There’s an unmistakably British feel to End of the Road. Perhaps it’s the backdrop of the Wiltshire countryside, or the unpredictable rain showers that featured prominently throughout the weekend. Even the weather seemed to be part of the festival experience, as crowds armed with umbrellas and sun hats remained steadfast, drawn in by the allure of music at one of the UK’s cherished festivals. In its 19th year, this event founded by Simon Taffe has mastered its late-summer magic: 15,000 festival-goers gathered in Larmer Tree Gardens for an intoxicating blend of exploration and devotion. While music serves as its core, it’s the unique elements – late-night comedy, secret techno raves in concealed sheds, and art scattered between stages – that bestow the festival with a varied identity that rivals the biggest names.
Friday began with Daraa Tribes, offering an eclectic fusion of electric riffs and Saharan blues, followed by Youth Lagoon, whose vibrant dreamscapes from the recent album ‘Rarely Do I Dream’ captivated early arrivals. However, it was Sharon Van Etten who asserted her presence on the opening night, accompanied by her new band, The Attachment Theory, a fresh lineup of long-time collaborators. “I felt like I could jam with these incredible musicians, so you get me and my band tonight,” she smiled, before delivering songs from her darker, more contemplative seventh album with stunning intensity. Under a starry Dorset sky, lead single ‘Afterlife’ resonated with a poignant quality that enchanted the audience.
Saturday's lineup was designed to keep attendees dancing. The Big Top kicked off with Man/Woman/Chainsaw, delivering punk-poetic, violin-laden bursts and cymbal crashes in ‘What Lucy Found There’. The Bug Club transformed mundane themes (“this one’s about bad shoes!”) into comedic lyrical gems, briefly pausing to celebrate an unexpected marriage proposal among the crowd. From Barcelona, Dame Area shook the ground with industrial electro-punk, before Sweden’s GOAT electrified the Woods Stage with a vibrant display of masks and psychedelic enthusiasm, shaking every available maraca and tambourine.
Caribou wrapped up the day on the main stage with sheer electronic bliss. “We’re so happy to be here,” Dan Snaith exclaimed from the front (he also made a surprise appearance at Boat Stage on Saturday), as strobe lights and neon visuals enhanced hits like ‘Sun’, ‘Odessa’, and the mesmerizing ‘Never Come Back’, creating a euphoric rave atmosphere. Even after the official performances ended, the excitement spilled over with late-night DJ sets from Joy Orbison, Erol Alkan, and the surprise addition of Adam Buxton.
Despite the intermittent rain on Saturday, the crowd remained resilient. Mary in the Junkyard embraced a ghostly sound, delivering enchanting harmonies that seemed made for the festival’s essence, stating, “Someone once wrote that we are the quintessential End of the Road band – though I’m not sure what that means.” Moonchild Sanelly completely transformed the mood, turning the stage into a whirlwind of movement with her energetic tracks from the recent album ‘Full Moon’; ‘Big Booty, Boom’ and the Self Esteem collaboration ‘Big Man’ were unstoppable, marked by voguing from her DJ amidst the crowd’s joy.
Self Esteem herself delivered the defining set of the weekend. Fresh from her theatrical shows endorsed by Madonna that highlighted her third album ‘A Complicated Woman’, Rebecca Lucy Taylor sarcastically declared, “For the next 69 minutes, your arse is mine.” And indeed it was. With raw, autobiographical openers like ‘I Do And I Don’t Care’, euphoric anthems like the Elbow-esque ‘The Deep Blue Okay’, and the emotional climax of ‘I Do This All The Time’, her performance was a blend of humor, heartbreak, and victory, concluding with her band joyfully conga-lining off stage. It was an experience that felt truly spiritual, as always.
By Sunday, the sun finally shone through, and the festival closed on a high note. Rising star Miso Extra won over the crowd with tracks from her debut album ‘Earcandy’, Vieux Farka Touré filled the Garden Stage with captivating Malian rhythms, and Katy J Pearson paid homage to her influences PJ Harvey and Kate Bush with a stirring performance of ‘Take Back the Radio’. For Those I Love, another highlight of the weekend, delivered an emotional journey through dancefloor grief with raw, Belfast-infused spoken word that resonated deeply.
Finally, in a dramatic finale illuminated by Hollywood-style lighting, Father John Misty brought the festival to a close. Standing against a deep-red backdrop, he navigated tracks from ‘Mahashmashana’, his sixth album – possibly his final one – ultimately concluding with the classic ‘Real Love Baby’. “I’m not going to forget this anytime soon,” he told the crowd,
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There’s an undeniably British quality to End of the Road. Perhaps it’s the setting of the Wiltshire countryside, or maybe it’s the sporadic rain showers.