Festival Review: Kendal Calling 2022 - Lowther Deer Park
Kendal Calling returns bigger and better than ever in a weekend that will live long in the memory.
As I arrived at the Lowther Deer Park for the post-pandemic return of Kendal Calling, the festival was already in full swing. Thursday saw performances from the likes of Sundara Karma and Hacienda Classical and served as an early palate cleanser for eager fans, desperate for a return to the fields following a two year absence. Friday however, signalled the start of the festival proper and as thousands descended on the Cumbrian countryside there was a palpable sense of anticipation reverberating throughout. On site Kendal veterans found a very different layout to previous years. 2022 saw the addition of new stages and a slight reconfiguration of the Main Stage intended to protect the integrity of the local woodland and provide a new framing for the breathtaking landscape that surrounds the festival site.
Inside the arena, the first band to grace the Main Stage were Indie stalwarts, The Vaccines. Returning to Kendal for the first time in seven years, the band were met by huge crowds basking in the summer sunshine and revelling in the exuberant atmosphere that was building. Fans were treated to a hit filled set list of tracks cherry picked from the band's extensive back catalogue including the likes of 'Post Break Up Sex', 'Teenage Icon' and 'All In White' in what was a perfect start to the weekend's festivities.
Ahead of the festival I had a clear idea of the acts that I wanted to see over the course of the weekend however, Kendal Calling has a habit of throwing in the unusual and the unexpected. Exploring the site, I was drawn into the Parklands Stage by the overflowing crowds breeching the tent's perimeter. Stepping inside I marvelled at the stage's Jungle dress including the magnificent Birds of Paradise hanging from the ceiling before being hit by the wobble of Drum and Bass reverberating from the speakers. Behind the decks on stage stood Dick & Dom performing an eclectic DJ set of electronica which to my surprise hooked me for the whole of their performance as I stood enthralled by the surreal fever dream that was unfolding before me. This was a perfect example of the kind of depth and diversity that existed throughout a line-up that was crafted and curated to ensure that there was something on offer for everyone at Kendal Calling irrespective of musical taste or preference.
High on my personal list of "must sees" for the weekend were The Big Moon. As a long time admirer of the band, this was the first real opportunity that I have had to see them play live and I was extremely excited at the prospect of catching them in action. Playing on the Calling Out Stage following a rip-roaring set from Working Men's Club and under the watchful eye of the various mystical creatures and Alice in Wonderland style paraphernalia that adorned the enclosure, the all female four-piece defied expectations to produce one of the best sets of the weekend. Borrowing predominantly from their first two records, they masterfully weaved their infectious brand of indie pop with luscious vocal harmonies to create a performance that was both cathartic in it's resplendent beauty and resolutely fun in the moments where the band reeled off some of their biggest hits.
Across the remainder of the Friday there was a of variety of other standout acts, one of which was post-punk up and comers DEADLETTER. Playing on the Woodlands Stage, an area of the festival famed for its various thought provoking art installations, the band gave a performance befitting their surroundings. Frenetic guitars, thumping basslines and wailing horns provided the foundations for Zac Lawrence to wield his urgent social commentary across a selection of pre-release and brand new tracks. One of the most exhilarating performances of the weekend, DEADLETTER are certainly ones to watch. Elsewhere on the line-up the Cribs drew huge crowds with their back catalogue of early noughties indie goodness and Supergrass brought down the curtain on the main stage in what was an incredible opening day at the festival.
Overnight Friday's sunshine was replaced by some classical Cumbrian rainfall however, this didn't dampen the spirits as the festival opened for it's second day. Saturday's line-up was populated by a fantastic selection of acts and one of the best of the day was the ever popular Sports Team. On the verge of the release of their second album "Gulp!" the band were on fine form and despite the deluge that accompanied their set, their fan base was out in full force and just as raucous as ever. Playing on the Main Stage, they put together a stellar performance filled with some of their best tracks to date such as 'Here's The Thing', 'Kutcher' and 'Fishing' in addition to material pulled from their new record with cuts such as 'The Game' making an appearance on the set list. A great opening to Saturday's blockbuster line-up.
Closely followed by the Sports Team on the main stage was chart sensation Declan McKenna who drew a substantial crowd however, it was next two acts that really stole the show on Saturday. First up was Amy Macdonald. The Scottish chart topper was a childhood favourite of mine and Kendal Calling offered up a rare opportunity to hear some of her signature tunes in a live setting. Taking material from her full assemblage, the best reception from the crowd came during performances taken from her her debut record 'This Is The Life' with the title track, 'Mr Rock & Roll' and the set closer 'Let's Start A Band' all receiving a huge reception and even a couple of nostalgia induced tears from me.
Nostalgia is something that often plays a big part in the second wave of a band's success. In recent months The Sugababes have made a statement return off the back of their past successes however, in the case of The Wombats they have tapped into something completely different and in the process attracted a whole new fan base. The band recently received their first number one album, sixteen years after the release of their debut "Proudly Present..." and their set was peppered with best of new and old and attracted one of the biggest and most diverse crowds of the weekend.
Away from the mainstage my evening ended with a DJ set from Craig Charles, a great opportunity to enjoy some funk and soul grooves and revel in some of Kendal's late night offerings. Rich in it's after dark schedule, the festival offers a great selection of DJs and over the course of the weekend I enjoyed a number of great sets from the likes of BBC introducing's Emily Pilbeam in the Opulent surroundings of The Gatsby's House Party and also a fantastic performance from Faithless on the Sunday evening to close out the festival. Elsewhere on Sunday's schedule I had the opportunity to enjoy the intergalactic delights of The Orielles as well as the brilliance of The Snuts and 808 State. The perfect way to round off an incredible weekend in the fields.
Kendal Calling is often cited as a "Mini Glastonbury", a title that may seem a little grandiose for the uninitiated however, I feel that characterisation is perfectly apt. At Kendal you get a diverse line-up, a truly multigenerational offering that allows old and young to come together in one of life's rare liminal spaces, a place away from the day to day drudgery. As camping festival's experience a revival in the UK post pandemic, Kendal Calling offers the perfect example of why they are essential piece of our culture and I for one can't wait to return.
Words by Jordan Corrigan
Photography provided by Festival Press Office
