiny stage in the corner of the Dev, Deserfest’s smallest venue. The psych-sludge quartet from Birmingham can only be seen by a handful of people, but they can be heard throughout the entire pub and onto the street outside. Huge levels of vocal distortion produce an otherworldly sneer, cutting through the mucky bass and fancy fretwork but never overpowering it. It’s sludge with an edge, teetering on the melodic side of pure doom with treble trills over the growling bassline. An excellent conclusion to the first day of Desertfest, Meatdripper supplied a solid set worthy of bigger stages, which they will no doubt be inhabiting in the not-too-distant future.

The concept of the “cop inside your head” originates from Brazilian theatre director Augusto Boal, whose framework of the “theatre of the oppressed” puts the focus on active observation of theatre over passive spectating. Boal suggested that people do not act upon their political beliefs because they have internalised external oppressions. The cop in your head is preventing you from taking action, and YAKKIE are telling us to destroy the restrictions that it’s enforced on our behaviour.

The opening and title track is a short, staccato call to action. It’s political, absolutely, but it’s also melodic, riff-laden and foot-tappingly addictive. This theme is constant throughout the record; smart musicianship and powerful lyrics sitting side by side, buoyant rhythms and infectious licks underpinning heavy subject matter with skill and sensitivity.

‘Criticise Me’ leans heavily into the sound of a 90’s movie score with an up-tempo challenge on controlling relationships. Described as an “anti-fuckboy anthem”, ‘He Sleeps Alone’ picks apart the notion of the male loneliness epidemic and puts the focus on the culture of “situationships” created by men’s insecurities and desire for superficial validation. ‘Lean Out’ mixes up the tempos, as a propelling rhythm section accompanies a lyrical snarl declaring “they call it care, we call it unpaid work.” This track shines the spotlight on performative feminism and the capitalist rhetoric of individualism.

Juxtaposing the powerful rejection of toxic societal norms and calls to tear down patriarchal aggressions, there’s a vulnerability in ‘Atlas’, which opens with two minutes of stripped-back, delicate bluesy melodies before dropping into a solid grunge beat. The raw emotion of the lyrics, “I’ve outgrown the deepest love I’ve ever known,” show a sensitive and stark contrast to the ferocity of the previous track, hinting at the softness that can coexist with fury.

The pace picks up again with big riffs on the second single to be released, ‘Rabbit’s Got The Gun’, a textured anthem of resistance. ‘Right of Reply’ is a righteously angry delve into the reporting of fatal domestic violence, highlighting the way the media often shapes the narrative in a way that seems to blame women for their own deaths. ‘Secrets’ is another slower track awash with reverb, the tender vocals rising into a primal crescendo. The melody carries echoes of Skunk Anansie’s ‘All I Want’, a suggestion of the influence of the 90s political rock scene on YAKKIE’s music.

Another similarity between this confident debut and the music of bygone decades is that it was all recorded live onto reel-to-reel tape in just four days. This return to analogue feels critically relevant for the overtly anti-capitalist sentiment that embodies YAKKIE’s songwriting. There’s an authenticity from the fuzzy guitar string slides and a palpable energy in every track. It’s impossible to listen to this album without picturing the band bouncing around in the studio, fuelled with ardent vigour and a whole lot to say.

‘Take It All’ opens with the the spoken words “Yeah y…OK fine” over residual feedback and a rhythmic reset, a moment that cements the live nature of the recording. A rare imperfection, an unrehearsed beginning that makes the track feel that much more tangible, real and personal. Final track ‘Under The Pavement Is The Beach’ is an upbeat, singalong anthem. In a world of digital streams and commercially driven single releases, this album was written to be listened to in order and it’s clear that this concluding track is an intentional parting message of hope. It’s the ultimate act of rebellion and resistance: “We’ll scream…and we’ll plant some seeds…we’ll find a way out.”

It’s one thing telling you to kill the cop inside your head, but to do it so convincingly and in such an enjoyable manner is quite something else. YAKKIE write the kind of music that really does make you want to join a union, reject authority, gather the masses to protest and stand up for the oppressed. ‘Kill the Cop Inside Your Head’ is a call to action to mobilise, to find a collective voice and believe in your own power. Get ready to join the revolution.

ELLIE ODURNY

As the house lights dim, Green makes an understated entrance, lit by a spotlight centre stage, greeting the audience with the rhetorical question “Everybody knows what we’re doing here right?”, before opening with the crystal-clear vocals of ‘…Off By Heart’. Armed with just an acoustic guitar and a microphone, Green manages to captivate everyone from the front row to those at the back of the balcony from the very first notes, the stillness of the audience serving to amplify the simplicity and clarity of the music.

We see the first of many guitar changes for second track ‘Like Knives’, Green explaining that when he wrote anything “as a child”, it was all in different tuning. This sentiment is echoed again a little later when Green, typically humble, thanks the audience saying, “I don’t play a lot of these songs… I don’t personally connect to where I was as a baby when I was writing them… you’ve allowed me to connect to them again”. There’s a sense that it’s this connection to the songs that has made City and Colour so important to so many people. A quick glance over the seated crowd at any point during both sets sees people with their arms around one another – they could be friends, lovers, family – but the thing they all have in common is that these songs have meaning in their own lives and connections with one another.

The lighting shifts to bathe the stage in purple and teal for the emotive ‘Hello, I’m in Delaware’, with gentle guitar trills leading into pining lyrics. The lighting design over the entire evening helps to set the tone of each song and add atmosphere, with diffused lights at the rear of the stage casting a gentle glow in a myriad of colours in contrast to the brighter spots. There’s a warm golden glow for the more upbeat ‘Save Your Scissors’, followed by ‘In the Water I Am Beautiful’ which showcases the raw power of Green’s voice.

“I guess you all know what song’s next”, says Green, eliciting the first of many cheers for ‘Day Old Hate’. After ‘Sam Malone’ we’re told it’s story time, where Green tells how ‘Comin’ Home’ was written about an argument in a pay phone down the road. “Leave it up to me to forget the words” he says at the end of the song, adding “that was a test”, prompting a gentle chuckle from the ever-appreciative audience. Following ‘Casey’s Song’, the first set ends with minimal acoustic guitar for closing track ‘Sometimes (I Wish)’.

Returned from the break and now lit with a cluster of fairy lights around the base of the mic stands on the stage floor, Green introduces multi-instrumentalist Matt Kelly, who switches between guitar and pedal steel, adding harmony and depth to the deep dive into City and Colour’s back catalogue. The audience begin to add their own vocals too, joining in for the wordless refrain in ‘Constant Knot’. We also learn that it was Matt’s birthday yesterday, which leads to perhaps one of the most restrained versions of ‘Happy Birthday’ that has ever been sung at a gig.

If the playthrough of ‘Sometimes’ served as an opportunity for Green to reconnect with personal songs written 20 years ago, then it feels like the tracks chosen for this second set give the audience more of a chance to connect with City and Colour over the years. This is displayed by the number of times the audience are encouraged to sing along for songs like ‘Waiting…’ which we’re reminded is a joyful song, despite the somewhat macabre lyrics. The rhythmic groove of ‘Underground’ has people swaying along in their seats, and there are more cheers at the end of the bluesy ‘As Much as I Ever Could’, which opened with Green and Kelly facing each other on guitar, a moment of connection on stage shared with everyone in attendance.

The emotion is palpable as Green dedicates ‘Blood’ to their “dear friend Horse”; producer Karl Bareham who tragically died in 2019. The audience remain captivated for a live debut of ‘Rain’, then there’s an extended break to tune a guitar for ‘Confessions’ – the gentle tone of the pedal steel keeping the room from sitting in silence. Green mumbles into the microphone, “Sorry I fucked it up, I was reading it backwards. It’s gonna be worth it, I promise”. Guitar tuned, Green ends the song at maximum vocal power, bringing the energy back up for closing numbers ‘The Girl’ and ‘Sleeping Sickness’ which see the crowd return to top singalong form.

With an acoustic show that’s this stripped back and raw, it really is the music that counts, and it’s Green’s ability to write and perform songs that matter to so many people that has made tonight’s City and Colour show so special.

ELLIE ODURNY

Slower numbers see vocalist and guitarist Maddy Jarvis leaning into the anguished tones of the grunge era, punctuated by screams from drummer Marley Perez which add texture and depth, nodding towards the heavier direction of the newer material. With reverberating bass and some impactful shifts in dynamics, there are moments of intricacy that reveal the band’s evolution. Jarvis downs the guitar for ‘Angels’, the powerful vocals have a primal quality that carry over the crashing drums and driving bass.

Jar of Blind Flies’ performance is still a little rough around the edges at times, but the fundamentals of their modern take on grunge are promising and it will be exciting to see what direction they head in next.

The simple, clean guitar chords to open Vower’s set erupt into a bass-fuelled, intricately layered cacophony of sound that sets the tone for the rest of the evening. Vocalist Josh Mckeown’s unmistakeable tuneful, passionate screams and piercing focus are laid bare in this intimate setting, the emotion apparent with every note.

The post-hardcore and post-rock influences are evident, with the band seamlessly switching between syncopated time-signatures and filling the room with expansive soundscapes. New single ‘Satellites’ has the audience captivated, everyone swaying and nodding heads to the beat, whilst deft guitar work and resonant bass lines explode into the all-guns-blazing closing notes of ‘False Rituals’.

Mckeown tells the crowd “I know you guys are probably aware but you sold this venue out” and the intensity of the music is broken for a moment as he looks genuinely thrilled to be here. Commenting that it’s “truly outrageous behaviour” as they’ve only released five songs, Mckeown perhaps underestimates the impact that this expert merging of such beloved bands has had on fans. Mixing the musical talents of Black Peaks, Palm Reader and Toska was always going to be an intriguing prospect, but these five musicians have combined forces with such skill, balancing tight instrumentation with hauntingly unbridled passion.

Blending slower, groove-laden tempos with achingly heavy breakdowns and meteoric riffs, Vower display a level of synergy that’s rare even for long-accomplished bands. Their talent is underpinned by a sense of authenticity that’s amplified in such an intimate space, where their emotive delivery becomes an immersive experience.

Preceding closer ‘Shroud’, Mckeown once again thanks the crowd for their support and triggers a wave of endearing laughter as he declares “There’s so much love, now I’ve got to be angry”. Unsurprisingly, the room is treated to one final display of controlled brutality as the band thunder through their last track of the evening with a beautifully constructed mix of melodic vocals, devastating riffs and precision rhythms.

It feels like a privilege to have experienced Vower in such a small venue, and if they keep the momentum they’ve already gathered in the short time they’ve been together, it’s likely that much bigger things are on the horizon.

ELLIE ODURNY