End Of The Road Festival
Larmer Tree Gardens, Wiltshire
In 1895, with the Larmer Gardens of Dorset lit up in Vauxhall lights and dancing in the open air, Thomas Hardy described the scene as “quite the prettiest sight I have ever seen”. It feels a bit unnatural to say the same about an Eagulls set in a blue big top, but in many ways Hardy’s words resonate with what End of the Road festival does with the same site today.
With a capacity of 11,000 people and only four stages to chose between, End of the Road can afford to invest in the details, which is does with great success. Not only is this reflected in the environment, but also in a lineup that features acts so complimentary of one another most of them are visible in the crowd when they’re not playing. As an end to the festival season it provides the ultimate reward: uncompromising quality.
This quality was on display across the acts. John Grant and Wild Beasts both brought full and brilliantly executed headline slots. Grant’s songs of candid heartbreak managed to create a surprisingly buoyant mood. Cuts from his 2013 record Pale Green Ghosts are firmly overtaking those from his first album in terms of crowd response. Most likely due to the palette of his music which can switch from the electronic pulses of Black Belt to the National-esque crooning of It Doesn’t Matter To Him. Similarly Wild Beasts have now accrued such a variety of dynamic across their four records, their closing headline slot on the sunday night was a triumph of both intimacy and popular appeal. Their most recent release Present Tense has given them a new versatility, balancing the more discernibly characterful tracks from their previous records with a more powerful demanding presence.
There were smaller victories in smaller sets as well. Perfume Genius’ set on the Garden Stage as evening fell on Saturday silenced all those watching. With an album for release later in September, Mike Hadreas played new material which appeared to succeed in developing the trends established by his previous two efforts. Alongside these newer examples, older cuts struck a chord as well, perhaps most effectively Learning and Lookout Lookout from his debut album. Less fortunate with his afternoon Garden Stage slot was Grizzly Bear’s Daniel Rossen, who after a tortuous set up process under sweltering sun, was barely able to get through a song without a technical difficulty of some sort. It is important to recognise that this wasn’t his fault and he made what he could from the circumstances, but considering this is one of only two solo UK shows he will play this year, it left his over-eager followers disappointed.
The Woods stage, along with the Big Top, also played host to some affirming sets from acts both emergent and cementing in their status. Leeds’ Adult Jazz have some time before their live show exists in a fully confident fashion, but their ability to recreate the splintered melodies and disparate instrumentation of their debut album is both promising and fulfilling. More seasoned in bringing an eclectic sound to the stage, Tune-Yards stormed their Sunday afternoon slot to a crowd more than willing to give themselves to the hoots and loops of their bric-a-brac-beat. Whilst clearly Tune-Yards is Merrill Garbus, huge credit is due to her live band who reproduce her sound with potent and jubilant effect.
Yet undoubtedly the success of End of the Road was best manifested in friday night’s Garden Stage headliner: the Gene Clark No Other Band. Not unlike the recent Atomic Bomb! Who is William Onyeabor project, that united a plethora of alternative musicians in celebration of an under-appreciated artist, the Gene Clark No Other Band are a collective of the New York alternative scene who have come together to celebrate one album. Released in 1974, Gene Clark’s No Other failed to ignite much response, despite being regarded by members of Beach House, Grizzly Bear, Fleet Foxes, Fairport Convention and the Walkmen as an album of great beauty. Celebration truly was the tone as these musicians came together, possibly for the last time, and played the record in full. For a set that could have turned into an indulgent exercise of sprawling bluesy rock, the prowess and focus of these musicians meant the set transcended all expectation. Vocally you would be hard pushed to find a better set all year, Daniel Rossen, Robin Pecknold and Victoria Legrand all showcasing why this generation is so lucky in terms of alternative rock. Reflective of the entire weekend, this set worked because the musicians, the festival and the audience all wanted it to. The band were playing music that moved them and playing it to such open ears, in such beautiful environs, it soared.
Designed to cope with families and older audience members the festival is not only manageable but an absolute pleasure to be a part of. Moving within minutes between stages, from woodland covered comedy tents to an encircled campfire, creates a palpable community that unites everyone in attendance. This community is then united once again by a discerning engagement with the acts on offer. Yes there is a cynical angle to this. It isn’t the rudimentary, chaotic joy of your first trip to Reading or Leeds aged 16, nor is it even the other-worldly, all accommodating, excursion provided by Glastonbury. Rather End of the Road is an alignment of elements; where site, audience and lineup form a union of mutual respect. Perhaps not an exhaustive mind warping weekend, but enough to leave like Hardy, peaceably overwhelmed.
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Words: Angus Harrison
Photography: Andrew Novell
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