Overhead, the Albatross
Overhead, the Albatross are an Irish post-rock band that I’ve kept on my radar since their incredibly beautiful headline set at the long gone and missed Irish music celebration festival “Knockanstockan”, where they headlined all the way back in 2016. There are moments at a festival when a particular song, or even just a musical arrangement, hits you so deeply it shakes your very core, almost pushing you into an existential crisis, all in the name of post-rock. That’s exactly what Overhead, the Albatross delivered—compelling a crowd of strangers, gathered under a giant dome tent, to turn inward and feel leverything, all at once, together.
The vestiges of post-rock allowed the band to explore a range of feelings, emotions, and thoughts we all experience daily—or choose to bury or avoid—something few bands can pull off on an early Friday morning at a festival: existential dread, confrontation, or even quiet admission through music. Using the video screens once more, the phrase “I’ve only got a few years left” further emphasized these emotions during their final track. Overhead, the Albatross played a set but also delivered a confession. This one’s definitely one to watch closely as they have the potential to move up the ranks to headliner sooner than one may think.
Ithaca
“For the last fucking time…we’re Ithaca”, lead singer of Ithaca, Djamila Boden Azzouz, roars as the band emerge on stage to Robbie Williams “Angels”. Some bands’ final outings feel like a funeral; Ithaca’s feels like a celebration — one last chance to go out all guns blazing in their hardcore-tinged swan song set.
The crowd roars back with Djamila’s war cry as the chaos begins. Mosh pits erupt instantly as they launch into their first track: a nonstop clash of bodies in this frantic last-chance saloon to slamdance to one of ArcTanGent’s success stories, one final time. The band play like they’ve got nothing to lose, but also nothing to prove. A notable moment was when Pupil Slicer’s vocalist stormed the stage for a dual vocal screams of harmony with Ithaca’s lead singer. Between the breakdowns and dissonant chords, in this barrage of utter carnage of chaos, there is also softness, as lead guitarist Sam Chetan-Welsh takes a moment to open up: “Reject Nihilism. Trauma doesn’t define you. You can be rebuilt. You can be made whole again. You are loved. You are worthy of love”.
Just before the final song, there’s a moment where the lead singer offers a brief admission: things haven’t been okay lately. Post-surgery pain, the weight of it all. But then, tapping into the true spirit of the band and the festival’s ethos: “No one can stop the mosh.” And it definitely doesn’t. The band signed off with their signature skull crushing breakdown laden track “Impulse Crush” which lives up to its namesake. This set solidifies the band’s legacy and perfectly embodies everything they stand for, and everything the festival represents.
Carbomb
Up next on my roster, donning the mainstage, the NYC quartet Carbomb launched into what one can only describe as the most disgustingly heavy, full on assault on the senses. Carbomb embody full-metal maximalism at its peak, a barrage of extreme metal that blasts through eardrums like a carpet bombing, and the crowd is absolutely there for it.
Despite the heaviness, Carbomb ensure to sprinkle some humour throughout their set, just to break things up a bit. The singer, Michael Dafferner, jokes about his button up shirt and dressing for the special occasion. He has one button undone from the bottom cause “no one tells me what to do when it comes to style” and that definitely shows with their unique genre boundary pushing style of metal. Before launching into their final song, Dafferner leans further into humour, poking fun at classic metal/rock stereotypes with a playful “play some Skynyrd, man!” The set wraps up, and as the band exits, the crowd erupts in chants for one more.
Emma Ruth Rundle
In a festival chock full of intricate progressive riffs and technical prowess, Emma Ruth Rundle has carved out a well-deserved spot for herself. Rundle takes to the stage armed with her effects-pumped acoustic guitar and ethereal, haunting vocals, taking some time to deliver an utterly transfixing set during the day — providing a much-needed refresher from the brutality that came before. She carries herself well, with her voice echoing through the tent in spectral wonder and beauty. Despite the serious tone and somber nature of her music, Emma has a dry sense of humour and self-deprecation that is welcoming. Making note that she should continue playing rather than regaling “grandma stories”, she even uses some quick prop humour, strumming on her guitar exclaiming “that’s the sound of grandma approaching” before continuing on with her set.
Midway through the set someone shouts “We love you, Emma!” to which she responds smiling “I love this festival so much”. Emma further cements herself as a fan of the festival, mentioning how much she loves attending as a regular, that it’s not just another tour date on the calendar, not just another gig. Emma’s set was a quiet, vulnerable moment that offered a much-needed contrast and brief respite from a festival packed with intense and extreme performances.
Envy
Envy’s set was a true display of emotional intensity, blending post rock atmospherics with hardcore urgency. Like being swept into a tide, guitars rose and fell, pulling us into crescendos that threatened to crack the sky, only to leave the audience hanging on fragile moments. Even with their long history, for many in the crowd this was a first encounter, and from the expression on their faces, felt like a revelation. As each song unfolded, the audience seemed to be pulled deeper into waves of feeling. It was raw, beautiful, and overwhelming, proof that envy remain one of the most powerful live acts that bridge two genres coming from different sonic and emotional landscapes. (DR)
Green Lung
Next up on the main stage were the stoner doom rockers Green Lung, ATG virgins but after their set, they’ll definitely be returning as the crowd lapped up every riff they unleashed. Green Lung made sure to wake the crowd with horns blasting, riffs, sludge, and “claws” as described by their frontman (hands raised). Their set was groovy and theatrical in nature, with their latest single featuring a brass section that amplified the drama even further, fully embracing a flair for performance that’s been a rare sight at the festival so far.
Tracks like “Let the Devil In” cause the tent to explode into a ritualistic event with the entire audience chanting incantations back to the band to welcome the devil inside. One to watch for future ArcTanGent appearances? Personally speaking? Consider my soul sold!
Between the Buried and Me
Mew
Writing about bands that have been part of your life for over two decades is never easy. For some that day, Mew needed no introduction. For others, this was a first and probably one of the last chances at an encounter as after they perform a series of shows celebrating their 30 years anniversary, the band will part ways. Mew took the stage with their unmistakable fusion of airy introspection and powerful, cinematic scope that transcends the usual alternative rock show. Jonas Bjerre’s ethereal falsetto floated over shimmering guitars and layered synths, creating an immersive atmosphere that kept everyone in a collective trance.
Mew may not be the typical (although what that means in the context of ATG is a different discussion altogether) festival band, but they put together the perfect setlist, with songs like “Special” and “Comforting Sounds” being met with sing-alongs and a few tears of awe. Mew show was a delicate and otherworldly escape, a reminder perhaps that music is all about forging those deep emotional connections. As one of the last opportunities to witness them live, it was a touching reminder of just how unique that experience truly is. (DR)
Karnivool
It’s been a long time coming for this – the Friday night headliner – Karnivool. The Australian progressive metal rockers open their set with “Sound Awake” album single “Goliath” and shake the Eearth beneath the crowds at the main stage at the festival. Karnivool didn’t perform a casual show, they delivered a moment.
New material was tested and teased throughout their set with tracks such as “Aozora”. The crowd, although a relatively new track, lapped it up with applause during the eerier atmospheric moments of the song itself. The audience erupted during crowd pleaser tracks such as the sombre but full of tension “Simple Boy”. By the end of “Deadman”, everyone can be heard chanting loudly “Karn-I-Vool”; even the usually well composed lead singer Kenny is taken aback by this. He simply comments “Fuck yeah” after blasting through the crowd pleaser “Themata”.
Kenny took a moment before descending into “New Day” to reflect on music as a means of connection, interpersonal relationships and a source of meaning in life “giving and providing a sense of community and friendship” through a grin of sheer sincerity and gratitude. Afterwards the band thanked the audience and dropped what everyone was thinking as a heavy hint of another appearance next year for a UK tour: “Thank you so much and see you next year”.
