Festival Review: End of the Road 2022
End Of The Road 2022 Review: Unrefined artistic expression turned up to full volume along with some renowned acts in the mix.
As summer comes to an end, with the stormy clouds of autumn and winter in the far distance, the UK’s festival season also nears its end. But fear not, there is one last hurrah to celebrate the excitement of the summer with End Of The Road, a fiesta like no other in the fields of South Wiltshire.
From the first steps into the fields, it is clear to see that End Of The Road attracts a very specific energy, one of unprejudiced compassion and enthusiasm for artists and their unorthodox and diverse ways of living which have flourished so many distinctly exquisite parts of modern culture.
The first day began with afro soul brilliance of K.O.G alongside the punk influenced social commentary act from the Faroe Island Joe and The Sh*tboys on the nearest stage, immediately putting on display the diverse range of music which is played over the four days.
On the main stage, Sudan Archives introduced the crowd to an unbarred performance with their remarkable violin skills and heartfelt appeal to mental health awareness, just before Khruangbin gave a barrage of entertainment with the dreamiest of guitar tones of Mark Speer modulating its way through the stone wall rhythm offered by Laura Lee on bass and DJ on drums. It could not have ended in a better way as they decided to embody the coolest 90s radio station with covers of A Tribe Called Quest, Ice Cube and Ol’ Dirty B*stard.
The second day included highlights such as post-punk band Keg, the slow melodic ballads of Golden Dregs, the brilliant combination of soul and rock influences of Wu-Lu, and the mighty Tinariwen playing their desert blues from the heart of the Saharan desert. Porridge Radio gave in a performance of a lifetime as Dana Margolin spilt her heart out with raw positive energy that brought tears of joy to many parts of the crowd and earned the band a lot of high appraisals.
Headlining this night were the magnificent Fleet Foxes in all their might, bringing out their acoustic folk anthems that defined the last decade of music. Robin Pecknold was switching his guitars up after every song as they ran through every phase of their discography, with beautiful vocal harmonies, a phenomenal horn trio, and odd time signatures which almost go by unnoticed. At the same time black midi unleashed their hellfire on the Garden stage as Geordie Greep and his fellow partners in crime displayed their undeniable proficiency in prog rock inspired chaos.
It was impossible not to be tempted into the massive Big Top stage straight afterwards, as the legendary duo Battles. Although there are only two members, the sound is equivalent to that of a much larger group of musicians. There are few better experiences than observing the intense non relenting drumming of John Stanier, with the highest placed crash cymbal in the whole wide world, whilst Ian WIlliams goes absolutely insane fiddling between his guitar, synthesizer and other electronic equipment whilst not missing a single note or beat. Surprise act Beak> was another highlight of the festival with their groovy synth led compositions backed by expert drum fluency by Geoff Barrow.
The third day was highlighted by the soft sounds much needed in the morning time by finger style guitarist Yasmin Williams and psych-folk inspired The Heavy Heavy. Other highlights included Bristol-based Grove, charming vocal performances by The Weather Station, Cumbria inspired guitar jams by Los B*tchos, followed by the amazing, coordinated display of sincerity and humour by Lynks. Perfume Genius and Kevin Morby provided further entertainment shortly after as they each provided a fitting view for another sunset over Larmer Tree, aside a mighty show by London-based duo Jockstrap.
Pixies provided a fitting end to another day of exciting music all over, as they set up the Woods stage with a radiating line-up of Vox and Marshall amps, ready to unloose their grungy screams onto an eager crowd. Playing songs from every era of their discography, they put to ease those who thought they would not dare play some of their more under-the-radar material from their early days. They even dared play Wave of Mutilation twice, along with a The Surftones cover.
The final day’s highlights included the likes of Mogwai-esque post-rockers Deathcrash, Brooklyn talented songwriter Cassandra Jenkins, South African indigenous inspired music of BCUC, peculiar two-piece London band O., jangly guitar tunes from Kurt Vile and The Violators followed by American singer-songwriter Lucy Dacus.
Bristol four-piece Scalping and their heavy electronic psych nonstop frenzies backed by visuals that could almost transport the audience into another dimension of being. Canadian group Cola provided guitar-driven tales of modern life by former members of Ought. Bright Eyes and Aldous Harding were the two star headliners of the evening, leaving everyone with a tough decision at hand.
On one side there was the fairy-tale emotional indie-rock group that has been pivotal to the conversion of emo and folk music since the 1990s, who have only recently come back from an eight-year hiatus. On the other side of the festival there was Aldous Harding, folk singer-songwriter originally from New Zealand who has recently gathered a massive following with their cryptic and entrancing storytelling. Both equally fantastic and enthralling, bringing the festival to its last few hours.
Shortly afterwards a nearing thunderstorm caused delays in the last few shows of the night, albeit they provided a fascinating background to Bright Eyes and Harding’s light displays. Yard Act rocked out shortly after as they unchained their energetic post-punk sound unto a soaking wet crowd which waited patiently in the rain, along with northern Shoegaze specialists bdrmm with their powerful guitar melodies and intriguing drum patterns.
It is quite fitting that the thunderstorms seemed to arrive at the very last minute of the four-day festival, almost as if mother nature felt angry that she missed all the fun. And after all, there is no one who would really want to miss such a bright, joyous celebration of our culture. At the end of the road there is a golden storm, and not many shine as bright as End Of The Road.
Words by Jay Cohen
Photography provided by Practise Music
