(We proudly present the first part of Daniel Barkasi’s extensive two-part report on the latest edition of Fortress Festival in the UK, lavishly accompanied by his own many photos. We plan to post his report on the second day of the event tomorrow.)
When deciding to travel to a foreign land, many preparations need to occur. Especially when it’s a country that you’ve never been to before. It’s true that these ears have traveled much distance for live music – we’ve been to Germany many times for Wacken (x3), Summer Breeze (x2), Party.San and Trveheim, for example – but somehow in all our travels, the UK had never been one of them.
From afar, I’ve admired several UK based metal festivals that have been boasting insane lineups that would simply never occur in North America. Cosmic Void, Damnation Festival, ArcTanGent, Incineration Festival are all ones on the list to hit up – but the mighty Fortress Festival was the one that screamed the loudest. Partially due to the mind-boggling lineup, but also the unique location, a seaside resort town known for its beach, views, history, and massive fortress (hence the name of the fest).
What better locale for two days of furious black metal, sans an old stave church in Norway?
The brainchild of Ante-Inferno drummer Gary Stephenson, the fest is in its third year of existence, and has already garnered enormous buzz and the highest of praise. I had friends who were effusive in their praise about every detail of the event. When all of the pieces aligned to actually make the trip across the Atlantic, we just couldn’t resist.
Now in this review, I of course will go over the musical performances in detail (I don’t know any other way), but I also want to portray the experience that is Fortress Festival. A great festival is much more than a bunch of bands playing – it’s the aura, the atmosphere, the feeling. It’s hard to pin it down justifiably in mere words, but if you’ve been to a great festival, you know exactly what we’re describing. What I learned very quickly is that Fortress is indeed special in its own unique fashion, as you’ll hopefully get a good recounting and description via my own singular experience.
The Journey
Getting there is always quite a big part of traveling outside of one’s borders, and the journey to Fortress was a multi-legged one. Being a Florida resident, international flights aren’t exactly cheap, and usually are loaded with horrific layovers. If you take a domestic carrier to a city with a lot more international flights, however, you may end up saving money and a whole lot of headaches.
We found a well-priced flight via Southwest to BWI in Baltimore, which had a direct flight to London via LHR, which was by far the cheapest airport to fly into, and it didn’t have seven layovers. We had an afternoon flight on Thursday, which is about a two-hour trek to BWI from Floriduh. I planned a long layover, just in case of issues, and so I could check out an airport lounge for a bit – both of which worked out nicely! The flight to London was a little over seven hours, and was an overnight flight, so the goal was to sleep as much as possible. Well, “the best-laid plans of mice and men,” and all that. We managed to get about three hours of shuteye, so needless to say, arriving in the UK I was about a half step from full zombification.
From London, it’s about a four-and-a-half-hour journey via train or car to get to Scarborough, which is in the Northeast of England. For the trip to Scarborough, I was extremely lucky to catch a ride with my amazing friend Karl and his awesome fiancé Emma. They weren’t even going to the festival (though they did the year before, and seem tempted to again next year), but it’s not like the opportunity to hang out happens often, and I’m so glad that we took advantage! We walked over to the festival area/venue to get the lay of the land, and grabbed a bite at a local cafe. Thank you both for being so nice as to drive my sorry self all that way, and hopefully next year we can all attend together!
The Scarborough Spa was already buzzing with many-a-festival-goer, for wristbands could be picked up the afternoon before the fest. From the outside, it’s a gorgeous venue and location, which is right on the beach, with a stunning view of Scarborough Castle.
The path to the venue goes down a hill and through a park that leads to the beach, and itself is quite a nice walk. What I did soon notice, however, is that there’s a cliff lift, which turns out to be one of the UK’s oldest functioning cliff lifts, which opened in 1875. This would become my primary mode of transportation returning to the hotel throughout the festival weekend, and it’s delightful in every way.
After long last, we checked into the hotel – an absolutely lovely place that we’d absolutely stay in again in a heartbeat. After getting settled, we took a walk around town to find some supplies – i.e., snacks for survival – and to take a bit of a nap. During that walk about, Scarborough revealed itself as a delightful town – picturesque with some cool architecture, and a very laid back sort of vibe. Of course, there were plenty of folks decked out in all black, and it was somewhat official by now: the black t-shirt convention had arrived in Scarborough.
After said glorious nap, my good friend David arrived – who was flying in from Ireland for the festival – and we met up for a late dinner at a dynamite Indian restaurant. David is my favorite Irishman and a fellow Liverpool FC supporter, so we had plenty to catch up on. A big highlight of the weekend was getting to hang out with this fantastic fellow, and thanks for letting me be your shadow.
It was finally time to crash for the evening, for the festival started the next day. The travel was long and tiring, though not unexpected, and absolutely worthwhile thus far. Hell, we hadn’t even gotten to the festival yet. But the time for that was ever near.
Saturday, Day 1
Mercifully, the music wasn’t slated to begin until noon, allowing for some very much required shuteye. That said, we grabbed breakfast at the hotel – which was superb – before slowly preparing to head off to the venue.
Scarborough Spa was about an eight-minute walk from where I was staying, which was planned strategically to have a short distance in case of the need for a mid-day recharge, as well as ease of dropping off any merch haul. The dividends that this decision paid would prove enormous.
You can see the Scarborough Spa on the bottom left, and this is the pathway down that leads straight to it.
We made our way down to the Spa at around ten-ish, so that we could get there in plenty of time to grab our accreditation, get prepared for the first act, and hopefully meet up with our awesome PR representative. Getting our pass was simple as can be, and the staff couldn’t be friendlier. After that, we queued up for entry, which was to start at 11, but started slightly earlier.
Checking out the main hall, it’s an impressive room with a ton of character in the architecture and the setup. After that, we ran into our PR guru Dom, who I have to say is just the nicest human and the level of accommodation was well beyond what could be reasonably expected. That would become a theme throughout the festival, as Fortress is just a top-class professional outfit from top to bottom.
Nemorous
The first act would be gracing the main stage in the form of the atmospheric black metal act Nemorous. Within their ranks are two members of the potent Ahamkara, who released a killer record in The Harrow of the Lost in late April that shouldn’t be missed, but I digress. Nemorous certainly had a unique show in store, playing their yet-to-be-released debut album in full, serving as both a litmus test of the highest order and a special occasion reserved for Fortress attendees exclusively.
Having been familiar with their self-titled debut EP from 2021, there was a bit of an idea of what to expect – atmospheric black metal with a balanced overall approach between serene and aggressively potent. What was presented was more fierce than expected, which was for certain a pleasant development. Vocalist Nick Craggs skillfully transitioned between deep growls and evocative screams, himself driving the mood of the set, while the guitar work consisted of melodic leads and the odd crunchy riff.
The best parts of Nemorous’ output on display on this day were the moments where a song tensely galloped forward, budding into a ripping crescendo that gave a fitting payoff. There’s plenty of intricacy woven into the band’s music, and if the live rendition told us anything, their upcoming album is a healthy step in an upward trajectory.
Those who lean toward the soulful and stirring side of black metal should find plenty to sink their teeth into with Nemorous, and those who seek the harder edged sort of stylings will find enough moments of fury to fill that always parched thirst for intensity. As one who thoroughly enjoys both of these shades of bleakness, the UK natives scratch multiple itches simultaneously. A fine beginning via a band who just may have a winner on their hands, for which we await with heightened expectation due to the display seen and heard here.
The second stage at the festival is the Ocean Room, which is connected to the main stage within the complex, with the main stage band’s merch and other vendors set up in a hallway between the two (Jackie Smit from Into the Necrosphere made an excellent walkthrough video). An easy-to-navigate setup to be sure, and there was a ten-minute gap between main stage and Ocean Room acts, so there were no overlaps.
However, a bit of advice if you do plan on attending in the future: they strictly monitor the attendance limit of the smaller Ocean Room, and for the bigger acts, there may be a bit of a wait to get in. With that in mind, if there’s a band that you deem unmissable playing the Ocean Room, you best leave the main stage a little early to ensure you get in and avoid any disappointment.
Also, the stage isn’t elevated very much, so the earlier you arrive, the far better chance you’ll have to get a better sightline. You may miss the end of a main stage set, but you’ll avoid disappointment – a difficult choice, but hey, every festival has them!
Perennial Isolation
Barcelona’s Perennial Isolation opened the Ocean Room, with another special set in tow consisting of their entire fourth album Portraits being played in its entirety. If unfamiliar, they delve into atmospheric black metal with a feel of disparate desolation and a savage energy to portray it. Portraits is doubtlessly my favorite of their releases, so the bar was set high.
Bursting out of the gate by way of “Autumn Legacy Underlying the Cold’s Caress” – they don’t do short song titles – they filled the room with a palpable vitality. Their music leans heavily toward the more aggressive side of the atmospheric spectrum, with the lead play giving a chilling sharpness to proceedings. Vocalist Albert Batlle exudes boundless passion and a fiery delivery, pushing Perennial Isolation’s live performance forth with a mighty punch.
Tracks such as “The Breathless Season Bane” continued their momentum, with the crowd responding in tune. That lead from “Unceasing Sorrows from the Vastness’ Scion” is an absolute earworm, being my top cut from Portraits, and the live presentation lived up to the hype. Guitarists Marc Camó and Iván Ferrús are formidable, playing off of each other naturally, much to the benefit of their live performance.
Hearing this album was quite the treat, and again something special that Fortress was able to offer. Perennial Isolation is a force of nature, ardently plying their trade with meticulous precision and effusive enthusiasm. Batlle also did state that a new album was coming by the end of the year, so keep those ears close to the ground for more information, as that’ll be one not to miss.
Aquilus
As you’ll quickly come to realize, much of my time at Fortress was running back and forth between stages like a madman. Hey, there were many bucket listers in this absolutely packed lineup, and we had to cram in as much as possible. Rare appearances abound, and one such is the Australian folk-laden black metal ensemble Aquilus. Lone composer Horace Rosenqvist has built a potent vehicle to flesh out his musical creativity, as Aquilus has carved quite a niche. Earthy and nature-centric, progressive in some ways, but with a heavy caustic, blackened edge; there’s a volatility and variety to his compositions that grip the listener firmly with a slight classic Opeth-ish reflection.
Aquilus’ live setup includes several members of Suldusk (who we’ll be talking about shortly), and it makes sense, as the two projects do share several similar characteristics, though both also differ in many ways. Aquilus embraces a neoclassical structure, which traditionally leans towards the power metal spectrum, but instead here is interwoven with galloping blackened passages and coarse shrieks. Here on the shores of Scarborough, their complex stylings shred through the audience with the deftest of touches.
Beginning via a fantastic violin introduction by Hayley Anderson, the setup was sublime, teeing up the majestic “Eternal Unrest” to dazzle and pummel the eager crowd. Continuing from Bellum I was “The Silent Passing” – a roller coaster of a track that traverses between savagery and serenity with a crafty ease.
Rosenqvist himself emits a certain energy whilst on stage; commanding and dignified. He was dialed in for the entire set, carving out a vocal and guitar showcase that surely impressed those in attendance. The band moved into their debut record Griseus for “Nihil” and “Night Bell”, though only portions of those tracks were played, as those two alone would have eaten up over 30 of their 50-minute run time. Even still, it was a rousing experience to hear what was played from those recordings.
The beginnings of their latest Bellum II was the interconnected “By Tallow Noth” and “Into the Earth”, which completed Aquilus’ time with rousing fury. A show from a band that yours truly never thought would be witnessed, and certainly was one that was nearly worth the journey alone.
Devastator
The first three bands all had a level of connective tissue, in that all embrace an atmospheric approach to black metal, though all engineered in differing formations. To cheesily quote Monty Python, it was time for a “And now for something completely different” kind of moment. This came in the guise of the blackened thrash escapades of the mighty Devastator.
Hailing from not super far off Derbyshire, the four-piece exploded out of the gate with their brand of abrasive, piss and vinegar thrash to inject some violence into the onlookers. Selecting the whiplash-inducing “Walpurgisnacht” from their latest Conjurers of Cruelty as the opening salvo was an astute choice – a blistering number that got folks screaming along.
Having put out some of the most enjoyable and virulent music in the genre since their 2020 full-length debut Baptised in Blasphemy, their live performances have been boasted as overflowing with malevolence, and on this early afternoon they delivered that with rabid intensity. Vocalist/bassist Thomas Collings is a force of bestial proportions; his commanding style is a throwback to classic Venom with a modern verve that’s utterly infectious.
Cuts such as “Black Witchery” tore people’s minds asunder, while “Worship the Goat” incited one of the most enthusiastic mosh pits of the festival. Devastator have quickly honed their sound and presence, and the resultant was obvious, with folks salivating at every shout and note. Axemen Richard Bateman and Christopher Whitehurst form one of thrash’s most underrated six-string duos, shredding forth with reckless abandon. Drummer Jack Scarlett completes the ensemble, being the rhythmic glue that drives the band’s significant forcefulness.
The timing of Devastator’s set was pinpoint in providing a dosage of fun and blasphemy amongst the more introspective groups that preceded their slot. Fortress provided plenty of variety, and no band on the billing quite equaled the styling that Devastator brought to the table. We hope to catch them again someday!
Spirit Possession
Back to the main stage for a band that we’re plenty familiar with in Spirit Possession. A project of Steve Peacock (Ulthar, Black Curse, Mastery, etc.) and Ashley Spungin, this throwback and stripped-down duo play a style that melds the psychedelic with old school black metal instrumentation, with some disturbing synth sounds to boot, boasting a sound that’s familiar yet wholly their own. Their second record Of the Sign… was one of the better black metal releases in 2023, and in 2024 we were fortunate enough to catch them at Maryland Deathfest for a scintillating performance.
Firstly, Spirit Possession set the mood well with their logo ominously hanging in the background, bathed in red lighting that is synonymous with their artwork and merch designs. Peacock’s flurry of guitars pierce the air with hazy aesthetics and bustling furor as they ripped through “Deity of Knives and Pointed Apparitions.” His howls and grunts reflect the early days of black metal, helping maintain the act’s aura.
The guitar work is a major feature of Spirit Possession, and Peacock dances on the fretboard like a man, well, possessed. His instrumental skill is of the highest order in everything that he conjures, and with this chunk of fuzzy blackened charm, the sounds seeping from his amplifier equal that of two capable guitarists at once.
Drummer and programmer Spungin is responsible for the whole of the low end, and she delivers with precision and awe-inspiring power. It’s true that a two-person live show in the metal realm is rare, and typically something you’d see in more of an industrial/electronic act. There’s no loss of oomph or moxie in their presentation; there’s an abundance of it, which is a testament to both the music and their abilities as performers.
Spirit Possession is a blast from the past, combining with additional influences from more modern times. A celebration of the roots of black metal, and catching their music in a live setting is a hell of a time, and not one that comes around regularly.
Suldusk
The second part of our Aussie showcase comes in the form of Suldusk, who are the musical creations of vocalist/guitarist Emily Highfield. Their sound is quite ethereal and hypnotic, bringing elements such as post, shoegaze, folk rock, and black metal into a highly singular amalgamation of her own design. Coming off of their highly acclaimed second album Anthesis that was released last year, the chance to see this trance-inducing act was one not to miss.
What was most evident immediately was their sense of presence and instrumental austerity. Moreover, their music is the sort that will make the initiated feel something; their compositions are highly emotive and guide the listener on a sensory journey. From the outset, they hit a tinge, and while snapping pictures, we saw more than a few in the crowd getting a tad of the, as Jerry Seinfeld quoted in the best show of all time, “salty discharge” of the eye. An apt reaction to the presentation before them.
Highfield’s vocal range and ability to move from somber serenades to blood-curdling screams is particularly impressive to witness in the flesh. Tracks like “Verdalet” showcased this ability most keenly, whilst pieces such as “Sovran Shrines” gave an Arctic Plateau level of heart woven between the harsher moments. They also played some new material as well, much to the delight of the fully immersed fandom.
Suldusk closed with the title track from their most recent album “Anthesis” – a song that encapsulates all of Suldusk’s strengths, from lush dreamlike soundscapes to volatile moments of searing rage. During this song, there was a couple slow-dancing along; a symbolic and cool moment to see, which also (again) made me wish my wife would have been able to make the trip with me. Alas, next year, we hope.
Their show was a personal highlight, and many others that we talked to effusively had a similar thought. Our curiosity as to where they go next was present with the new material that was played, while also simultaneously reflecting on the wondrous spectacle that was just taken in. Always leaving them wanting more is a good strategy, and Suldusk did just that.
The Great Old Ones
If one is going to travel a great distance for a festival, there must be a band or two that are a primary reason to take the plunge. For me, The Great Old Ones were one such band. Having been hooked immediately since hearing the debut Al Azif in 2012, the Lovecraftian themed group have been one of the defining acts in the post-black metal spectrum and a consistent go-to. Their most recent release Kadath is an untamable leviathan, and the anticipation was immeasurable.
The band entered shrouded in hooded cloaks, with guitarist/vocalist Benjamin Guerry brandishing a white guitar complete with tentacles carved into the body. The style and atmosphere was just so, and when Guerry screamed “Kadath” while erupting into “Me, the Dreamer,” a tingle went down the old spine. This is what this music means, and I’m sure you’ve all experienced that feeling before.
With three guitarists – Aurélien Edouard and the recently recruited Hugo Bernart in addition to Guerry – there’s plenty happening in layers, and that approach resulted in an enormous wall of sound that dripped with nuance and weighty impact. Continuing with selections from Kadath, “In the Mouth of Madness” advanced their ominous onslaught.
Harkening Cosmicism was “The Omniscient” and its blunt, discordant ferocity. Their rhythm section rumbled with extra gusto at the crescendo of this entry – bassist Gregory Vouillat making his mark along with drummer Julian Deana to create a formidable undercurrent of reverberating power throughout. Their prowess was also highly evident in the monumentally heavy “Antarctica,” which represented the oldest cut presented, being from what many consider the band’s best work in 2014’s Tekeli-li.
The gathering concluded with the calamitous “Under the Sign of Koth” to circle back to their most recent record. A slice of chaotic black metal to sign off with the firmest of statements; the crowd was left stunned and elated at what was just witnessed.
The Great Old Ones was a full-bodied experience to behold; the presentation, the suffocating immensity of their music, and the enthralled audience made this easily one of the most memorable sets at Fortress, and an affirmation that it was the right decision to attend.
Selbst
Selbst was next on the schedule, and this was another band we were foaming at the mouth (not literally – well, maybe a little) to see. As one of the more unique acts on the black metal spectrum, overflowing with spellbinding structures and songwriting craftiness, their performance was high on the list of most eagerly awaited.
Having evolved into a mainly solo pursuit creatively, the incredibly talented N put together what was one of last year’s more prolific black metal efforts in Despondency Chord Progressions. A dominant showcase was in store, with one unfortunate asterisk.
To no fault of the band’s, their mix was a bit on the muddy side. We’re unsure what the issue was, and it wasn’t just us that noticed, but we definitely felt bad. Selbst deserved a clearer sound, especially with how intricate and detailed their arrangements are. Nevertheless, there was no lack of dynamism in the band’s stage display, pushing forward with purpose.
Selbst’s strength lies in their strife-laden, disparate aural makeup, and this aspect broke through like a dreary thunderstorm. N’s vocal affront differed from any on offer throughout Fortress, and combined with the immense nature of Selbst’s music, managed to put on a defiantly crushing experience. Several selections from Despondency Chord Progressions made the set, and the nuances in these songs make Selbst stand out so much amongst their peers, though realistically, nobody else quite sounds like them.
Despite the audio difficulties, Selbst gave their absolute damndest in what resulted in a blistering set that won’t be soon forgotten. One can only imagine how incredible they would have been with a clearer mix, and hopefully we’ll get to see them again. When you manage to put on such a dominant showing despite that, the true quality of the band seeps through. What we saw was still inspiring and monolithic.
Ruïm
Another special occasion was up next, though we weren’t prepared for exactly how special it would be. Ruïm, the vehicle for ex-Mayhem and current Aura Noir and Vltimas guitarist Blasphemer, would be playing their second-ever live show (the first was in Norway at Orgivm Satanicvm in January). The debut album Black Royal Spiritism – I. O Sino da Igreja is a triumph in ritualistic black metal in a style that draws from some of his best work in Mayhem, but is far more his own, and frankly, a masterclass in how to compose this ’90s style of the dark arts.
The stage was set up like a ritualistic ceremony, with candles, dense fog, and sigils abounding. Fittingly, the band entered the stage to Coven’s “Coven in Charing Cross” to set the right occult vibe. From there, the riff-filled jaunt that is “Blood.Sacrifice.Enthronement” filled the room.
The band’s presence was, dare I say, divine. Blasphemer, adorning a cape to further the mood, is a hell of a capable frontman, snarling while commanding the audience’s attention with seemingly no effort at all. Clearly, the crowd was mesmerized by what they were seeing, by the looks on folks faces telling the story.
Not to be outdone, drummer CSR leaves an indelible mark on Ruïm both on record and on the stage. An absolute percussive machine, his work drives the band’s thunderous profile, complimenting Blasphemer’s fretboard manipulations seamlessly. Continuing through Black Royal Spiritism – I. O Sino da Igreja, major highlights included “The Triumph (Of Night & Fire)” and the effervescent “Black Royal Spiritism.”
As a special treat, 1349’s Ravn joined for a cover of the Mayhem classic “I Am Thy Labyrinth,” much to the crowd’s delight. Certainly unexpected, but it was quite a moment in time. It was an absolute joy to witness Ruïm’s second-ever live performance at such a top-draw festival. If you consider yourself a connoisseur of classic black metal, there’s very few out there with the history and the inborn ability to write and perform this music in such a manner so effectively.
At this point, we were starving, and my diabetic self was running a bit low on the blood sugar, which means food is my only priority, unless I want to see how well my crappy US health insurance works in the UK. Running around like a maniac all day like we had been (it was about 8:30pm or so by this point, and we only had a small snack since breakfast), a break and some grub were just the ticket.
There’s a courtyard where festival attendees could take a break and hang out, and it was a good place to both meet with friends and chat with folks. Located there were the onsite food options – a pizza place, a German sausage grill, and a super fitting burger joint named Goth Burger, complete with black buns. They had run out of burger meat at Goth Burger (they were fully stocked the next day, though), so a spicy beef sausage was just right. The food was affordable and super-delicious, and everyone was delightful – a most important aspect of any good festival. You of course have in-and-out privileges, and there are a lot of great places to grab a bite within a short walk of the Spa, so options were certainly abundant. Another plus for the location of this festival.
1349
After finally feeling somewhat human again, it was near time for the black metal plague that is 1349. If you don’t get that reference, what are you even doing? Anyways, this is a band that we’ve seen a number of times over many years. The first of which was a US tour in 2006 supporting Celtic Frost, with Sahg opening. Hard to believe how much time has passed since, and how old these bones are. We last saw them at Maryland Deathfest in 2024, and they put on a solid set. Another round suits us just fine.
To begin, Frost and Archaon performed their fire-breathing ritual, which never gets old no matter how many times we’ve seen it. Sadly, we failed in capturing a decent picture of it, but our attempt is included. Nevertheless, the mood was set for one of Norway’s most established black metal forces.
I’ll admit that in the late 2000s, 1349 lost me a little bit. Lately, however, they’ve come roaring back into form nicely. I came back around with The Infernal Pathway, and their latest The Wolf & the King is a fine slab of icy black metal. They chose a classic cut in “Riders of the Apocalypse” to get proceedings started, and the crowd was bought in immediately. Moving into newer tracks with “Ash of Ages” and “Shadow Point” came early in the set, with the ripping “Slaves” in the middle for good measure, wisely selecting tracks from all over their expansive discography.
Frontman Ravn was doubtlessly in top form on this night, screaming like a hellish banshee whilst controlling the crowd like the seasoned black metal warrior he is. 1349 brings such an authenticity, and it starts with Ravn’s classic delivery and presence, both of which were undeniable.
“I am the Abomination” is a favorite cut and we were overjoyed to hear it included, and it was likely this writer’s top moment of their set. Archaon’s guitar work is sublime, and it cuts especially deep with this beast of a song. He simply gets the feel so well with his compositions, and watching him shred away in person as a guitar player myself is a riveting instance.
Frost of course is a clinician behind the kit, with his rapidly hammering blast beats and rhythmic timing being such an integral part of 1349’s sound. Having witnessed 1349 without Frost in the past, it’s definitely best with him being involved, though no slight over the quality fill-ins they’ve utilized in the past. “Blood is the Mortar” was a prime highlight, with his trademark percussive explosion driving that choice selection.
Bassist Seidemann is an imposing presence, rumbling along mysteriously, hood covering much of his gaze. He’s a major part of their aesthetic and their aural power, a characteristic evident throughout, but “God Devourer” was especially sinister in tone.
Completing the evening by way of the chilling “Atomic Chapel” and the riffy, dynamic “Abyssos Antithesis” 1349 capped off a long day at the Spa. Truly, this is one of my favorite performances by 1349 – probably the top one since my first encounter nearly 19 years ago. In hindsight, there’s regret for not picking up any merch from the band, but hopefully we can fix that sometime in the future, for we can only hope that we cross paths with 1349 again in the not-so-distant future.
That’ll do it for the first day of Fortress Festival, and a glorious day it was. We got to spend time with friends, meet some super-friendly other reporters/photographers also covering the event, and take in what is one of the most unique, friendly, and enthusiastic festival crowds we’ve ever been a small part of. Not to mention the bands, of which all we saw were excellent, helping cross a ton of bucket-listers off my admittedly long and unrealistic list. My top bands of the day had to be The Great Old Ones, Aquilus, Suldusk, and Ruïm, though all were fantastic, and I’m sure the ones that we regrettably missed were also of the highest quality.
As for the question of any regrets, it was not being able to catch any of the acts in the Theater, which on this day hosted acoustic shows from Darkher, Osi & the Jupiter, and Sylvaine. Sadly, those clashed directly with bands we simply couldn’t miss (Devastator, Suldusk, and Selbst respectively).
It was time to catch the cliff lift, as there was no way my weary legs were going to allow the climb back up the hill. It’s economical, gives awesome views of the seaside, and is relatively inexpensive – a single ride for £1.50 and a return for £2.50, which can be used for any two rides no matter the direction. A fine nightcap, to be certain. After a much needed shower and a snack, it was time for as much sleep as we could muster. Today confirmed how special Fortress truly is, and we’re just halfway through! The second day awaits, and it would be a wild one.
Links:
https://www.fortressfestival.co.uk/
https://www.facebook.com/fortressfestival/
https://www.instagram.com/reaperagencyuk