(Here is Daniel Barkasi’s extensive report on the second day of Fortress Festival 2026 in England, accompanied by his great own photos. Go here to see his article on Day One of the festival.)
Sunday, Day 2
Intro
Survive the first day, we did. To say that we were raring to go for day two, at least on first waking up, would be an outright fallacy. Four days of Maryland Deathfest, all of the travel, and the long first day had somewhat caught up to me. The initial plan was to grab breakfast from somewhere – there were a few places nearby that looked solid – but that would require me to move more than a couple of feet, so a couple of protein bars and some Tim Tams that I picked up at the local Tesco would have to suffice. Don’t get me started on my adoration for Aussie snack foods, but yes, I indeed did make some tea and did a proper Tim Tam slam. You’re not looking at some novice.
Once our faculties were in order, it was about time to stroll over to the old Spa for a second and final day that was to give very little mercy in terms of downtime. The proof of a killer lineup – we’ll take it, but the feet protest.
There was a particular buzz about Gallowbraid merchandise that morning. They had made an extremely limited run of 80 festival-exclusive shirts, and one additional design that was also limited, along with some patches and a few other things. Similar to Agalloch and their festival-specific shirt last year, when the doors opened, people were literally off to the races to find their merch table. Needless to say, their line amassed quickly. I’m not sure how long it took to sell out of shirts, but I can’t imagine the festival shirts lasted more than an hour, if that.
Personally, the merch goals were This Gift is a Curse, Antrisch, Darkened Nocturn Slaughtercult, and Misþyrming mostly. Especially the latter, as I had set aside a good bit of the merch budget for their wares. I was lucky enough to get some stuff from the first three, but the Misþyrming collection never arrived. We were ready to break the bank, but alas, we’ll need to make an order online and swallow the shipping and exorbitant import taxes.
The merch setup was pretty simple to navigate, with tables on each side in the lobby area outside of the main stage for all of the bands, along with some vendors, including the awesome Cult Never Dies, one with a giant wall of patches, and a few others. Definitely some rare stuff to be found, so outside of the bands playing, there’s plenty to sift through.
Around the end of the day, I did record a little walkthrough video of the festival grounds. It’s not super high quality or anything, but it does give a lay of the land, so to speak. Into the Necrosphere did a much better one within his show review, but feel free to check out my quick galavant of the festival grounds. In fact, near the beginning, you’ll see the man himself quickly in the background.
Speaking of, I also did an appearance on Into the Necrosphere, where you can watch the Forum talk with Akercocke, and listen to the two of us speak about the festival. It’s a good time!
With that, the schedule was tight, and noon had arrived before you know it, so onto the bands.
A Forest of Stars
Magical, ethereal, and artistic in the purest of senses, A Forest of Stars is a band whom we’ve followed for close to two decades. A Shadowplay for Yesterdays is an all-time favorite in the avant-garde realm, and for these ears, they haven’t missed yet. The opportunity to see how they present their eclectic sounds was a massive draw, and a fine way to start the second day.
In the truest sense, A Forest of Stars equals out to a real experience. Using the video screens to their advantage, artwork from their latest record Stack Overflow in Corpse Pile Interface was brought to life as the band eased into the opening track from said release, “Ascension of the Clowns,” to begin the day.
Their craftsmanship is off the charts and on full display here at the Scarborough Spa. Vocalist Mister Curse led the charge with his distinct spoken-word croon, with violinist Katheryne, Queen of the Ghosts serenading the audience with her sorrowful passages. To say that nobody else sounds like A Forest of Stars is no exaggeration, and on the stage, we can confidently claim that nobody puts on a performance quite like they do, either.
Additional cuts from their excellent latest record were a highlight, including the at times whimsically trepidatious “Roots Circle Usurpers” to put the crowd into a haze. Every album from the band is full of world building, and that feeling bleeds into the live arena – not an easy feat, to be certain. With how complex their compositions can be, their execution is especially impressive, with each member in complete sync as they deftly danced through their set.
Their discography is expansive, and with a shorter set, there wasn’t a lot of time for everything that we wanted to hear with their typically long song lengths, but they absolutely hit on some of their best. “Drawing Down the Rain” from Beware the Sword You Cannot See is a gorgeous, varied piece that knows when to unfurl black metal aggression and when to change course into their avant-garde tendencies. This track also includes one of my favorite violin moments, so we were glad to hear that in person.
Closing was “Not Drinking Water” – also the final track of Stack Overflow in Corpse Pile Interface, and a gut-wrenching, morose piece it is. It’s dedicated to the sad story of a young gentleman named Ben Hanson, who decided to end his life by strapping a bag full of stones to his back and walking into the Panorama Reservoir on Ilkley Moor back in 2001. A Forest of Stars is adept at tugging at the old heartstrings, and this was quite a harrowing way to end their time.
The only regret was that they didn’t have additional time, and if you’re in the UK or able to get over there, they have a small headline run that I implore you to check out if able. Expectations were for a standout, incomparable show from A Forest of Stars, and that’s exactly what we got.
This Gift is a Curse
No time to sit still, as next up was the immensely fiery This Gift is a Curse. Evidently the plan was to lay waste to the Ocean Room early in the day, and let everyone else sift through the remaining rubble, with abundant explosiveness provided by the Swedes. We can safely say that they more than satisfied my prediction of annihilating the place and everyone in it.
Intensity and unrepentant rage define This Gift is a Curse on album, and my, did that hold true two-fold in the live arena. The furious energy emitting from this intimate stage was palpable, the crowd soaking in every bellow and scream from vocalist Jonas A. Holmberg as he lashed a thick rope onto the stage floor during the visceral “Kingdom” from their incredible album Heir.
This record earned a spot in my top 25 of last year, and with good reason. This Gift is a Curse mixes blackened sludge with a hardcore angst that’s violent, calculated, and downright pissed off. To that tone, the band played like they would never do so again, giving every ounce of pent up anger to the fired up audience. One of the rare moments of crowd movement occurred through their set, with “No Sun, Nor Moon” igniting everything within their path.
Guitarists David Deravian and Patrik Andersson form quite the formidable combination of larger-than-life riffs and scorching leads, driving the band’s sound both on album and in the flesh. Continuing with Heir was the dark, vicious “Void Bringer” to further show the raw talent of these individuals. The sweaty, battered admirers would agree.
The band have plenty of material to draw from, and detoured into the album All Hail the Swinelord for the noisy “Rites” to further pummel all into submission. The drum talents of Christian Augustin featured especially here, and he blasted with a groove and precision that few possess to such a level. Not to be outdone, his rhythmic brother in bass Lars Gunnarsson added a robust power to give the band a particularly strong low end.
Completing the set, the band drew from two more from their latest in the moody, doom-forward “Old Space” and the monstrous “Ascension” – the latter being dedicated to a friend the band had lost. A number of similar dedications this year at Fortress, as several acts gave soulful tributes to those no longer with us. This one was especially raw, as you could feel what their on-the-sleeve emotive expresses.
This Gift is a Curse was one of this writer’s most anticipated, and they exceeded our presumptions with absolution. We’re glad to see a band of this style get on the billing of a festival such as Fortress, and hopefully we see more acts such as this in future years.
Abigail Williams
A band who has transformed over the years, from a more symphonic black metal with a dose of hardcore, to their current state of embracing thicker atmospheres and more vehement, punishing black metal, they’ve always had a consistent quality about them. For my money, their last two records – 2019’s Walk Beyond the Dark and last year’s A Void Within Existence – are the best of the band’s career. It’s been a hot minute since we’ve seen the band, so it was about time we took them in again.
Founding member Ken Sorceron has had his troubles maintaining a steady lineup over the years, and while the band has seemingly stabilized in the last few years, the persistent rumor of the band being close to the finish line still lingers. Tossing that out for this day, our focus was solely on enjoying what they had planned, and they brought it in spades.
Their set mainly consisted of those aforementioned last two records, which is a positive for this fellow, as we had never seen any of those performed in person. The band entered with a purposeful swagger, their weighty black metal compositions hitting the crowd like a steel girder upside the cranium.
A sizable chunk came from Walk Beyond the Dark, with differing moods enveloping each selection. “Sun and Moon” emits a reflective aura while maintaining just enough bite, where “Ever So Bold” allows melodic leads and big moments to dominate proceedings. Despite how much atmosphere is pumped in, there’s always a sharpened edge that keeps their writings direct and nasty.
“Black Waves” is a stirring entry, dripping with memorable high points and a profound heaviness that meld to form a hell of an enjoyable song. Unfortunately, the dreaded sound issues halted Abigail Williams’ momentum. Thankfully, those were fixed quickly – kudos to the always excellent sound/stage team on hand – and they roared back to quickly get to where they left off.
Their set completed with “Talk to Your Sleep” from their latest; an earworm filled with abrasiveness, yet harmonious in spirit. A fine pick to complete their time, performed with the utmost of fidelity. The chance to catch them again is within reach, as they’re playing the single-day Under Appalachian Skies festival in the US this October, in my old hometown no less. If this does end up being the last jaunt, it’s been a hell of a ride, but we think they have a lot left in the tank.
At this juncture, hunger got the best of us. Like last year, all of the food options are arranged in the Sun Court area, which is just outside the main venue, attached to the lobby where the merch is located.
Astonishingly, we hadn’t had a chance to try the Goth Burger yet, so now was the time. You can see it on the right side of the above picture. These burgers scream metal, with black buns and black sauce (done so with charcoal), and we’d heard positive reviews. To no surprise, it was quite tasty! We got a double goth burger with cheese and pickles, and it very much hit the spot. The sauce tasted a bit like a light, tangy bbq sauce, and the burger patties themselves were full of smokey flavor. If you’re at a festival where they’re located, try them out. We hope to see them return next year!
After we inhaled that, we made a quick run back to the hotel for a brief rest and to drop off the merch we had gotten earlier in the morning. It was definitely a quick stop, but the re-charge was absolutely necessary, as we had a ways to go.
Fluisteraars
We arrived back in time to catch the Dutch sensation Fluisteraars. Another first timer for yours truly, the post-black outfit has made plenty of noise with their quirky ways since their early demos, but their first full-length Dromers is what really got them piquing interest. Comparable in some ways to Wolves in the Throne Room or Yellow Eyes in their differing approach and transcendent sound, they’re also a difficult band to pin down style-wise. Our curiosity was high, and we entered with an open mind.
The band went for a minimalist setup, relying on simple lighting and a dark room – no screen usage at all – opting to cultivate their own sort of setting. Fluisteraars’ music is filled with solemnity and intrinsic reflection on the state of the world, and that passion was laid bare on the shores of Scarborough.
Their stripped-down aesthetic definitely put a focus on their music as opposed to a mix with an eye-catching visual element, and it absolutely worked as intended. Those in the room were fixated on every note; the band’s devotion rubbed off on the engaged onlookers as they attacked with a somewhat surprising raw edge, adding some sandpaper to their smoother, atmospheric recorded profile.
Many consider Bloem to be their most accomplished achievement, and “Nasleep” served as a choice selection from said record. Vocalist Bob Mollema has a presence about him, overflowing with charisma, outstretching his arms to conduct as the band laid out their thick, soaring sound in the most direct fashion they could muster.
We were also surprised to hear the lengthy “Verscheuring in de schemering” from 2021’s Gegrepen door de geest der zielsontluiking, occupying a significant chunk of their allotted time, but was it ever worthwhile. One of Fluisteraars’ most ambitious endeavors, played to exacting precision. A huge showing of poise and skill that left many with their jaw agape.
Notably, they did play Fortress before – the 2024 edition in the Ocean Room. The upgrade to the main stage is a representation of how much their audience has grown since, and in this filled hall, they gave a thoughtful presentation that many were talking about long after their set had concluded. They don’t seem to hit the stage often, but we’d see them again without hesitation. Very curious how their upcoming new album will come off, and hopefully more shows will come as a result. They assuredly lived up to the hype.
Antrisch
One of the most fascinating acts booked for this edition was unquestionably Antrisch. The Germans embrace the theme of expeditions, with each release thus far being titled as such, focusing on explorers whose treks went horribly wrong. We covered their latest, Expedition III: Renitenzpfad Marañones, back in early April, and it has been heavily in our rotation since. We were very keen on seeing how their ambitious creations would take form in an in-person scenario, and as such, we made sure that we did not miss the opportunity to witness the event.
They dressed in kind for the occasion – some entering with long coats, with the whole band brandishing nautical themed outfits. No doubt to match the theme of Expedition II: Die Passage and Sir John Franklin’s horrifying attempt to traverse the Northwest Passage. Their sound matched the intricacy of the visual presentation, cultivating a bombastic and high energy showcase of their cutting black metal stylings, with a huge knack for the spectacular.
Sure enough, tracks such as “Festgefroren – Packeisfalle” and “Exodus | Tundrataumel – Croziers Bürde” are culled to tell this tragic story, and their way of doing so is menacing and theatrical all at once, portraying a sense of place, transporting one psychologically to the situations they’re so deeply entrenched in. Nothing ever feels forced or contrived – there’s an air of absolute authenticity with Antrisch, and it works without flaw.
Vocalist Maurice Wilson is a born frontman, taking full control of the audience with every scream and wail, commanding attention as they explosively barrel through their complex manifestations. He’s got the look, the presence, and undeniable magnetism. Your eyes are intrinsically focused on his movements, his ferocious delivery. He’s telling a story, and the audience feels part of it. A rare talent.
The rest of the band are certainly no slouches; original guitarist Robert Falcon Scott and his partner in stringed mayhem Alexander Gordon Laing dazzle as they carefully and forcefully play the intricacies of Antrisch’s compositions with steel and panache. Bassist Отто Шмидт stands an imposing figure, while drummer Noel Ewart Odell possesses a bevy of flexibility, a proverbial octopus behind the kit. Moreover, they’re a tightly knit unit, with an impressive cohesion that connects their diverse anthems.
One did begin to wonder if they would play any cuts from Expedition III: Renitenzpfad Marañones, and sure enough, they would, but only after a costume change to fit the moment, framing the true story of a famed Spanish conquistador on the quest for the famed El Dorado. This sort of attention to detail is important as to what Antrisch are attempting to portray, with Wilson donning a puffy shirt that definitely makes him the first pirate (there’s the Seinfeld reference, folks). Kidding aside, the band takes their presentation seriously, and they meet the moment with gusto.
Finishing with songs from their most recent and boldest record yet was the correct move, with the detailed storytelling and blistering affront that is opening track “Conquista – Prolog” being an especially memorable piece. Antrish enthralled and dominated the Ocean Room on this afternoon, and one has to wonder where the band may head next. Riding such a strong album, the sky is seemingly the limit. No doubt, we must see them again.
Vinterland
A classic band who made their mark in the formative days of melodic black metal, there aren’t many acts in that realm who released a single album that’s as big of a cult favorite as Vinterland’s only full-length Welcome My Last Chapter. Their slot at Fortress was a special treat of that record being played front-to-back, something that this guy was more than enthused to see. The opportunity only came one time in 2013, at Maryland Deathfest, and it was on a day that I wasn’t able to attend. We weren’t going to miss the opportunity twice.
Sadly, a lot of news of flight issues came to light, compounded by lost instruments and merch, seeming to plague the fellows from Vinterland. Their Fortress Forum talk had to be canceled on Saturday because of delays, and we were lucky that they arrived in Scarborough in time for their scheduled performance time (their merch did also arrive). A lesser band may have thrown in the towel, but not these Swedes. In fact, it seemed to push them further, as if they were steadfast in defying all of the bad luck they had with their arrival.
Vinterland made it count. The band entered the stage with a chip on their shoulder, playing as if they had something to prove. Even if we hadn’t known about all of the issues, they would have been incredibly impressive, but with that prior knowledge, the inaugural aural explosion that was “Our Dawn of Glory” held an even more special meaning.
Vocalist/guitarist D.F. Bragman came out blazing, ruthlessly roaring at the hyped audience with nothing held back as he and the band tore through classics such as the malicious “I’m an Other in the Night” and the melodious “A Castle so Crystal Clear.”
Axe-wielder Pehr Larsson hit the strings with an attentive touch, but his brutish vigor made the harmonies and tremolos burst into the fog-ridden air. Entries such as “As I Behold the Dying Sun” and “Still the Night Is Awake” transport me back to a time when we were discovering so much of this music for the first time. Drummer Andreas Jonsson is a beast, giving us a tight performance filled to the brim with enthusiasm and strict attention to every minute detail.
Vinterland gave everything they had in the tank and a sizable amount more, and this long-time admirer couldn’t be happier with what we were lucky enough to see. A very full-circle moment, from my youth consuming as much of this music as I could get my hands on, to now, finally seeing such an influential act like they never went away. What a way to celebrate 30 years of Welcome My Last Chapter. Now, will we ever get album number two? Time will tell.
Misþyrming
When it comes to bands who have personally had a profound effect on how I view black metal and what’s possible in the genre, near the top of that list is Misþyrming. We’ve waxed poetic about the Icelandic scene ad nauseum; it’s truly its own animal, offering esteemed creativity and unhinged, colossal soundscapes that have become synonymous with the massive talent amassed on that specific geographical locale. Out of the essential acts, we’ve been lucky enough to have seen Sinmara, Zhrine, and a few others, but Misþyrming has been one that has proven elusive. There are issues that prevent them from playing the US, and while they have been in Canada before, we simply haven’t been able to make it happen. That ended on this day.
Music should be held to a high standard, and bands who receive the greatest of esteem get an even more critical eye from this writer, simply because we know their capabilities. In turn, Misþyrming needed to deliver something special. Nothing could have prepared me for what was coming.
Entering to the tune of the Pixies song “Cecilia Ann” almost felt like an intentional calm before the storm, and indeed it was, as the band erupted like the mighty Hekla. Caked in utter filth, the foursome emitted a swagger and presence that was unmatched by anyone this weekend. These guys are professionals, and as such, surgically eviscerated every soul within hearing range, and by the volume of their show, that’s a lot of folks.
Their latest record is 2022’s Með hamri, and the crafty “Með harmi” was a fine choice to grab the audience into their muck-ridden grasp. The entire outfit has such chemistry on stage, playing off of each other’s individual mannerisms and styles to somehow emerge as a wholly unstoppable entity. Misþyrming’s sound is almost overwhelming, like a dissonant wave of disdain and contempt.
Vocalist/guitarist D.G. is known for his untamed mannerisms on stage, and it felt like to this first-time witness that he exists on his own exalted dimension. The unpredictable movements, the guttural, visceral delivery and the overall all-encompassing dynamism is humbling and hypnotic all at once. From those we talked to who had seen them previously, this may have been the best showing for them, proving how much the band steadily hones their craft as they continue forward.
Second album Algleymi was well represented, with the title track being a personal favorite, along with the monumental “Orgia” to batter all the helpless masses. This record stands as one of the biggest accomplishments in recent years of the genre, and to hear plenty from it was affirming of its uncontested quality. Bassist G.E. and guitarist T.Í. both are illustrious and intimidating in their approach – G.E. slithers and contorts like a maniac while laying down thumping low end chaos, where T.Í. is a steadfast whirlwind of fortitude, annihilating with his six-stringed reign of terror.
A high water mark was unquestionably when the drawn-out, gargantuan main riff of “Engin vorkunn” echoed through the sweaty inhabitants of the main hall – a bona fide black metal classic to this exuberant fanatic, and the playthrough was out of this world. Drummer M.S. shined especially bright on this frenetic piece, driving the pace like the seasoned, consummate expert that he is.
With the unrestrained audible affront exploding from the stage, the crowd responded by way of the most volatile pits of the festival. Everyone was lapping up what Misþyrming were offering, and that kind of response was apt to what the band were providing. Having played the Ocean Room in 2024, it’s difficult to imagine them in that smaller room, but it also goes to show how far they’ve come in such a short time. Misþyrming is made for big moments, though we’re sure that comes along naturally no matter the size of the venue.
Simply put, Misþyrming laid siege to the Scarborough Spa, conquering it with moxie and verve. They are intensity defined, and I challenge the good people at Merriam-Webster to slap a picture of these gentlemen next to that word. Wild, primeval, maniacal, and sharply focused on dragging everyone down into the grime they’re so comfortable to wade in. Like fresh mango to George Costanza, it was a taste explosion, resulting in not a shift, but a move, if you get the cut of our stocky bald friend’s jib. Sensational. They’re playing in Vancouver, Canada at Covenant Festival in September, and after this, the temptation to make that happen is all too real.
Darkened Nocturn Slaughtercult
Talk about a compromising position – to follow up Misþyrming. If there are any bands on the billing who would be unintimidated by this proposition, one would be Darkened Nocturn Slaughtercult. The long-running black metal outfit are well-experienced, plying their trade since 1997. Unlike many who have been at it for such a long time, they haven’t lost their edge, aging like a fine wine with some of their more recent works being among their strongest.
We thought there would be a clamor to get into this final set of the Ocean Room, but a direct clash with Mortiis split the crowd, with a queue forming for the smaller Theatre. Despite that, DNS drew a large crowd who were more than ready for what was to come.
The sense was that there weren’t many uninitiated in attendance for this set, as the crowd responded as the band plowed through them with raspy howls and icy guitars. DNS cultivates a hardened, raging feel with their music, and it was made for the stage. The room was warm through the festival, but for some reason, it was especially sweltering here, but that didn’t slow down the band or the rabid fanatics taking their obliteration with gleeful acceptance.
Vocalist/guitarist/founding member Onielar is a sight to behold; a true black metal icon at work. Adorned in a shredded white outfit, with a magnificently detailed, thorny headdress that attracts the eye, she’s a magnifying presence to behold that fits their uncompromising sort of black metal to a tee.
I didn’t manage to note as much of their setlist as I’d have liked – quite possibly the fatigue from a busy day setting in – but we did manage to pick out “The Eviscerator” by way of the bludgeoning blast/cymbal work and galloping guitar rumble. Guitarist Velnias’ grim scowl and lightning-quick strumming are an intimidating and cathartic sight all at once, as the band aims to ravage and impair without prejudice.
As the set moves by astonishingly fast, the occasion and the visual accompaniment is not lost on Onielar – spitting blood into the front row, resulting in the liquid running down her face and dripping onto her bright white garbs, resulting in a striking visual that meshed nicely with the aural hammering being applied. It’s good to see her and the ensemble in such scintillating form, especially after the cancer battle that Onielar endured a few years ago. She’s come out of that scary ordeal with guts and endurance.
Seething and literally bleeding from the mouth, Darkened Nocturn Slaughtercult are unsurprisingly an immovable object in the wide-ranging pantheon of black metal stalwarts. One of the most consistent and formidable acts going, they left the Ocean Room a mess of pestilence and various bodily fluids.
Gallowbraid
The main-stage headliner could be called a bit of a head-scratcher to those not as familiar with the allure around the project known as Gallowbraid. In truth, it could be considered a bit of a risk to grant the exclusive spot of closing the entire festival to a band who has released a single EP back in 2010.
On the other side of the proverbial coin, there’s a mystique that surrounds this cult favorite – the solo work of one Jake Rogers, Gallowbraid’s one and only release (so far) is heralded as a landmark achievement in the halls of folk-inspired black metal, inspiring many with its aspirational and innovative sonic pathway. Factor in that there have been no live performances whatsoever, until now, and you have a recipe for a once-in-a-lifetime moment in the making.
With all that considered, we totally get and support Gary Stephenson taking a big swing with this booking. His instinct hasn’t missed yet, and this roll of the dice would be rewarded with a debut that simply made sense to happen at this very special festival.
We overheard a person in the front row right before Gallowbraid entered the stage say something to the effect of “I traveled thousands of kilometers just for this” while sporting a wide grin. To me, that is the kind of sentiment that described what this meant to that person and so many others.
Rogers and company entered the fray with determination, and a bit of nerves, as he humbly stated his appreciation for everyone being there for their first live appearance. The man behind the dungeon synth act Fief (who played in the Theatre earlier in the day) was tasked with performing lead vocals and keyboards, and the band kicked off with a tight rendition of the expansive title track of the aforementioned Ashen Eidolon EP. The crowd were overwhelmed with emotion as the groovy riffs filled the air, Rogers beaming as they wove through the intricate and infectious composition with poise and enthusiasm.
Continuing with the tracklisting of Ashen Eidolon is the serene, majestic “Autumn I” – serving as a fine cleanse of the palette before unveiling a huge surprise that was the obvious icing on an already indulgent cake. Not one, but two brand new songs were unleashed upon the world this evening, with the first being “Leafdance” – a soaring, exquisitely written piece that dazzled the crowd.
The other new offering “Stormcloud Memories” was an emotive jaunt with some delicious guitar work, much to the delight of the already enraptured crowd. We’re not sure when or in what form these new tracks will arrive in the future – we hope a debut full-length – but they sounded excellent from this writer’s perspective, and more than hyped what’s to come for Gallowbraid.
Finishing the set was the majority of the EP in the cleverly twisting “Oak and Aspen” and the heavily melodic, folky bonus track “Stone of Remembrance” to culminate what was a debut for the ages. We certainly hope they delivered what the fan we referenced earlier was hoping for. Somehow, I think they left more than satisfied. For us, we weren’t sure what we were going to get, and as it turned out, it ultimately was a memorable debut that Fortress can hang their hat on as a moment in time that won’t be repeated, and was made in part because it happened here on these historic shores. In Gary we trust.
Conclusion
Whew, what a journey! Both the festival itself and writing this piece. It was a lot of time putting this all together, but was it ever worthwhile, and definitely a tiny percentage of the overwhelming effort of the Reaper Agency team who put on this incredible event. Fortress is now a staple in my festival rotation, and the second experience was somehow even better than the first (and as you can tell from that review, it was unbelievable).
What we didn’t mention earlier was the initial announcement of the first headliner for 2027, which was done at the fest after A Forest of Stars finished up – the one-and-only Emperor. A hell of a get, and a real marker for the significance of what Fortress has become; a destination festival that’s earned the utmost of respect and prominence to attendees and bands alike. If you want to attend, best grab your tickets – they’re already over 60% sold out. Hesitate and pay the price.
The organization and care given to all details big and small, the place itself, and the tight-knit atmosphere that comes from the top down is what really makes Fortress such a special event. A huge thanks to everyone, from Gary and the incredible team he’s assembled at Reaper Agency, to the folks at the Scarborough Spa, the sound team who made every band sound exceptional, the security staff, Dom at 3Nation for his incredible hospitality, the food vendors, and of course, all of the awesome people – many of whom are repeat visitors – who come to this fest every year. With that, we’ll leave with photos of you wonderful folks in the crowd, who are the heartbeat of this event.
Chances are, we’ll see you all again in 2027. Bring on the announcements, and thank you all so much for coming along with me!
Links:
https://www.fortressfestival.co.uk/
https://www.facebook.com/fortressfestival/
https://www.instagram.com/reaperagencyuk