Each year our summer ends with us not just attending End of The Road festival but getting stuck in as one of their two partners (along with The Line of Best Fit).
We host our podcast live on a stage in the woods, present the music in the Big Top on the Saturday, and throw a dubiously themed party each year. Then,
like everyone else at the festival, we eat our way through three days of independent music that’s getting progressively more experimental with each EOTR,
deciding what queue we’ll join next from the back of the vegan sushi line.
That sounds like a bad joke at the expense of a festival renowned for its
where toddlers are dragged around in trailers covered in fairy lights and you’re more likely to find a guy dealing pork sausages than coke.
But it’s not. EOTR is an enduring festival because of its civility on the ground and it’s growing disturbance on stage.End
There’s still plenty of beautiful folk music and holy psych rock that built this
festival on offer, but EOTR also grew a little weirder and louder in 2019. This is what we took away from it.End
This was quite a depressing thing for us to realise, as a magazine that only
writes about new music.
Worse still, this revelation was delivered whilst we were on stage, DJing, at our own party. This year’s dubiously theme L&Q party was an opening night silent disco where we
exclusively played present day music on one channel and songs from twenty years ago on the other.
It did NOT go well for the new stuff (unless we played Fontaines D.C. or Lizzo).
Fair enough – how can you compete with ‘No Scrubs’ and ‘Forgot About Dre’, but at one point ‘Man I Feel Like A Woman’ absolutely battered Little
As long as people were listening to one of the channels though, right?
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