Wednesday 16/06/10 Beach Break Live, Day Two @ Pembrey Country Park, Wales

The following day reveals many different shades - from a bevy of bronzed torsos to the occasional crimsoned back, this could be a government warning on sun safety. London rapper Example is in a bullish mood, urging a few stray punters to get over to his set. “Stop stuffing yourself with burgers and chips and move yourself down here, there’s a rave going on!” he screams.
 
We all need sustenance of some point in the day Example, so just hold on for a minute. Example is mesh of different sounds - from the Streets-aping word speak of 'Watch the Sun Come Up', to the bouncy synth-pop of 'Kickstarts', he’s a rapper that likes to meander. A break between acts allows for a quick venture into what’s unofficially named the world cup tent. Several bodies cram inside to watch Switzerland scab a sneaky win against pre-tournament favourites Spain. A gaggle of England fans celebrate, ludicrously suggesting that his shock defeat clears the path for England to take the trophy home. Not this year chaps.
 
Ellie Goulding was pushed to such hyperbolic levels that her part folk, part electro manifesto couldn’t help but reap an instant return. She has delivered on the early promise though, and without the use of a blaring vocal or a pair of exploding boobs she lights up the main stage with the simple aid of an acoustic guitar and a mellifluous voice. Set closer 'Starry Eyed' is deliciously inventive pop as stabbed keys and flittering bursts of electro sift between Goulding’s quivering vocal.
 
Scottish electro-pop aficionado Calvin Harris has advanced from modest mainstream act to chart-topping kingpin. His collaboration with Dizzee Rascal was the catalyst in this shift in fortunes, but Harris can cut his own tunes proficiently, tailor-made for both the dance floor and the dance tent. A full band and an additional vocalist beefs the sound up further, as Harris confidently moves from his usual position behind the decks to centre stage. 'Acceptable in the 80s' is a dumb-yet-fun burst of squelched synths and cooing verses and former number one 'I’m Not Alone' showcases a musician in transition - ready to produce big, ambitious hits that send the crowd into shape-shifting delirium.