ArcTanGent is the UK’s premier outdoor alternative music festival, and it’s a great pleasure to have so many great bands here over one weekend, from all over the world.

It’s this writer’s first time at the festival, even if it’s only for the Friday and the Saturday, and it turns out to be an extremely enjoyable and rewarding couple of days. The festival’s organisation, layout, lineup, and everything else have clearly been thought about closely and iterated upon over time. The end result is a festival experience that’s one of the best out there.

Friday

Worn Out – PX3

It’s early, but Worn Out wake everyone up in no uncertain terms. The crowd are all riled up and lairy from the get go. The singer’s crowd surfing, there’s a large circle pit, and this is all during the first song. Then the bassist is in the crowd, inciting mayhem. The entire set gets the audience moving.

Worn Out’s hardcore onslaught is ferocious and heavy. They play a new song too, which sounds good, and bodes well for the future. The last song  they play opens with a quote from Gavin McInally from the 2 Promoters 1 Pod podcast, (who is in attendance), unleashing the last hit of Worn Out’s bruising hardcore.

Basically, Worn Out put on a great show, full of energy. They smack the living shit out of the PX3 stage, and the crowd ask for more.

Wildernesses – Bixler

It’s a complete change of pace now for Wildernesses, with their charismatic, personal take on post-rock. Their gentle music and understated presence fill the tent, both moving and soothing.

Growth is such a good album, and only gets better the more you listen to it. Hearing live versions of songs from it is exquisite, and brings them further to life. The band’s performance elicits a remarkable emotional response at times, (English Darkness, come on now), with the singer’s heartfelt vocals being even more impactful live somehow.

Wildernesses are vocally appreciative of the audience size and the reaction they’re getting, which is well-deserved. Instead of a pit, the singer encourages a love-each-other-waltz, before playing the final song, ending the set nicely.

Wistfully brilliant.

Civil Service – PX3

Last year’s Dark /// was a grower, beyond all expectations, making catching Civil Service mandatory, (despite an unfortunate clash with the mighty Zatokrev).

If engaging post-rock that boasts a more well-defined personality than most is your thing then this is the place to be. The music is delivered with enthusiasm and received in-kind. After the first song one of the guitarists states “ArcTanGent, we are your Civil Service.” Can’t argue with that.

Black Giraffes is just brilliant, after which an emotive speech is given before
An Infant Wave in a Savage Ocean is played, with guest vocals from the singer of Overhead, the Albatross, who gives a typically impassioned performance. The final song is Turn out the /// Light, with guest vocals from members of Hidden Mothers and Wildernesses. Emotions run high by its finale.

Civil Service know how to show the PX3 stage a good time. Very enjoyable indeed.

Conjurer – Arc

Since absolutely destroying the main stage at last year’s Damnation, it’s now the main stage at ArcTanGent’s turn.

The rise of Conjurer’s popularity is an unexpected one in many ways, considering their extremity. Judging by the number of people funnelling into Arc though, this increase in popularity is not showing down.

Unself is their strongest record, and the songs off it sounds massive today. The riffs alone are huge, before you even factor in everything else going on. The Searing Glow and Hang Them in Your Head are notable highlights, (after the latter, the band give a firm thanks to ArcTanGent organiser James and a good luck for the ArcTanGent site move next year, before leading a tongue-in-cheek chant of “Fernhill Farm!”).

Playing to the same, (or at least very similar), backing video that they had at Damnation, Conjurer put on a blinder of a show.

Believe in Nothing – PX3

Now it’s time for some of the most horrible, nastiest sludge available. Believe in Nothing fill PX2 with grim nihilistic darkness.

The show starts with the singer using a hammer to force himself to be a bit sick, and it descends into the bowels of Hell from there. The singer leads the show, highlighted with a light worn around his neck, as the rest of the band are (mostly) drowned in blue. He delivers something akin to a performance piece of sorts, via the medium of malignant sludge metal, using various items and implements across the course of the songs. It’s intense, and captivating. He ends the show in the crowd, before disappearing completely.

Believe in Nothing offer up a feast of crushing heaviness, with a side order of malevolent atmosphere. Don’t miss seeing them if you get the chance too.

Arcane Roots – Arc

The return of Arcane Roots carries with it high expectations, but it’s unlikely that they will disappoint. Arcane Roots are kings of progressive rock.

They begin their set with two drummers, a rare sight; one of them alternates between drums and guitar across the set. Every song is flawlessly rendered, and the band’s performance is electric.  From newest cut A Wave, Across the Sea, to closer If Nothing Breaks, Nothing Moves, nothing is left to chance; Arcane Roots are masters of their craft. The singer’s soaring voice is immaculate, backed by the extremely capable vocals of the drummer and bassist. It’s a proper Big Show. The crowd, understandably, goes wild.

Arcane Roots serve up a flavour-filled masterclass in evocative, emotion-rich progressive music, that still has the occasional burst of heaviness and bite when it needs to.

Just phenomenal.

“You know we love you, we love you very much”. The feeling appears to be mutual. Expectations not just met, but exceeded.

Witch Fever – PX3

So, what do we have here then? A compelling mix of doom, grunge, and punk? Yes please.

Witch Fever’s combination of slow mood and energetic vigour works wonders for them. They deliver songs that blend styles in holistic ways, and they’re clearly fans of their own material, as well they should be.

With an easy confidence the band work the stage like seasoned pros, while still retaining an underground allure. They are a popular choice it seems, and they reward the crowd with a show that showcases their strengths.

Ending their set with a Deftones cover of My Own Summer (Shove It), Witch Fever have impressed.

Napalm Death – Yohkai

And now for something completely different. Napalm Death are the most brutality harsh band at ATG this year, and not to be missed. As befits a band of their legendary status, the Yohkai stage is pretty damn busy.

The stage is stripped back and minimal. Napalm Death attack the songs like it’s the last time they’ll ever get a chance to play, and do so with the force of a positively charged explosion.

Napalm Death’s iconic frontman is a blur of passionate movement much of the time. Blessed with a huge amount of character, a gift for speaking to the crowd, and an infectious humour, it’s hard to tear your eyes away from him. Unfortunately Shane Embry cannot be with the band tonight, but instead they have “Freddie Boswell from Bread on bass guitar.”, who capably fills in.

The entire set is excellent, but the one-two punch of When All Is Said and Done and Amoral is particularly lethal. The same can be said though of songs like Suffer the Children and Scum, along with the devastating ending tripartite of Nazi Punks Fuck Off, Persona Non Grata, and Smear Campaign. The response from the crowd is strong and sustained.

As Yohkai headliners, Napalm Death are vicious, but enormous fun. What a wonderfully diverse day it has been.

Saturday

2 Promoters 1 Pod – Yohkai

A treat is available for those awake early enough on this early Saturday morning – a live episode of the best music and music industry podcast there is – 2 Promoters 1 Pod.

Gav and James – organisers of Damnation and 2000 Trees/ArcTanGent respectively – have a jolly old time regaling festival hijinks and incidents, answering listener questions, and generally indulging in funny banter and pisstaking. One story in particular is just brilliant – a hilarious tale about Julie Christmas and milk, told with perfect tone and timing by James.

Nearer the end they bring on two guests – Julie Christmas and Johannes Persson from Cult of Luna. As today’s main stage headliners, questions and discussions revolve around Mariner, technical issues, and whether they care what their band logos look like on festival posters, (they don’t). Julie says that she’ll be at a signing session later in the day, where she’ll be collecting signatures on her arms from everyone that attends so she can perform with them on her later.

If you’re unfamiliar with 2 Promoters 1 Pod, do yourself a favour and get listening now.

Pleb – PX3

Pleb are insanely heavy. A two-piece band with a minimalist stage setup, they drench the PX3 stage in hideous walls of distortion. There are only two instruments, (and harsh vocals), but Pleb fill the airwaves with an overwhelming density of sound.

Pleb’s sludge doom punk nastiness is damn good, as is the band’s intense performance. As a post-podcast hit of scathing heaviness, it more than hits the spot. The crowd seem to like it, and Pleb leave the stage victorious.

Preyrs – Yohkai

Preyrs take to the stage to an under-attended Yohkai, which is a shame as they have a lot to offer fans of song-focused alt rock.

The band give a solid performance and have good stage presence. The singer is a natural focal point, with a powerful voice that rings out through Yohkai. Her vocals, and the music as a whole, have a soulful edge, adding to the character of the Preyrs experience. It’s entertaining, and the audience appear convinced.

Forlorn – PX3

The singer of Forlorn has a mic stand dressed with dried thistle heads and grasses. She also starts the show wearing a crown fashioned from twigs, or similar. This speaks of the apparent contradiction at the heart of Forlorn, that of nature and folk influences meshed within a framework of modern heavy music. Of course, there’s no conflict here; the former supplies the heart and the atmosphere, the latter the muscle and bite.

Yes, Forlorn’s folk-laced contemporary metal is a good fit for the PX3 stage, and the band deliver the goods. The singer’s hypnotic cleans are laden with feeling, while her ragged screams lacerate with impunity. Backed by swirling keyboards, a barrage of heavy guitars, and riffs that frequently sound like grinding tectonic plates, it makes quite the impression.

Forlorn deliver a very enjoyable performance. Highly recommended.

Lowheaven – Bixler

It’s warm in Bixler, and Lowheaven are here to turn up the temperature even more.

The apocalyptic sound of Lowheaven is a most welcome one on a Saturday afternoon. The band unleash their hybrid metallic style on the Bixler audience without restraint. They are highly animated on stage, tearing across the space they have with abandon.

Lowheaven’s mix of post-metal and post-hardcore is destructive and weighty. The music speaks of frantic violence and atmospheric darkness. The band’s performance reinforces this, with an energy that feels simultaneously dangerous and controlled. This is a scorched earth performance, and nothing is left once it’s done. Lowheaven can’t help but recall a band like The Dillinger Escape Plan, if not in style, then in spirit – they absolutely attack their live show and leave nothing on the table.

Lowheaven have made a strong statement today.

Leeched – PX3

Leeched, it’s been a while. Lots of people have turned up for this band’s return, ready and willing to be crushed into oblivion by their monstrous sludge grooves and punishing industrial beats. The place is rammed.

Ominous drone heralds the band’s arrival. It briefly ends, and then Leeched begin rolling out their pounding sonic nightmarescapes. The band let the music do the talking, and it speaks loudly. Very loudly. The entire set is an endurance test for the audience, one that’s eagerly faced down by those in attendance with grim determination.

The return of Leeched is a successful one.

Skloss – Bixler

Skloss immerse Bixler in a highly spacious and cinematic brand of atmospheric doom. It’s driven by engrossing mood-rich worldbuilding. There are only two of them on stage, but the soundscapes they draw are well-rendered and complete. The band open up a universe of hypnotic drone sounds, and Bixler steps inside gladly.

Skloss deliver a mesmerising experience from start to finish. An outstanding way to lose half an hour or so.

Oathbreaker – Arc

A big draw for many at this year’s ArcTanGent, Oathbreaker’s set promises much. To say the Arc stage is busy is an understatement.

Oathbreaker start a little late, but when they do take to the stage it’s to a roar of applause and support. Boasting a crystal-clear sound, Oathbreaker’s post-blackened hardcore, (or whatever you want to call its multifaceted style), is intoxicating live. Alternating between delicate frailty and storm-force aggression, this is a performance worth waiting for, worthy of the main stage production. 2016’s Rheia is aired, and the band finish late, but it’s hard to argue with the effectiveness of Oathbreaker’s delivery.

Promise delivered.

Darkher – Bixler

Despite the reality of the situation, Darkher‘s set feels intimate, like you’ve been let into some big secret. Of course, you’re actually standing in the Bixler tent, surrounded by many, many others. Regardless of this, it still somehow feels like a performance just for one. People stand enraptured as the duo on stage create darkened doomfolk sounds that captivate and enthral.

Bixler is thick with atmosphere. The rest of ArcTanGent outside this tent ceases to exist, obscured by Darkher’s command of textured feeling. The talented singer leads the audience on a journey, through arcs of shimmering beauty, evocative forlorn radiance, and eruptions of doom intensity. It’s spellbinding. Her voice is nothing short of spectacular.

Achingly flawless.

Chat Pile – Arc

Chat Pile are a well-hyped band who have an upcoming new record, (Who Loves the Sun), so of course this is yet another main stage set that’s highly anticipated by many. Rightfully so, as it turns out.

They open with I Am Dog now, and we’re off. Chat Pile’s rhythmic approach to songwriting is earthy, quirky, and full of hooks. It’s music to dance to, and many do. And mosh. And crowd surf. And anything else that tickles their fancy. The important thing is to move. Move move move.

The singer is blessed with an easy charisma and an effortlessly humorous personality, (with a movie theme to his between-song banter). This transfers to the music, with all of its dirty, catchy appeal. It’s darkness masquerading as a good time, and the live Chat Pile experience is a fun one, laced with menace.

Chat Pile are very good at what they do, and they put on a great show for the Arc stage. A highlight of the day for sure.

Pupil Slicer – PX3

Pupil Slicer‘s cutting material was made for the live environment, so it’s probably no surprise that the PX3 crowd gives them a big welcome.

The band set to work with little preamble, focusing on delivering their songs to the waiting audience. Pupil Slicer’s heavier aspects understandably come to the fore live, (as well as their hardcore ones), but that doesn’t mean all nuance or atmosphere is lost. The band look like they are making the most of their time on stage, and put their best collective foot forwards. The sizable crowd respond accordingly, and few leave the set disappointed, (despite a sound mix that wasn’t ideal).

Pupil Slicer scratch a particular heavy music itch, and scratch it well.

A.A. Williams – Bixler

Next, it’s time to turn to something with a different feel entirely – the sultry dark splendour of A. A. Williams. Having recently released an exemplary new record in the form of Solstice, this is a set that can’t be missed. A lot of people seem to agree, as Bixler is packed.

A.A. Williams – the person, the band, and the music – all have instant presence once the show starts. It’s music all about mood and feeling, and the exact atmosphere required is established and maintained with ease. Between songs, she’s personable and eloquently spoken. She says she’s appreciative of headlining Bixler, especially as she originally played ArcTanGent in 2019 in an early morning slot.

The expressive songs are wonderfully performed. The band know exactly how to treat the material live. It’s a touch heavier than it is on record, which somehow also seems to accentuate the music’s stirring, epic qualities. Throughout, A.A. Williams’ voice brims with powerful emotion. It’s a thrilling, absorbing set, definitely one of the standout performances of the weekend.

If dark, seductive, Gothic-tinged post-rock, with a top tier vocalist, is your thing, then A.A. Williams is currently at the height of her powers.

Cult of Luna & Julie Christmas – Arc

Now for the grand finale, the epic rendition of Mariner, in full. Both Cult of Luna and Julie Christmas are excellent in their own right, and paired like this they’re excellent together.

The excitement in the air is palpable. It’s like a dam waiting to burst, and as opening number A Greater Call builds and then fully impacts, it does.

As you would expect, Julie Christmas sounds amazing. Her idiosyncratic voice is in perfect form, and reaches every part of the Arc tent and beyond. She initially appears wearing what can only be described as a helmet made of stars, before it’s set aside reverently by the drum kit. The rest of the band – Cult of Luna, no less – don’t let the side down. It’s a professional display of artistic passion, and it’s glorious. There are some minor sound gremlins, but nothing that spoils what is a powerful show.

After the mid-album powerhouse that is The Wreck of SS Needle, Cult of Luna are left to their own devices for a haunting rendition of Approaching Transition, given a ghost-like feel due to the light show and stage ice. It’s an unexpected highlight in a set full of highlights. It’s not the end though, as Arc sees the return of the mighty Julie Christmas for the closing song. Cygnus is a 15-minute celestial odyssey that finishes the day with an exercise in pure class.

Cult of Luna and Julie Christmas, playing Mariner in full; a majestic triumph of comprehensive atmospheric worldbuilding. It’s an appropriately great way to end ArcTanGent 2026.

Although no bands have been announced yet, you probably don’t want to miss out on the 2027 edition, coming from the festival’s new location in the Cotswolds. Get your tickets here.