ArcTanGent Festival 2026: The Review – Wednesday

Back under the Yohkai, Chalk Hands offer something a bit more tentative. Appearing at ArcTanGent following the recent release of their second LP The Line That Shapes the Coast of Us, the South Coast post-hardcore quintet may inhabit a place that contrasts with the filthy and mountainous soundscapes of the proceeding Swamp Coffin and The Grey, but with their subtle skramz tendencies being reminiscent of that Envy set from last year, it’s hard to see anyone disagreeing with their sound this afternoon. Sure, their songs in the key of loss being played in the summer sun may only add to the list of things this band contrast with today. But saying that, it’s clear why this band have been asked to return to this festival for the third time; they’re just one of the best and most innovative post-hardcore bands in the UK right now.

As for Giant Walker, they’re the perfect band to introduce newcomers to ArcTanGent. Mixing old-school progressive rock and 70s flair with contemporary alternative riffs and slick modern production, this Newcastle-based quartet elegantly combine the showmanship of Genesis and Led Zeppelin with the heavy guitar sounds of Deftones or Karnivool. Following an appearance at last year’s ATG as well as recent tours alongside festival darlings Vower and Aussie metalcore stars Future Static, as well as the release of their sophomore album Silhouettes, Giant Walker have been hidden away working on new material but have found time to return to Fernhill Farm for some hefty riffs and vintage swagger. While much of the rest of the band look and sound straight out of the noughties prog resurgence, frontwoman Steff Fish seems to have been transported from the genre’s 70s heyday with a captivating stage presence and soaring vocals.

There’s a small sheet draped over the back of the massive Yokhai stage, onto which Overhead, The Albatross are projecting their visuals (and occasionally the WiFi login screen). While this doesn’t quite have the visual impact that the huge LED screen of the main stage had when they played it last year, the band’s blend of Orbital-esque electronic beats, rousing post-rock and spoken word poetry still hits just as hard. The pulsating rhythm of Hibakusha hits like a sledgehammer to the chest, and they get the whole place dancing with high-energy new track I’’ve Got A Few Years Left’. As expected, though, it’s the emotionally hard-hitting set closer Paul Lynch, which they dedicate to a fallen fan Andrew Naylor, that brings the house down, leaving many in the crowd visibly in tears. The production may be slap-dash, but the quality of the performance and the passion with which they play could see them play much higher up the bill in years to come.

Photo Credit:

Jez Pennington

Following that, back under the blue tarp of the PX3, it’s time for what is probably the first “out there” band of the weekend. Channelling the inherent weirdness of Bjork yet sounding totally accessible in a way most proggy art rock bands can’t, aforementioned local oddballs Sans Froid sound wonderful this afternoon. Not that such a thing is that surprising, mind you; following their set last year, recent shows such as their 2000 Trees appearance and their own headline album launch show have quickly made Sans Froid something of a reliable cult favourite amongst those affectionate of all things off-kilter here today. But still, to see a band authentically play a set of left-field, experimental art rock just so effortlessly, as this once again does, is truly wonderful. Also, it’s impossible not to credit the vocal prowess of frontwoman Aisling Rhiannon Whiting; even amongst a lineup featuring names like Eivør and Chelsea Wolfe, she legit might be the most talented vocalist this weekend.

As for what follows, good luck getting into the tent. It’s a wonder to believe that a mere 12 months ago post-metal’s hot-new-things Dimscûa were only just playing their first ever live show in this very field. With just a handful of additional shows under their belt, the quintet command the stage like a band with decades more experience than they actually do. There’s a fizzing, feral energy to the performance, especially from frontman Alex Rowlands, whose raspy roar carries every emotional ounce of the weighty subject matter of tracks like ‘Elder Bairn’. At one point, stagehands have to come armed with mops to clear up the spilled drinks that have vibrated their way off the drum riser thanks to the sheer power of the band’s savage post-metal riffs. The sheer quality of their debut album Dust Eater is what helped Dimscûa’s meteoric rise, and it’s encouraging that a brand new track is the one that really stands out during their set, beginning as it does with some post-rock gentleness before building to a crescendo of thick, polyphonic riffs that get necks snapping in the max capacity crowd. Keep a close eye on these scrappy upstarts as huge things are in their future if they carry on this trajectory.

The sorrow doesn’t stop with Dimscua, mind you; it’s time for Svalbard’s last ever set. As the band launch into ‘Disparity’ before the soaring nature of ‘Open Wound’, the gravity of the moment immediately seeps in. We think we speak for everyone when we say that this is a band that truly deserved more than they got across the span of their career, and to hear these songs live knowing this isn’t going to be an experience that gets to be repeated again does nothing but trigger a pang of sadness. However, like all good farewells, this set is more a celebration of life than a lament of loss. With nothing but smiles and sweat both on stage as Serena Cherry and company tear through the likes of ‘For The Sake of The Breed’, ‘Throw Your Heart Away’ and ‘The Damage Done’ with nothing but pure spirit, this comes to be a total encapsulation of Svalbard’s career as a whole. This is the sound of a band saying goodbye on their own terms, playing the songs they want to play, and doing it all with nothing but joy and genuine warmth. It’s impossible to know if it’s tears or drops of sweat on people’s faces come the end of closer ‘Eternal Spirits’, but regardless, this set feels like nothing but a total triumph in the face of the pain that has inspired this band’s work. Let’s hope we see Afraid To Die and Noctule – the other projects from different members – at the new site soon.

Photo Credit:

Derek Bremner

Better dry those eyes though, it’s time for more classic ATG weirdness. Hailing from Brazil and potentially being the only band this weekend to feature someone playing the triangle, coconuts, and a dog’s chew toy, the only apt way to describe Papangu is to detail what unfolds as it unfolds. The band play atop a stage strewn with instruments that range from Moog synths to novelties typically found in the Lidl middle aisle. A latex chicken mask becomes a pivotal part of the show. Musically, they sound akin to samba being played by Igorrr and jazz being played by Captain Beefheart. It’s a borderline mess, but my goodness is it brilliant. Bizarre to the point of it being almost Dadaist, Papangu essentially play a set that sounds like someone throwing everything, including the kitchen sink, against a wall. However, not only do they hit intended targets by doing so, but they play the outcome like it’s second nature. It’s no wonder why what feels like half the festival has turned out to this set, and should the overjoyed reaction be anything to judge by, the people here (quite rightly) treat Papangu like they’re one of the biggest Brazilian cultural exports behind only Carnival and the big Jesus. Should there ever be an endorser to what ArcTanGent stands for musically, it should be this band.

Some bookings seem like a slight curveball even for ArcTanGent, but how weird is too weird? The bona fide legends in Cardiacs could maybe push that envelope with their almost circus-esque art-rock stylings. Walking onto a huge cheer, it is clear that they are, in fact, welcomed with open arms as they waste no time in weaving their way through the back catalogue, including tracks from last year’s LSD with the now-added Vennart. Having been a long-time fan, it is clear it is an emotional honour to front Cardiacs on his birthday, no less. Fans old and new can see why he is the perfect fit with his axe-wielding skills. But lest we forget Tim Smith, the OG musical mastermind who sadly passed and paved the way and inspired so many like Mike Vennart. Paying tribute by proudly holding Tim’s image in respect aloft. With Cardiacs, some in the crowd are confused initially at the insanity unfolding musically in front of them, but with bands on the heavier end of insane, like Igorrr this weekend, Cardiacs are definitely at home here. There is something triumphant in their weirdness, and when they build to a final crescendo with the closer ‘Big Ship’, the audience can do nothing but applaud this eccentric collective.

Photo Credit:

Joe Singh

Whilst we all knew Alpha Male Tea Party where going to be brilliant, we don’t think anyone expected them to bring the roof down even before playing a note. Twelve years on from their debut, ATG mainstays Alpha Male Tea Party return to Fernhill for the final time delivering their unique variety of party-math. Acting as a perfect palette cleaner between prog icons Cardiacs and Wednesday headliners Sikth, despite a slightly delayed start due to some technical issues with the lighting rig, the Bristol trio manage to get the crowd moving with both their earlier, manic instrumental work and the hits from last year’s Reptilian Brain which keep their math acrobatics intact but add Press To MECO style harmonised vocals led by bassist Ben Griffiths and guitarist Tom Peters as co-frontmen. Refusing to abandon their roots while opening themselves up to a wider audience on newer tracks like ‘A Terrible Day To Have Eyes’ or ‘Sniper’s Dream’, Alpha Male Tea Party embody the spirit of ArcTanGent by slamming together danceable beats and catchy choruses with virtuosic musicianship and eclectic song structures.

Looking around at the average age of the sizeable crowd gathered in Yokhai for Sikth’s headline set, it’s obvious we’re all here to relive our youths with some early-mid 2000s nostalgia, and the band reciprocate by serving up a celebration of their heyday. The majority of their set is made up of classic cuts from their now 25 year old album Death of a Dead Day, with tracks like ‘Flogging The Horses’ and ‘Way Beyond The Old River’ still sounding years ahead of their time despite being a quarter of a century old. Dual vocalists Mikee Goodman and Justin Hill bound about every inch of the stage, leaping off their ego risers and whipping the crowd into a frenzy, while guitarists Pinney and Dan Weller set their fretboards alight in a flurry of tapping and riffing. The loudest singalongs and most violent circle pits are the cause of bona fide mathcore classics ‘Skies of Millennium Night’ and ‘Bland Street Bloom’, by which time the entire tent is a buzz of frantic energy. The ease with which the band perform, and the stunning light show that accompanies it is certainly worthy of a headline performance, but it still begs the question whether it should have been Cardiacs in this slot. Either way, a great way to cap off the first day of this brilliant festival.