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With weather looking less desirable than previous years and forecast rain looking set to dampen the spirits of loyal fair-goers, the townsfolk of Cambridge and its surrounding area had the task of remaining faithful to this year’s theme of ‘Strawberry Nation’, and show just how culturally aware us Fen folk are – regardless of weather!

Photo by Michael Fordham

Upon arrival, thousands entered the festival-rich surroundings in the wake of the traditional parade arriving from Midsummer Common, and were greeted by a sense of unity familiarised with the mainstream festivals of today. With patriotism lying heavy on the smoke-tinged air, the crowds, diverse in cultural, political and musical orientation flocked to the numerous stages, stalls and stands to soak up the atmosphere that Strawberry Fair has honed since its inception way back when.

It’s refreshing to see that Strawberry Fair is still renowned for its sense of surrealism, and amidst the roaming Neanderthals, Hippies and Ice Maidens sits a stage that has refused to stop evolving since the marquee's rebranding in 2005. The Future Stage is one of recognised innovation, and prides itself on providing a stage for a line-up of bands that reject the format of single-genre billings.

The band that kicked off my day of scheduled inhibition was Heavy Rock outfit Distorted View. The band had a reasonable following of loyal fans that remained present throughout the entirety of the set, despite the constant flood and decline of people within the tent.

Sitting comfortably at the other end of the musical spectrum was Pandora’s Box, who not only boasted the widest range of ages within a band, but also the presence of the most obscure instrument to make it onto the stage (a bouzouki), and the most legitimate excuse for the absence of a band member I have ever heard. The crystalline vocal harmonies that soared above the wash of technical cymbal strokes were reminiscent of Kate Bush, with the band even covering ‘Babooshka’ to further broaden this comparison.

Enticing fumes fill the marquee and welcome Anna Sinfield to centre stage; a humble student from Long Road resounding within the acoustic genre. From the foundations of her set, the audience remain seated, highlighting an ambience familiar within the confines of a smaller venue. Intellectual mid-set banter and sensitive lyrics prove for a captivating display of talent, and one that is embraced by everyone in attendance.

Taking a similar approach to previous act Anna Sinfield, softly-spoken Alex Holmes creates a perfect palatable package for anyone with respect for music stripped down to its core. For the duration of the set, Alex explored a landscape of musical genres, all the while remaining relevant and faithful to similar mainstream artists Cat Power and Laura Marling.

Continuing with the theme of solo female artists, the swarming of the photo pit is a suitable entrance for youthful singer Ellie Caddick. With subtle technicalities and a hugely enchanting aura, Ellie caters for a wide demographic, and anyone that approaches with an open mind is sure to be rewarded.

Again displaying the diversity of this year’s acts, the next band to arrive is female-led hard rock outfit Between the Seasons. Melodic breaks prove consistent within the metal foundations of the band, and show a musical knowledge that surpasses the young age of the members.

An extended set-up is relevant insight into The Mctaggart’s constant search for musical perfection, and although they have a way to go, this bouncy indie pop band is definitely headed toward the right direction; the crowd response is evidence enough to prove this.

A charismatic 5 piece with a keyboardist in breach of health and safety regulations due to an apparent lack of footwear; it can only mean the arrival of Chloe and her loyal band of sound-jackers! Upbeat pop band with indie preferences and marching dance routines to match; convincing enough to encourage the dusting off of those dancing shoes and have you join them at a venue near you.

Note-perfect and mysteriously textured sounding 3-piece indie outfit Paris Like This had battled financial trials and tribulations to arrive at this venue, eventually unscathed. Choppy guitars provide an irregular platform for an interesting take on the indie vocal, while a floating condom provides an amusing alternative to pyrotechnics, and adds another layer of interest to the set.

The centre of consistent media appraisals and approaching the stage with a healthy arrogance, Tell it to the Marines are the penultimate band of the day. The venue surges with anticipation and the extent of the band's following becomes apparent before a single note has been struck. Playing flawless pop punk songs from a familiar format isn’t enough to deter the heaving masses from rewarding this talented band the applause they deserve, and after a set that is cut short, mass frenzy ensues as demands for one more song fall onto deaf ears as they thank the audience and return backstage.

The final band of the evening was Operation FM. The radio related title of the band is accurate insight into the radio friendly brand of music they play, and sat comfortably on a bill with previous act Tell it to the Marines. Persistently energetic, the band have all the ingredients to become a success within the mainstream, and on the way will no doubt further develop the array of song writing skills already in ownership of the band.

By Shane Alsop, June 2009