Photo: Richard Sherwood
Kendal calling opened its gates this year to 8000 festival goers, twice as many people as previous. The event’s reputation as the Lake District’s hidden party gem of the year clearly hung in the balance, as its modest mix of pleasing line-ups and gentle crowds seemed somewhat threatened by its sudden growth.
Where the capacity had increased, the campsite had also grown to a well-spaced area, with the blunt choice of Loud camp (fun-loving Northern masses, grubby neon tights and crushed beer cans) or Quiet camp (a lot of the same, but with marquees and kids). Aside from the odd vuvuzela and the malnourished portaloos, the site was inoffensive and relatively pleasant to stay in.
The Main Stage was small enough to get a good view, with gentle slopes surrounding the arena making sitting and swigging achievable without having to rubberneck for a glimpse of the action. There were few people at on the ground however for the Friday highlights, Stereo MCs and Calvin Harris. Excellent sound control promoted a full-on party of jumping crowds and glowsticks. A fun and bouncy start to the weekend.
There was little chance of queuing for a beer. With more bar staff than punters, it flowed generously (leading to a sell-out by Sunday) and the considerably kind bar prices kept everyone in good spirits as the sky threatened to open on Saturday. Except for two mild downpours and ominous black clouds, the whole event miraculously escaped a wash-out.
The atmosphere backstage on Saturday was welcoming and relaxed, as the bands milled around and took time-out to talk about their enjoyment of small festivals.
Barry Hyde of Futureheads fame, and curator of Sunderland’s Split Festival, told Gigwise “Tonight is all about making the crowd rock loudly. We don’t bother that much with lights and with technology, it’s all about making the crowd see that we are having just as good a time as they are. That’s easier to do with a small stage”.
Kendal-grown wild Beasts were also looking forward to playing a homecoming gig to the smaller masses. The band hoped to educate a mixed crowd, who may not be familiar with their style, despite their recent elevation with a Mercury-prize nomination. Tom Fleming explained, “We like to use opportunities like this to engage closely with the audience. This is the first time we’ve played since the nomination, and it’s our chance to really allow people to understand our style, which is very heart-driven and developed from within”.
Both bands played to a full-on crowd, with Futureheads delivering a trademark punchy and energetic set. Wild beasts battled heavy rain and managed to keep the people following to the end. Doves rounded off the evening with a powerful and emotional playlist. Throbbing lighting giving the full effect of a stadium concert.
Sunday offered an exploration of the rest of the site. The raucous screeches of Birds Vs Planes lead us to flee to The Riot Jazz stage, a Ruskie-communist influenced tent, offering Stalin-flavoured paninis, £1 stick-on moustaches and easy going folk-jazz artists. A group of kids with rat-tail haircuts offered us a toad for 10p a hold. Admirable entrepreneurship from the little fellas, but not great for a hangover of cold-war proportions.
The clouds cleared away for the day and Badly Drawn Boy delivered a typically chilled set. We all had a 30-second clap to for the late Frank Sidebottom. Combined with a little girl joining the stage for a song, the whole affair seemed genuine and ideal for Sunday afternoon relaxation.
Upping the ante at the Calling Out Stage, Paris Riots played to a packed tent. Their local following and notoriety for a powerful stage presence stood them in good stead for a full-on crowd. In a similar vein, The Subways whipped the audience to a frenzy with their stage antics and all-out rock. British Sea Power were gentler, thoughtful and captivating, making an excellent round-off for an afternoon’s viewing.
The Coral ended the whole-show with a watchable, yet predictable show. The main culprits such as ‘Dreaming of You’ drew the crowds to dance, whereas their newer material was more fro standing and listening than having a jig with mates.
Kendal Calling maintained a small and manageable atmosphere despite its growth spurt. Any larger and it runs the risk of becoming anonymous, but this year they seem to have got it right again.
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