Photo credits: @jamesnorthphoto and @hirobjones

Despite Detroit enigma–Moodymann–dropping out reasonably last minute, Farr was still a real celebration of the most exceptional underground house and techno around.

Perhaps surprisingly for a dance festival, the live performances surpassed the DJ sets – with Mount Kimbie, Maribou State, and Tom Misch stealing the weekend, proudly proving that live electronics rightfully belong to the dance music scene.

An ambitious and arguably bold booking in comparison to the rest of the line-up, Mount Kimbie's ever-evolving electronic live performance has come to resemble a krautrock band far more than two guys making 'post-dubstep' on their laptops.

Their set was an hour of raw and impassioned performing, a catharsis of noise and energy that would have felt more at home on a stage at Green Man or End of the Road Festival than Farr. Lost on some of the crowd, who were perhaps looking for something to vibe to rather than appreciate, the die-hards greatly praised Kai and Dom's musicianship in the crowd.

Other live acts such as the alluring grooves of Tom Misch, the profoundly euphoric sounds of Maribou State, and the newly revisioned intensity of George Fitzgerald – provided an extra dimension to the festival's programming, affording an atmosphere of veritableness that even the best DJ sets fall short of encompassing.

That's not to say that the curation of DJs wasn't sublime, with an array of mighty selectors shelling down throughout the weekend. Standout sets came from Daphni, Willow and Hunee, all of whom provided an electric platitude of deep cuts, four to the floor fillers, and old gems.

On Thursday night, kicking off proceedings, Shanti Celeste brought her seamless ability to cut through various influences and styles to her set. Friday night, Daphni – Dan Snaith's DJ alias, AKA Caribou's alter ego, dropped his signature curveball, a UK garage classic 'Double 99 - RIP Groove' – making the crowd lose their minds.

Saturday saw Benji B play a surprisingly energetic set, winning over the crowd with tunes such as Midland's 'Final Credits' (Mixmag's 2016 song of the year). Willow saw out Saturday night, with a mesmerising ambient techno set till sunrise on The Shack stage – the heart of Farr Festival with an adorned and monumental Funktion-One sound system.

Hunee closed the early Sunday night with a divine set at The Factory, Farr's main stage comprised of 52 shipping containers, looking like something plucked straight from Glastonbury's Shangri La. Spinning his usual assortment of soul-spectrum house and disco, Hunee dropped the track of the summer, Barbatuques - Baiana (Wolf Müller Drum Drop), a true future anthem.

It was Farr's first time curating and hosting a Sunday of programming, with a more relaxed and laid-back day of music focusing on reggae, funk and disco. Dan Shake who fell midday on The Factory stage, perhaps felt misplaced - with an infuriating small crowd for a DJ of such talent, The Factory's 2500 cap dancefloor felt empty with many punters heading home for work on Monday, creating an off-vibe from the familiar sounds of Mahogani Music's only UK artist.

Overall, the weekend was a sun-soaked scorcher and with an English world cup win, punters morale and spirits were at an all-time high, an energy that was translated and infectiously contagious all around the festival site.

Farr is a bargain as festivals go these days. The festival has maintained a boutique intimacy, with a careful and focused aesthetic and identity – plus a class sound system and lighting rig consistently on all stages.

Summer 2019 will be Farr Festival’s 10th anniversary, so expect something extra special; dates will be revealed soon, in the meantime keep checking www.farrfestival.co.uk for more info.