The annual Fire in the Mountains Festival emerged as a beacon of cultural fusion, seamlessly blending the raw energy of heavy metal music with the rich tapestry of Indigenous culture. Nestled on the serene shores of Lower Two Medicine Lake, this unique music festivals offered attendees an immersive experience where powerful soundscapes met profound spiritual connections, redefining the essence of a modern gathering in the heart of the Montana music scene.
The festival’s setting at Red Eagle Campground, situated on sacred tribal land at the foot of Lower Two Medicine Lake, played an undeniable role in its distinct atmosphere. With the majestic Scenic Point and Rising Wolf as a dramatic backdrop, the stages were meticulously arranged, transforming the already imposing Glacier Park ranges, with their cathedral spires and glacially carved mountainsides, into a naturally “metal” landscape. In a thoughtful nod to the environment, traditional tipis replaced conventional green rooms, glowing softly after dusk.
Founded in 2015 by Walker and a dedicated team, the Fire in the Mountains Festival began with a vision to bring heavy music to the breathtaking Teton Range. After years of meticulous development and growth, the festival faced a significant hurdle, losing its original permit, which prompted a poignant sentiment among organizers: they had “lost their mountains.” This challenge, however, led to a new beginning and the eventual relocation to the powerful landscapes of Montana.
The diverse musical lineup kicked off with Jay Munly’s captivating set on Friday, July 25. His performance incorporated a quiet gothic style, setting a thoughtful prelude to the explosive heavy metal acts slated for the following two nights. Throughout his engaging performance, Alexina C. Garcia Chavez added a dynamic visual element through her interpretive dance, further enhancing the artistic depth of the evening.
Saturday’s performances brought a powerful blend of genres, exemplified by Panopticon, a band renowned for melding the acoustic sounds of Appalachian music with the intensity of black metal. Their rendition of the album “Autumn Eternal” in its entirety captivated the audience, featuring an extended, thrashing instrumental section highlighted by a violin solo. The communal spirit of the festival was evident in the churning circle pit, a safe and inclusive space where even teenagers and younger children participated, watched over by “lifeguards” ensuring everyone’s safety.
Denver progressive metal group Blood Incantation delivered an equally impactful performance on Saturday. The sheer power of their P.A. system allowed drummer Isaac Faulk’s blast beats to resonate through attendees’ chests and move the air on their arms. Set against obelisks engraved with runes, the quintet masterfully navigated between pounding death metal and ethereal, trippy keyboard interludes, performing their two side-long suites from the album “Absolute Elsewhere.”
A critical component of the Fire in the Mountains Festival was its strong emphasis on Indigenous culture, with numerous Indigenous groups featured in the lineup. Tzompantli, a California band named after a Mesoamerican skull rack, showcased a unique percussive style, with two additional percussionists joining the drummer, all adorned in patterned ponchos and face paint. Their relentless black metal set, characterized by growls that often resembled chants, ignited another circle pit, notably including a Blackfeet man as the first crowd-surfer, symbolizing the festival’s inclusive embrace of diverse communities within the heavy metal landscape.
Beyond the music, the festival fostered moments of quiet reflection and community. Attendees sought solace during morning yoga sessions led by Ashley Sherburne on the tranquil shores of Lower Two Medicine Lake. The Honor Lodge tipi served as a poignant space where participants hung pieces of art to honor and remember their lost loved ones, underscoring the festival’s commitment to fostering connection and remembrance amidst the vibrant energy of the music.
