“Tonight we will burn in hell,” yells a bloke referred to as Joe as a DJ in a fisherman’s hat and his saxophonist sidekick jog on the spot to some rabid digital post-ska. A minute in the past, everybody was bobbing on the knees to the cabaret drop-down part of a bit of skittering jazz rock that couldn’t be extra South London if it had insufficient transport choices. That is Fats Canine, freshly signed to Domino and kicking off EOTR Day 2 in typically esoteric vogue.

Throughout on the foremost Woods stage, Brooklyn’s Say She She – named as a tribute to Stylish for causes which swiftly turn out to be obvious – are spinning and sync-dancing by a form of psychedelic disco funk they name discodelia, caught within the precise midpoint between ‘60s psych soul and ‘70s funk the place it’s acceptable to sing traces like “be my lover on an astral aircraft”.

Mid-afternoon on the Speaking Heads stage, Angeline Morrison bewitches a crowd perched on hay-bail pews together with her haunting folks laments on home violence, her supernatural bond to her late grandfather and a number of other sorry tales of slavery, racism and maltreatment from her latest album The Sorrow Songs: Folks Tales Of Black British Expertise.

They could share a folks custom however there might barely be a sharper conflict of vibes all day than that between Morrison and The Mary Wallopers on the idyllic Backyard Stage. “All of us have fleas and we’re pleased with it!” they yell, bantering wildly between crazed conventional jigs, reels and yarns celebrating Cork’s red-light district and wealthy folks going to hell. The important thing signifier? “When you’ve got model title underwear, you’re fucking wealthy.” They too boast their justifiable share of historic social commentary; one battle ballad confronts the warmongering wealthy whereas The Dubliners’ “Constructing Up And Tearing England Down” tackles the Irish “navvy” battle. However we’re moved right here in a really completely different method; whirled by the elbow slightly than hurled by the heartstrings.

By dusk, exuberance burnt, a chill descends. “You staying heat?” Angel Olsen asks the Backyard Stage crowd as she wraps her nation quilt throughout its shoulders. Hers are opulent Americana songs of big-sky drama and romance; alt-country with an Oppenheimer co-write, Lana writ giant.

Accompanied by a string duo, occasional harpsichord and delicate band, the ghostly melodies of “Give It Up” are imbued with strident emotion, “Unfucktheworld” turns into a devastated waltz. But for all of the Lynchian haze and luxurious unhappiness shrouding her music – she even closes with an impassioned if considerably tongue-in-cheek cowl of Badfinger’s “With out You” – there may be additionally loads of hope on present. “Sister” balloons with sonic optimism and “Shut Up Kiss Me”, the 2016 hit she craftily introduces as “a music I wrote final night time”, catches a lot of its infectious pleasure from it sheer willpower for love. “We’ve obtained two extra songs,” she says in direction of the tip, “wonderful, I like freezing!” However her viewers, tonight, burn in heaven.