End of the Road review: Plenty to lift the spirits on days blighted by rain

Now in its 12th year, the festival has put down strong roots that enable returning artists to feel at home as they climb the bill

Recurring themes of self-loathing and alienation: Father John Misty (Rachel Juarez-Carr)

Father John Misty, already an imposing figure, precariously mounts a drum riser to salute the crowd. Saturday's debut music-festival headline set is a triumph, recurring themes of self-loathing and alienation a hit with an audience that adores such idiosyncrasy.

This US artist’s testifying show melds his rootsy background with a chamber ensemble that moves from lush backdrop to modernist dischords. The only misstep comes from laboured joshing about alpacas in an existential cafe. If the alter ego of Joshua Tillman had done his homework, he would know End Of The Road is all about real ale and the remarkably stoic peacocks that haunt this arboreal setting.

It is an inviting venue for artistic square pegs from which the organisers consistently pull together lineups rich in quality and variety for the open-minded. Friday belonged to Americana veteran Lucinda Williams, who ranged from bruised ballads to hard rocking, backed by a kickass band.

(Rachel Juarez-Carr (Rachel Juarez-Carr)

Now in its 12th year, the festival has put down strong roots that enable returning artists to feel at home as they climb the bill. Jens Lekman is evolving into a Swedish Belle And Sebastian with his wry observational lyrics, pop hooks and, on his third appearance, at last finding the courage to cover with panache Boyz II Men’s, yep, “End Of The Road”.

Also back, Perth, Australia's Pond inject glam-rock swagger into their psych wizardry, opening with a thunderous "30,000 Megatons", perhaps the best excuse for a pre-apocalypse party since Sun Ra. This is a festival that wears its politics lightly, though Trump Inspired rejoinders, from entertaining Nashville barfly Aaron Lee Tasjan’s affirmative "I Love America Better Than You" to the endearing "Stop Him" from south London tween indie poppets Honey Has.

Another promising debut came from south London's Goat Girl, who rammed a sweltering Big Top for their sinister fairground rock n roll. On a bill with strong female representation, one standout is the urgent goth-pop from Tyneside's Nadine Shah.

Highlighting End Of The Road’s more ethereal side, Aldous Harding captivates a hushed Big Top, fully animating her emotional dramas, her voice swooping from other-worldly falsetto to sonorous lower register. Fellow Kiwi Nadia Reid’s thoughtful introspection comes more grounded, but just as well crafted. Another fine singer/songwriter, Arizona's Courtney Marie Andrews, reaches new depth on recent material linking her nomadic life with America’s troubled cities.

The whole of Sunday is blighted by incessant rain, though plenty raises the spirits of a stalwart crowd, including Vaudou Game’s taut Afro-funk and Californian outfit Foxygen’s expansive yacht-rock bringing virtual sunshine. In such conditions, a polite and sober Jesus And Mary Chain only intermittently deliver the desired catharsis as main-stage headliners.

Still, Jim Reid is in fine voice, brother William provides enough squall and a reconstituted "All Things Must Pass" holds its own alongside deathless girl-group homage "Just Like Honey". Full of such classics, it's a crowd-pleasing set under the circumstances much deserved – and one fitting this festival that delivers so much.