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After a heavy Friday night, it’s time to calm things down a notch. Sauntering into the venue and arriving just in time to hear Swedish group Peter Bjorn and John belt out the incredibly catchy summer anthem ‘Young Folks’ featuring Camera Obscura’s Tracy Anne Campbell filling in on vocals provided on the record by The Concretes' Victoria Bergman.
Let’s be really honest here, most of the tent were happy to hear this track alone - Gigwise included - so wander over to grab a good dancing spot for the next band of the evening CSS. A stage decked in loads of brightly coloured balloons Lovefoxxx and co take to the stage late due to technical problems, eventually appearing Lovefoxx in her trademark catsuit and with a balloon tied around her head, ever the performer she strips off her glittery number to reveal a plain red catsuit underneath.
Unfortunately, just as the band and audience are really heating up after a fantastic beginning featuring ‘Alala’ the band announce that they have to leave the stage and all electricity is cut, they reluctantly leave the stage only to return ten minutes later and lead the crowd in a chant of “Fuck that shit!!”
Picking up where they left off the band launch into ‘Meeting Paris Hilton’ and ‘Music Is My Hot Hot Sex’ leaving monster ‘Let’s Make Love (And Listen To Death From Above)’ for a very sweaty encore. Wondering if there could possibly be a set in the entire festival to beat that Gigwise wander over to the main stage where the B-52’s are just beginning to draw a crowd as more and more people realise that they know more songs than they first imagined, and probably praying for a spot of ‘Love Shack’ action.
Looking like older caricatures of themselves the groups voices haven’t aged at all and the girls’ belt out songs like ‘Around The World’ and ‘Private Idaho’ even granting the crowds wish by including ‘Love Shack’. The band played a couple of new songs from an album due out this Autumn, and finished their set with the brilliant ‘Rock Lobster’ much to Gigwise’s delight.
Towards the end of The B52’s set it becomes obvious that the crowd has more than doubled in size, a vast majority of which are not dancing, it becomes clear that this swelling is for the next act, Arctic Monkeys.
Clambering over lighting rigs and huts selling beer vouchers people try to get a better view of this immense gig. Band and crowd are on top form and ‘I Bet That You Look Good On The Dancefloor’, ‘Fake Tales of San Francisco’ and ‘Fluorescent Adolescent’ are mass singalongs.
What’s more the band really seem to be having fun, Alex Turner grin’s his way through ‘Teddy Picker’ and seems reluctant to leave the stage at the end of the set.
