Now celebrating its 10th year, End Of The Road is a folksier alternative to more prominent names. It offers a mecca for foodies (all organic, all local) and lovers of folk and dreamy rock tunes can expect a perfect blend of the tranquil and the lively.

The real-ale soaked Dorset gathering has attracted big names this year, with headliners including shoegazers The War On Drugs who arguably released 2014’s finest record, Lost In The Dream and Sufjan Stevens, who has penned Carrie And Lowell, a contender for 2015’s. They’re joined by Australian psychedelics Tame Impala, who have their hotly anticipated 3^rd release coming in July.

There’s a refreshing vibe to the festival and campers are given the space and freedom that the range of music merits. There are no VIP areas so performers are often seen wandering the site. My visit to the festival in 2013 involved a conversation with members of Parquet Courts about the best beer on offer. They were just chilling by the Cider Bus. Yes, there’s a Cider Bus.

The range of performers is staggering but the must-see acts at 2015’s festival include Future Islands, who you’ll know and most-likely love from that Letterman performance. There’s Laura Marling whose soft acoustic tunes are accompanied by a beautifully chilling voice. Superstar slacker Mac DeMarco and afrobeat outfit Django Django bring the perfect hazy summer soundtrack. Alvvays create fuzzy indie-pop in abandon while the legendary Mark Lanegan offers a darker touch.

Torres has a spell-binding rawness in her craft of moody indie-rock tunes. Ought are an exhilarating art-punk band from Montreal, Canada. Wistful folk from Jessica Pratt sounds as if it is lifted straight of the mid-'60s and Happyness’ dreamy lo-fi sound is a mesmeric treat.

But this is just the tip of the iceberg in the range of sun-soaked up-and-coming gems on offer and with wild Peacocks roaming the festival site without a care in the world, End Of The Road 2015 is a truly unique festival. V-Festival it’s not.

Enjoying excellent sound in Edinburgh's finest live venue the touring sextet of The War On Drugs brought Lost In The Dream to a near sell-out Scottish crowd for the second time in only four months.

Appearing before a crescent channel shape backdrop of ever changing colours there was at times a feeling that you were watching a performance from some Seventies TV showcase, something the transparent orange drumkit with Charlie Hill sat behind it like a diminutive John Bonham did little to dispel. Seldom has a drummer drawn my attention from the foreground players as much as his performance did last night, although having an elevated position from which to watch the show obviously made that easier.

Not that it was easy to take your eyes off of Adam Granduciel as he delivered a performance that really brought the guitar work from Lost In The Dream and Slave Ambient to its obvious limit. Not fully experiencing an album until you witness it's tracks delivered live was certainly the feeling you gained right from the start. Having apparently been a bit off form and irritated by photographers at the tour's Newcastle show he was totally relaxed and enjoyed an ongoing dialogue with the audience about ice cream, nut allergies and the correct pronunciation of the city's name.

As the Usher Hall isn't the sort of venue to seek two crowds per night with a club after gigs there was no sense of the band being rushed to wind things up and, including the encore, there was practically two hours of performance which is pretty good going by any reckoning. Criticism from fellow audience members on the way out of the show focused mainly on the front-loading of the set with the band's faster numbers, causing the final third of the main set and the encore to be mid-paced rather than building to a crescendo but the impression remains that the same size of gathering would turn out if they were to come back in another four months.

Support tonight came from Amen Dunes for half an hour. They also enjoyed very clear sound for their performance but were a bit dwarfed by the size of the hall and possibly a too laidback choice in terms of actually warming up the audience (or the 50% that bothered to be in the hall to see them), despite speeding things up as they went through their set. The slightly more intimate surroundings of the Liverpool Psychfest last year suited the likes of 'I Know Myself' (from current release Cowboy Worship) better but they didn't seem to mind.

Further images from the gig can be found here.