I just returned from another sell out year at ArcTanGent. The festival that has been held yearly since 2013 is primarily known for its boundary pushing lineup.
Described as an independent event dedicated to post-rock, math rock and experimental metal, ArcTanGent has consistently hosted some of the most unusual artists within the alternative space.
This still rings true in 2026.
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Even in an era that feels like it’s dominated by corporate Live Nation owned festivals that have a nasty habit of hosting the same legacy bands on repeat year after year, ArcTanGent is still refreshingly different.
The most talked about set of the entire weekend was Primus, who in themselves are one of the most unusual bands to ever see mainstream attention back in the 90s. From punishing noise rock like Shearling and Bucket, to blackgaze heroes like Alcest and Møl every tent in Fernhill Farm was full to the brim of music fans that ranged from withered dads with their arms crossed at the back, to passionate teenagers giving every pit photographer crippling anxiety with their flying fists.
Safe to say, I had a fantastic time, all the stages sounded immense, the organisation was impressive, and the festival was tight knit although accepting in terms of its community. Every human being I bumped into was equally as lovely as they were slightly unusual.
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The entire experience gave me a great amount of appreciation for what ArcTanGent is. Outside of Primus, Cult of Luna, Napalm Death and a few others, none of the bands were particularly household names, and even in the case of the three I just mentioned they are only really a name in the households of the slightly strange.
Despite how niche the entire thing may seem, it still sold out, as it has done multiple times in the past. Half of the tickets had already sold in the first two weeks, before heavy hitters like Primus had even been announced, scratch that, before any bands had been announced. That is an incredibly good sign, it means that the name ArcTanGent in itself, does not need the power of the bands to continue flourishing into the future.
It has gained a reputation as being one of the most forward thinking and progressive festivals within the country. Even if you recognise literally zero bands on an ATG lineup, you still know that whatever you’ll end up seeing, is going to be fantastic. That is what music festivals should be.
In an age where concerts are increasingly becoming a chance for social media addicted cretins to flex their attendance online, it’s amazing to see organisers putting on events that allow people to experiment and learn more about the artform. ArcTanGent is more than just a way to experience bands you already enjoy, it is a smorgasbord of some of the most boundary pushing artists, ranging from cult classic names, to niche up and comers. I can almost guarantee that everyone who attends is inevitably going to return home with at least 10 new albums to listen to.
This is why I say that ArcTanGent may have sold out, but they will never be sellouts. Which is impressive in an age where selling out seems almost mandatory, whether that be events, journalism (shoutout IDIOTEQ), or even the music itself. Once independent festivals like Boardmasters, Tramlines, Y Not, Victorious and Truck are now all owned by Superstruct, which in turn is owned by KKR. A private equity firm that invests in Israeli tech and data firms.
Regardless of your political opinions I think you can all agree that these actions don’t particularly align with what a music festival should be. But alas, it’s easy to see why so many festivals go down this path. It’s a business with huge up front costs and massive amounts of risk not to mention the financial difficulties presented by Covid. Larger festivals are typically more lucrative, so for firms like Live Nation or Superstruct, buying up these events is a no brainer. They increase their market share, vertically integrate, and all feed into each other, slowly gobbling up any piece of authenticity or genuine community that might be left. It’s why a lot of these larger festivals feel so dull nowadays, and it’s also why it’s so difficult for independent festivals to compete.
All this and so much more is why I respect festivals like ArcTanGent, Outbreak, 2000trees and Bloodstock Open Air so much more. They put on the lineups that people actually want to see, not just a recycling of whatever absolute dross Download decided to projectile vomit onto a lineup poster this year.
Passionate music fans absolutely respond well to this, it’s why ATG was able to sell so many tickets before even releasing the lineup last year. We are just desperate for a dribble of authenticity in the modern day, a world where even an event that is supposed to be as wholesome as grassroots as a music festival, is still subject to so much corporate greed.
The ArcTanGent organisers have mentioned turning down big corporations that have attempted to buy them, they themselves founded the festival as the exact opposite of massive corporate festivals such as Reading. Their sister festival 2000trees have also deliberately kept their capacity at around 15,000 despite the opportunity to scale up, just to keep the vibe the same.
This is already definitive proof that these festivals are not sellouts. But in relation to specifically ArcTanGent all you need to do is look at the bands they book.
One of the issues I have with corporate festivals outside of the ethics is how mind numbingly boring the lineups can be. They consistently book bands that may look good on a lineup poster or in a corporate boardroom, but in reality you are just paying hundreds of pounds to stand in an overcrowded field watching an aging racist struggle to belt out a single note.
ArcTanGent books bands that are good, and I know that sounds like a no brainer, but it’s so surprising how often festivals miss the mark due to their sheer desire to simply look good on paper. ArcTanGent’s lineup may look odd on paper for the average festival attendee, but when you watch the actual music, you remember why you love this artform.
If you watch my videos on YouTube, you know I am honest to the point where it occasionally damages my career. I would not hesitate to tear a festival apart if I didn’t like what I saw, but with ArcTanGent, it’s impossible to find a problem. Great music, beautiful community, ethical organisers, it’s simply what a music festival should be. Which is something that is becoming increasingly rare in the modern day.
If you ever have the ability to attend ArcTanGent, even if you don’t recognise any of the bands, I would highly encourage it. This is what a music festival should be. We need to work together to support it, because god forbid you’re forced to attend a festival headlined by Guns N’ Roses.
