Meandering between sleepy Dorset woodland, End of the Road marks one of the most deftly-curated jewels of the UK’s festival season: a diverse weekend of optimism which even the British weather can’t quell.
For a festival of its size (around 13,500 punters grace Larmer Tree Gardens over the weekend), End of the Road’s eclectic programming punches far above its weight in an ever-more bloated arena of summer events. Subversive acts such as Moin (who infuse sparse post-rock instrumentation with vocal samples) and newcomer BLACK FONDU (whose angst-ridden fusion of abrasive hyperpop, noise rock and grime jolt festival goers into life like a defibrillator early on Saturday afternoon) comfortably sit shoulder to shoulder with the joyous folk stylings of 84 year old songwriter Tucker Zimmerman.
Never is this more apparent than at The Boat: an unassuming, low-ceilinged marquee nestled beside the karaoke shack in a quaint corner of the woods. It is here that Manchester outfit Mandy, Indiana ignite Friday evening with a thunderous set of drum-heavy industrial experimentation, corroded guitars and seething, intensifying French vocals from Valentine Caulfield. “The eye patch isn’t a fashion statement, by the way,” Caulfield declares, referring to her swashbuckling facial aid moments before flinging herself head-first into the bustling crowd. “I’ve just had eye surgery and I can’t see shit.”
Saturday’s double header of Mount Kimbie – whose pre-headline turn on the Woods Stage coax frigid attendees into the rain to see their triumphant set reach fruition with a sizeable, suitably spellbound audience – and Swedish punks Viagra Boys, headlining the fairytale setting of The Garden stage.
Draped in foliage and scattered with whimsical lighting, The Garden Stage is packed to the perimeter for Viagra Boys following April’s release of the band’s showstopping fourth album. This must surely be the most picturesque setting in which the raucous sextet (who have donated tonight’s performance fee to Doctors Without Borders) have ever barked the refrain “I am a man that’s made of meat // You’re on the internet looking at feet” to a bustling mosh pit.
Father John Misty closes Sunday’s festivities with a performance handmade for such an occasion. Backed by stark, super-trooper lighting, Josh Tillman and his 7-person band tear through a twenty song setlist which pairs his courtly, crooner persona with monolithic, festival-closing anthems. For all of the tracks which are missing [‘Ideal Husband’, ‘True Affection’ and ‘Total Entertainment Forever’ all fail to make the cut], 2024’s ‘Screamland’ hits like a hymn of gargantuan proportions, ‘Holy Shit’ is given a perfect outing and ‘Real Love Baby’ sparks the most joyous singalong of the weekend.
End of the Road’s sonic roster is bolstered by a Lynchian cinema tent (hosting a Thursday marathon dedicated to the director’s work), a dystopian hub of participatory party games and a hefty collection of life-drawing, yoga and Qigong workshops.
Sleek and professional while retaining a homecooked charm, End of the Road provides an easy-going retreat with a deceptively deep well of offerings. Whether you’re a gig-goer in search of the most vibrant alternative music in the festival calendar, a 6 Music Dad queuing at the Rough Trade signing tent or a local reveller grappling with your rain-diluted tinnie.
The mud-battered trainers – retired to the bin immediately upon their return to society – are a small price to pay for a near-perfect finale to the summer.
