In celebrating its 10^th 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 10^th 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 10^th 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.

Initially formed as a side project from two other bands, Ultimate Painting are now a fully-fledged outfit in their own right. Jack Cooper from the band Mazes and James Hoare from Veronica Falls first met whilst touring together with their respect bands.

Green Lanes is their second album, and confirms this project has now evolved into something much more permanent. The album contains twelve new tracks, and displays the duo’s love of a return to a more stripped-down, laid-back sound.

The production of this album highlights a willingness to move away from a digital format, and to move back to an analogue approach. The first few tracks, ‘Kodiak’ and ‘Sweet Chris’ draw on the duo’s love of the late 1960s and early 1970s acoustic sounds, with the pair indicating their love of Velvet Underground as a major influence. ‘Sweet Chris’ is a well-crafted melancholy, “miss you” track.

Their ability to produce laid-back yet well-constructed tracks is an art in itself. Whilst listening to the album, you feel that they are not too concerned about what the finished article becomes. Yet, you can hear they were simply enjoying making it.

The album moves effortlessly from track to track in a beautiful, laid-back haze, making it perfect for those difficult “What to put on?” moments we all suffer from. However, it could be argued that its nonchalant approach could allow some to feel it’s too soft and mellow for its own good. Yet, dig a bit deeper in tracks such as ‘(I’ve Got The) Sanctioned Blues’, which has an array of subtle guitar hooks, and discover the band’s influences ranging from The Beatles to Oasis. You realise that the laid-back charm of this album makes it a wonderfully crafted item.

‘The Ocean’ conjures up images of all our childhood school holidays, lost at the seaside in a long endless summer. The lyrics describe:

“Take a deep breath / Into the ocean / Endless holidays / Playing in slow motion”

This track also gets a cheeky one minute reprise later on in the album, which is also repeated in the track ‘Tee Zee Em’, which shows the duo’s confidence and ability in their craft. ‘Break the Chain’ is a simple tale of truth and lies, which is delivered with sunken vocal harmonies and a dreamy laid-back groove. ‘Woken By Noises’ is a complete change of pace, and almost shakes our ears out of the dreamy state. The lyrics are upbeat and display some great wordplay, along with the rest of the track as they lament the perils of living in a modern city. We only wish we could have had a few more tracks like this:

“Smoking… ah, I’m smoking again / The pressure built up / So I’d thought I’d cave in”

The duo have more that exceeded the tricky second album syndrome, and we hope there are plenty more albums to come.

Green Lanes is available from Amazon and iTunes.