When the UK’s largest music and barbecue event rolls into town, things get hot, hungry, and incredibly loud. The inaugural State Fayre festival delivered a sizzling start at Hylands Park in Chelmsford last weekend, setting a high bar for what a massive outdoor celebration can achieve.
Leading the charge was the legendary Kings of Leon, who kicked off the festivities with a headline set that felt less like a performance and more like coming home. Amidst the record-breaking UK heatwave, as the smell of barbecue drifted across the site, frontman Caleb Followill captured the mood perfectly, telling the crowd, “it feels like being home.”
The band delivered an absolutely packed performance, diving deep into their catalog with anthems like ‘Find Me’ and fan favourites including ‘The Bucket’, ‘Use Somebody’, and the explosive energy of ‘Sex On Fire’. The setlist was a masterclass in rock exhilaration, showcasing their enduring appeal.
Kings of Leon‘s appearance was just one vibrant thread in a sprawling weekend lineup that mixed rock, Americana, and country influences with American-inspired food, decor, and classic fairground attractions. The festival featured powerhouse acts such as The Black Crowes, Stephen Wilson Jr, Kingfishr, Alanis Morissette, Skunk Anansie, The Lumineers, Elvis Costello & The Imposters with Charlie Sexton, and Counting Crows.
The sheer diversity of talent across the weekend ensured there was something for every taste, providing a rich tapestry of music as attendees enjoyed the spectacle.
Beyond the main stage highlights, Kings of Leon is gearing up for an extensive tour, continuing their UK and Ireland dates next week in cities like Belfast, Limerick, Glasgow, Manchester, and Leeds, with further stops including Madrid.
The band’s recent work has been highly regarded; their 2024 album ‘Can We Please Have Fun’ was praised as one of their most promising and liberated records for over a decade. During interviews surrounding the release, the band spoke about rediscovering their excitement while making the music, noting that they allowed themselves to be musically vulnerable on the record.
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Credit: NME
