Strummer of Love, running from 17-19 August, was a one-off festival held to mark the 10^th anniversary of the death of legendary Clash frontman, Joe Strummer. With proceeds going towards Strummerville – the charity set up in his name to benefit aspiring musicians – and no added booking fees in the ticket price – it was a major thumbs-up from get-go.

The festival came about on account of Glastonbury’s fallow year, and was billed as a natural progression from the campfire sessions held at that and other festivals. Indeed it often felt as though the spirit of Glastonbury was present during the weekend – and not just because of the mud.

Taking place in the officially designated ‘Area of Outstanding Natural Beauty’ of Blackdown Hills which straddles the Devon-Somerset borders – it was indeed a beautiful spot to hold a festival. Although, it did at times seem a little unfair that while the rest of the country was reveling in the hottest weekend of the year, we were still scrambling in wellies through mud to get to the main stage.

With a distinctively eclectic line-up, it’s hard to describe the make-up of the average festival-goer. From 18-year-old ‘A’ level celebrants to families with kids to nostalgic former punk-rockers, there was obviously something to attract all sorts. Evidently there was a lot of local support for the event, too. I overheard one of said locals remarking that the best entertainment was watching Londoners trying to walk in the mud. For the record, not an easy feat as the mud in these parts being of a particularly tenacious consistency.

The variety of bands is perhaps a testament to the wide ranging tastes of Joe Strummer himself, who provided inspiration for many of the musicians on the bill. Particularly on the main stage, dubbed ‘Clash City Rockers’, many acknowledged their debt to him on – among those performing,  Frank Turner, Kitty, Daisy & Lewis, King Charles and Alabama 3. The main stage was also the setting for performances from friends and former collaborators of Strummer – including The Pogues. Headlining on Saturday night, they got everyone up and dancing, delighting the crowd with a string of hits, including ‘Dirty Old Town’ and ‘A Pair of Brown Eyes’, linked with segue ways delivered by the ever-incomprehensible Shane MacGowan.

Sunday had a stellar line up, including Emmy the Great,  and KT Tunstall. In the afternoon, the sun shone as 90s Liverpudlian indie band, The Farm, took to the stage, delivering the classics ‘Groovy Train’, ‘(I’m not Your) Stepping Stone’ and ‘Altogether Now’. Leaving the crowd wanting more they performed a short set ahead of their collaboration that night with The Justice Tonight Band, ft former Clash band member, Mick Jones.

My personal favorite had to be Seasick Steve, offering up a dose of the Deep South on Friday night. To describe his music, I’d say, Steve rolls slow and steady like a hobo catching a ride on a freight train, then starts cranking up the speed, and before you know it, you’re in for a whirlwind of a ride. With a twinkle in his eye and flexing some impressive septuagenarian biceps, a song like ‘Chiggers’ (about an insect of unusual ferocity which inhabit those parts) will conjure up a land I imagine to be alien to the majority of most Americans. He also makes for a colorful raconteur with dialogue in-between songs peppered with the odd ‘hellfire in a hand basket’. These guys can make music out of anything – Steve produces a guitar made out of two hubcaps and a garden hoe, while his drummer, Dan Magnusson, picks up a broom and starts making sweeping percussive strokes in beat to a song. Instruments are both versatile and expendable – Steve drinks whisky from another homemade guitar, then at the end of the set, the drummer wrenches off the cymbal and smashing his kit with it. 

Away from the main stage, there were pathways connecting to the rest of the site and other stage areas. A wooded area was home to the Sunset Disco playing from sundown into the small hours. Elsewhere, the Johnny Appleseed stage featured dance and DJ acts, and, in the corner, the small and intimate Campfire stage, hosted the up-and-comers – a mixed bag with the odd gem thrown in. Notwithstanding south London outfit, The Meat and Onions Gang, who I gave a wide berth to – having been camped near them for the duration, I’d heard enough.

Aside from the music, other entertainment to be had included arts and crafts in the Handmade Hangout, the Healing Circle, and Children’s World with steel drumming workshops and space-hopper races for kids. In the same area there was also the Strummer School – a tent filled with Joe Strummer memorabilia, including set lists, notes and lyrics, and featuring as a central exhibit a campfire of typewriters.

Logistically, there were times when the organization seemed a bit chaotic – although given its DIY creed it’s neither surprising nor a big deal. There was only one access road in and out of the site which got a bit challenging at times, and there wasn’t the variety of eateries or stalls you’d get at larger festivals. Aside from the Elderflower Kitchen – there weren’t many places to sit down out of the mud and eat – unless you’re one of those countless organized individuals who bring their own chair to these things.

The main breakfast spot seemed to be The Common Ground – run by a local Christianity-based community and Glastonbury regulars. Spreading the word through music and vegetarian fare, if I were ever to convert it would be for a religion that supports festivals and serves up an awesome vegeburger. Interestingly, when I asked one of the guys working there if he’d had the chance to see any bands, he shrugged and replied that the best music is to be heard around the campfire. And he had a point. Indeed, it’s a fitting tribute to the man who was the festival’s inspiration, that it’s the campfire which is the humming heart of Strummer of Love.

It also turned out to be a very intimate festival – even with only a capacity of 5000, it appeared that the mixed weather may have been enough to keep folks away. Which although probably doesn’t translate to terrific ticket sales, it made for a pleasant a rarity to be able to get up close and personal with the artists on the main stage (or vice versa). But as Glastonbury shows, great things come from small beginnings, so who knows. Maybe this could be the start of something big. But for now, as Seasick notes, ‘this is one hellluva cosy festival’.

PS: And a congratulations to Sonia and Tony, married at the festival on Saturday.

Reviewer and Photos by Bev Ager