A love letter to the London grassroots scene: FarmFest 2024

TAYA MINCHINGTON looks back on this year’s FarmFest, Rickmansworth’s ongoing grassroots response to the “modern festival.”

It may not have been the hazy summers of bygone times, but somewhere in Rickmansworth, the counterculture spirit of ’69 was alive and dancing late in the woods.

Upon seeing a post from historic live music venue The George Tavern on Instagram, I was immediately intrigued – if a little intimidated. The lineup comprised some of the very best of London’s upcoming music scene (which is at times a close-knit club). And true, there was every @socks_house_meeting archetype in attendance – iykyk. Still, the sense of community and joy I witnessed went far beyond any expectations I could have come bearing. FarmFest is a small, independently organised event, offering an antidote to the corporate behemoth that is the “modern festival”. It’s affordable too, in comparison to the hefty price tags of mainstream festivals, with weekend tickets at £55 including camping and free shuttle pickup from the local tube station; who could refuse a chance to escape from the big city?

Friday saw a warm beginning. My highlights included a stunning solo set from Ike (of indie folk revival band Tapir!), who garnered a meditative crowd as migrating flocks of birds passed overhead. Explorative and dynamic, psychedelic five-piece Roscoe Roscoe performed a tight set: sunglasses stayed on while we danced like “freaks” in time to 9/16. The site itself was stunning, with the Main Stage backdropped by a lake, and a small orchard behind farmhouse walls. As the sun set, those staying overnight migrated to the Woodland Stage – a beautiful setup of mesh and gauze between the trees, perfect for an eclectic range of ambient music and spoken word.

Several flooded tents later, the lineup for Saturday was stacked with more talent. I was struck as ever by shoegazers Denh Izen, with their atmospheric new numbers which complimented old favourites like “Slips Away”. Angsty rock from welly-clad House of Women got the crowd moving and swarming. Tapping into a jazzier side of his sound, Skydaddy stood suave in a trench coat, accompanied by sax and clarinet – music for the soul.

Having soared into the spotlight this last year, it was exciting to catch experimental rock outfit Mary In The Junkyard after their intimate performance for Era’s own 2023 issue #17 release event. To me, the magic of the trio hinges on fluctuation: honouring the sweet-sounding lightness of the vocals and viola with nostalgic themes and softness, and then boiling over into clashing frenzies, one of which drew out an impromptu mosh from the crowd. Late night revelries spilled over into the woodland.

Sunday was just as eclectic and gorgeous. Singer-songwriter Misty Miller performed a beautiful set of personal reflections, including the greatly moving new single “Heavy” and “Me”, a ballad inspiring courage in self-love. Large ensemble Bishopskin, with their unique blend of folk, punk, and choral/Medieval soundscapes, created a particularly special moment when baby Elvis joined her father, vocalist Tiger Nicholson, and took to the stage with a tambourine, encapsulating the welcoming and spontaneous nature of the festival. A bank holiday special, the music continued into Monday – and although other commitments called me away along the M25, I heard rave reviews of MXLLY’s (formerly known as Ash Kenazi) performance.

Music aside, FarmFest itself is an annual event with a purpose: to raise funds for the Catholic Worker Farm, an open house offering support to destitute women and children. Between the “Mary House” (dedicated to housing female Ukrainian asylum seekers) and “The Farmhouse” accommodation, the CW Farm provides housing, food, counselling, and other services for nineteen women and children who were previously street homeless. I had the honour of speaking with Scott Albrecht, a driving force behind the charity, the event, and the home-cooked vegetarian lasagne (I need the recipe, stat). Scott, his wife Birthe, and live-in volunteers live alongside the women in voluntary poverty, which Scott describes as a “great privilege”. Discussing the plight of the women who have been referred to the organisation, it is clear to see how heartfelt and personal the mission of the charity is.

“I couldn’t live any other way. I have to do this.” – Scott Albrecht, CW Farm

Community is at the heart of the charity, and of the festival. This year, Scott was not the sole curator. With the father, the son, and the spirit of the George Tavern invoked, much of the event’s charm was thanks to the hard work of Scott’s son Francis Albrecht, booker and venue manager for the East London haunt. Affectionately known as “FranFest” to the George-initiated, Fran’s personable presence throughout the festival made it easy to see how he has fostered a flourishing following within the scene, and an authentic camaraderie between the musicians that regularly grace the George Tavern stage.

Music brings people together, and what better way to raise money than through a shared experience of emotional connection that only music can provide? It was especially moving to meet Lizzi from Kiev and her infant son, both housed at the CWF. She told me that she “wasn’t sure what to expect” but that once she saw the “rockstars”, she was convinced.

Overall, FarmFest felt like a love letter to the London grassroots scene, and the thriving community that sustains it. And this love was paid forward – this year a record-breaking £12,500 was raised for the invaluable work of the CWF, who receive no government funding towards the costs of providing housing, heating, clothing, therapy, medical care, solicitors, and other support for the women and children under their roof. The communal power of music has for another year enabled the CWF to enact change upon the lives of destitute women from all over the world, for good.

All images courtesy of the author.