I’m so happy to be back at one of the world’s best black metal festivals. I love it here at Fortress Festival, and I can’t wait to work through such a great lineup again. If you haven’t been here before, make sure you don’t miss the 2026 edition.
Last year’s Fortress was excellent. I saw every band available, with the exception of a mere few when I needed to find food, essentially. This year I’m going to try an adopt a more sensible approach, (at least from one perspective), and not kill myself trying to catch everything again. Having said that, I’ll still be trying to watch as many bands as I realistically can, while factoring in food, downtime, circumstances, etc. This year’s lineup is so good though, that every band is worth seeing, and in an ideal world I’d do just that. Regardless, we’ll see how we get on. And also, there are some bands playing this weekend that are just absolutely mandatory.
Before we get into it – as was the case last year, I have once again been blessed to be able to use the stunning photographs from the very talented Aleksandra Hogg, (which is why they are far, far, far superior to the photos I normally take when left to my own devices). I urge you to check out her work at Acidolka here, here, or here.
Day One – Saturday
Saturday boasts a ridiculous lineup. With so many great bands in one place, it’s an embarrassment of riches to choose from. Let’s dive in at the very start.
Nemorous
I really like Nemorous’ debut EP from 2021, and had the pleasure of seeing them play it all in Manchester a couple of years later. Now, Fortress-goers are being treated to their as-yet unreleased first album being played in full by the band. There’s a good crowd here for it too.
Spoiler alert – it’s very good.
The music is atmospheric in that older, nature-inspired, part-Cascadian way, while also incorporating more contemporary influences. The atmospheres are reflective, or mystical, or melancholic, and can be either light or heavy, depending the needs of the music. Accentuated by eruptions of violence, or driven by blackened fury, as required, these songs hit the spot quite nicely.
The mix of atmosphere and aggression is a compelling one. I’m sure that there are lots of nuance, detailing, etc. that haven’t come across live, but that’s what the proper album is for. Today, this is a visceral rendition that works well. I’m looking forward to hearing the recorded version. On a minor note, I like the occasional growl with my black metal, and these are performed by Nemorous’ singer as well as everything else here.
Nemorous open the main stage of Fortress in style, setting the tone for the rest of the day. More power to them.
(On a side note, Nemorous contain two members of the wonderful Ahamkara. If you haven’t already, make sure you check out this year’s The Harrow of the Lost).
Aquilus
Both 2021’s Bellum I and 2024’s Bellum II are great records, so expectations are high for Aquilus and their orchestral take on black metal.
Aquilus render their expansive sound in rich vibrant colours, bringing their work to life with expressive ease. A live violin is always a pleasure, and this merges with the rest of the band’s instrumentation at the genetic level. It’s striking and affecting throughout.
Although they don’t always benefit from the most well-rounded sound when they are playing full-on, (the drums can become overpowering, for example), this still fails to blunt the effect totally. A surprising amount of the music’s grace and beauty comes through strongly though, and I really enjoy the show they put on.
Even with some minor sound issues, Aquilus put on a wonderful performance and get a good reaction from the decent-sized crowd.
Unfortunately I have to leave before the very end, as Darkher are playing next in the tiny theatre, and they are not a band I’m prepared to miss.
Darkher
Well, I’m glad I got here early, as it’s already heaving when I arrive. By the time Darker start, the place is rammed full. This is actually one of only three clashes of the day, but as much as I like Devastator, I did not want to miss this.
Playing an understated, stripped back show – two people, guitar and percussion – Darkher put on an absolutely transcendent performance. Honestly, it’s just stunning. The singer’s phenomenal voice rings out clear and strong, brimming with emotional resonance. Darkher’s presence fills the small space entirely, a captivating and immersive wall of sound that is full absorbing in its intimate embrace.
The entire set is hypnotic and deeply affecting, and I don’t have enough good things to say about it. In fact, I can’t even adequately describe it as it just moves me throughout. This is one of the best performances of the entire weekend. I feel like this performance should have been recorded for posterity – it was that good. What an experience.
If you get a chance to see Darkher, do not miss it.
(You’ll notice the lack of photos for Darkher – the theatre was a camera/phone-free environment, which boosted the immersion levels, despite a few people breaking ranks with this).
Spirit Possession
Bringing the most hostile and aggressive set to the main stage so far, Spirit Possession are raw and nasty. They’re also damn good fun. The perfect palate cleanser after Darkher’s feeling-rich performance, Spirit Possession are all about barely controlled chaos and blackened heavy metal thunder. Like Darkher there are only two people on stage – guitar and drums – but this time with very different results. It’s furious black metal driven by a heavy metal heart and a raw punk energy. Spirit Possession rock, and rock hard.
The perfect way to get back into a festival mood after Darkher’s emotive intimacy, Spirit Possession’s sharp riffs and brutal mayhem were very entertaining indeed.
The Great Old Ones
I’ve been listening to The Great Old Ones since 2012’s Al Azif, so I’ve been very looking forward to this. 50 minutes of Lovecraftian atmospheric and melodic black metal? Yes please! although we don’t get treated to anything off that debut record, I’m not going to complain.
Opening with Me, the Dreamer off this year’s Kadath, The Great Old Ones put on a good show from the start. The sound is one of the better ones of the day, the three-guitar soundscapes are well-rendered, and the band are clearly into it. They then play In the Mouth of Madness, which is probably my favourite cut off the new record. It’s a savage rendition.
We next get the blistering The Omniscient off 2019’s Cosmicism, which is given a really satisfying outing. This is followed by Antarctica off 2014′ Tekeli-li. It rumbles into life with its colossal frozen riffs and eerie aura. They finish with Under the Sign of Koth from Kadath once more, which is a right storming song.
After waiting to see them for so long, The Great Old Ones did not disappoint me.
Selbst
It’s my first time at The Ocean Stage today and I expected a small queue at least, but apparently everyone is trying to get into Sylvaine. At least, that’s what it felt like as I left the main stage a little early to make sure I caught Selbst.
Selbst‘s music is sinuous and slithering, working its dissonant tendrils into the crowd with malevolent grace. It is not the best sound initially; so much of the fine detail and emotional weight of the songs is lessened, particularly their potent twisted melody. Despite this, it doesn’t fully remove the band’s infernal impact, but it does present it in a rawer, harsher light. Selbst come across more monstrous tonight, while still keeping a transmuted emotive appeal. Besides, the sound does improve over time. This brings more of Selbst’s charismatic and idiosyncratic character with it, and I end up increasingly enjoying their set. It’s not perfect, but good stuff regardless.
Ruïm
Starting with Blood.Sacrifice.Enthronement from 2023’s Black Royal Spiritism – I. O Sino da Igreja, Ruïm immediately make a strong impression. It’s my favourite song from that album, so is great to hear. Apart from Darkher, Ruïm have the best sound of the day so far, and it lets their music fly on majestic wings of hellfire. The Triumph of Night & Fire is presented with both creeping nuance and fiery power intact. The Black House follows suit, blazing with intensity and esoteric fury. At this point it feels like they’re going to play the entirety of their debut album in order, (and they almost do).
Black Royal Spiritism slows the pace, but heightens the menace. After this comes Evig Dissonans, which bares its teeth in a fierce display of dominance. Then, in place of the album’s Mayhem cover of Fall of Seraphs, we get treated to a storming rendition of the iconic I Am Thy Labyrinth. It explodes into being, with guest vocals from the singer of 1349. It’s pretty special. They finish with the album’s final cut O Sino da Igreja, (without the 1349 singer this time), and it’s lethal.
Although Ruïm were definitely a band on my Do Not Miss list, for whatever reason I wasn’t expecting to enjoy them quite as much as I did. They were great, exceeded my expectations, and put on a sterling performance.
1349
I’ve been a fan of 1349 since I was a lot younger, so I’ve been waiting a long time to finally see them, (although, I do have a feeling I may actually have seen them once at a festival many, many moons agoand just can’t remember any longer). Tonight they play a good set, spread across their lengthy career. It’s classic black metal aggression, peppered with a few different tricks and ideas that they’ve picked up over the years.
Starting with a bit of fire breathing, (feel the heat!), 1349 soon get right down to business with Riders of the Apocalypse. The riffs are serrated and the drums furious. The band are more animated than I expected them to be, and they throw themselves into the show with gusto. The singer’s voice is in fine form. I noticed this during Ruïm, but it’s noticeable even more during 1349’s set. He sounds vicious, but legible.
There appears to be a technical issue after Ash of Ages that delays proceedings a bit, but after this they are back on track with Slaves to Slaughter.
Through Eyes of Stone sees the first pit of the day, that I have seen at any rate. The brutality of the song is clearly having the desired effect. Shadow Point gets the crowd moving even more, watched over by the latest stylish backdrop in 1349’s changing graphical repertoire.
I Am Abomination turns up the heat in no uncertain terms. The sound – already largely fine – chooses this song to improve too; the guitars sharpen and grow more present, and the results are devastating. We get the first crowd surfer during this song as well.
Striding the Chasm passes in a blur of blast beats, and it’s great to see the band enjoying themselves on stage so much. This leads to Inferior Pathways, a track I particularly like. 1349’s drum maniac – Frost – is an utter machine. Nothing but impressive throughout.
Blood is the Mortar is an especially intense offering, followed after an ominous gap by the much more recent cut The God Devourer. It’s a song that leans into some of the band’s heavier riffs, and it goes down nicely.
The penultimate track aired tonight is the crowd-pleasing Atomic Chapel. 1349 close with Abyssos Antithesis, which once again does the job with killer efficiency.
The quality of the sound was a bit variable through the band’s set, but to be honest it matters little. 1349 put on a damn good show, and I really liked it. Professional, but surprisingly passionate, 1349 end the first day of Fortress on a strong point.
Day Two
If Saturday had a ridiculous lineup, then Sunday is simply insane. I mean, look at the damn thing. Expectations are high, that’s for sure.
Abduction
I’ve seen Abduction play all of their new record Existentialismus previously in Manchester prior to its release, so it will be great to now hear it again now that I know it. It’s a great album, and Abduction unleash it in full today.
The music is well-rounded and full, displaying none of the sound issues that plagued some of yesterday’s bands. Add to this winning material and a performance that does the music justice, and you have a truly remarkable set. Abduction are on fire. In fact, this is a phenomenal performance all-round from Abduction. Loved it.
All of the band are into it, but the singer in particular has a gravitational pull to him that makes him very good to watch. He obviously puts everything into Abduction, and you can see this on the stage. The results speak for themselves. Existentialismus is the best Abduction album, rendered live today flawlessly. Someone briefly joins them onstage for part of the last song on additional vocals, but I’m not 100% sure who, (possibly from Devastator?). Regardless, Abduction were amazing.
Everything comes together perfectly for Abduction. They benefitted from a strong sound, a strong presence, strong material, and a strong performance – a perfect storm of brilliance. It’s an excellent way to start the second day of Fortress, and a very high bar for the rest of today’s acts.
After Abduction play there is a short promo video played for next year’s edition of Fortress – Old Man’s Child, no less. Not a band I’d ever thought I’d get to see, but it looks as if the 2026 Fortress Festival will be the place to be.
Dödsrit
Unfortunately Dödsrit couldn’t play in the end last year, which is one reason among many that I’m glad they are playing today. With their charismatic mix of atmospheric black metal, crust, and heavy metal, Dödsrit’s material goes down very well.
They open with Irjala from last year’s Nocturnal Will, which is such a face-ripping tune. Its catchy melodies are somewhat lost in the mix initially, but not for long. It’s an epic way to open their set.
The enjoyment of seeing Dödsrit ply their trade is immense. They so obviously love it. Their set allows them ample opportunity to deliver the goods once more, and they do, in all of their glorious melodic splendour. With epic solos and charismatic blackened aggression, the Dödsrit experience concludes very satisfactorily.
Dödsrit have not disappointed. Delivering a solid and enjoyable set, it has been a pleasure to spend 40 minutes in their company.
Moonlight Sorcery
2023’s Horned Lord of the Thorned Castle was a breakout record, and I’m over the moon that Fortress have managed to get them to play their first live show outside of their native Finland here for our delectation. Moonlight Sorcery are a great example of how joyous black metal can be in the right hands, but without becoming sugary unlistenable pap.
To Withhold the Day begins – it’s a somewhat rocky start due to the sound – the guitars are lacking, and where the keyboards should be there’s largely nothing. As In Coldest Embrace kicks off the sound is improving a touch, at least in the guitar department. The last two songs – Into the Silvery Shadows of Night and older cut Wolven Hour – boast the best sound of the set.
Despite a muddled sound Moonlight Sorcery still put on a good show. There are a lot of people in the crowd who are clearly loving it even with this, with even a small mosh pit appearing near the end, so maybe it’s just where I am. Either way, Moonlight Sorcery themselves can’t be faulted, as they throw themselves into their performance with zeal, energetic vigour, and plenty of guitar heroics. The performance is there, the songs are there, and this ultimately wins the day for them.
Aristarchos
Aristarchos are a really good band, and I enjoyed their set the last time I saw them. Today, they’re ones to watch for sure.
With a stage presence that screams loudly of things dark and occult, but with a heavenly light never too far away, Aristarchos’ brand of atmospheric black metal fills the Ocean Room with its sizeable presence. The striking melodies are potent and grip you whether you want them too or not. Half malevolent, half divine, Aristarchos somehow embody both via black metal that’s fierce of spirit, while also being richly evocative.
Playing songs off both 2021’s Aristarchos and 2024’s Martyr of Star and Fire, Aristarchos impress once more. In fact, this was an immense performance from the band, and I thoroughly enjoyed their set. A second stage gem. Aristarchos deserve to be on the main stage next year, in my humble opinion.
Ulcerate
The first of the ginormous three unmissable main stage acts, Ulcerate bring a deathly touch to Fortress, and it won’t soon forget its dissonant caress.
Taking to the stage in an industrial sea of ominous sounds, Ulcerate open with the iconic riff that heralds To Flow Through Ashen Hearts from 2024’s Cutting the Throat of God. It’s a striking and potent entrance.
Performing with a minimalist stage presence of just three people and a backing projection, Ulcerate manage to fill the main stage with their slithering menace. They may be only three, but they craft such nightmarish, intricate soundscapes that the entire venue seems swamped with their insidious style. The sound quality doesn’t let them down, and tonight everything comes across as it should. Ulcerate are definitely as good and as impactful as you would want them to be.
Ulcerate’s atmospheric brutality is precise and remorseless, delivering songs that are both crushing and transportive. There is something mesmerising about the band that’s remarkable. Ulcerate are as imposingly impressive live as I was hoping they would be. Like many bands this weekend, I can’t wait to hopefully see them again at some point in the future.
Grift
After Ulcerate’s overwhelming otherworldly hostility, it’s good to now be able to travel to more natural environments courtesy of Grift. A palate cleanser of sorts, Grift’s performance is the perfect airy antidote to the suffocating darkness of what came before it.
Playing all of 2015’s Syner, Grift’s atmospheric black metal is characterful and expressive. Unfortunately I didn’t catch it all, although it was a decent enough chunk of it to like what I heard, and to see that it was well-received by all in attendance.
Forteresse
The second of the ginormous three unmissable main stage acts, Forteresse’s black metal is melodic, atmospheric, and aggressive. Fortress Festival is named after Forteresse, so it’s fantastic to get to see the band here.
Expansive synths herald the show’s start, before Spectre de la Rébellion explodes with melodic might. Forteresse have arrived in no uncertain terms. Le Sang des Héros is next, and just as potent, followed closely by La Flamme et le Lys, which if anything is even more forcefully felt, especially the mood-focused slower section.
Wendigo is a particular gem in the Forteresse discography, so it’s great they unleash this furious monster of a track on us tonight. One of the things I really like about Forteresse is how hummable their melodies are. They’re very memorable and morish. Tonight they work their magic across all of the songs, and the next song – La Lame du Passé – is no exception. It also boasts a pulsing blackened groove, which is nice to hear. Là où Nous Allons is a blast of frosted aggression, with well-delivered epic cleans that lift the song up to the icy skies.
Une Nuit pour la Patrie further cements Forteresse as a formidable live act. The rest of the crowd seem to be just as engaged as I am. Even with a technical issue mid-song resulting in the loss of a guitar, the band push on regardless. It takes a little while to resolve, but they then launch into closing song Vespérales, making them the only band I’m aware of that runs past their allotted time all weekend. The festival is named after them after all, so if anyone is going to be given some leeway, it’s Forteresse. It’s a great way to end a great set.
Forteresse put on an unmissable show, and I leave very happy to have witnessed this display of atmospheric and melodic black metal mastery.
Agalloch
Here we go then. Agalloch. The third, final, and greatest of the ginormous three unmissable main stage acts. I’m a huge Agalloch fan, so full disclosure – you probably won’t get much of an objective report of this evening’s festivities. Unless they’re unexpectedly awful of course, which would be unthinkable.
The place is pretty busy forty minutes before they’re even meant to come on stage. When they do, it’s heaving. There is a big curtain, unlike any of the other bands, and once it opens the mournful intro tape, (They Escaped the Weight of Darkness), plays, setting the scene. The expectation is electric. Ghosts of the Midwinter Fires opens with delicate grace, evolving into an epic of melodic beauty. Agalloch are well and truly here with us.
You almost can’t see the band on stage through the smoke and lights, but the music has all of the presence it needs. Agalloch have so many classic songs, and early tracks aired like Hallways of Enchanted Ebony and Dark Matter Gods don’t fail to evoke great emotion in the crowd – much like every song tonight, to be fair. Agalloch provide us with a tapestry of sound to become enveloped by, taking us on a journey.
Falling Snow is just brilliant, there’s no other way to say it. It’s such an iconic song, one that I’ve loved for so long that seeing it finally is just ace. The sound of waves appropriately precedes Not Unlike the Waves, a track that is immersive in its majesty. Another stone cold classic.
Odal has an understated beginning that brims with potential and emotive power. Of course, it’s realised phenomenally well as the song unfolds. Throughout the set all of the band give it their all, but I love how into it the non-singer guitarist in particular is, and who can blame him? Dead Winter Days follows, before You Were but a Ghost in My Arms, which comes with a first-rate explanation of what the song’s about, before the song itself absolutely floors everyone.
Fire Above, Ice Below is gorgeous and absorbing, with its multihued, enchanting soundscapes. Agalloch are doing all of their material wonderful justice tonight. They close with Our Fortress Is Burning… II: Bloodbirds, which is captivating, and culminates with the band all over the place on stage, completely taken by the music. It’s a proper 70s-style instrumental freak out that’s amazing to see. Fantastic.
Agalloch were simply spectacular tonight. What a perfect way to end this year’s edition of Fortress Festival.
After Agalloch finish, there are a lot of very happy people in Scarborough, that’s for sure. My thanks go out to everyone involved in organising and running such an excellent festival. I have already got my ticket for next year, and I already cannot wait. Get yours here.
Wonderbox Metal 
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