(This is Part 2 of Daniel Barkasi‘s extensive report on the 2025 edition of the UK’s Fortress Festival, covering the second day of the two-day event, again accompanied by his own photos. To check out his report on Day One, go here.)
Sunday, Day 2
As it turns out, running stage to stage for 11 hours taking in as many bands as possible may sap the energy reserves a little. Who knew? This was always going to be a whirlwind of an excursion, so we were mentally prepared for the madness. My body, however, said no – at least to getting out of bed early enough to grab breakfast at the hotel. Alas, we made due with some protein bars and various other food items I had picked up from a Sainsbury’s, as time was of the essence to get down to the Spa for the second day of insanity. Today would prove just as wild as the first.
It was well-known that headliners Agalloch were going to have a limited exclusive shirt for the festival, cleverly adapting the title of the band’s three-part epic “Our Fortress is Burning…” to connect to the festival. As a total merch fiend, this was a requirement. A quick segue – several acts had exclusive designs for the festival, including Forteresse (whose merch was being sold alongside Agalloch’s stuff via their label Eisenwald), Ruïm, and one or two others, if we’re remembering correctly.
Everyone had the same idea, and as soon as the doors were opened, the queue for entry basically became the queue for Agalloch and Forteresse stuff. Getting there early did pay off, as we got what was desired relatively quickly, and that line went on through at least the first set or two, with the exclusive shirts selling out quickly.
Marrow of the merch line
A few others that we wanted stuff from also had plenty to choose from, so we got the majority of that out of the way early. This also meant that I had a lot to carry around. Certainly glad the hotel is very close, so we could drop that off in short order. No time for that right away – the first act was close, and it was one we absolutely couldn’t miss a single second of.
Abduction
We’ve sung the praises of the UK’s own Abduction for a long time at NCS. Their recently released album Existentialismus is the band’s most detailed and personal record they’ve crafted, and is without doubt one of the best thus far in 2025. Fortress attendees were in for a treat, as the entire thing was to be played in full. We’ve only read about how intense Abduction’s performances are over the years, and it was high time to finally experience this manifestation in person.
The band tore into “Legacy of Sores” adorned by an impressive video depiction of the Existentialismus album art, driven by A|V’s lively, colossal presence. Adorned in his trademark mask, draped in all black, including a leather jacket with the band’s logo on the back, he’s both an imposing sight and an aural monster. His growls hit incessantly hard, whilst the many screams and wails shake the walls of the Spa with gusto.
The collective band were in complete harmonious yet chaotic balance; guitarists Alex Willis and Jack Armstrong form a formidable twosome, providing a raw edge and a technical prowess that’s required to portray these songs. “Pyramidia Liberi” slowed the pace a smidgeon, hammering the audience with careful, mid-paced dissections and gripping tension.
“Truth Is as Sharp a Sword as Vengeance” has become one of my top Abduction tracks, both due to the chilling nature and the ambitiousness of the writing. The high water mark lies in the center of the song, with A|V’s emotive, spine tingling howls driving the increasingly menacing tonality.
We must call out the rhythm section, consisting of skinsman Ed Gorrod (he’s in some band named Beyond Grace with someone we all know) and bassist Dan Oldcorn. The manner of which they crushed the engaged audience with pulsating beats and constant power was ever impressive. Abduction’s music needs these two to be on their game, and they doubtlessly were up to the task.
“Razors of Occam” is an important piece for A|V, with the accompanying music video featuring his grandmother, who sadly passed not long after the video was shot (RIP Holly Illsley). The performance of this song was highly moving and profound. A|V’s clean vocals shined in the live rendition, as they did on record, accentuated by clips from the video playing on the screen behind the band, adding further enormity to what we were collectively taking in.
Hearing Existentialismus played with such verve was the absolute best way to start the festivities on the second and final day of Fortress. Abduction are one of the most prolific bands in all of black metal, and we can only hope their profile increases with stalwart showings such as this. Easily one of the best of the weekend amongst a whole bunch of top draw concerts. Hey, MDF? Yeah, book these guys.
Belore
Back to the Ocean Room we went, just in time for the atmospheric charms of France’s Belore. Taking a more folk-inspired direction, main composer Aleevok aims to craft grandiose soundscapes with a blackened tinge. Their latest Eastern Tales was a highly enjoyable recording, certainly being one of 2024’s top records of their chosen subgenre.
It can be difficult to capture such an epic sort of musical spectacle live; plenty in this vein have stumbled in this endeavor. Thankfully, Belore were well prepared to more than accomplish this quest. Flutest Matthieu Favre began with a solo piece that kicks off “Sons of the Sun” to add a sense of place and set expectations accordingly. It matters when an element such as this is performed live versus a backing track like others do, especially when this instrument is integral to the band’s music as a whole.
Aleevok takes charge on guitar and lead vocals in the live arena, doing so with the level of acumen required to make music like that of Belore come to life. Drawing from all three of their full-lengths, “The Valley of the Giants” from Journey Through Mountains and Valleys would be a standout inclusion, with many in the crowd roaring along in approval.
Completing the trilogy of albums touched upon would be the title track from the middle record Moonstone, itself being a harrowing selection that came across nicely. Returning to their latest to finish the set with two more pieces, including smashing “Battle for Therallas” as the closer, satiated the onlookers, serenading with engrossing crescendos that truly are prodigious in nature and presentation. Belore offered a different purview, and started the Ocean Room off on the right path.
Dödsrit
On the main stage, another heavy hitter in Dödsrit was next, with many in attendance buzzing with anticipation for the Swedish outfit. Their latest Nocturnal Will garnered heaps of praise amongst the black metal faithful, and with that, the desire for live performances grew ever stronger. Originally booked for the previous edition where they unfortunately had to drop out, their slot on Fortress was a long time in the making, and the large amassed gathering was ready for it.
Having a distinctive setup of both guitarists Christoffer Öster and Georgios Maxouris trading off for lead vocals gave Dödsrit a standout dynamic that played into their hands, introducing a controlled chaos to their fiery musical escapades. Opener and lengthy gallop “Irjala” instantly put the Fortress attendees present into a frenzy, an energy that wouldn’t let up.
A pulsating characteristic of showmanship was key to Dödsrit’s performance, with a constant array of movement keeping energy levels at their peak. Continuing on with “Shallow Graves” off of Mortral Coil was a fine inclusion, itself being a tremolo-driven firecracker of a song that maintained their forward momentum.
Harkening to their self-titled debut, “Svart Aska” shredded its way into the rabid crowd’s psyche, throwing riff after crusty riff with joyous zeal. Drummer Brendan Duffy really shined in this one, alongside partner in the low-end bass sciences Jelle Soolsma. A thumping display, without question.
Traversing back to Nocturnal Will with the infectiously melodic “Nocturnal Fire” showed a different purview of the band amongst their filthy guitar rhythms, with that opening lead and the subsequent mind-melting fretboard work throughout being a prime example of the band’s multitude of talents.
Album and set closer “Celestial Will” certainly left all thirsting for more, and truthfully, that’s the pinpoint way to exit and keep ’em coming back. I’m incredibly bummed that their tour supporting Blackbraid will be unlikely for me to hit up in North America later this year, but we’re incredibly glad to have been able to absorb their off-the-charts performative skills here in Scarborough.
Autumn Nostalgie
On to bring some ambience in a post-black style was Slovakian outfit Autumn Nostalgie. Truth be told, we only had some limited exposure to Ataraxia, which we touched upon on the flight over in preparation, and they have a new album that just dropped the week after Fortress in Metanoia, which we haven’t gotten the chance to listen to as of yet, but it’s definitely on the list as we play catch up. Nevertheless, we were excited to see what they had in store, as their sound profile certainly differed from most of the bands booked.
True enough, Autumn Nostalgie mixes crushing walls of riffage with nuanced clean guitar passages, resulting in a traditional post back-and-forth sort of writing style. The contrasts worked well in a live setting, bringing the onlookers on a roller-coaster ride of sounds and emotions – from the forlorn to the outright relentless.
What stuck most was the band’s cohesion; their music includes layers of detail to sift through, resulting in a complex listening experience on album, and was mightily transitioned to the stage. No easy endeavor to accomplish, but so it was done with exceptional execution.
We enjoyed what Autumn Nostalgie had to offer, and look forward to diving into Metanoia in the very near future. A potent act both in the studio and live, they excel at crafting post-black metal that balances the softer more reserved moments with the climactic build and explosiveness that any band in this style worth their salt can exude. Not to be missed if the chance arises, as they left me energized to continue on with the still long day ahead.
Moonlight Sorcery
If we want to discuss buzz in the black metal scene, there are few who have garnered so much as quickly as Moonlight Sorcery have. Their sound is a morph of symphonic black metal strangely, but wonderfully, combined with the enthusiasm and over-the-top aura of power metal. If that seems off, you’d certainly not be alone, but what they’ve managed to do is a bombastic sound that’s never quite been implemented to such a height before. Their first full-length Horned Lord of the Thorned Castle is a triumph that gets better with every spin. Combine that with this show at Fortress being only their second ever, and we’ve got a recipe for yet another special occurrence.
Erupting like a volcano with “To Withhold the Day” to open the festivities injected an overwhelming level of frenzy. The crowd was beyond ready for this, with both themselves and the band feeding off of each other’s zeal throughout the entire set.
Vocalist Ruttomieli clasped a firm grip on proceedings, conducting whilst rattling off piercing screams. The rest of the band are no slouches, either, moving around the stage with passionate enthusiasm while barreling through Horned Lord of the Thorned Castle by way of “In Coldest Embrace” and “The Secret of Streaming Blood.”
The axed duo of Loitsumestari Taikakallo and Haaska put their full dexterity on display, via theatrical showmanship and pulsating, raw potency. Quite the dazzling display to witness, and these eyes were certainly fixated with glee.
Moving to their 2022 EP Piercing Through the Frozen Eternity by way of “Ice-Veiled Spell” kept the momentum strong, and by way of the reaction, this was a track many appreciated being included. We keep saying it, but how well their music translates to the stage is awe-inspiring, and an immense level of unbridled fun.
Going back to their full-length, the band continued playing songs in the order of the tracklist with “Yönsilmä” and “Vihan verhon takaa.” We have to call out that the sound mix was crisp and dead-on for their definitive stylings, with every enthusiastic lead and shredding riff shaking the room and all those in it.
Their showing whisked by in a flash, and the 50-minute run time felt like 15-20. A sign of truly losing oneself in a performance, to be sure, as “Into the Silvery Shadows of Night” blasted by with pace and precision. Moonlight Sorcery finished with “Wolven Hour” – a fitting cut that left the crowd howling for more.
I truly believe most didn’t know what to expect from Moonlight Sorcery. Sure, the overwhelming majority were hoping for something spectacular, but it’s hard to gauge when the band had only one show under their belt. To this writer’s delight, they owned the stage like seasoned veterans, allowing their infectious music to take full control and their flamboyant presence energize every soul lucky enough to be there. Moonlight Sorcery’s rapid ascent hopefully will continue, and with live instances as was witnessed at the Spa on this day, the enthusiastically positive word-of-mouth will continue.
We don’t think Moonlight Sorcery quite anticipated how fervent folks were for them, and the lack of a merch table for them had many hoping for something to take home. Evidently, there were a multitude of issues for the band getting some merch to the venue – from logistics issues to not being able to acquire much in time. Nevertheless, a huge mass gathered by an empty table in the main hall. The band evidently had a single small suitcase with a very limited selection on hand, and when one of the Fortress staff told them there were a ton of people waiting for merch, they were quite surprised.
When they made their way out, they sold the few shirts and patches they had very quickly, but were awesome enough to have hand-signed postcards with a band photo to give out for absolutely nothing. Having a brief chat, they were so happy to be there, and couldn’t believe the reception they got. Great bunch of folks that you just have to root for.
After that bit of madness, we were near collapse, had a lot of merch in our backpack, and desperately needed a breather. So, we made the difficult decision to head back to the hotel for about 20 minutes to drop stuff off and grab a snack, so we’d be raring to go for the rest of the fest. This sadly meant missing Aristarchos, which was my biggest regret of the day – especially hearing from several that they were absolutely immense. Hopefully another chance presents itself someday, and if it does, we won’t miss it.
The next act was one that would require our full attention, and did they ever earn it.
Ulcerate
The boon of dissonant death metal bands these days wouldn’t be happening if it weren’t for Ulcerate. The band that perfected the suffocating, dismal, and immovable examination of death metal has yet to be dethroned, with a career that’s over 20 years of ingenuity, technical mastery, and songwriting genius. Their addition to the bill was important for yours truly, as they are one of my favorite all-time death metal acts. My history with the band has been since that first album Of Fracture and Failure stunned the underground metal world, and we’ve seen them a few times, but it’s been a while – Maryland Deathfest twice in 2012 and 2014 respectively, and 2016 in Tampa with an undeniable lineup of Zhrine and Phobocosm. Another rendezvous was long overdue.
In the live arena, these New Zealanders remind of Meshuggah; not in sound at all, but in sheer presence. You feel their music reverberate through your core, and while not incredibly animated, they don’t need to be, and truly, it wouldn’t fit their music at all if they were. Instead, an immovable monolithe, with their seventh album Cutting the Throat of God being yet another forward-thinking monster of a record that was near the top of my 2024 rankings. Hearing songs that we’ve yet to witness before had me filled with anticipation. True to form, Ulcerate delivered.
This set would be focused on their most recent output — their latest and 2020’s Stare into Death and Be Still, which was an album that helped me mentally survive the long pandemic days. Embarking with “To Flow Through Ashen Hearts” left me stunned whilst trying to capture the band photographically. Their sound was the most enrapturing of any band at Fortress, and we’re still asking the question of how in the hell can these complex, precise, mammoth sounds be coming from just three people?
“The Dawn is Hollow” continued the menacing vibe; the leads from guitarist Michael Hoggard were mesmerizing and devastating in equal measure. His playing is filled with such soul and utter discordance – a truly unique individual, yet he made it all look effortless.
Bassist and vocalist Paul Kelland’s patented roar flooded the room with dread and demanded keen attention from all present. His bass lines were hypnotic and punishing, as the band delivered “Dissolved Orders” with pinpoint accuracy and mighty heft.
For my money, the best drummer in death metal today is Jamie Saint Merat, and if you watch him closely, it’s a spellbinding experience to behold. He’s somehow a mortal man, but plays like he has the tentacles of a drumming octopus with how much he’s able to accomplish with four limbs instead of eight. The heaviest band of the fest, without question, and his work has so much to do with that.
One more return to Cutting the Throat of God by way of “To See Death Just Once” – my favorite cut on that album – with the audience fully spellbound by the display before them, as the thick, foggy sounds crushed all in Ulcerate’s wake. Then, once one feels like they’ve completely been obliterated, the closer “Stare into Death and Be Still” finishes the job with surgical exactness and vehement steadfastness.
While Ulcerate had a 50-minute set that really takes the breath out of you, truthfully, we could have let them go a couple more hours if they had wanted. This band doesn’t miss, and it’s doubtful they ever will. It best not be another nine years between live encounters.
After that aural annihilation, my stomach was over being neglected, so it was time to converse with a few folks and grab a bratwurst. I simply can’t pass up a German wurst, and these were delicious. Alas, I didn’t end up partaking in Goth Burger, but hopefully they and I will both return, and I can right that wrong.
With the tank re-filled, it was time for a rare showing of a special band whose namesake fits this festival unlike any other.
Forteresse
Rare appearances are one of the many things that can make a festival, or put a lineup over the top. The lineup for Fortress was loaded regardless, but getting a band that doesn’t seem to play often is a get. When that band is the legendary Forteresse, people take notice. This is an act who have never played anywhere near logistically realistic, so this opportunity is one we were going to relish.
The proud Québécois frame their songs around the history of Quebec (the Lower Canada Rebellion being a main theme, amongst other notable moments) and Quebec sovereignty, with their music providing a fierce vehicle for their dives into these topics. Musically, they primarily wade in the waters of the early second wave of black metal, with an ultra-aggressive and robust, hard-hitting approach. If you’re of the initiated, they’re riff machines and their music is breakneck, but there’s the right amount of refinement and melody to add needed dynamism.
A note to make – back in February, longtime vocalist Athros departed the band to focus on his other projects (Sacrenoir is one to check out), and replacing him is Monarch, who ironically is the vocalist of Sacrenoir, and with Nyctale taking up the bass slot. Monarch is a damn fine vocalist, and though replacing such a long-standing and important member is difficult, I had all the confidence in what Monarch and Nyctale would add. They both fit like a proverbial glove.
Entering with a Quebec flag attached to the mic stand, Monarch makes for an imposing and powerful frontman. Tearing into “Spectre de la rébellion” and “Le sang des héros” from their latest Thèmes pour la rébellion, the band sounded crisp, loud, and relentless. Personally one of my top works of the band, these songs tore the crowd to shreds, with many awestruck with what they were seeing and hearing. You can count this fellow amongst those numbers.
Guitarists Moribond and Matrak never let up, ripping up their six-stringed weapons of choice with blinding speed and nimble accuracy. Their sound was gigantic, and the guitars cut incredibly deep – exactly how Forteresse should sound. Early tracks like “La flamme et le lys” and the title track from first record Métal noir québécois burst to life and put the fandom into a frenetic yet serene state; those cuts boasting much nuance amongst the fiery affronts.
Bassist Nyctale adds much to the overall group’s tone, with the collective being vivid in presentation, yet focused throughout. It’s evident that Forteresse take their craft quite seriously, as their live show proves without doubt. Tracks like “La lame du passé” are both as beautiful as they are savage, with this piece being a highlight of a set filled with them.
The chosen finale was the emotive “Vespérales” – a track with a raging build via searing tremolos to create shivering, dramatic tension. A fitting conclusion to a set filled with memorable moments that won’t be soon forgotten.
It’s difficult to imagine that the band hasn’t released a full-length in almost nine years. On this evening, they seemed invigorated with a ton left in the reserves. The new entrants to the lineup feel like they’ve been there for a long time, and we can only hope that new material and more live appearances will be on the cards. Aside from that, attempting to live in the moment, this was a special event. Forteresse provided a black metal exposition that was perfect in time and place.
Fen
Hustling over to the final band of the Ocean room, we made it just in the nick of time for Fen. Today wasn’t an ordinary set, with the band playing their debut album from 2009, The Malediction Fields. Fen is a band that, at least to my understanding, have never played in the US, and performing this album is incredibly special. This is a record that means a lot to me, and what a way to see them for the very first time.
Fen’s atmospheric post-black amalgamation is progressive in nature, and over the years, they’ve had many twists and variables introduced into their musical spectrum. The Malediction Fields is a prototype of the larger genre, with many drawing influences from this stunning debut. The band had a high stratosphere to reach with this set – no pressure! Ah, but who are we kidding; Fen was more than up for the occasion.
As the first haunting notes of “Exile’s Journey” were strummed, the collective watching knew they were in for an experience. The Watcher’s vocal prowess was immediately on full display, snarling through the opening passages like it was 2009 all over again. Such a powerful and varied track, filled with ambience and sharpened passages, giving a dosage of so many variables, yet played with poise and judiciousness.
Bassist Grungyn is part of the main songwriting duo along with The Watcher (they’re also brothers), and his contribution to all aspects of the band is integral to Fen – his live performance is focused and meticulous, laying creative rhythms and vocal contributions to give the band their spine, as well as a differing voice. “A Witness to the Passing of Aeons” is one of the band’s all-timers for this scribe, and one where Grungyn really gets to make his stamp on stage, with some brilliant bass lines that are as infectious as the molten guitar leads.
Moving through the record, pieces such as “Colossal Voids” and “The Warren” stand out for differing elements – the former for its warm atmosphere and soaring vocals, and the latter for its thick tension within the long buildup – but more importantly, the album is such a bounded-together piece of music where each entry has significant connective tissue. All flowed seamlessly, a testament to the enduring strength of the Fen.
Of course, the massive “Bereft” closes both the album and the performance. The thundering drums that drive the beginning of the track were perfectly laid down by skinsman JG, who shows his mettle throughout, but flexes especially vigorously here. A progressive black metal journey that defines Fen’s strengths, and it closed the concert with verve.
It was difficult to fathom having seen Fen for the first time, at such a special occasion, with a set that I likely will never witness again. A life-affirming place in time, to be certain. I shared some photos with a good friend who is also a Fen supporter from the very beginning, and he was in awe that this specific set was even happening. We were lucky to be there, and a big thank you to Fen for providing something incredibly memorable.
Departing the Ocean Room for the last time for the festival put me in a bit of a reflective mood. A two-day festival moves by incredibly quickly, and it was difficult to realize that it was almost at a close. We had seen so much, and my heart was indeed full. There was more capacity in this old soul, however, as there was still one more show to go that held an incredible level of importance.
Agalloch
Obviously no need for an introduction, but we’ll give a quick one anyway in case someone has been depriving themselves – Agalloch are a singular creature in the wide array of heavy music. Their impact on the scene is immeasurable, influencing countless bands, including many at this very festival. Their split in 2016 broke a lot of hearts, but their triumphant return in 2023 opened the opportunity for folks to either enjoy the band live once again, or possibly for the first time. They hadn’t been to the UK in a decade, and with this being a European exclusive for 2025, the stars had seemingly aligned and the hype was most assuredly real.
This was the most packed the main stage had been for the entire festival, with incense lit and the anxious crowd more than prepared, as the serene violins and flowing streams of “They Escaped the Weight of Darkness” filled the air. This led into “Ghosts of the Midwinter Fires” – a track with an eclectic instrumental buildup, peaking with hair-raising lead play to drive the nearly ten-minute piece. These would be the only cuts from the Marrow of the Spirit record in a set that covered significant ground.
Guitarist/vocalist John Haughm came across as elated to be there, making jokes with the crowd and keeping the mood light and celebratory. Just as sharp as his wit was his performance, which was sublime. The first dip into debut record and outright classic Pale Folklore was the transformative “Hallways of Enchanted Ebony.” The mesmerized looks from the crowd, as you can see below, throughout the whole set told the full story.
Traversing to the Ashes Against the Grain record, which would make up a sizable chunk of the setlist, was “Falling Snow.” An album that for me is second only to The Mantle, but not by a whole lot. One of my most listened-to Agalloch cuts, and it hits nicely here, whilst “Not Unlike the Waves” from the same album would also play a little later, both being timeless entries that were exalted in execution.
A single diversion into the The Serpent & the Sphere would be the brooding and visceral “Dark Matter Gods”, which brought a sizable helping of heft to the table. Haughm introduced the song by stating, “Now we’re going to play a song from our new album…that was released 11 years ago. That was mean, wasn’t it?” As Father Ted Crilly would say, “Now that’s sarcasm.” Guitarist Don Anderson played like a man possessed here, though to be fair he did so beginning-to-end, making these complex arrangements appear smooth and simple, while they’re anything but. A certain testament to the high levels of skill the band can boast.
Bassist Jason William Walton cut an animated and enthusiastic figure, playing his soul out and truly enjoying the time and place, affirming the feelings that the audience also were engulfed in. Delving into The Mantle were the effusive instrumental “Odal” and the classic “You Were But a Ghost in My Arms.” Sandwiched between them was “Dead Winter Days” to form quite the trifecta. Through these inclusions, the question of how this set could possibly get any better popped into my head. Surely not, right? Well, if I’m being picky, “In the Shadow of Our Pale Companion,” but there wasn’t time for everything.
We were absolutely elated to be off the mark, for a song whose live debut was made at our beloved Northwest Terror Fest. The monstrous “Fire Above, Ice Below” would thus make its inaugural UK playthrough, complete with the instrumental “This White Mountain on Which You Will Die” preceding it. A stirring rendition would transpire, with all transfixed on what was unfolding before them.
Sadly, the conclusion was coming, but Agalloch wouldn’t go quietly, saving the fitting in name (and merch) tracks for last. “Our Fortress is Burning” is a gargantuan three-part epic that typically isn’t played in full, though the rarest piece of which is the third. Closing out, we’d get “II – Bloodbirds” and the elusive “III – The Grain” – played effusively while each member made their exit one at a time to finish this edition of Fortress properly.
After Agalloch finished up, I took one last walk around the Spa, which was already being cleaned up as the festivities concluded. We saw so much on the second day, with highlights being Abduction, Dödsrit, Moonlight Sorcery, Ulcerate, Fen, and Agalloch, though absolutely no shade on anything else we saw on this day, as every performance was brilliant in each’s own way.
The past few days had been a non-stop whirlwind. My feet were aching, and my body was ready for about a two-day nap. We took one last ride on the cliff lift, and snapped a few photos of the Spa once we reached the top.
The journey home would begin bright and early at around 6:00am, with about 17 hours of travel between trains from Scarborough to Heathrow, time for airport security, the flight back, etc. We wouldn’t get home until Tuesday morning, as by the time our flight landed in Baltimore there weren’t any nighttime flights back to Florida. We stayed with an amazing friend who luckily lives close to BWI that Monday evening instead, and left incredibly early the next day.
Having painstakingly written this review, gone through the photos meticulously, it feels like I’ve re-lived this experience a few times over, and now at the conclusion of this long, wordy novel that I’ve written about my personal experience at Fortress (thanks to those of you who stuck it out and took this report in), it’s plainly evident how special this festival is. There’s truly nothing like it, and if black metal is your thing, a visit to Scarborough must rocket to the top of your wishlist of festivals to attend. If you haven’t already, of course, and if that’s the case, we’re sure the pull is strong to come back in 2026. It certainly is for me, and we’ll see what we can muster next year to make that happen.
I want to thank everyone who puts on the Fortress – the lovely folks at Reaper Agency UK, the one and only Dominic of 3-nation, the incredible venue and security staff, and of course all of the bands and wonderful folks who attended Fortress. Every person there made this weekend the spectacular experience that it was, and we’re elated that we got to be a small part of it.
We’ll leave everyone with a few photos of the crowd; the many dedicated souls who breathed life into this celebration of the music we all live for. Thanks for reading!
Links:
https://www.fortressfestival.co.uk/
https://www.facebook.com/fortressfestival/
https://www.instagram.com/reaperagencyuk