No pop, no style, strictly roots – that pretty much sums up your average folk festival, right? Not any more and certainly not in the case of the Cambridge bash, now in it’s 38th year and, defiantly continuing to push the boundaries of musical programming.

2002 brought what has now become the standard mix of names from firmly within the folk scene, those who have broken through to a more mainstream audience and the odd act just visiting. Of the former, The Oysterband mixed their usual boisterousness with a continued move towards a more mellow, thoughtful bent; folk supergroup Blue Murder (essentially Waterson, Carthy, Coopes, Boyes and Simpson) were worthy but just a little bit dull; and Rory McLeod was, as ever, the scene’s best kept secret – a marvellous charismatic and inventive troubadour who deserves far more recognition.

That level of praise has started to come Cara Dillon’s way and, although she still isn’t quite capable of producing the depth of sound live, she is fast becoming a force to be reckoned with. Kate Rusby, however, arrives with a full band in tow and is all the better for it, the fleshed out noise giving her exquisite singing and songs a whole new dimension. Opening by dedicating ‘Mouthful Of Shit’ to Tony Blair, she closes with a punked up version of an Italian anti-fascist anthem.

It’s been easy to forget just how damn entertaining Chumbawamba are but it’s bloody good to have them back. For the more adventurous this was a treat – a riotous collision of pop, anarchy and sheer bloody-mindedness. The quieter material of the excellent Readymades album certainly suits the environment but is still a little wobbly live; far better are the aforementioned Rusby samples and the modern day sea shanty ‘Jacob’s Ladder’. And it’s doubtful if Cambridge has ever witnessed a woman dressed as a nun, swigging whiskey and singing about the female orgasm. Even in the ‘70s.

The recent sight of John Lydon dutifully wheeling out controversial quote after quote simply goes to put Joe Strummer’s continued triumph into sharper focus. Backed by the ever dependable Mescaleros, Strummer is in feisty form – berating sound engineer and band members alike, as well as flinging various pieces equipment across the stage. Which seems to produce the best out of all involved, both on the many highlights from Global-A-Go-Go and The Clash selection that, let’s be fair, most are here to see. The likes of ‘Rudie Don’t Fail’, ‘White Man In The Hammersmith Palais’, ‘I Fought The Law’ and ‘Bankrobber’ induce massive grins all round, providing a small glimpse of what The Clash must have been like in their prime.

Cambridge Festival – a touch of pop, no little style, not strictly roots. You really should give it a go next year.