The inaugural Fire in the Mountains festival, nestled amidst the majestic Lewis Range and Two Medicine region on the Red Eagle Campground within Blackfeet Nation, transcended the conventional music event by fostering a profound sense of collaborative spirit and cultural exchange. Attendees seamlessly flowed through the vibrant grounds, embracing an atmosphere where music converged with meaningful dialogue, showcasing a unique Indigenous Culture celebration.
Organizers notably championed diversity, meticulously curating a lineup that achieved a significant balance of genders within a genre historically marked by imbalance, setting a powerful precedent for inclusivity in the music festival landscape. This deliberate effort underscored the festival’s commitment to progressive ideals and its deeper mission beyond mere entertainment.
A particularly poignant aspect was the heartfelt welcome extended onto Native land by the Blackfeet Tribe, described by participants as “truly special.” This gesture of mutual respect created an immediate bond, establishing a foundation for a festival genuinely striving to offer more than just musical performances, but a holistic experience steeped in local heritage.
Beyond the evening concerts, the daytime offered a rich tapestry of engaging activities designed to immerse attendees in the region’s unique offerings. Participants could embark on guided tours into the breathtaking national park, relax by the serene lake, or engage in stimulating panel discussions that spanned a wide array of compelling subjects.
Local experts led insightful discussions, introducing festival-goers to critical topics such as Blackfeet place names, the complexities of tribal sovereignty, the profound impact of historical trauma, the beauty of Native song, and the ongoing crisis of Missing and Murdered Indigenous People. These sessions provided invaluable educational opportunities, deepening understanding of the Blackfeet Nation’s rich history and contemporary challenges.
An innovative heavy metal class, featuring teachers like Colin Sibbernsen and Chris Lewis, became a highlight, expanding to approximately 60 students eager to explore the genre’s nuances. This year-long course delved into music history, aesthetics, and the myriad of metal subgenres, offering practical experience with a fleet of electric guitars generously donated by Gibson, bridging academic rigor with practical application and fostering a unique Heavy Metal Education initiative.
The educational outreach extended further with art lessons and interactive music discussions. Students were actively involved across the festival grounds, capturing moments through video and photography, managing social media, and assisting with organization, contributing significantly to the event’s dynamic. Hall also led a segment offering the Blackfeet perspective on death and the afterlife, weaving Native American Arts and philosophy into the curriculum.
Saturday night culminated in a captivating performance by Wardruna, who mesmerized the audience with an assortment of ancient Nordic instruments, including a rare, long-winding lur dating back to the Bronze Age. This performance underscored the festival’s commitment to showcasing diverse musical traditions and its appreciation for historical depth in sound.
