Festival Review: Call of the Crow 2026

 

Words & Pictures by Chantelle Taylor

Once in a while, an event is announced that makes even the most seasoned of us gasp and book tickets before we really know what we’re doing. Maybe I should’ve stopped to think about time off work, travel, and accommodation. But I didn’t and thank the Dark Lord for that.

Call of the Crow by Necrow Events started in 2025 at Pealie’s Barn in rural North Yorkshire – an incredible venue with limited capacity (there were just 250 tickets for sale) on a remote farmland setting. It is focused mainly on black metal, and the line-up will no doubt have some bands that most people won’t have discovered, plus bands that do not play live very much. The pull of exclusivity is powerful, and when this writer saw the names Wolcensmen, Arð and Winterfylleth on the poster...well, it was a done deal. Then I saw the rest of it and knew I was in for a hell of a weekend.

This little festival pulled together bands from multiple countries, some of whom had never played in the UK before and some who were celebrating important anniversaries – not only that, but there was a decent mixture of sub-genres within the black metal scene. Everything from dungeon synth, dark folk and bm punk/hardcore to the more familiar sounds performed by bands with varying degrees of flamboyance, humour, and solemnity.

Blades of Folmar and Wolcensmen were the first two acts of the weekend, and the only ones to play the indoor Longhall stage. Blades of Folmar, a masked and robed one-man dungeon synth outfit, used his short time on stage to fill the Longhall with ambient otherworldly sounds and a mediative vibe before walking through the audience and disappearing, leaving most of us wondering what we had just witnessed.

Dan Capp - aka Wolcensmen - delivered a stripped-down set comprised of songs from his back catalogue including the beautiful ‘Swans of Gar’s edge’ which he says himself he does not play live very often. We are treated to a new song, ‘The Golden Boar’ inspired by his children who were in attendance with Lucy his wife (who runs the awesome Blood Fire merch stall). The Winterfylleth gang were also in the crowd to watch their former bandmate, and the feeling that this set was something truly special was heavy in the air. Personally, I had been wanting to see Wolcensmen for a very long time and standing there in a barn next to his family and friends whilst drinking a cup of Yorkshire’s finest tea was something of a once in a lifetime experience. The audience were rightly captivated, and Dan expressed his gratitude for the quiet and respectful atmosphere – after all, we were at a black metal festival, and he wasn’t playing black metal. You cannot help but get the impression that he would find it very hard to believe he was a big part of why you were at Call of the Crow. This is a musician who does what he does because it is who he is; the fact that other people like it is a welcome bonus, but it’s not the main motivation. He finished to rapturous applause and eventually we made our way back to the courtyard knowing we had just been a part of something to treasure in our memories for years to come.

Lithuania/UK act Miska Boba opened the courtyard stage, which must have been a pretty scary thing to do, but they did a decent job of warming up the stage with their Lithuanian folklore focused songs.

If you have ever wondered what it would sound like if heavy metal had a bastard lovechild with black metal, then Manchester's Magnetar will show you. Vocalist Nick Wallwork (formerly of Winterfylleth) admits to the audience that this is only their second ever live performance – however, they come across as a much more seasoned band - delivering a blistering set full of galloping energy, Iron Maiden-esque solos and black metal vocals that brings the courtyard out of its shell nicely. They played a new song, and I’m calling it now – we are going to be seeing a lot more of these guys. Absolutely one to keep an eye on and see live if you get the chance.

Hailing from Italy, Bianca made their live UK debut at Call of the Crow – and what a debut it was. Vocalist B held the crowd in awe with her ability to switch from beautiful clean vocals to suddenly channelling her inner screaming banshee flawlessly. It’s hard to pick a particular song to recommend if you don’t know them, but ‘Nachthexe’ was as epic live as I had hoped it would be. The band have no doubt left a huge impression upon those of us lucky enough to be there, and I wouldn’t be surprised to see them being mentioned a lot more in future.

Fellow Italians Patristic also appeared on our shores for the first time with their brand of blackened death metal and caused some excitement amongst festival goers before they’d even taken to the stage. Their set hailed a shift in atmosphere as the crowd began to let loose and the sky over Yorkshire darkened. The looming figures in leather hoods battering us with songs rooted in pagan resistance and Christian anathemas were a sign that the black metal fun was truly underway, and Patristic were clearly happy to be the ones to do it.

The alcohol (or if you’re like me, the caffeine) had been flowing for a few hours at this point, and everyone was thoroughly enjoying themselves. There was a buzz of anticipation in the air, and a lot of shirts and hoodies being worn with the names of the last two bands of the day... Arð being the penultimate act, and a very exciting one at that. Mark Deeks, arguably better known for his role as keyboard player and backing vocals for Winterfylleth (yes, that did seem to be a bit of a theme) doesn’t take his monastic doom themed band on many live outings; so similar to Wolcensmen this appearance is something of a rarity. More members of Winterfylleth take to the stage alongside him, Chris Naughton, and Mark Doyle. It was also revealed during the set that Jeff Singer of Paradise Lost was on drums, so it felt like a very niche supergroup. I consider myself lucky to have already been familiar with Arð, so I knew what to expect. I do wonder what anyone who was new to them experienced, and I hope they really enjoyed it. They opened with the epic ‘Cursed to Nothing but Patience’ and held us all enthralled not only with their brand of slow, heavy yet uplifting doom riffs and monastic style vocals, but with laughs too. Mark looked jubilant to be up there and grinned as he told us, “Our fastest song tonight is seventy-four beats per minute!” During said song, he commanded the crowd to form “the worlds slowest circle pit” and they happily obliged. I can honestly say I’ve never seen a happier pit in all my years of gigs. If you’re reading this Mark, I’d like to request the worlds slowest wall of death next time...
Each song held its own in the necessarily small setlist of six titles but ‘Burden Foretold’ and ‘Take Up My Bones’ were particularly beautiful and immense. I imagine a lot of people have researched Saint Cuthbert and Northumbrian history as a result. (I can personally recommend a trip to Lindisfarne, it’s wonderful). They closed with ‘Banner of the Saint’ to applause and cries of enthusiasm. I suspect several of them were a bit baffled by what they’d just heard and seen, but in the best way possible.

Friday’s headliner needs no introduction. Winterfylleth have become a huge name in British black metal – or atmopsheric black metal, or pagan metal, depending on how pedantic you’re feeling – and it is with good reason. They are currently riding the wave of an excellent full length release this year, ‘The Unyielding Season’ and their 20^th anniversary is nigh. As such, they give us an exceedingly special show for Call of the Crow in celebration of the first EP ‘Rising of the Winter Full Moon.’ I think even the most ardent fans had underestimated just how special this would be.

The vibe in Pealie’s Barn became a tangible thing as everyone gathered at the stage. (I am still somewhat smug about managing to secure a spot at the front). The entire band radiated happiness as they blasted their way through several songs from across their discography with their trademark energy, skill and of course, banter. Vocalist Chris Naughton always has an air of cheekiness to him that keeps things fun between songs. This is a band that clearly love what they do and know they do it well but try not to take themselves as seriously as they take their music. By the time they play ‘Upon This Shore’ the pit has taken off completely. ‘A Soul Unbound’ is spellbinding and a welcome addition to the set list.
The real treat, however, comes when Chris tells us that several former members will be joining them on stage. The audience all but lose their minds as Mark Wood (Impurist), Nick Wallwork (Magnetar) and Dan Capp (Wolcensmen) appear. There is something so wholesome about this reunion, and exhilarating for older fans who know exactly what a rare moment this is. ‘Mam Tor (The Shivering Mountain)’ had the venue in a chokehold with its huge punky riffs and the pit went insane. The lady next to me was sent flying over a monitor several times and no beer was safe. Winterfylleth continued to rip through the next two songs ‘Casting the Runes’ and ‘The Ghost of Heritage’...and then it was time to close with the infamous ‘Defending the Realm,’ which Chris says they haven’t played live for about ten years. Multiple musicians sang together, embracing and smiling as the crowd joined in. You might be forgiven for thinking that a black metal show isn’t really a sing-along opportunity, but at Call of the Crow it became one. As a huge fan of Winterfylleth, Arð and Wolcensmen seeing them all on stage together – the atmosphere, the love, the pure passion for music and fellowship - is something I will remember until I am in the ground.

Slightly worse for wear, we all returned to the barn for another full day of metal shenanigans. I raided the merch hall once more (big shout out to Mercian Storm for being lovely and one of the best sources of patches and pins in the land).

Thier Last Stop made their way over from Dublin and were the first to grace the stage on Saturday, and what a wonderful addition to the bill they were. Anyone who stopped to pay attention quickly realised these guys are something a bit special. Despite the odd sound issue their brand of atmospheric, depressive black metal permeated the venue to great effect. Look out for these guys if DSBM is your thing.

I’d been looking forward to Wyrdstæff and they did not disappoint. If you’re into Heilung and that sort of thing, Wyrdstæff are probably up your alley. Their neolithic/pagan style of metal formed a connection with the crowd, and I knew they were going to provide us with an interesting closing ritual that night.

Old Corpse Road take to the stage with The Seer on Vocals as The Prior has been struck down by illness. There are yet more sound issues, and staff can be seen working to get it fixed – yet Old Corpse Road do a sterling job of providing us with a set full of songs that invoke history, lore and drama in true British black metal style. One of our hardest working black metal bands on the live scene, they deserve every success.

A particular highlight of the Saturday was Burial. How can I describe Burial? Hilarious bastards that give zero fucks what you think, no pomp or ceremony: just raw black metal punk. Dez pokes fun at everyone and anyone including himself. The quote “Spooky cunts in make-up and all that” now lives rent free in my head alongside the riff from ‘Sadism for God.’ With titles like ‘Black Metal Cunt’ you already know what you’re getting yourself into. Burial have been here a long time I hope they stick around for as long as they can - the underground would not be the same without them.

I must confess – I am not as young as I used to be, and I was getting tired and hungry. I missed most of Ash Magick due to having some food and a rest, but I know she drew a lot of praise and what I did hear sounded great.

Refuelled and ready for more, I made sure I got a good spot for Black Altar. Celebrating their 30^th anniversary, they gave us a special set and were mesmerising before they even made a sound. Black Altar are the embodiment of the black metal aesthetic – corpse paint, black robes, masks, skulls, lots of blood and theatrics. Of course, this only goes so far but they have the musical chops to back it all up. Watching and listening to Black Altar feels like you are participating in something truly dark and authentic, and it leaves a hell of an impression. Here’s to thirty more years of rituals upon the black altar.

Trivax were a welcome late addition after Beyond the Blackened Sun pulled out, and what a show they put on. Shayan is an absolute beast of a frontman, and the crowd aggressively ate up every second. Check out the write up on Why Metal Matters for some incredible photos by David Gange to get an idea of what Trivax are about. The UK is proud to have you, guys.

Again, I was flagging a bit, and the temperature had dropped significantly so I spent most of Necronauticals set next to the fire with a cup of tea along with everyone else who had sought shelter and warmth. They seem like really good fun, though.

In hindsight I am glad I paced myself a bit because I would not have missed Owls Woods Graves for anything. The headliners hailing from Poland (playing in the UK for the first time) were exhilarating beyond words. If you had told me, I would become a fan of a band who mix black metal with hardcore punk I would’ve laughed; but Owls Woods Graves are astounding. They completely own the venue and the audience the entire time they are up there, energetically bulldozing through their setlist of fourteen songs. ‘Return of Satan’ and ‘Antichristian Hooligan’ are fantastic sing-alongs, and I witness what I can only describe as the widest and messiest pit I’ve ever seen, complete with a splash zone that saw a few pints being sacrificed. As a devout Mgła fan, it pleased me immensely to be seeing a band so closely linked to them, and the crossover between the two can be heard in songs such as ‘They Come Again’ and ‘The Cliff Dance.’ Owls Woods Graves are quickly becoming a vital shot of urgency and aggression to the scene, and we are all the better for it. It has been a long time since a band had me feeling like a ‘teenage punk antichristian hooligan’ but they seemed to have that effect on everyone fortunate enough to bear witness to the spectacle. I sense big things afoot for this band, and I cannot wait to see them again. I need one of those scarves in my life.

 

Adrenaline still flowing, we all realised this was the end. Shayan (Trivax and Wyrdstæff) comes on stage to inform us that the closing ritual is ready to begin, and we all make our way outside. There was a firedance and then Connor (Wyrdstæff) took us through proceedings. Upon entry to Call of the Crow we had all been asked to take a token, for we would need it for the ritual. Yet another wonderful detail that made this festival so exquisite.
There was chanting, many thanks given to Paul and Rebecca, and the brilliant Pealie’s Barn staff. Eventually we all lined up and were told to focus on the token, imbuing it with a negative feeling that we wished to rid ourselves of. We then walked beneath the torches and cast our tokens into the fire before Connor painted our faces. More chanting, shouting, and hailing the old Gods... and then it was over.

It’s now over a week since I got back home and returned to normality, but I am still about giddy about it all. From cups of tea whilst headbanging, emotional sing-alongs, violent pits, slow pits, and fire rituals, I wax lyrical to anyone who will listen, hoping to spread the word and help to keep events like this alive in my own small way. 

Call of the Crow may not be held at Pealie’s Barn next year but I have no doubt that they will find somewhere else to do what NeCrow Events do – and that is to provide the community with a metal festival that has set an extremely high bar.

Eternal hails to the underground, long may it continue to thrive. 

NeCrow Eevents