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My Musical 2015


Given that the chance of discovering old music is ever greater these days, the level of competition for new material is greatly increased. Add to that the fact that the scribbled list on my coffee table contained a mere four 2015 album releases and it’s clear I’ve not got a top ten this time around. Martin Courtney’s Many Moons has had multiple plays since coming out a couple of months ago though and I stand by the good, bad & indifferent reviews I’ve given over the past year. Individual songs seem to be making less impact on me year on year and titles are all but unknown due to the ease of just filling up a playlist and letting the PC or mp3 device take the strain. Personal 7” purchases have increased though whilst I’m also busy getting rid of the bulk of my CDs.

In the live sphere it’s been a very good year personally and for the site, however. New festivals (Franklin Fest, Rockaway Beach), first time attendance of established events (Incubate, Book Yer Ane Fest, Buckfest) and maintaining ties with others (Le Guess Who?, Y-Not). Consequently few individual gigs have been as memorable for me as performances at those events (or bear comparison to the entire event in a couple of cases) but Oh! Gunquit & The Black Needles deserve a mention as do Aidan Moffat & Bill Wells, Martha, Eagulls, The Charlatans and The War On Drugs. The Spook School’s album launch and their later show in Dundee at BYAF IX, coupled with the quality of Try To Be Hopeful, put them in the position of most enjoyable act of my year.

For the site as a whole 2016 will see a new Managing Editor in place as well as the introduction of a new weekly column in conjunction with Scruff Of The Neck records and further profiles of those entities fighting the diy fight. We'll have our first coverage from Hamburg's Garageville festival and our aim remains to cover a wide range of music on record and live throughout the UK and beyond – should you feel you can regularly contribute to that aim then by all means get in touch at  This email address is being protected from spambots. You need JavaScript enabled to view it.  

As per usual at this time of year, given the quiet release schedules and the fact most people have a lot of other stuff to do the site will be basically dormant for a couple of weeks. Songs that have been overlooked in the general crush throughout previous months could well though be getting tweeted so look out for those & have an enjoyable holiday period.  


Festival Coverage: End Of The Road 2015

  • Published in Live

In celebrating its 10th birthday, End Of The Road remains a unique and brilliant fixture of the UK festival calendar. Housed in the exquisite settings of one-time Victorian Pleasure Gardens, EOTR has grown in recent years, but refuses to part with any of its charm. There’s a relaxed and welcoming atmosphere, but they are deadly serious about their packed and diverse line up, which showcases huge names and those in the making.

Among the free-roaming peacocks, the festival is also packed with comedy, fantastic art installations, a Forest Disco and perfect little touches. (How does a surprise performance from Laura Marling on a tiny, hidden Piano stage sound?)

In an increasingly busy festival calendar, End Of The Road stands out from the crowd, and you can see it in the enjoyment of the performers. You’ll see many of them wandering around the site before and after their sets, and there’s no wondering why.

On Friday afternoon there were captivating sets from the Race Horses’ Meilyr Jones; moody Canadian outfit Ought; the fantastically raw Torres; upbeat art-pop act Django Django and the wacky King Khan & BBQ Show (complete with gold cape and black leather pants).

But Friday belonged to Tame Impala, who headlined The Woods stage with a commanding and mesmerising set. They flowed through earlier, guitar-led material and the more disco-focused Currents. Opening track ‘Let It Happen’ pinned their colours to the mast for a dazzlingly trippy set, and when the stomping favourite ‘Elephant’ started, the festival really felt underway.

The night was capped off by East India Youth, who performed a spellbinding electro-pop set in the Big Top Tent.

Saturday began with the colourful Human Pyramids, who performed a wonderful, orchestral show. With a stage literally full of musicians, it was the perfect wake up call, complete with uplifting string arrangements, clever melodies and startling drums.

Following this came The Duke Spirit, Slow Club, whose impact was lost slightly on a larger stage, distinctive LA two-piece Girlpool and the abrasively rocky Ex Hex. All this preceded the explosive Fat White Family, who tore the Big Top Tent apart.

As the highlight of the entire weekend, special praise must be reserved for Sufjan Stevens. Making his first UK festival appearance, Stevens played one of the most astounding sets you are ever likely to witness at a festival, during which you could hear a pin drop.

To stun a festival crowd into silence on a Saturday night is no mean feat, but in brisk September conditions the real chill comes from the wonderfully bleak compositions of Carrie And Lowell. ‘The Fourth Of July’s’ refrain “We’re all gonna die” is one you would expect to be a bit too drab for this crowd, but it’s absolutely spectacular. After sharing a hand-written letter he had received from the organisers some 8 years earlier, requesting he played, it was more special for the wait. Then when things got a little too solemn, Stevens would react appropriately, playing feel-good tunes like ‘Chicago’ and ‘Come On! Feel the Illinoise!’ complete with a brass backing band.

Following Saturday’s chill, Sunday was gloriously warm. We are welcomed by indie darlings Hinds, who had clearly brought some Spanish sun. In turn, the inhabitants of the Big Top tent groove to the tunes of Ultimate Painting and Happyness, who bring a dreamy slice of '90s-inspired rock. Later Alvvays brought their sugary indie pop to the sun soaked main stage.

Mac DeMarco offers a 10th birthday cake for the festival, alongside a slick set on the Garden Stage. “I’m going to cuddle up to a peacock and ruffle a few feathers, if you know what I’m saying”, a spaced-out DeMarco announces, in his best bloke-in-a-porno impression. Towards the end of his set, Mac leaps into the crowd, but “straight to the ground as always.” Meanwhile his band-mates, who have personalities and talent as immense as his, chuck their guitars to and fro, amidst impressive solos.

The grandiose sound of The War On Drugs, driven by Dylan and Springsteen’s influences, is chosen to call an end to the festival. Like so many others they show a genuine pleasure to be playing, saying the only other time they’d been asked, they simply couldn’t afford the flights. Now as a major player, they’ve found their place and give an impressive show, showcasing 2014’s astounding Lost In The Dream, for the festival’s final hurrah.

End Of The Road’s 10th birthday celebration was, as expected, a huge success. The intimate but expansive gathering is a family-friendly treat and a musical highlight of the year. The sound on each stage is incredible, and most importantly unlike other festivals, the 4 stages are close enough that you’re only ever be a few minutes’ walk between each (via a bar with short queues), meaning you can really focus on enjoying some great music, in an idyllic setting. Here’s to another 10 years.



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