Arctangent Festival / Fernhill Farm / Somerset
What do the following bands have in common ?
Wardruna, Meshuggah, Emperor, Heilung, Leprous, Pigs x7, Godflesh, Green Lung, Opeth, Myrkur, Carpenter Brut and. Imperiant Triumphant
Apart from all being particular favourites of mine, they’ve all either headlined or appeared at Arctangent Festival.
Arctangent Festival…. Two words said with such reverence by so many people I know… ‘You’ve not been?”… Oh you just have to, its incredible”… “It’s the only festival I always block out in my diary”…
I’ve thought about it before, but other things and work have got in the way and it’s just not happened, but this year the voices in my ear got louder. I checked out the line up and it was packed. Three immense headliners in the form of Chelsea Wolfe, Primus and Cult of Luna with Julie Christmas. And then there’s Igorrr, Psychonaut, Alcest, Nordic Giants and many many more. What really drew me to it though ? Five of my absoulute favourite artists were playing - Jo Quail, Darkher, Eivor, AA Williams and Bristol’s own, and incredible Erotic Secrets of Pompeii.
With accreditation in my back pocket thanks to the amazing team at Good As Gold PR, I headed off to deepest darkest Somerset for what I hoped would be an epic adventure. Although I couldn’t stay for the final day (Saturday) due to a prior commitment, I was looking forward to the experience immensely.
Having just endured the hottest summer on record, could can guess what happened… As I turned off the M5 towards my hotel on the Wednesday night – the heavens opened With tropical storms, I hardly slept, and the Thursday weather was not much better. Arriving at Fernhill Farm, I started to have shivers and flashbacks to the mud at Download 2024 ! Walking to the arena itself and greeted by the large ATG letters the four stages loomed in front of me in an arch round the outer perimeter…. I was getting good vibes already.
The Thursday weather was not great with heavy showers through the day, but the site held up well and it didn’t dampen the spirits around the festival. Friday brightened up significantly allowing festival goers to chill on the grass outside tents listening in to the music.
Across two days, we saw 30 bands, and found some great new artists, such as IAN, Witchsorrow, Manjua, The Sad Season, No Violet, Nothing and Civil Service. There were loads of stand out performances from names big and small, and we’ll take you through some of our absolute favourires:
HAAL
I came across HAAL earlier this year for the first time, when they supported Japanese post-rock/math rock band Thgeory of Everything (known as toe). . They really stood out for me not just for their sound, but stage set up with old CRT TV tubes displaying grainy video feed. Their sound combines elements of post-rock, metal, trip-hop and industrial noise, and the Bristol natives have become something of cult favourites in the UK live scene. Using samples, DIY home made pedals they create a monolithic wall of sound, which is supplemented by their clever use of live visuals.
Otay:Onii
Otay:Onii (Lane Shi) is something quite unqiue. Her sound is hard to explain in many ways, but it somehow draws you in with it’s genre defying quirkiness. Think of the most out there Bjork material, and you’re on the right lines lol. Using a laptop, pedals, loops and a Keytar she crafts some extraordinary sounds and creates something which is ore performance art than music alone. The huge screen at the rear of the stage is used to great effect to add to the visuals with darking lights radiating out. The physical performance is somewhat Bjork like, avant-garde in nature….complex, at times irrational and yet spell binding. Otay:Onii is not something you just listen to… you experience it.
Zeta
Zeta, all the way from Venezuela was a real find, delivering something stylistically to anyone else at this years Arctangent. With a latin vibe with the conga drums, it focuses on dense polyrhythmic percussion mix which envelops their whole sound. They draw on a wide range of influences including Afro-Caribbean mixed with the likes of psychedelic post-rock, reggae, experimental jazz, cumbia, punk - even some emo and mambo thrown in for good measure. But this wide range of influences doesn’t distract, or make it too cumbersome, indeed the opposite, they hone it all together into their own unique blend, which delivers a performance of nostalgic almost 70s style rhythms. Catchy, and at times heavy, it certainly had the tent dancing along.
Nordic Giants
Nordic Giants are one of those bands you just have to see. The first time I saw them live at Rock City, it was almost pitch black, with just the rear video screen for lighting. It was one of those eprformances, like seeing Cahill//Costello, or Eyre Llew for the first time, that will stay with me forever.
Rôka & Löki deliver an all-encompassing, spirit engulfing live experience, which blends musical excellence with stunning visuals to create a visceral experience that engulfs all the senses. The atmospheric soundtrack to the performance is set to a series of short films, which combine to hit you hard. These two mythical creatures create an experience with drums, bowed guitar & piano that is both haunting and rousing, topped with climactic and thunderous drums and trumpet.
The visuals are equally important to the sound, and the two can’t be separated. Listening to Nordic Giants, although great, loses something of the live experience. Indeed talking to a few festival goers after their set, watching the final piece Clouded Minds brought tears to their eyes, the effect, and impact was that strong.
Psychonaut
Psychonaut are a Belgian post-metal band which explores the boundaries between darkness and light through cascading walls of sound. Their sound builds on a foundation of psychedelic prog which is wrapped in a doom laden cloak delivering some thunderous soundscapes. And boy did they deliver ! It seemed that vocalist Thomas Michiels is in the form of his life right now, and the power and clarity of his vocals was sensational throughout the set.
They delivered a stunning set which had the packed tent rocking. Right from opener All Your Gods Have Gone to the finale …Everything Else Is Just the Weather they don’t put a foot wrong. For me, the highlight was a seering performance of And You Came With Searing Light from their most recent album, 2025’s “World Maker”.
Alcest
I really felt for Alcest, running late I arrived at their tent expecting soundcheck to be over but they were nowhere to be seen. All of a sudden a flurry of wild activity as flight cases are wheeled out and equipment quickly removed and set up. Apparently their bus broke down enroute resulting in no set up time and a shortened set, but Alcest carried on and despite the delays, they delivered a stunning set of their trademark blackgaze sound. Considering the issues they had to face, Stéphane "Neige" Paut (vocals & guitars), Jean "Winterhalter" Deflandre (drums) were incredible, and rightly drew huge cheers fro the packed tent at the end of their performance.
The Tony Danza Tapdance Extravaganza
I’m led to believe this is the The Tony Danza Tapdance Extravaganza’s first live UK performance tonight, something of a coupe for Arctangent ! Formed in 2000, and often known simply as danza, they’ve established themselves as one of the most technically intense and uncompromising acts to emerge from the early wave of American mathcore and progressive metal.
And as they stepped out to cries from the Arctangent faithful, they certainly lived up to expectation ! Technically gifted, there is a wonderful chaotic nature to their performance. The rhythms are unrelenting throughout and Jessie "Danza" Freeland on vocals has that Joe Talbot (IDLES) wild look in his eyes as he spits out the lyrics with undiluted confrontational energy. Mike Butler on bass had me enthralled, with his exaggerated and theatrical slap and picking style which was hypnotic to watch.
The crowd were going wild as you’d expect, as they delivered a ferocious and intense live experience with highlights including tracks like Yippie-Kay-Yay Mother!@#$%^, Behind Those Eyes and Say When, that left everyone gasping for breathe.
Igorrr
This years theme of ‘full sense immersing’ performances, is continued with Igorr. Led by Gautier Serre their performance encapsulates everything from death and black metal to breakcore, Balkan, baroque and classical music with a sprinkle of hip-hop thrown in for good measure.
Unlike any live act I’ve seen before, visually they cross genre divides as well, at times appearing like ancient Nordic pagan acts such as Warduna or Heilung, and they operatic, in style and grandeur. It is both unconventional and unpredictable at the same time as it is thrilling, Igorrr are unlike any other act with Serre delivering pagan growling vocals, and as he sweeps off stage, to be replaced by the stunningly beautiful, and powerful mezzo soprano tones of Gerda Iguchi.
The mix of classical, opera and metal is complex and tricky to navigate, but Igorr do it with aplomb delivering time and again with hits like ieuD, Infestis, and Viande.
Chelsea Wolfe
Thursday’s headliner is a belter. I bought Chelsea Wolfe’s latest album “She Reaches Out To She Reaches Out To She” which is one of those albums with no-skips at all,. It’s a story of re-birth – and how such a moment connects to our past, our present, and our future. It’s a powerfully cathartic statement about cutting ties, as well as an important reminder that healing is cyclical and circular, and not a simple linear process. Indeede her new album “The Dark” which came out this year continues in the same vain.
The main stage tent is packed and indeed there are loads sitting outside on the grass too. The lighting is dark and intense, smoke swirling as Chelsea Wolfe stands highlighted in a single spot. The performance is majestic.
I think its refreshing to take a bold step to have a headliner that slows the pace down/ This isn’t your usual rousing, crowd surfing finale, its about precision, beauty and an almost mythical experience. Older tracks such as Mer from 2011’s “Apokalypsis” and Vex from 2017’s “Hiss Spun” for which she is joined by Neige from Alcest, sit alongside newer material like Death is Not the End, The Dark and Cold seamlessly.
The set ends with a stunning performance of the great track 16 Psyche from 2017’s “Hiss Spun” which has the crowd cheering and singing along.
Conjurer
Conjurer are a band I always enjoy seeing, and they bring a nice segment of black metal to the table, a dose of intense riffs, fast beats and pounding bass to liven the senses. They always deliver, with an unrelenting energy that feels truly angry and alive. Conor Murphy with his iconic long hair doing windmills almost constantly through the set is a sight to behold. He valiantly gives Corpsegrinder a run for his money lol
Lili Refrain
I first saw Lili Refrain, supporting Heilung in Manchester, alongside Eivør (also on the Arctangent roster this year). From Rome, Lili Refrain is a composer and performer who uses electric guitar, vocals, percussions and synthesizers together - overlapping them in real time through loop stations.
The atmospheric music she creates is somewhere between modern ambient, and pagan folk, combines minimalist sounds – simple drum beats, a ringing bell etc to build complex sonic soundscapes.
Theres elements of folk, psychedelic, blues, metal, in there, and each performance, due to its live looping technique is unique. Her vocals cover a wide range too, from pagan chants to operatic tones. On one track, it reminded me of native American singing ! A striking visual experience too, with bold black and red face paint, her gestures and hand movements are slow and measured, adding to the sense of mystery.
It’s not the kind of thing to sing to, or even dance to – It holds you there, in a trance like state, as the tones and melodies wash over you. Thoroughly enjoyable and always brings a smile to my face.
Arcane Roots
It was great to see prog math rockers Arcane Roots back on the bill. They kick off withtheir latest release, A Wave, Across the Sea, a more mellow moment, that lulls us into a false sense of safety before they let rip with the likes of Leaving (“Heaven & Earth” EP 2015) and Curtains from 2017’s “Melancholia Hymns”. Its intense and raw and their return to Arctangent is everything the crowd hoped for and more. They end the set with If Nothing Breaks, Nothing Moves also from the “Heaven & Earth” EP which received heartfelt cheers as they wave and leave the stage.
Bruit ≤
Bruit ≤ were a new band for me, but boy … what a find ! The quartet from Toulouse deliver a stunning cinematographic post rock experience combining classic influences with experimental music and a hint of punk rebelliousness. Mixing the more usual drums, keys and electric guitar with cello and Violin, they use an array of pedals to create a unique reverb and delay rich sound. The sound fills every cover of the small tent, with waves of delicate and yet complex tones wafting through the air. And yet at times, the instruments are used to create crushing loud sounds to awaken the senses.
There’s a wonderful allure to what they do – complex and yet simplistic in a way. Difficult to pigeonhole, but then why bother, when it’s this good.
Primus
The main tent is heaving well before the Friday headliners take to the stage. This is a moment that no one wants to miss. For me, my Arctangent festival experience is about to end with a bucketlist moment – the legendary Primus. And as bucketlist moments go… they don’t come much better, with the definitive Primus line-up –back together – Les Claypool (vocals & bass) Larry LaLonde (guitar) and Tim Alexander (drums). Formed back in 1984, Primus went on to become the alternative rock sound of the 1990’s with a string of iconic hits.
The atmosphere is electric, the stage bathed in yellow light and smoke lazily wafting across as the intro track bursts into life and the lights dim. The crowd go wild as out step Tim, Larry then Les one by one, and they open their set with Those Damned Blue-Collar Tweekers from 1991’s “Sailing the Seas of Cheese”. I’m awestruck as I watch Les strut effortlessly around, with his hypnotic and unique bass slap style, right there… feet from me !
The technical ability is right there for all to see, as they run through hit after quirky hit, Tommy the Cat (Sailing the Seas of Cheese 1991), John the Fisherman (“Frizzle Fry” 1990), and the iconic Wynona’s Big Brown Beaver (“Tales from the Punchbowl” 1996).
I was so pleased ot see my personal favourite Too Many Puppies from 1990’s “Frizzle Fry” (my favourite Primus album) feature. The crowd are going crazy, and I didn’t expect Primus to be the kind of band for crowdsurfers… but here they are, in their droves !
The set draws to a close with My Name is Mud from 1993’s “Pork Soda” a dark tale of a deranged man named Aloysius Devandander Abercrombie (known as Mud) as he casually describes killing an acquaintance with an aluminium baseball bat following a verbal disagreement, whilst he is burying the body. Quaint !
Finally the night draws to a close with the iconic Jerry Was A Race Car Driver also from 1994’s “Sailing the Seas of Cheese”. Each line, and chorus section is sung loud and proud by the Arctangent crowd well into the night.
As fresh sounding today as they ever did, the definitive Primus trio delivered a set to remember for those in attendance.
As I faced the long 3 and a half hour drive home, I reflected on Arctangent.
I wish I’d been able to see Iskander on Thursday in the main tent, I could hear it over the site – a heavy sound of psychedelic folk doom which sounded incredible and I was somewhat jealous of those in there to experience it. Heck also apparently put on one hell of a show, with the hardcore math rockers delivering a searing set, packed with raw energy. Indeed singer Joe Rawson climbed almost to the top of the Yohkai stages supporting pilar much to the dismay of security, before climbing back down and then dropping the last part into the arms of the waiting crowd.
And who doesn’t enjoy a bit of Napalm Death ? The Brummy grindcore legends always deliver, and this one was no different, with Barney Greenway (vocals), Shane Embury (bass) and co delivering a set of pure, unadulterated brutal beauty.
I reflected on the festival itself. I had been told by loads of friends how good it was. The organisation, the set up, the band line ups, and most importantly the family feel to it. I had to agree. Smaller than the likes of Download, I think this is a feature that works to Arctangents benefit. It creates a sense of …. Well, community, of family. Many there are coming back for their 10th, or 11ths time. The layout is spot on, all four tents set in a curve around the central bars and artists area, two either side, the largest tents on the outer edges. This way the left main stage can play while the right smaller stage plays and vise versa allowing a steady and efficient band rotation with minimal noise impact. Around the outer wall is a wide array of food and drink outlets, all of the ones I sampled (and there were a few lol) were all fantastic, with decent portion sizes and not extortionate pricing.
I bumped into a few friends that are regulars for a chat and a drink, and I smiled all the way home. Arctangent is a festival like no other, and it’s one I’d love to start calling – home.
Oh and my five favourite artists: Jo Quail, Darkher, Eivor, AA Williams and the Erotic Secrets of Pompeii ? Well guess what ? They were all slated to play on Saturday, after I left – Bollocks ! But you know, although it’s a shame I missed them, just think how amazing the festival would have been if I’d been there to see them too ? Maybe next time !
And this is Arctangents final time at Fernhill Farm. In 2027, they are moving to a new site further north at Todenham Manor Farm near Moreton-in-Marsh in Gloucestershire. A lot of time, thought and effort has gone into choosing the location, which is the same size allowing the same layout, but has better transport links as well.
Tickets and payment plans for next year are open now HERE Get in while you can… it WILL sell out again !
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