End of the Road 2026

Its twentieth-anniversary edition ran from 3 to 6 September and saw bands sing happy birthday (Pulp, Mac DeMarco incidentally to the band’s photographer, CMAT to her keyboardist) and revellers poke fun at the obsessive nature of the festival’s followers who return year on year. Someone who had attended for more than fourteen consecutive years was brought onstage during a comedy act.

This festival has it all: life-affirming music, awe-inspiring décor sprouting in all corners of the forest and spectacular grounds of Larmer Tree Gardens in Dorset, comedy, crafts (badge-making was a blast), a games area complete with a pommel horse. Yes, it’s compact at a fifteen-thousand-person capacity, but that keeps it intimate. Thankfully, this year the rain abated, allowing fans to make even more of the discoveries for which End of the Road is known.

To much excitement, the main stage presented the band of the moment, Geese — for whom a fervour ensued as each act I saw and heard of during and after their performance continued to reference them that night. Cameron Winter was his impressive self, as captivating as ever against the minimalist staging, while their similarly resplendent guitarist, Emily Green, grooved in the most gorgeous pinstripe dress. This band is the antithesis of vapid, manufactured celebrity, as they embody something relatable and meaningful. Yes, their musicianship is tight, impressive, easily put in the rock-god category. However, within their tumbling compositions lies true, messy humanity. Attendees in plush goose hats continued to be crowned throughout the festival, perhaps an ode to Geese’s ongoing reign.

Mac DeMarco, a near-historic member of the indie gig circuit, performed on the Woods Stage too, although eclipsed in fame by Pulp. DeMarco showed just as much zest as he did in the 2010s. Balanced on top of a speaker, he delivered the beloved classics from his extensive discography. Framed by orange triangle projections like flying Doritos, Mac DeMarco’s energy was high and his voice honed. The band completed the set with a rendition of Michael Jackson’s Human Nature between screams. It was hilarious and impressive. Meanwhile, Pulp’s crowd the following day showed just how legendary the group is. The band was tight, interesting and engaged, with each member bringing their own merits.

Every tent or stage presents its own flavour. In the sun, Garden Stage is often but not exclusively coloured by folk and indie rock. Standout performances in the verdant space were Dublin’s Madra Salach and Brighde Chaimbeul’s haunting bagpipes. Paul Banks, Madra Salach’s frontman, was simultaneously magnetic and modest; his emotive, resonant vocals entranced, while his stage chat drew laughter amid the frenzy. These two acts didn’t need to say it: cool folk is back.

Over at Big Top an extensive programme of boundary-pushing electronic artists, sprinkled with guitar bands, featured. Colossal Squid, the brainchild of highly talented producer and drummer Adam Betts, cranked in all the right directions. The music was sublime and bizarre. Meanwhile, Kelly Lee Owens’ set delivered the hard techno required late at night. Another Country $$$$ also performed well at Big Top, like a hammer of disorientation; they weakened the line between night and day in the dark tent. Intense at times but ultimately cathartic.

Smaller stages The Folly and the Boat showcase rising acts, and things can get a little strange there. Two in particular stood out this year: The Cindys and Silverwingkiller. Both had the energy of a coiled spring, in completely different genres. At the Folly The Cindys’ rock was a balm, sensitive and energising. Facing members of the crowd in homemade merch, there’s palpable momentum behind them. There’s a retro sound to The Cindys that is really heart-warming. Silverwingkiller was more like an industrial experimental punch in the face, without the pain. Pop-inflected, multilingual vocals met crunchy electronics with driving bass. End of the Road knows how to find a niche, promising act for the festival’s growing ranks of die-hard fans.

In between the trees, on the grass, this festival doesn’t stop at big names; it plants the next headliners too. In the smaller constellation of stages, you’ll find the next artists to make an impact.