Abigail Morris, singer of The Last Dinner Party, has a burning question: “Isn’t this the best fucking festival in the world?”

It’s Thursday night at End of the Road, the beloved boutique festival that’s been held in the wooded Larmer Tree Gardens, on the border between Dorset and Wiltshire, since 2006. Although her question is rhetorical, and although the party is hardly even in full swing yet, Morris’ suggestion is met with a full-bodied response from the crowd that stretches back along the main Woods Stage.

Emily Eavis would probably like a word with this lot, but End of the Road has long cultivated a reputation as the worst-kept secret on the festival circuit. Despite its cartoonish, dow-nhome aesthetic (epitomized by an art-adorned woodlands walk and handmade-looking signage that looks like it was commissioned by Wes Anderson), the 15,000-capacity weekender has also long outgrown its folky beginnings.

the last dinner party
The Last Dinner Party at End of the Road 2023. Credit: Gem Harris
This early-doors show is a case in point. Their confident, theatrical set might channel New Romanticism and ‘80s Bowie, but the The Last Dinner Party look like they’ve just escaped from a ‘70s heist movie, the band flanked by bassist Georgia Davis in a flamboyant flared suit and keyboard player Aurora Nischevi in a matching orange blazer. The quintet have been attending EOTR as punters for years: “This is like playing the Pyramid Stage for me,” Morris announces, “so we’ve peaked.”

That sense of excitement is matched the following day by reformed indie stalwarts Be Your Own Pet, who, exclaims wildly energetic singer Jemima Pearl, come to us “all the way from Nashville, Tennessee… and 2008”. The band supplement indie sleaze classics ‘Becky’ and ‘Adventure’ with politicised newbies ‘Hand Grenade’ and ‘Big Trouble’. “It feels so good to be back,” beams Pearl.

Be Your Own Pet at End of the Road 2023. Credit: Gem Harris

Fellow ‘00s blogosphere graduate Panda Bear, of Animal Collective fame, teams up with producer Sonic Boom for tedious audiovisual self-indulgence in an inexplicably rammed Big Top, before Marie Davidson puts in the graveyard shift on the same stage, showing them how it’s done. She draws a much smaller crowd, but everyone who came to End of the Road in a bucket hat shows up for her grinding, nihilistic techno, which blows away the cobwebs after Angel Olsen’s spellbinding set on the Garden Stage.

Appropriately, the Missouri-born star performs her wistful Americana under an eerily clear, near-full moon. “This song I wrote last night,” she teases, informing the audience that they’ll hear it first. Expectations duly raised, she then thunders into 2016’s grungy ‘Shut Up, Kiss Me’, her signature song.

That bombshell’s not the last surprise of the weekend. A mystery has hung over the late Saturday evening slot on the main stage, which is revealed to be a secret set from none other than indie superstars Wet Leg. It appears End of the Road does worst-kept secrets: one bloke down the front has brought his own chaise longue for the occasion.

“Hello – we are Oasis,” Rhian Teasdale waves to a crowd that seems to account for every punter on site. The singer apologetically explains she’s under the weather so “can’t give you my all”, but looks visibly thrilled to be back at a “special” festival: she and fellow founding member Hester Chambers formed Wet Leg here back in 2019 – atop the Ferris wheel, of course. What follows is a fittingly freewheeling set from a band with nothing to prove. By the time they inevitably close with ‘Chaise Longue’, kooks are dancing on the one down the front.

Geese at End of the Road 2023. Credit: Andy Ford
Future Islands close out the Woods Stage, with frontman Samuel T. Herring answering the question: what if Steve Pemberton became the world’s most normcore rock star? Clad in a  black t-shirt and jeans, he nevertheless remains a supremely strange stage presence, lunging and barking his way through the Baltimore band’s emotionally charged synth-pop. He’s mesmerizing even before they encore with a devastating, fuzzed-up ‘Little Dreamer’.

It’s a heavy moment, alright, though precedes a feel-good Sunday scorcher that sees Cameron Winter of recent NME cover stars Geese thank the Big Top’s healthily sized crowd for “staying with us in the sweatiest tent in the fucking festival”. The band’s Southern rock pastiche marks a mini ‘70s revival at End of the Road, as Picture Parlour’s Katherine Parlour graces the Folly Stage looking every inch the rock star in dark shades – indoors! – before she evokes the decade’s raw-voiced wailers, ably assisted by Ella Risi’s fabulously histrionic guitar shredding.

King Gizzard and the Lizard Wizard at End of the Road 2023. Credit: Andy Ford

There’s more fretboard showboating from King Gizzard and the Lizard Wizard on the Woods Stage, while Ezra Furman hammers out ragged art-punk on the Garden Stage for what, she warns, might be the band’s final show. ‘Body Is Made’ gets a slow-burning makeover that renders its celebration of gender diversity, which Furman delivers through gritted teeth, all the more resonant. “Trans power!” she yells, concluding this magical get-together with a powerful sense of unity.

The best fucking festival in the world? Maybe – but keep it to yourself. This review will self-destruct in five…

Kanye West, the artist and producer now going by Ye, stepped back onto a Los Angeles stage focused purely on the music during night one of his two show run at SoFi Stadium in Inglewood, California on Wednesday, April 1. The return arrives after years filled with controversy, public scrutiny, personal struggles involving mental health, and his January apology published in The Wall Street Journal addressing his antisemitic comments. Showing unusual restraint, the outspoken performer chose not to address any of the criticism during what marked his first major U.S. performance in years.

Public backlash did little to slow the momentum of the event as thousands of supporters filled the venue floor and stands. Many arrived dressed in Kanye merchandise, avoiding controversial imagery, along with lucha style shirts fresh from the merch counters. A look at ticket prices shows Ye continues to command major revenue from his catalog despite his offstage controversies. According to Ticketmaster, general admission tickets for the April 3 show were listed at $537.80. Resale listings for upper tier seats, which offered clearer views of his half sphere inspired stage design, were also priced in the hundreds. Fans who could not attend in person were able to watch through a livestream that appeared on his Instagram just hours before the performance began.

Across a two hour performance, Ye delivered a wide ranging set filled with classic favorites, repeated tracks, and selections from his recently released twelfth album Bully. Wearing a black face covering, he walked alone across the curved stage structure designed to resemble Earth and at moments gave the impression of a solitary figure on his own world.

The crowd reflected different generations of listeners as younger fans sang along to newer tracks such as “FATHER” and the André Troutman collaboration “ALL THE LOVE.” Energy spiked when a mosh pit formed during “Blood on the Leaves.” Older millennial fans found their nostalgia during a sequence of songs spanning Kanye’s early and mid career from 2004 through 2016, from The College Dropout through The Life of Pablo. Songs like “Can’t Tell Me Nothing” and “N—-s in Paris” echoed through SoFi Stadium with the same intensity as when Graduation or the Jay Z collaboration Watch the Throne first arrived. “Say You Will” and “Heartless” from 2008’s 808s & Heartbreak brought back familiar feelings tied to heartbreak and the era when Auto Tune shaped the sound of pop and hip hop. The closing stretch featuring “All Falls Down,” “Jesus Walks,” “Through the Wire,” “Good Life,” “All of the Lights,” and the emotional finale “Runaway” sparked a sense of longing for earlier days both for fans and for the Chicago native himself.

Aside from the nostalgic song choices, technical problems occasionally interrupted Ye’s creative plans. Early performances of “KING” and “THIS A MUST,” which he later repeated, were affected by microphone and audio complications. He also stopped “Good Life” three separate times because he was unhappy with what he called the “corny” lighting setup. “Is this like an SNL skit or something?” he asked the production team. “Stop doing the vibrating Vegas lights, bro. We went over this in rehearsal.” The first SoFi Stadium show almost felt like a preparation run for the April 3 performance, which also happens to land on Good Friday. The timing also recalls the G.O.O.D. Friday song releases that led into his landmark 2010 album My Beautiful Dark Twisted Fantasy.

Despite frustrations with the production, Ye did not perform alone. Longtime collaborator Don Toliver joined him onstage for performances of “Moon” and his own track “E85.” Ye’s daughter North also appeared, bringing bright energy and her blue hair to performances of “Talking” and “PIERCING ON MY HAND.” She wore one of her father’s concert shirts during the appearance, all while it was still a school night.

As the concert continued, Ye handled the technical setbacks as they happened without turning the situation into a rant. For longtime fans, separating his unpredictable public behavior from his extensive catalog of influential songs remains complicated, especially for those who still feel connected to his earlier creative periods. At the same time, his former close collaborator Jaÿ Z is preparing for his own stadium appearances this summer, which adds another layer of reflection about what their partnership once represented. Ye may be staying quiet publicly for now, yet questions remain about whether a full redemption era could still be ahead.

Ye 2026 Set List

1. KING
2. THIS A MUST
3. FATHER
4. ALL THE LOVE
5. Father Stretch My Hands, Pt. 1
6. Can’t Tell Me Nothing
7. N—-s in Paris
8. Mercy
9. Praise God
10. Black Skinhead
11. On Sight
12. Blood on the Leaves
13. Carnival
14. Power
15. Bound 2
16. Say You Will
17. Heartless
18. Moon (with Don Toliver)
19. E85 (Don Toliver)
20. KING
22. THIS A MUST
22. FATHER
23. ALL THE LOVE
24. Talking (North West)
25. Piercing On My Hand (North West)
26. Everybody
27. All Falls Down
28. Jesus Walks
29. Through the Wire
30. Good Life
31. All of the Lights
32. Runaway

This article was originally published on VIBE.

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